In our first Montreal gallery, we check out the electric side of the show, which was new this year, with a few acoustics thrown in for good measure.
The Montreal Guitar Show just might be the most robust gathering of high-end luthiers on the planet. Held in conjunction with the Festival International de Jazz de Montreal, the MGS features a diverse lineup of guitar makers and accessories manufacturers from around the world that reads like a Whoās Who of boutique all-stars. Exhibition at this world-class event is by invitation only, so there are no big manufacturerās displays. The MGS is about the kind of craftsmanship practiced by artisans who have limited production capacityāwhen they arenāt fulfilling select orders for true aficionados, theyāre inventing the new designs and innovative features that will be incorporated over time into mainstream luthierie.
Thereās a lot to the MGSāin addition to the fine gear (which includes commissioned pieces for the event), there are seminars, artist performances and of course, a tremendous display of community. The interaction and exchange of ideas between these like minds is an exciting thing to witness. In addition to our on-site Twitter photos as the event was taking place, weāve got some meaty coverage of what we experienced in Montreal. Keep an eye out for videos, a magazine feature, and some eye-popping photo galleries, the first which is below.
Stefan Barrillon is a French luthier who specializes in fine woods. He does it all--solidbodies, acoustics, hollowbodies and semihollows, customs and even banjos. His designs are based on āsimplicity, restraint and comfort.ā
French luthier Herve Tonnardās Silver Top was built from a single piece of mahogany (body, neck, headstock). It has a carved maple top, an ebony fretboard and Bendetti pickups
Marc Lupienās XXL Guitars shop opened in Montreal in 2002. His Convertible (left) and U2 (right) models feature core frames with tone chambers and some choice Danelectro appointments.
Marc Lupien's XXL U2ās electronics include Seymour Duncan pickups and a three-position pickup switch (optional varitone circuit available)
Pierre-Aintoine Roiron is a former mechanical and vibration analysis engineer who now makes 100% customizable guitars in France.
Canadian Ray Gander has more than 40 years of experience building electric guitars. His Taurus (left) is made with cocobola, abalone and bloodwood. His Gemini has a maple top, mahogany back and neck, and a Brazilian rosewood fretboard. Gander has his own carbon fiber reinforcement beam and patented tremolo.
Cigar box guitars from Daddy Mojo Stringed instruments in Montreal have to be heard to be appreciated. Fully playable and great-sounding, they bring the historic instrument played by poor musicians of US South into the 21st century.
Sam (shown) and Ron Evans of Cardinal Instruments build adventurous stringed instruments in Austin, Texas. They use locally-harvested and salvaged materials, use low VOC finishes and make their own pickups.
Jean Lamarche of March Guitars (Quebec) makes a compact travel guitar with a basic design that has been in use for 25 years.
The namesake behind Scott Walker Guitars (Santa Cruz, CA) has eight years of experience at Santa Cruz Guitar Company. His Phoenix model (center) is collaboration with Steve Kimock, John Cutler and Jason Lollar.
Simon Godin was at the Godin (Canada) booth showing off the companyās new Passion series guitars, a single-coil loverās dream ride with sleek appointments and tuned chambers.
La Lutherie MF (Canada) was established by luthier Michel Fournelle and involves a host of experienced luthiers, including Jacques Simoneau, Andre Hamel, Yves Landry, Danie Bertrand and ian Hazan-Weston.
Allan Tomkins of Tomkins Custom Guitars brought a mean set of axes all the way from Sydney, Australia. His Diamondtina 2 Blue Body has a maple top and a chambered Australian Kauri Pine body.
The Tonkins Diamondtina 2 Gary Allan model is also made of Australian Kauri Pine. It has rear body contours and Tomkinsā own pickups.
Peter Mallinoski is a versatile, award-winning US artist who well versed in both form and function. Mallinoskiās instruments feature his own handmade electronics.
Garbujo Guitars is the largest guitar builder in Italy. Founder David Garbujoās instruments are in the hands of many European performers. His Fuse hollowbody (shown) has a one-piece swamp ash body with a 5A quilted maple top and a 5A flamed maple neck, his own pickups and is highly customizable.
Canadian Francois Beausejour founded Lutherie Quatre-Temps with partner Jacinthe Desy and makes highly ergonomic guitars and basses with āperfect sonority.ā
HenmanāBevilacqua Guitars (US) fuse minimalism, craftsmanship, art and old school quality for true connoisseurs. Their S1 models (shown) are available with a one-piece Honduran mahogany or swamp ash bodies and a fixed bridge or a B5 Bigsby.
Potvin Guitars of Canada turned heads with Mike Potvinās creative designs. Lee Bowie is holding the guitar Mike Potvin (right) designed for him. Inspired by a visit to Mexico, itās a semi-hollowbody made of Mahogany, with a quilted maple top and a flamed maple neck. Bowie chose jumbo frets and Seymour Duncan pickups (Pearly Gates bridge, SLD-1 Lipstick). The red guitar is Potvinās take on a traditional Iceman-style guitar. It has a lightweight mahogany body that is heavily chambered.
Mike Potvin also turned heads with two guitars that could be described as the end result of leaving a Tele and a Jr. together in a closet together for too long with some Barry White playing in the background: the El Camino (left) and the Ranchero (right). The Ranchero is equipped with a hand wired Jason Lollar P90.
Finish luthier Juha Ruokangas uses unusual materials like Arctic birch and moose shin bone in his guitars.
This Riokangas strat-style guitar represents the Supreme version of the V.S.O.P. series. The top, pickguard and fretboard are matched Arctic Birch. The neck is Thermo Treated maple.
German luthier Nik Huberās aptly named Dolphin features a quilted maple top that you could practically go swimming in. The pickups are handmade by H. Haussel.
Something brand new from Nik Huber. Keep an eye out for more details as we get them, but we couldn't resist sharing this gorgeous single-piece top.
Gordon Bischoffās craftsmanship garnered him the Rockler Woodworking Award by Woodworkerās Journal in 2000. The Wisconsin luthierās Baritone Acoustelectric features splitable Seymour Duncan pickups and a Fishman Matrix bridge pickup system that can be run separately or blended.
Lukas Brunner of Brunner Guitars is a Swiss luthier who enjoys fusing traditional craftsmanship with innovative designs. This guitar, the Outdoor Guitar, has a removable neck and can fit into an overhead compartment-friendly suitcase. As youāll see in an upcoming Premier Guitar video demo, the guitar somehow stays in tune after being put back together!
Candian Tony Duggan-Smith is a luthier who apprenticed under Rufus Stewart and served as Linda Manzerās assistant before opening his own shop. This custom archtop has a European maple back and sides, a flamed European spruce top, a flamed maple neck and a bound ebony fingerboard. The pickup is custom made by Kent Armstrong.
You could say Linda Manzer is an all-star of custom luthierie. Not only her works played by artists like Pat Metheny, Bruce Cockburn and Santana, but theyāre also on display at places like the Museum of Fine Arts in Boston. Her latest project is a limited-edition run of 30 recreations of the first guitar she made for Pat Metheny in 1982, which he eventually named the Linda 6. Known as the Metheny-Manzer Signature 6 (show here) the guitars are handcrafted by Manzer and reproduced with key specs from the original, but updated with some of the innovations that Metheny and Manzer have collaborated on together.
Building upon the foundation of the beloved Core Collection H-535, this versatile instrument is designed to serve as a masterpiece in tone.
The new model features striking aesthetic updates and refined tonal enhancements. Crafted at the iconic 225 Parsons Street factory, home to other world-famous models like the H-150, H-157, and H-575 - the H-555 continues to exemplify the very best of American craftsmanship.
The Core Collection H-555 features a set of Custom Shop 225 Hot Classic Humbuckers, meticulously wound in-house with carefully selected components, and voiced to deliver added punch and richness while preserving exceptional dynamics and touch sensitivity. Seamlessly complementing the H-555ās semi-hollow construction, they blend warmth and woodiness with refined, articulate clarity.
The Core Collection H-555ās aesthetic has been elevated with multi-ply binding on the body, headstock, and pickguard. Its neck, sculpted in a classic ā50s profile, delivers effortless comfort and is adorned with elegant block inlays, seamlessly blending style with playability. Gold hardware complements the aesthetic, exuding elegance while presenting the H-555 as a truly premium and versatile instrument for the discerning player.
Available in Ebony and Trans Cherry, each Core Collection H-555 is beautifully finished with a nitrocellulose vintage gloss that features a subtle shine and gracefully ages over time. An Artisan Aged option is also available for those seeking an authentically well-loved look and feel, achieved through a meticulous, entirely hand-finished aging process. The new Core Collection continues Heritageās tradition of world-class craftsmanship, offering a true masterpiece in tone and design for discerning players. Each guitar is shipped in a premium Heritage Custom Shop hard case.
Key Features
- Finest Tonewoods: Laminated highly figured Curly Maple (Top & Back) with solid Curly Maple sides
- Heritage Custom Shop 225 Hot Classic Humbuckers: Designed and wound in-house
- Headstock: Multi-ply bound headstock, featuring a Kite inlay, 3Ć3 tuners laser-etched with Heritage graphics
- Neck Profile: Comfortable ā50s C-shape for a vintage feel
- Bridge: Tune-O-Matic with aluminum stopbar tailpiece for enhanced sustain
- Made in the USA: Crafted at 225 Parsons Street
For more information, please visit heritageguitars.com.
Ariel Posen and the Heritage Custom Shop Core Collection H-555 - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Watch the official video documenting the sold-out event at House of Blues in Anaheim. Join Paul Reed Smith and special guests as they toast to quality and excellence in guitar craftsmanship.
PRS Guitars today released the official video documenting the full night of performances at their 40th Anniversary celebration, held January 24th in conjunction with the 2025 NAMM (The National Association of Music Merchants) Show. The sold-out, private event took place at House of Blues in Anaheim, California and featured performances by PRS artists Randy Bowland, Curt Chambers, David Grissom, Jon Jourdan, Howard Leese, Mark Lettieri Group, Herman Li, John Mayer, Orianthi, Tim Pierce, Noah Robertson, Shantaia, Philip Sayce, and Dany Villarreal, along with Paul Reed Smith and his Eightlock band.
āWhat a night! Big thanks to everyone who came out to support us: retailers, distributors, vendors, content creators, industry friends, and especially the artists. I loved every second. We are so pleased to share the whole night now on this video,ā said Paul Reed Smith, Founder & Managing General Partner of PRS Guitars. āI couldnāt be more proud to still be here 40 years later.ā
With nearly 1,400 of the whoās who in the musical instrument industry in attendance, the night ended with a thoughtful toast from PRS Signature Artist John Mayer, who reflected on 40 years of PRS Guitars and the quality that sets the brand apart. āThe guitars are great. You canāt last 40 years if the guitars arenāt great,ā said Mayer. āMany of you started hearing about PRS the same way I did, which is you would talk about PRS and someone would say āTheyāre too nice.ā Whatās too nice for a guitar? What, you want that special vibe that only tuning every song can give you on stage? You want that grit just like your heroes ā¦ bad intonation? The product is incredible.ā
Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashvilleās Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, Iām going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computerās file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Abletonās built-in browser (on the left-hand side). Navigate to the sampleās location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your projectās tempo.
Organize your samples into collections using the āAdd Folderā option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sampleās location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select āImport Audioā to locate and add your sample.
Tips: Use LUNAās built-in varispeed capabilities to match your sample to the sessionās tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or āFā key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logicās flex time feature to sync samples to your projectās tempo. Organize samples into Logicās library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click āConvertā or āAddā to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio Oneās browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the āStretch Audio Files to Song Tempoā option in the browser for automatic tempo synchronization. Create sample folders within Studio Oneās browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last monthās installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sampleās tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, weāre off to āconsoleā land and Iāll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more āstudioā sound. Until then, blessings and namaste.
Stretching the boundaries of reverbās realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musiciansānot least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in itāan attitude thatās manifest in the companyās Auto Series pedals, which includes the Auto Reverb.
Thereās no reason you canāt use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirationsāand Iād be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverbās level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual piecesāand invites many themes and compositional ideas within those formsāit can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. Itās fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.