Godin Multiac Jazz

As described before, the Multiac Jazz SA has one Godin minihumbucker combined with a RMC bridge system along with a 13 pin option to use a guitar synth. The top is a beautiful piece of solid flamed maple with a nice finish, but I'd say the finish around the string entries (just below the bridge) and the F holes are fair at best for the guitar. The back of the body is made from poplar with a maple center. Single tone and volume pots for the humbucker along with the typical Godin synth set up in the upper bout with controls for blending the humbucker with the bridge system (depending on the connection option you choose to use). The head stock is slotted with nice tuners and the neck is pretty good but nothing to rave about.

The sound can vary by the options you choose to use on the guitar. It can be split three ways if you desire to do so (synth, bridge, humbucker). The humbucker is pretty hot and potent as described by others, we're not talking screaming, but just a lot more than I originally expected. I think it has a nice mellow sound but you do need to take care with how you pair it with an amp. The bridge system perplexed me for a while. Some might have said it sounded crystalline, but I found the system to have a metallic 'zing' when used. I couldn't figure this out for quite a while. Listening more carefully I realized this sound was generated from the strings vibrating just below the bridge (body entry point to the bridge); so, right or not I decided to solve the problem by placing some cheap felt material below the strings right where they enter the top. This dampened the vibration and produced a more pleasing tone. I'm happier with this set up, but I'm disappointed I needed to place the felt on the top. Like I said before, you can choose any sound combination you want for this guitar from acoustic to a thick jazz tone. One last thing, the sustain on this guitar is unbelievably long which is a real treat, and this combined with the half-round jazz light strings produces a rich bass tone with great sustain.

I discussed the fit an finish to some degree above so I won't repeat the comments here.

The guitar should hold up well, and I don't want to drop this rating lower due to my disappointments with some of the finish items. It will be interesting to see how this guitar with hold up over time. The only other concern would be the electronics over time as this is a complex electronic set up when compared to most other guitars.

N/A for me

Like many others here I'm an older now and can somewhat afford to buy nicer guitars. I've been trading in an out of guitars over the last 10 years or so. I plan on keeping this guitar for a couple of reasons: I like the feel and sustain of the guitar and the flexibility of the sound. I don't think I would run out to buy another if I it were stolen, but I still think it is a nice guitar for someone looking for synth access combined with jazz tone.

Beautifully grained heavy wood--great sustain. The guitar would be much better with a bridge humbucker for a variety styles and sounds.
Neck action is not as smooth and fast as I like but is usable. The unit definately needs a tremolo option.

Used with roland equip vg and gk series equipment is unlimited. The jazz pickup is good as well as the acoustic sound. It is best to use the three separate outputs rather than mixing it all through the 13 pin cable for sound. However, for convenience,it is simple for a fast setup to just use the 13 pin.

Finish is very good except in f-hole cut and in the neck slots. Seems that these areas need more sanding and attention.

So far, great.....

I have no problems communicating via email. However, I tried to buy a new pickup cover to replace the tarnished one on mine and none were available....Jury is still out...I do not know if good service is there or not...

I am 56 yrs old. I have been playing since 1963 and love music. I have about 20 guitars: Gibson Les Paul, Prestige Canadian made guitar jazz style, custom built 7 string, fenders, gretschs, Alverez and Takemine.

Very very nice spruce top, not so nice back.
I wish to understand the reason for Godin to use a classical-like headstock.
Also, a pickguard would be welcome.
But in general terms, this guitar is a beautiful peace of gear.

Splendid jazzy sound with the minihumbucker when used alone.
Getting a balanced sound is a little more difficult when piezo is used alone or in combination, because of somewhat too bright hi-end, but I could obtain what I was looking for after some trials.
Regarding the 13 pins conector and midi tracking, nothing to say but this is certainly the best "normal" midi guitar system available.

I bought this instrument in a major retailer in Germany and they sent it to me in Spain. When the guitar arrived, I had to set the action from beginning, since it was completely out of set-up.
Nevertheless, I just cannot suscribe what other custommers said above: my Godin Multiac Jazz must have been made in Mars or any other strange plannet: It is very well finished and I cannot find glue gobs nor other failures. Frets are OK, and after setting properly the neck with its truss rod, and with flat round D??Addario 13-56, which is a fat enough gauge, action is easy with acceptable (very low) buzz.

I am 50 now, and I think this guitar will live much more than me :-)

I wrote to Godin about the possibility of a different scale length (24-3/4 vs 25-1/2) and they gave me an answer, even though negative, but this is a good detail, for such a big brand name.

As I said above, I am 50, and I play guitar from the 10, so...fourty years playing is enough to recognize a good instrument when you get one in your hands, and without any kind of doubts, this is one.
I get a very jazzy sound through a Polytone MiniBrute II, but I get more modern sounds too with a Tech21 Ltd Ed double drive pedal, and/or in conjunction with midi, which makes sound possibilities endless. As I like to play eclectic music from classic jazz standards to free improvised music, I am always able to get what I want, with no need of changing the instrument.

Solid top, arched, flame cut, a dark natural (tobacco?) finish.
You know the features...

10.

I play jazz standards and have had several archtops during the past 15 years. The tone of the humbucker on this guitar with just a little bit of the bridge pickup mixed in, is really beautiful.

I have not even played with the stereo output of the GR-33 yet, I'm so enjoying this guitar that I don't want to be distracted.

9.
The neck is almost perfect. The high frets are more accessible than even teh PRS Custom that I just sold. I think this is characteristic of the shape of the neck itself and the cutaway. It makes it a pleasure to work out lines way up there at the high end, something I have avoided for a while.

N/A.
I've only had this instrument fopr about a month.
It seems to be built as well as any of the good guitars with which I have experience (PRS Heritage Gibson).

N/A.

I have no issues for customer support. I wish they would sponsor and/or maintain a web site for 'users' (players).

I've been playing since the Vietnam war.
I thought about buying this guitar for a year and needed to save a little more money before ordering it new, when I found this one at a dealer's web site.
If anything happened to it, I'd have to start saving money again...
I love the sound, the playablity and the finish is gorgeous.
I compared it to some other Godins and some non-SA guitars.

I just bought a Godin MultiAc Jazz and I am really happy with the sound. Not as big as a Gibson ES175, but bigger than an ES335, definitely a hollowbody sound.

I was trying to get a jazz sound out of a Brian Moore solid body and a VS-88, what a joke! Compared to the real thing.

I run it through a PodXT and have some really nice patches for it. Without the Pod the piezo does sound a little brittle and boingy (that's running straight into the PA) but with the Pod they sound warm and full, with a touch of compression and reverb and a tube emulation.

The amazing thing about this guitar is the intonation. Chords are perfectly in tune all the way up the neck- perfectly! I've never owned a guitar where you could play chords above the 12th fret and they just "ring" because they are in such perfect tune.

I don't know enough about construction to comment, but the action is nice and low with zero buzz on any fret. It plays great.

The strap I had would fall off when sitting down, so I got a locking strap.

The volume pot sticks pretty bad in the last 20% of travel, gotta get that fixed sometime.

I am a fairly accomplished jazz player, I've owned a Gibson ES175 and many other guitars, never owned a guitar as in tune as this one.

Going back and forth from DAddario Chrome flatwounds and half rounds- half rounds give some finger noise which is good but the Chromes are so smooth and big sounding... can't decide yet!

It's got lots of features. Read the other reviews to find out more. But think about whether you really need them before you buy this thing. I'm giving it a low rating here because it does lots of stuff, but except for synth tracking, it doesn't do any of it well.

I have owned this guitar for about 5 years and have been trying to like it but I just can't. The electric sound is dull and lifeless, and the piezo sounds quacky. Blend them together and you get dull and quacky. This guitar has a voice that just doesn't work for me. Other reviewers have said it nails that big fat jazz sound. I don't think so. It's not even close. The output of the humbucker is so hot it distorts every amp I've tried...even with the guitar volume turned down. There is something loose in the body that rattles and vibrates with every note. This kills the sustain and tone of the instrument. I've had a professional guitar tech look at it and he can't figure out what it is. On the positive side, the synth tracks very well, but that's more a function of the RMC system and has little to do with the rest of the guitar.

The finish sure looks good from a distance, but look closely and you'll see just how cheaply this thing is put together. The inside of the f-holes and the headstock slots are not even sanded. The inside of the body looks like an 8th grade girl chiseled it out in shop class. The fretwork was the worst I've seen on any guitar! Within a week, I could not play a note below the fifth fret because the fifth fret worked its way out of it's slot! The fret ends were not seated properly and were sharp. Geeez. The electronics package in the upper bout was not screwed in properly and buzzed with every note. The bridge and the pickup springs even rattle.

The thing weighs a ton and seems to be structurally sound. It you put it in the fireplace it would probably burn for days. Not sure how all the electronic stuff will hold up since it all rattles and vibrates.

Never dealt with them. The guitar didn't come with an owners manual but I was able to get it from their website.

I've been playing for over 30 years, have lots of high end gear, and run a small recording studio on the side. I'm sorry to say that this is the only guitar I've ever hated. I kick myself for having spent so much money on it. I've learned that no guitar can do it all and this instrument is a great example of that.

Gorgeous maple top (spruce is also available) just one magnetic pickup in the neck position, but has an under-the-bridge piezo that also drives a 13-pin output for Roland GR-33 or 20 or VG88. INCREDIBLY versatile because of this. It has a pretty fat neck, and a slotted headstock. Finish is great. Bolt-on neck may be BETTER than set neck, because Godin allows NO finish on the wood-to-wood contact point, which means the tonal transfer should be better than even set-neck. (So they say...)

I play as a worship leader, and this kind of box REALLY gives you a lot of bang for the buck here. I run the electric through a tonelab SE (sounds GREAT through it, but only on 1 or 2 amp models that are available... but I've found that to be true with all modeling pedals), then I run the synth through a GK33, and the acoustic through a Yamaha AG Stomp, I freely mix between the three, and when I DO need to use all three.... I sound HUGE!

Built well, needed no setup when I got it. I have made NO adjustments or changes to this guitar.

The volume pot is a little funky. This seems to be true of a lot of Godins. They've agreed to send me new ones. We'll see.

There is not pickguard, but the finish still holds up to a lot of playing. Seems very solid. But I would never use it without some kind of backup. A guitar? without a backup? are you kidding me?

They're okay on this. I think they could be better. Only one-year warranty... come on... stand behind your products!

I'd get another one of these in a heartbeat! I love that I have three-voice access. I can go from funky electric noise to ethereal acoustic/synth mix IMMEDIATELY! It's my favorite axe. I have two other Godins, and I'd buy more if I needed them.

2005, usable acoustic guitar sound, usable jazz guitar sound, EXTREMELY usable synth tracking. I use this with a Yamaha AG Stomp, a Vox ToneLab, and a Roland GR33... AT THE SAME TIME! I SOUND HUGE! you can check the features at www.godinguitars.com, so I won't describe them.

The sound of the electric pickup is not super-versatile... of cours... give me a break, there's just the one pickup, but add in the acoustic sound and the synth sound (or you can use it with a VG88, and I can make pretty much any sound I need at any time. I lead worship in church, and I can use JUST ONE guitar, even if my keyboard player doesn't show up. I can go from a good loud fun fast song to a slow meditative one, switch all my sounds around, and I'm good to go!

guitar was set up fine, pickups just the way they needed to be, I didn't need to make any changes. My volume pot is a little cranky, I'll probably replace that (I've had two godins with this problem, so watch that) Plays great! the top (flame maple) is extraordinary

See above what i said about the volume pot. It's pretty sold, though.

They take a while to get back to you, but they do...

I've played for about 30 years, this is my current favorite guitar. I'd get it again in a heartbeat. I love having the three voice option, which, btw, you can use with just two cables. Send the synth and acoustic out the synth cable and send the electric out the other, wind the cables together, twist tie them together, it's almost like just one cable.

Semi Hollow, Maple top, 22 Frets, humbucker in the neck position, Piezo in the bridge along with a synth pick-up. A ton of versatility in a classic looking package. 3 outputs (13 pin, humbucker alone, piezo/humbucker blend). The synth and piezo pickups are controlled by faders in the upper bout.
IT WOULD BE GREAT IF IT HAD BEED PROPERLY BUILD!! SEE BELOW>

The humbucker sounds ok. in a jazzy way. But doesn't have the feel and punch of a vintage kind of humbucker, instead it's artificially dark soundingand so far I think it is not wax potted so it feedbacks like a microphone on a high gain setting. It is not meant to be driven. But a semihollow jazz guitar sould be able to be driven to get scofield or ES kinda tones but this is not the one! If you want a straight jazz box tne you have tons of cheaper and better sounding options out there.
The Piezo Bridge sounds like crap. I've played lots of "piezo equiped electric guitars" and I own a RMC equiped nylon string Godin sounding great but the I belive the problem of multiac jazz is the guitar itself. wood and ect. RMC pickups really reflects the sound of the guitar and they are transparent in their way but this guitar sounds disapointing.
Midi features are fine.

The worst thing about the electronics is there is two outputs one for magnetic and one for piezo Ok. when you plug only on the higher piezo output, you can blend the magnetic and the piezo with a fader BUT...
when you decide to use the two outputs to send magnetic to your guitar amp and the piezo to an acoustic amp or a PA these two sounds should be seperated .... IT DOES NOT!! Instead it keeps on sending the magnetic signal through the piezo output to the PA which kills the idea of having two outputs at first place. IT IS STUPID.

Finally when you get the magnetic sound from the piezo output with your blend fader, the humbucker tone goes through the active preamp
sounding more crap than the other passive humbucker output below.

Where do I begin..
first why bolt-on?!! for such a price you shold have a set-neck. it would sound better. Flame maple top is great but POPLAR back! Its like the worst possible wood for guitars. they make fruit baskets out of it. It has the worst finish on a guitar I have ever seen. they didn't bother to make a fine finish to the headstock and slots or the string through slots. for this price you can have amazing guitars.
So.. yess.. I was stupid enough to buy this one :)

If you ever un-screw something, you wont be able to put it back because Poplar is such a soft wood yt cant even hold a tiny screw.
The tone-o-matic bridge is wobbling already. Eq and blend faders produce sound.

The time I bought the guitar they didn't have an E-mail adress on their site. You couldnt even reach them. Now they have and the brightest answer I got was:
This was how the guitar should be. It was made to be like that.

Isn't that funny.

I'm a pro and have been playing for 15 years and play lots of main stream jazz, R&B, Soul and Funky stuff..
My main guitar is the Beautiful Hamer Duotone which sound great. Have a Godin Multiac acoustic works, sound and tracks fine.

The time I bought it I was charmed by its look and features. but the more I played, the more I hated it. It was so expensive so I thought there had to be something for it but there is not. Now I cant sell or trade it because of the stupid Price I paid. I'm stuck with it.

Dont let the look or features fool you. It is not worthed.
Brian Moore has far better guitars for this price range. Yamaha or ibanez or gibson offers great guitars for this price. If you want MIDI and piezo on a guitar just put GRAPHTECH bridge and electronics on your favorite guitar on be done with it. Works better, sounds better. Will cost cheaper.

Lots o' features!

- solid spruce top. mahogany neck, ebony fingerboard, maple centre and alder "wings"
- humbucker neck pickup and piezo/synth driver bridge pickup
- three band eq on the preamp for the bridge and standard treble cut tone control for the neck humbucker
- two 1/4" outputs, one humbucker only, one mix; the humbucker only doesn't seem to be preamplified (lower output)
- Roland 13 pin output provides really good tracking

Cool sounds!

The neck humbucker on it's own approaches jazz box tones: smooth but still with a little ping to the top end. It cuts through in a live jazz setting nicely. I like it more than the ES-175 and Howard Roberts Fusion guitars that I've had.

The bridge, as others mentioned, won't fool anyone into thinking they're hearing a Martin but it is a nice comping tone for jazz. I really like comping with the bridge and then switching to the neck to solo.

Sounds like crap with overdrive. Who cares?

I'm using a Thomastik Bebop string set 12 - 53. It's a great set as it has a plain third 0.020. This works really nicely with the neckhumbucker and is superior when using the synth capabilities.

Overall, with the spruce top and piezo bridge the guitar has a more present sound than laminated top jazz guitars. It has its own voice.

I have a few quibbles with the fit and finish. The guitar has a slotted headstock like a classical and there is sanding residue under the lacquer in one of the slots. fugly!

Also, there's a high fret in the top octave. I'm going to have to do a dress to see if I can get the action down to where I like it.

As another reviewer notes, the supplied allen key is difficult to insert into the truss rod nut. It's possible to get it right in but it takes a lot of fiddling and then provides less than a quarter turn of adjustment.

Lastly, the bridge is string through body and the ferrules are so deeply embedded in the body that the strings actually cut into the top wood when crossing the bridge. Also, when trying to change the strings it takes forever to get the string through from the back of the body as the strings hit the ferrules from the other side and won't pop through easily.

Godin guitars are competitively priced but I was disappointed with the flaws mentioned above. However, you'd have to pay a LOT more to get better. Anyone priced a solid top Gibson lately? Yikes.

Fit and finish issues aside the guitar is solid and well built.

I've had email exchanges and found they reply promptly and accurately.

I really like this guitar. It's both a good gigging jazz guitar and a really good synth controller for writing with the computer.

I wish that there were half a dozen to choose from when I bought mine - I would have preferred to not have to do a fret dress immediately and would have preferred to have no visible finish flaws. Oh well.

Godin makes some really interesting niche guitars. I'd include this one among them. I looked at the Gibson es-137 at the same price point and really liked it, but the synth access on the Godin really sold it for me.

Check one out if you get the chance.

2002 model, flame maple (gorgeous, just gorgeous). Ebony fretboard (22 frets) with an almost flat curve. The neck feels like a cross between an acoustic and an electric with a solid feel to it.

Piezo and hexaphonic pickups at the bridge and a neck pickup. The electronics are pretty sophisticated so that you can use it with just humbucker or mix the piezo and humbucker, or run them to two different amps and mix them that way. It has a 13-pin GK plug for Roland GK products. I run it through a GR-09 and a VGA-3 amp so that I can play almost any instrument on the planet and use the unit as a midi trigger for even more options.

The workmanship is phenomenal, not a stray splinter anywhere to be found. the tuners are large, solid and exude class (as does the guitar as a whole). It is a thin hollowbody but sounds bigger than it is.

My setup allows this guitar to sound like anything I want but it sounds very pretty on it's own. Clean, it's a dream but add a little overdrive and it can sing like it's heart is breaking. It is not a bad boy but it can occasionally sound like one. I have 2 other godins (an SD and a LGXT) and this feels and sounds like an older, wiser brother of the family. It can be mellow and it can be bright and it can be both at the same time (neat trick that). I have yet to run out of sounds I can get out of this guitar. Indeed, the LGXT I have has a similar variety.

What separates this guitar is the almost heartbreaking fullness of the clean jazz tones. My one dislike is the weight. It is almost as heavy as my LGXT and that is almost as heavy as a Les Paul. Otherwise it is a sweet sound that can be unforgiving if slip up.

A wonderful flame maple top that is perfectly bookmatched. There was not a flaw anywhere (and I looked). I was trying to find the flaw because I was looking for any excuse not to buy it. I couldn't find one.

I haven't had it very long but if it is anything like my LGXT it is a tank and will be with me a long time.

Never had to deal with them directly.

I've been playing 24 years and I play everything from bluesy raunch (or is that raunchy blues) to new age atmospheric electronica (I'm not sure either). I love the way it complements my other godins (the SD for punk, the LGXT for blues/rock, and not the multiac jazz for..well...jazz). If it were stolen I would hunt down the culprit and do things that would make torturers throw up. There are other jazz guitars out there that have a similar sound as the humbucker, feel right and are even cheaper but they don't call to me as this one did. Each of my guitars are named and this one is "Destiny". Now how do you say no to destiny?

I think mine is a 2002 model, but the features are exactly the same as currently listed on Godin's web site (http://www.godinguitars.com/godinjazzp.htm)--a flame maple top, one mini Godin humbucker, and the great RMC electronics/acoustic bridge system. The guitar synth and bridge transducer controls all work very well--once you work out what each control does it's fairly intuitive. For a 'jazz' guitar, it's a very versatile instrument, and that's why I bought it. It gets a 9 because there's no bridge humbucker, but no one guitar is going to do everything for you anyway, as much as we guitarists might wish it so. I'm just happy this guitar does several things well.

With .012 half wound strings, the Multiac Jazz exudes a very nice, warm jazzy tone with the tone rolled back just a bit. It doesn't sound good overdriven, but the clean and semi-clean tones are good. The 'acoustic' output isn't going to fool anyone but just a little bit mixed in (with the slider at 20-25%) via GR-33 does add a little clarity. I agree with the other reviewers that you should use the separate outputs--don't try to mix the humbucker and acoustic in a single output as that mix doesn't sound great. I use the Multiac mostly through a PodXt Pro, which suits it very well with a few custom presets that I use (the main one is a mod of the "Bumpin'" preset with a splash of echo and 'rich chamber' reverb for some Metheny-esque air and some of the Marshall speakers)--you can get it to sing a little. With the right approach you can get a little Benson funk and Metheny singing going, but this has as much to do with how you play as what you play it through. I play this guitar much differently than I do my Strat, and it took me a while to successfully adapt to it (at least to my satisfaction). It doesn't sound exactly like a big box jazzer, but it's close and sounds better than a lot of other jazz guitars that I've played (various George Benson models that did some things well but also had workmanship flaws, didn't stay in tune as well, for example) regardless of their price. I always play it with my GR-33 on, often with a soft pad at about 25% volume so that if I hold a note or chord I get a slight swell. The synth tracking is great--some adjustment was necessary for me to get consistent results but once dialed in all was well.

I give it an 8 because I'm a hard grader--I really like how it sounds, and there's nothing better in this category to compare it to. But if there was a, say, Pat Metheny model that had Godin's RMC system, that might get a 10...

The guitar came well set up--didn't have to adjust the action or anything. Acoustically the pickup rattles sometimes but everything else has been tight. Cosmetically, it's the usual Godin deal: looks beautiful everywhere that you see at first glance. No one in the audience is going to notice the flaws, but when you look at the f-holes and see the uneven finish you realize that Godin cares about the 'big picture' stuff and skimps on those details that don't affect the tone or general visual impact. I'm fine with this--handcrafting all those extra details would drive the price up further without sonic gains.

I've had the guitar for five months with no problems. It feels very solid and I carry it without a backup--if it did go down I'd just use the neck pickup on one of my other guitars for the kind of sound I get from the Godin. It wouldn't be as good though.

I've never dealt with Godin directly, although their web site has a lot of good information on it so they start off good in that regard. Fretmill Music, who I bought this from, were great to deal with.

I got what I call a fair deal for this guitar and I didn't have to wait six months for one to be built at the factory so I'm very happy with my purchase. I should point out that I like Godins (I have a nylon string with synth access and also use a fretless semi-acoustic bass), but that like has been built on positive experiences. I have a bunch of guitars (Strat, Tele, Carvin HT2, Sheraton, 3 acoustics, Steinberger Spirit, etc.), but the Multiac along with my Jeff Beck Strat serves as one of my two primary guitars. The ability to layer synth tones along with a warm jazz tone (and let it rip with hornlike synth lead sounds in place of distorted leads) makes this a versatile and effective instrument for me. I use it mostly on songs that have a jazz foundation, but it's also very good for funky vamps. I never got a chance to play it before it bought it, and almost didn't buy it because I didn't like the Flat Five (which I have played in several stores). But it's a different and better guitar than the Flat Five IMO. I'd buy it again in a heartbeat.

Mine is the lovely flame maple model. I wont bother with what you guys already know.

OK here's something I noticed. The mix output somewhat kills the humbucker tone. Use the dedicated output instead. Flatwound 12s, a clean amp and I'm happy as Larry. Remarkable sustain for a jazzer!
Oh someone said the tone knob was a bit drastic. I see what he/she means but it is still very workable so dont be put off by it.

Setup was spot on. Finish could be better though. Just take a peek through the f holes to see what I mean... a dedicated luthier wouldnt tolerate these to leave the workshop.

I'm afraid I dont have a crystal ball :-) said that, something tells me it's going to be very interesting to watch it age. Be back to this in ten years time. :-)

Just asked for the diagrams 'cos I have an old Korg Z3 synth and would like to match the guitars 13pin connector with the Z3's 24pin one. I'll leave this open for the time being.

Versatility hard to match. Great jazz tones. Finish raises an eyebrow. Mix output kills humbucker tone - use the dedicated jack and you'll go Aaahhh!!!

The features of the Godin multiac jazz are already well described in earlier reviews; it's a beautiful instrument to look and an enjoyable experience to play. The tone is geared toward jazz, obviously, thanks to the lone mini humbucker in the neck position. However, the L.R. Baggs transducer makes it also work well as an acoustic electric. It's RMC hex pickup system is THE best out there for driving a Roland GR synth or VS system, no question. The neck is largish, and reminds me more of an acoustic neck than an electric. It comes from the factory with 'ground round' semi-flat strings 12-56, which seem to work well with this neck. The type string used has a decided impact on how well the RMC hex pickup tracks. Flat wounds probably wouldn't work well in that regard.

I mostly play fingerstyle; easylistening/jazz. The sound of the Godin comes through with flying colors for me. This is my second Godin; I also own an LGX-SA. The multiac jazz is pretty much a dedicated jazz instrument. It also sounds excellent as an acoustic/ electric, provided you play it through a system capable of reproducing acoustic sounds faithfully. I play mine primarily through a Carvin AG100D acoustic amp and it works VERY well in all capacities with the Godin. I only rate it a 9 instead of a 10 due to it's specialized use and, lets face it, it just doesn't sound like the big bodied jazz box with flat wound strings...but it is still a good, useable jazz tone.

The instrument was set up for the Godin strings, (really, D'Addarios half round light jazz set). It came to me with a comfortable action and no detectabe intonation issues. The neck is larger in thickness than many electric guitars I've played; even jazz boxes. It is comfortable however. It reminds me of an acoustic neck. The body is beautiful, a thing to see and appreciate. The controls are solid in thier function, but I notice that the tone control rapidly cuts the treble frequeincies only once you get near the end of the pot's rotation, which I find annoying.

As I've already mentioned, this is my second Godin. I've owned my first one now for about six years with no trouble at all. I've taken good care of it and I'm protective of my equipment. Still, I've gigged with it extensivly with no problems. I have no reason to expect this instrument will fare otherwise. If I though it might fail, I wouldn't have bought a second one!

I've never needed them! I've read that they are pretty helpful though...

I've been playing a long time and I own a ton of good equipment. I've paid my dues and enjoy playing for a living now. I consider the Godin jazz to now be my primary working guitar. It's a pleasure to play.
Is it perfect? No, but what is? I find the neck slightly larger than my want. The tone control doesn't roll off the treble frequencies as smoothly as I'd like. The instrument is slightly on the heavy side to hold and the back isn't as comfortably shaped as the LGX-SA is. On the other hand, it has the 'jazz guitar look.' It sounds good for jazz. Real good...The neck, though on the large side, allows for clean fingering. The fret work is clean and smooth. As with the LGX-SA, the strong point of this guitar is versatility. Three pickup systems. Plus the basic tone from the mini humbucker is just what I like for what I play. It is a great guitar.

Multiac Jazz - 3 voice, Flame maple top w/Cognac finish - gorgeous! Electronics are describe in other reviews. Neck is thick like an old Jazz box and seems to go on forever. Access to the upper register frets is made easy by the tapered cutaway.

The EQ controls for the acoustic pickup are well place, however I'm still having difficulty remembering the order for low/mid/high frequency controls. Still, they are well positioned on the body and offer excellent sound shaping control and voice blending with nearly infinite tonal possibilities.

As an owner of other Jazz archtops guitars, I've come to realize that the Jazz cannot - by virtue of the way it is constructed - sound like my D'Aquisto New Yorker Special. I bought the Jazz because of it's own sound and tonal versatility. I has an excellent Jazz tone.

The acoustic pickup blending capabilities offer many other possiblities as well. Using the acoustic pickup on its own yields a wonderful credible acoustic tone, great for fingerstyle.

Finally the synth access opens up endless possibilities. As I'm new to guitar synths (but not to guitar playing), I'm like a kid in a candy store when it comes to using horn sounds for solos. The tracking is excellent, but needs some adjusting both of play style and touch. This is understood. You have to be more precise with your fingering and picking to achieve flawless tracking.

I'm playng through a Line 6 AxSys2 (mostly fender emulations with the Jazz) and it sound great. I also play straight through a Yamaha EMX68s PA head using the GR33 stereo output. Stereo output is a must to get the full benefit of the Godin + GR33. I haven't even begun to explore all the voice combinations.

If I had to offer one negative it is that there so many sound combinations on the Jazz that it is a challenge to reproduce the exact same settings everytime I play - but I'm working on this.

The guitar setup was perfect right from the store. The Jazz has a "Jazz box" neck feel - so you have a little heavier string (.053, 012) and tighter action. At first it felt a little too stiff, but I'm adapting to with no problem. It feels very comfortable to me.

The fit and finish is flawless.

The Jazz has a beautiful stunning appearance. I cannot find one thing out of place on this guitar. The classical style tuning pegs are of high quality and appear a bit tight, but maintains tuning.

The guitar looks to be extremely well built. The heavyness of the instrument gives you the thought it is "solidly" built. Time will tell how reliable it is.

Customer support has not been necessary, either from the Godin or the store that I purchased it from.

I've been playing for over 30 years. In addition to the Godin, I own a D'Aquisto New Yorker Special, Fender Lone Star Strat, Taylor 814CE, Artisano Classical guitar.

If the guitar were stolen I would buy it again.

I love the tonal range of the instrument. It is a wonderful jazz guitar and more. There is nothing to dislike - maybe it's a bit pricey, but you get what you pay for.

The synth access is probably my favorite feature, only because it so new to me and I'm enjoying it so much. The jazz can produce dark tones which I like for playing traditional jazz. I chose this guitar because it sounds and looks great. You can crank up the volume all you want - with no feedback!

If you are looking for great looking jazz guitar with all sorts of additional tonal versatility and with synth access, there is nothing out there that compares to this in this price range. Every time I play it, I feel that I've made a good choice selecting this instrument.

This guitar is a pretty sub-standard intrument. Nothing I get too excited about. I bought it for professional reasons only. If someone steals it, I wouldn't get too upset.

The sound of this intrument, (I use that term lightly), is pretty non-descript. It's got some bells and whistles but it's still in my opinion a sub-standard intrument.

The truss rod is atrocious. The adjustment wrench they gave to adjust it will not fit snugly enough to adjust it properly. I am in the process of finding a machinest to make a proper size one for me. With the aid of a small round mirror attached to a rod, the inside construction can be viewed. Needless to say, it's a horror show in there. Huge gobs of glue all over the place and many uneven edges. This guitar looks like it was put together by an adolecent.
The finish looks OK but then again, even the most poorest of luthiers can make something shiny to some degree.

I just have this guitar till I can get a real one with Synth capacity. This guitar will most definatly be trash in 5 years.

The company is not very helpfull at all. You can't call the Berlin NH factory and speak directly with anyone who's involved with the actual hands on construction and trying to call Rober Godin is like trying to call the Pope. This company seems to thrive upon getting people to purchase they're products and then shut them up as soon as possibile if the customer has any questions that might go against the grain of they're standard of mediocre products.

I've been activly playing since I was 9.Studying since I was 17. I'm 45 and I still haven't been able to get it completly. But I have been playing long enough to know better.
I just wish that the company would have taken the time to produce this instrument and not tried to cut corner on corner on corner in it's construction. It has a real potential to be a good instument.
I wish I had a mirror to look inside this thing before I bought it. The top is a big clumsey piece of wood and the back and sides look like a varnished piece if scaffolding plank from Home Depot.
I bought it because I was told that after having waited for one for 5 months, the one they sent me first had a big knot in the neck. Needless to say I sent that one back and was pretty much told that the second one would be it unless I wanted to wait another 6-12 months for a replacement. Needless to say I just wanted to get the whole thing over with and be done with the Godin sales force energy. So,I'm stuck with it for now. I'll deal with it the best I can.

Semi Hollow, Maple top, 22 Frets, humbucker in the neck position, Piezo in the bridge along with a synth pick-up. A ton of versatility in a classic looking package. 3 outputs (13 pin, humbucker alone, piezo/humbucker blend). The synth and piezo pickups are controlled by faders in the upper bout. There is also an onboard EQ for the piezo as well as a pair of small buttons that allow you to move up and down through synth patches right from the guitar. Way cool. Excellent finish. The strap pins do not have enough of a gap to accomodate a decent strap, and they are rather small in diameter. I definately worried about the strap slipping off. Needless to say I replaced them with a better set of pins.

I was looking for a jazz guitar. I had tried the D'angelico reissue, as well as Gibson, Epiphone, Heritage and Hofner. For the money this blows them away. You can get a classic jazz tone plus you can blend in the acoustic tones of the piezo. I also hook up to a Roland GR-33 and you can blend that in too. I play in a funk/pop band that is on the jazzier side and the guitar sounds great in that context too. It is a very full sounding guitar with a surprising amount of sustain. I've had the guitar for about 8 weeks now, and can't put it down.

The guitar has a beautiful finish although it is a little more glossy than I'd like. The action was a bit high. I like a high action, but this was too high. Also, the humbucker was a bit boomy on the bass side. I brought it back to store after a few weeks of play to have some adjustments made, and it now plays and sounds great. I am using flat wound 11's on this guitar which are heavier than what I usually play. I'm surprised at how easy it is play. The neck is comfortable and fast.

This is a well build guitar, and I have no doubt it will hold up. The only thing I'm worried about is banging it into something and nicking it up. I mentioned the strap pins earlier. I'd replace them with something more substantial. They'll carry the weight of the guitar, but I'd be concerned about the strap slipping off.

They respond quickly. The guitar comes with a hardshell case. I contacted them to see if they had any recommendations for a quality gig bag that would fit the guitar. While they did not, they were nice about it.

I have been playing for 24 years. I also have a Parker Fly Deluxe, A Les Paul Standard and an Ovation acoustic. I sold a modified '72 Fender Tele to get this guitar. Outside of the minor set up issues and the strap pins this is an incredible jazz guitar for the money. While it is a very flexible instrument, it is voiced for jazz. You're not going to rock out on it. I was looking specifically for great jazz tone and this has it in spades. If lost or stolen, I'd definitely buy it again.

This guitar is just beautiful! I have the lightburst one since a couple of weeks and I am already in love with the design. It is a mix of tradition and originality. Regarding the design of the guitar, I strongly reccomend you to visit the site of Godin at www.godinguitars.com which will give you all the feature of the Multiac Jazz SA. On the English site (I am mentioning it because you have as well the French one) you will be able to download the Owner's manual which goes even beyond the normal features listing.

With the design, I think the sound is the main strength of this instrument. The Humbucker played directly through a lamp amp sounds incredibly warm, if you like this kind of sound you will not be disapointed. The tranducers are themselves sounding as well very well but and add a new dimension to the guitar as you can mix them with the humbucker if you use the mix output. It is controlled with a cursor which let you really mix both very precisely. I wish the cursor had some kind of marks in order to be able to find without trying too long your favorite set up. When you are using the mix output it goes thtough the preamp and the volume poti of the humbucker controls the sound of this preamp. On my guitar, the signal is for me a bit too strong right from the beginning. I would have rather have it a bit more gradual. Anyway, I put a 10 because the Humbucker is just amazing and overall with a bit of adjstment you can get the sound you have always wished to have.

The guitar has been pretty well adjusted from the factory. I have a small vibration on one string which would require some adjustment and one string is not tuned anymore on the 12th fret. So, a fine tuning will be necessary. As written above, I think that with the poti controling Humbucker and tranducers together, it gives too much power too soon and this should be as well adjusted for my taste. Regarding, flaws, get out of here, there is no flaw in the finish and the action of the guitar is just fantastic. I put an 8 for the small set-up problems.

Well do not smash any amp with it and I think this guitar will give anybody some very good time during years. Is there still any musicians who are mistreating their instrument? When you buy such a guitar I do not think you are one of these D...time will tell!

I sent an email to GOdin regarding the small vibration and got straight away an answer. They could not help me as they have to see the guitar, but at least they answered which is pretty uncommon so I give the maximum points.

I have been playing for 20 years and I own 2 other guitars, a Strat am and a Delrey Jazz. I tried quiet a lot of instruments in the past but this one is from far the best one I tried, because it is traditional and modern at the same time. I want now to buy a VG88 in order to use it fully with the 13 pin output and see what the beast can put out. Don't even think about stealing this guitar, I would find you. If you like Jazz and want to be able to create some new sounds and be polyvalent that a guitar for you. The value for money is as well very HIGH. Gibson and all those brands should look at Godin closely I would not be surprised to see more and more people playint their guitars

Made 2002, "crafted in Quebec, Canada and assembled by hand in New Hampshire." Semi-hollow jazz style single cutaway with f-holtes. AAA grade solid Spruce top, Silverleaf Maple center with Poplar wings, Silverleaf Maple neck with Ebony fingerboard. 25.5" scale neck, 1 11/16" nut width with a 16" fingerboard radius. Single neck pickup (Godin GJN1 mini humbucking) and custom RMC electronics with 13-pin connector, to give electric jazz, acoustic electric, and synthesizer outputs, one at a time or any 2 and 3 sound combinations. Control knobs for master volume and magnetic tone, as well as sliders for magnetic/piezo mix, 3-band equalizer for piezo, and synth volume. Through 3 output jacks, can send magnetic and piezo to single source or to two amps (electric and acoustic), and to Roland compatible guitar synth or VG series unit. Classical guitar style tuners and through-the-body design bridge. Hardshell case included.

For jazz sounds it comes pretty darn close to a full size hollow body jazz box. Overdriving it gives it a nice, warm, smooth distortion good for slow blues and rock ballads. What was a surprise was that it gives a great, clear, full and warm acoustic tones with great definition. I use it as an acoustic/eletric in a church worship setting, and I always get very positive feedback on how great it sounds. And of course, with the GK type output, you can layer in strings or organ sound along with the guitar sounds.

Came with half-round set of 12s -- great string choice for jazz.

Action is very good for a jazz guitar -- much like an acoustic. Everything was setup great from the factory and the local music store. Fit and finish is excellent, as it usually is with a Godin (my third Godin guitar). Excellent qualtiy Spruce top. Some black mark/scratches on the classy looking flat gold finish knobs, along with very small imperfections along the side of the fingerboard -- but very minor, and not noticeable probably except to me.

Built solidly, and I anticipate to problems with its intended use. With proper care, maintenance, and love, should give many years of enjoyment. I've used it in church settings with no backup, and will continue to do so.

I have not had to deal with Godin for this guitar, but did so for the LGX-SA that I used to own. It was one of the first generation models, and had some eletronic problems. I was able to contact Godin through the music dealer and they resolved everything satisfactorily, even though it took a whole month to remedy. But they are not a huge factory, to this probably could not be helped. People were friendly, helpful, and stood by their product. Email questions takes a few days for responses, but they do respond.

I've been playing guitar for 36 years and bass for 3 years. Other gear I currently own include: Tom Anderson Hollow Drop Top, Godin ACS, Alvarez-Yairi DY72 12-Sting; Alvarez-Yairi DY62; Optek Fretlight; Washburn RB2000; Yamaha DG100-212; Trace Elliot Acoustic Cube; Roland GR9; Roland KC-500; Boss GT3.

I love the versatility of the Jazz. Although I bought it to practice jazz, I also use it as an acoustic electric when I lead worship for church. However, it is really not meant for rock -- it probably wouldn't work as the only guitar for rockers.

If it were stolen or lost, I would buy it again

Canadian parts assembled in the U.S. with a flamed maple top, single cutaway, f-holes, a single gold humbucker, and a bridge piezo pickup. Includes synth access via a Roland style 13 pin out. Various configurations of jacks and controls allows the single volume control to control the humbucker only or the humbucker and piezo. The tone control affects the humbucker only. A slider section includes equalizer for the piezo, piezo volume, and synth volume. The e.q. for the piezo has a switch to select the midrange tones affected by the sliders. Step buttons allow synth voice selection. The neck is fat, similar to an acoustic with medium action. The guitar is rather heavy for a hollowbody. It has unusual side mounted tuners usually found on nylon type guitars, but high quality.

Beautiful mellow tone from the humbucker, although not as deep and smokey as a dedicated jazz guitar. The piezo adds a great deal of versatility to the humbucker. I don't miss having a bridge pickup. Really nice for jazz, fingerpicking, strumming, etc. I wouldn't suggest this guitar for heavy rock. It can cut it for blues, although I don't think a blues player would select this guitar. The synth access opens up a whole different world. It has superb guitar synth tracking, the best I've ever experienced.

Set-up was just ok. To my eyes it needs a bit of a truss rod adjustment. It came with medium strings and medium action. I like really low action, and that doesn't seem to be Godin's thing. If you're used to "fretless wonders" like good Gibsons, this will seem a little high to you. Both the volume and tone controls scrape slightly on the body when rotated. The finish is thick and glossy, and seems to be even throughout. The maple top is very pretty, and I like the look of the whole guitar.

It appears to be very well constructed. For a hollow guitar, it has some serious beef to it. It includes active electronics, so it has to be treated with respect. The synth access plug is vulnerable to breaking if you are careless. Synth guitars are specialty items that shouldn't be treated the same as bar-gig beaters.

I have not had any recent dealings with Godin, so I have no comment.

I have owned many, many guitars. I am into synths in a big way, but have guitar chops. This guitar tracks good enough to do most of what I want from a synth (although no guitar synth is very good at sequencing). The humbucker is very rich and pleasing sounding, which is what I wanted. Godin guitars are a little eccentric to me compared to others, but I like them. Even though the neck is not designed for blistering speed, it feels good. This guitar "sings", and feels very musical, at least to me. So, I have to give it an enthusiastic thumbs up.

Multiac Jazz, solid spruce top. Features well described in previous review, except switch between synth patch up and down buttons is for notch frequency, midrange filter. Strings through body, great sustain. Top thicker than an acoustic, minimal volume unplugged, should take a couple of years to develop some sound. Very clever active electronics, controls function change according to what cables are plugged in the output. For details, the manual is available as a PDF file on their site. Heavier than it looks, but perfectly balanced, even when playing in a seated position. In a perfect world, there would be a bridge pickup, but then it would not look so neat and uncluttered.

Classic jazz sound perfect. Piezo sound not really acoustic sounding, but great to add richness to the electric (can be mixed). With a Pod, a Cry-Baby and a small Marshall, it becomes obvious that the output from the pickup and piezo add up to a very rich basic sound, any tone alteration or effect is very striking. This is not for heavy metal, but for lighter distortion or subtler effects, the tone is full and expressive.On the synth side, with a Roland GR-33, the tracking is jaw-dropping. Never a mistake, follows flawlessly bends and slides. You must take the time to make the sensitivity adjustments. At first I set it too high, and a stray touch of a string sent a note playing. But with some adjustment to your playing style, this is a very responsive synth controller. The GR-33 enables you to mix the real guitar sound with the synth sound, and set the respective volumes directly from the guitar. Tweakers' heaven.

The fit and finish were flawless, as I expected from two previous Godins.Satin finish, the top looks gorgeous, not as bland as in the photos. It has a nice flip-out panel for the active electronics battery, 5 seconds battery change in an emergency. The action is quite low, more than an acoustic, less than a solidbody noisemaker. The neck plays very smoothy. If you try it in a store, bear in mind that it is fitted with medium gauge strings, so you will need more effort than with a guitar fitted with standard light strings. I'll stay with the medium gauge on this guitar, the tone is gorgeous, and I think the more sustained notes may help with the synth tracking.

The spruce top is quite thick, it should take a few scratches without piercing. The tuning pegs are very precise, and stay locked. The finish looks the same as on my Multiac Nylon, satin and rather thin. It helps the wood age quite faster than a thick glossy plasticky finish, but it is obviously not as resistant. No pickguard, so if you are a basher with a heavy pick, well you must like Willie Nelson. With the piezo and synth electronics, time will tell if this stuff is dependable, but even with only the single pickup, I would be left with a superior jazz guitar.

One year warranty, if anything is seriously wrong, it should come out in that period. Support from the store is great, with a luthier on the premises that checks the set-up for every guitar they sell. They have no trouble getting answers fast from Godin, and I sent Godin a couple of e-mails that got me informative answers after a few days. Not split second response, but they are listening and answering, which is more than I can say for a lot of the competition.

I've been playing on and off for thirty years, more "on" the last couple of years. My musical interests are varied, and I've been looking for a versatile guitar. This is it for me, classic full round tones for jazz, acoustic piezo for a drier sound, and synth acess for the new millenium, and no reluctance for distortion. I'm very impressed with the clean and uncluttered look that hides an incredible flexibility, with the multipurpose controls. If it disappeared, I'd buy it again without thinking about it. The more I play it, the more I'm impressed. There is no guitar with that combination of features that I know of. If you are hovering between Jim Hall and Robert Fripp, well you don't need to switch guitars with this baby. I'm giving it a 9 because it doesn't have a single coil pickup to do Hendrix impressions and it doesn't make coffee. Still looking for the perfect guitar, but this is getting quite closer.

As far as features for a jazz guitar, (or any guitar for that matter)this is pretty decked out. First of all, as you may know, Godins (pronoucned like Go-Dan), are guitars handmade in Canada and the US, by caring dedicated individuals that are highly trained professionals. This Multiac Jazz is the ONLY production model in existence and I was very lucky to be among the handful of people to play it. 2001 model, 22 frets, solid highly figured maple top with a tobacco-type burst, slotted headstock like on the Godin Multiac Nylon Duet guitar, ergocut fretboard, mahogany neck, ebony fretboard, mahogany body, two sound cahembers on either side of a solid center block (making this guitar feedback free), real wood binding on body, two F- holes, Schaller-ish tuners, string through body, backed with a brass plate. The ergocut thing is basically Godins' effort to make guitars fell worn in, right out of the box. With the ergocut, your fretboard edges are scientifically rolled, so that it feels like a Gibson that has been heavily played since the sixties. The Multiac Jazz has a bolt on neck, with a incredibly clean wood to wood pocket for maximum vibration transfer, that pushes back the heel of your typical jazz guitar and allows you to play up to the highest frets easily. In addition the body is beveled away in the back near the top cutaway to make things even easier to reach.
If you were to put a simple pickup at the neck with volume and tone control this would be a great guitar for the price. But Godin goes much further. There is a Godin designed GNX1 mini-humbucker at the neck, controlled by a volume and tone control (with two nice brass knobs). No bridge humbucker. But underneath and incorporated into the tunamatic style bridge is a LR Baggs piezo acoustic pickup as well as a synth pickup. In fact there are something like 12 synth pickups; two for each string. Controls for the acoustic and synth pickups are on the upper bout. There is a blend slider for blending between acoustic and electric sounds, as well as treble, mid and bass sliders, which control I think 5khz of sound each (but that might not be totally accurate). Then there is synth up and down patch as well as synth on and off switch. These are routed through THREE outputs. Acoustic only, electric and acoustic, and a 13 pin synth output for connected to various sound models (such as Roland GR-33). Quite a load of features.

The sound has to be experienced to be believed. You can have a straight dark, wooly jazz tone with just the neck pickup and the tone control rolled back. This in itself is a great focused, well defined sound, THE classic Wes, Larry Coryell or Metheny sound. Or you can dial in a little bit of Acoustic to get some clearer note definition, especially in chords. I like this especially as I play a lot of full voiced chords, and I want to hit it hard and have it ring without being muddled. If you feel like it, it's also possibly to use this guitar with distortion, and for it to respond well. And although you can, it doesn't mean you should. This is too beautiful a guitar to be made in to a shred axe. Also, you can do full ahead acoustic, which is also amazingly believable. Although in my opinion there is no such thing as an amplified acoustic sound that sounds EXACTLY like a acoustic (how can there be when it's amplified ?), this is a very rich sound that sounds GOOD and believable. Isn't that all that matters ? Then, you get the synth sounds which are also incredible. The combination of woods and Godins extremly fast (probably THE fastest) tracking system, make for outrageous sounds. The sounds are dynamic sensitive, so you can dial in a flute or trumpet sound and the harder you pick the string, the more it sounds like a horn player BLOWING harder, with the response curve that is unique to that instrument. You also get the ambient noises that make it feel alive. Air blowing, key clicks. This brings you to the point of no return, where you can mix all three elements together to get otherworldy sounds, to the point where you forget to eat !!

Godin guitars are some of the best setup in the business. They blow away Fender and Gibson and Ibanez in terms of qualtiy and attention to detail. I can honestly say that I only found one thing slighty, wrong with this guitar and I emphasize slighly; the volume control felt a little grating as it was dialed clock-wise. This has no effect on the guitar at all, and it is something that could probably be fixed in five minutes. Other than that, a clean bill of health. No excessive glue, well polished and rounded frets, great finish. As close to perfect as a human can get.

As far as reliability, I wouldn't be concerned. Although I only played it in the store, it is a very solid guitar, what with the bolt on neck and all. If you're gonna be an idiot like Pete Townsend and try to smash this guitar over an amp, then no, it won't last. But it will put up a fight. And all Godins are backed by a solid warranty, so I have no doubt this could hold up to serious gigging.

Godin is a group of serious dedicated people. I met the president, Robert Godin, tonite at a clinic at Daddy's Junky Music in Boston and he was the greatest, he spent hours talking in detail about the features of Godin guitars and guitars in general, and even stayed behind to answer questions for almost an hour after the clinic. Also, his demo man, Joey, was highly knowledgeable and a great player who was very kind. Robert even answered my questions about my Radiators bridge that was breaking strings and how to fix it. Overall, the people that I have met were very nice and if I ever were to have a problem (which I doubt) I'm sure they would be very helpful and true to the warranty.

Overall this would probably be my first choice for a new guitar. I say probably because Robert was talking about a new guitar that they just finished his week which will be along the lines of an ES-335 (thin semi-hollowbody with two humbuckers) that sounds enticing as well. I haven't bought it yet, mainly because although it's a bargain, I just don't have 2,000 bucks right now. Think about it though, a guitar like this, of this quality, custom made or made by some big name company would literally cost thousand more. But if I had enough money I would say screw all those other conpanies and buy all Godin gear. Then I could have every sound of there's and more, for less money.
I've been playing for a couple years now and I play alot. Unfortunately, quite often I get bitten by the gear bug and cruise the net in search of both the perfect sounding and feeling guitar. I haven't quite found it yet, but this brings me alot closer. The only thing that I might like to see on this guitar would be a tremolo of some sort, like a bigsby. But that's only because I don't have a guitar with a tremolo right now. I'm sure if I had one, I wouldn't use it much and would eventually think it was a nuisance, and want to get rid of it. Also, I think I tremolo might seriuosly hurt the sound of this guitar by cutting down on the sustain. Oh well. Anyways, as soon as I first saw this guitar on the Godin website, I knew I had to have it. It was so perfect. And to think that I got a chance to play the ONLY production model is unbelievable. I think everyone should have a Godin, but if that happens, they'll turn into Gibson or Fender, and their prices will go up while their quality goes down. So it's just as it should be now, a small company with great guitar concepts for people like me looking for something different and unique.