Gordon Smith 20th Anniversary Graduate Slimline

This beauty is Number 69 (you've got to love that) of a limited 200 run.

Jem Smith pretty much covered everything there is to say about this wonderful guitar in terms of its features in a previous review, so I won't repeat what's already been well described. The guitar is brimming over with features though.

I've made some modifications to the guitar, and the GSG workshop performed one for me.

When I first received he guitar, either GSG or Music Ground had fitted Schaller strap locks, which was a nice touch and a must for a guitar of this quality/beauty. There were a few problems with the headstock finish, which Gordon Smith rectified by stripping the black paint down to the bare maple and applying a black GSG logo. This finished the guitar perfectly, and I think it also makes it a little more exclusive. I have also removed the stock GSG pickups and replaced them with a black Seymour Duncan JB at the bridge and a zebra Seymour Duncan Jazz at the neck.

Removing the stock GSG pickups and replacing them with the classic Seymour Duncan combination was the best thing I could have done. The stock pickups lacked the definition I was looking for, particularly with higher gain sounds, although it was easy to tell from the word go that the pickups were holding back a beast. The potential was more than obvious.

I play funk/rock, hard/alternative rock and some blues and there is a vast array of sounds you can pull out of the Anniversary when utilising the various combinations of tapped and untapped humbucker positions. I run it through a Boss GT6 effects processor into the front of a Marshall AVT 50, without using any of the preamp models in the GT6. This guitar can do everything from blistering, bright, high gain hard rock to tone-rich jazz. On the whole, the guitar's got a very bright, crisp sound and you do need to wind the tone controls back a bit. With the bridge pickup coil tapped and the neck in humbucking mode, I can even get '72 Tele sounds.

In terms of sound, I have zero complaints. Killer.

The factory setup was extremely low, but I gather that this is typically the case. It was the kind of action many slide players dream of, but for my style I found it restricted tone and sustain. Nevertheless, it well demonstrated that this guitar's action can be set ultra low and still play very well indeed. It arrived strung with D'Addario 9's, which I thought was strange for a guitar boasting this much tone. I'm using 10s now, which feel much better, although moving from a Les Paul Studio with a slightly shorter scale length I found the string tension a fraction tight at first but got used to it quickly.

The neck pickup was set quite high, but the bridge pickup needed raising in my opinion. I also raised the pole pieces a little.

In terms of flaws, yes, there are a couple of small things here and there, but I think they actually add to the character of the guitar. The fretwire ends were a little sharp (I have since poished these up myself) and, as I mentioned earlier, there were a couple of small problems with the black headstock finish. All of the mahogany and birdseye maple woodcuts used are of an excellent standard. If you want perfect looks, and you're the kind of player who can't sleep at night because there are some visible wood knots on your guitar, then don't buy a Gordon Smith. Go and blow two grand on a PRS instead. Alternatively, if you're the kind of player who thinks that these 'imperfections' add character and beauty and you want a British, handmade guitar that can play as well as a PRS, a Gordon Smith Graduate Slimline might just be up your street.

This guitar will undoubtedly withstand gigging. It's pretty heavy, feels solid and think the hardware's going to last for man years. I would depend on this guitar to the point of playing a gig without a backup, without hesitation.

I dealt with Dave at Gordon Smith on a few occasions when the guitar went back for a bit of headstock work. Absolutely grade 'A' customer service. It's great to see a company loving what they do and treating customers with respect, which seems to be a rare thing in the UK these days.

I've been playing for seventeen years and this is by far one of the very best guitars, in terms of sound and presentation, that I've ever played. I feel like I've found that ever-elusive guitar you can spend your life looking for. I love the look, feel and the huge choice of sound combinations. I can't pick it up for just 5 minutes, because 5 minutes always turns into an hour.

I also own a lovely wine red 2002 Gibson Les Paul Studio with chrome hardware (now demoted to 2nd guitar), a Marshall AVT 50 (soon to be replaced with something 100% valve) and a Boss GT6 effects processor. I considered a USA Hot Rod Strat for a while, but I saw sense. Value for money, exotic tonewoods, the coil tapped humbuckers and the desire for something different and British pulled me in.

If it were stolen it would be irreplacable because it's a limited edition, but I wouldn't hesitate to look for another Gordon Smith.

Frankly, I've played 'planks' costing twice as much, so check out a Gordon Smith before you go chucking your money at a big name.

This is one of a limited run of 200 to celibrate the 2oth anniversary of this Manchester based UK constructor.Mine has serial number 8991 and is no 65 in the run of 200.The Certificate of Authenticity which came with it was signed on 17 March 2000.

Spec is not quite standard GS fare.Yes it has 22 frets,brass nut,twin GS black plastic covered humbuckers with coil taps operated by pulling the volume knobs ,a hidden truss rod with adjustment at the guitar end [ how do they put that truss rod in ? ],Van Ghent tuners on a Les Paul style headstock [ but without the extravagent back angle]and the wonderfully compact fully adjustable GS bridge . All standard stuff for GS.

Body shape is double cutaway with Gibson influence. Unlike most GSs though, the one piece maple neck is a slightly tinted birdseye maple chunk [ quite a handful ]and the sandburst top is a thick [ between 9 and 15 mm ] birdseye maple laminated to a brazilian mahogany body with belly cutaway. Its quite heavy at nearly 10lbs and the upper strap button is on the back of the guitar al la Gibson SGs which is a pity because it make the guitar feel as if it is falling away from you when your stood up strapped in ready to rock! I know why people move them now. Trouble is with a double cutaway the only place you can really put it is on the end of the upper point. I think I will leave mine.

Nicely put together but the fret ends were a little sharp and needed a bit of a "polish" and the satin finish of the neck is quite thick and will take some time to shine up.

There is loads of maple in this guitar and, combined with the brass nut and stainless steel bridge with chrome on brass saddles it gives a very bright sound. Wind the tone controls off from their skull cutting 10 [ apparent treble boost for 8-10 ! ] to 2-3 and put a but of drive in the mix and there is a wonderfully smooth, plummy sound especially on the neck pick up. Bridge is a little less smooth [ in humbucking mode ] but is delightfully jangly in tapped mode. The range of sounds is enormous and there will be something to suit all.

I put mine though an SJB Ant 16w valve amp, sometimes without any pedals , some times with a shedload. It seems to suit valve technology better than transistors as it does not sound half as good through an old Peavey Express [ could it be the amp ? ] Any way this GS is not as vibrant accoustically as another GS I have [ Graduate Standard ] which actually pulses in your hand [ now then !! ].Also the action although very low, is quite "stiff". By that I mean , with 10s on the strings are tight with a stiff feel to them. Could be it would suit a lighter guage but I`m loathe to do that in case it lessens the tone.Maybe I need to play it more !!

See comment re fret ends above. Apart from that , spot on.

Solid as a rock. I`ve put Schaller strap locks on.Would lay a stage diver out at 30 paces and still stay in tune.

Never dealt with factory with this guitar, but have done with others.

I've got 5 GSs altogether and I have to admit that they are becoming something of an obsession. I am about to review the other 4 later.The 20th Anniversary is my least favourite to play although its possibly the best looker. I've also got a Tokai Love Rock which is nice but not a patch on the Smiths. If I lost it I would be devastated [ that obsession thing again ]. I played a #5k Gibson Les Paul 1959 reissue once and I was so disappointed. I can safely say that I have never been disappointed with a Smith. I'm sure , sooner or later, the Tokai will find its way to the great part exchange graveyard to be replaced by my 6th Smith.! Go on buy British. In this case it really does make sense.