For over twenty years under the watchful eye of Robert Godin, Godin Guitars has carved out its own niche, pushing the bounds of guitar design by creating innovative, well-made acoustic and electric guitars that have a voice of their own. Based in Montreal, Godin maintains six manufacturing facilities in Canada, intentionally kept small to create an intimate work environment that is evident in the “custom shop” quality of their instruments.
As a logical extension of their electric guitar operations, Godin has recently introduced the Richmond Guitar line, the designs of which strike a balance between sleek retro styling and true innovation with meticulous craftsmanship. The Richmond brand, named after the town in Quebec where these guitars are manufactured, currently features two offerings, the Dorchester and Belmont models. Both models feature unique, retro styling with fantastic playability, and come in a well-made Taupe tolex-covered hardshell case with “Alligator” accents—all at a very competitive price (both models can have street prices around $1,000).
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The Belmont model solidly earns the Richmond moniker with its Gibson SG-meets-Danolectro styling, and offers a unique blend of design and electronics to make it a versatile, easy-to-play tone machine. The mahogany body features a beveled front edge along three quarters of the body, as well as a “tummy cut.” The generous, slabstyle rosewood fretboard is cantilevered to extend over the edge of the neck end at the 22nd fret. The neck has a matte finish with a smaller, C-size neck carve reminiscent of a sixties slim taper profile (a personal favorite) and a 12” fretboard radius. The finish and carve make for a very enjoyable playing experience, allowing the player to fly across the neck. The designers at Godin made a great call in combining a bolt-on design with what is considered to be a traditional set-neck wood configuration (i.e., a mahogany body/mahogany neck, 24-3/4” scale). The result is the best of both worlds, as there is a certain “snap” blended into a thick, midrange voiced unamplified tone that rock and blues aficionados will most certainly enjoy.
Like its sister Dorcehester model, the fretwork on the Belmont is executed flawlessly, and that combined with the “Ergocut” fretboard make the Belmont a joy to play. Full step bends are a breeze with the help of the expertly cut and honed Graph Tech nut and perfectly dressed medium jumbo frets. The neck plate is an interesting, four-screw shape with a rounded, offset design. The neck joint is stable and has a tight fit. Another interesting feature, which is shared with the Dorchester model, is that the headstock is “sliced” and fitted with opposing grain pattern to ensure neck stiffness. It is so meticulously executed, one has to look very carefully to pick up on this design specification.
The double-cutaway mahogany body has the devilish hint of a late-sixties SG and sits very comfortably in either a standing or sitting position. The Black Wash HG finish co-ordinates nicely with the guitar’s retro look, with a tastefully faded black finish that highlights the grain of the mahogany body and matching headstock. The finish is nicely contrasted with a single-ply, Nordic White pickguard, matching white truss rod cover and trio of chrome covered Seymour Duncan pickups that makes one want to break out the Lava Lamp and take in that sixties vibe. The chrome roller bridge and 14:1 Kluson vintage style tuning machines finish off the retro look. The guitar also features two black “top hat” style knobs (Volume and Tone) with silver tops and a black-tipped five-way switch.
Plugging In
The thick mid-range focused voice of the Belmont is matched with three stock Seymour Duncan pickups: two lipstick-style single coils (SLD-1) in the neck and middle position, and a ’59 model humbucker (SH-1) in the bridge. Overall, this seems to be a great design choice for the Belmont, as this electronics package provides a broad array of usable tones that bring a high degree of versatility. Fired up through a Carr Mercury, I could not find fault with the fabulous hard rock tones produced by the bridge setting. I have always been a fan of the SH-1 set in a mahogany body, and the added articulation offered by the bolt on design brought this classic combination to a new level. Position 4 (bridge/middle) was particularly memorable, as it added that greasy aftertaste to a classic rock tone, making it a natural choice for Texas blues/rock. Attention Billy Gibbons and all ZZ Top fans, grab your sombrero and try a Belmont.
The mahogany wood combination adds warmth to the chimey voice of the Alnico Lipstick pickups, which results in a girthy glassiness to their tone that really cuts through the mix—I experienced this when playing recently in live situation at a “weekend warrior” jam session. I was also able to pull off a convincing Dire Straits tone right into a Guns & Roses jam, just by flicking the selector switch and bringing up the volume knob. This guitar, like its sister Dorchester model sustains chords and notes very well on both clean and driven settings. Through a vintage blackface Fender Bandmaster driving a 2x10 Music Man cab, the Belmont was able to cop very usable and unique tones that would work very well in at rock, blues or country gig. The Belmont would be a logical choice for session players or working musicians who need a myriad of tones embodied in one guitar.
Buy if...
You’re seeking a well-made, versatile tone machine, or a great “one guitar/one gig” option.
Skip if...
You are firmly planted in the Nashville or California camp.
Rating...
MSRP $1195 - Godin Guitars/Richmond - godinguitars.com |
Hit Page 2 for our Dorchester review...
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At first glance, the Dorchester model has a unique, futuristic look that gives a nod to the classic retro designs of the late fifties and early sixties, with hints of Mosrite, Rickenbacker and Danolectro elements baked into the styling. Even by strumming unplugged, though, the retro comparisons end and the innovative design decisions and build quality begin to take over. To maximize the tonal response across the entire bandwidth, the designers at Godin selected a unique blend of tone woods for this model, which features an offset, double-cutaway chambered body with a silver leaf maple body center with poplar wings. This, combined with a bolt-on maple neck and rosewood fretboard, and 25-1/2” scale, provides the platform for each tone wood to exhibit its best attributes.
Poplar tends to have a very even response across the tonal spectrum, which seems to fill in any gaps in frequency response that one can experience with a maple body, yet at the same time retains the strong bookends of the frequency range and sustain that maple offers. This strong response across the tonal spectrum is augmented by the neck wood combination: it produces an unamplified tone that is snappy, bold and leans slightly to the bright side of the spectrum. The unplugged tone swirls with delicious overtones with plenty of sustain. Like other chambered guitars, the chambered body gives the model a slightly softer attack that makes one really want to dig on with the picking hand and make this guitar sing.
Thoughtful design decisions are also apparent in the cosmetic aspects of the Dorchester, which includes features often found on guitars at higher price points. The test model features a flawlessly applied, high-gloss black finish with a comfortable bevel along the top edge of the entire guitar. The finish is nicely contrasted by a single-ply white binding along the back edge of the body (think LP Custom), which is complemented by a Nordic White, single-ply pickguard and matching white truss rod cover. Another quality appointment is the use of rubber washers (anchored with wooden dowels) to firmly install the chrome Schaller strap lock-ready buttons. The tuners are a non-locking, chrome-finished Kluson 14:1 ratio tuners that are seated firmly in the matching colored headstock, and have smooth action across the tuning range. The guitar also features two black “top hat” style knobs (Volume and Tone) with a silver top and a four-way switch with a black tip. The two Lace Alumintone pickups (more on these to follow) are silver/ black and fit nicely into the color palette of the guitar. The angled neck pickup combined with the scalloped angled fret board edge gives the model a sleek, Mosrite-flavored appearance.
The chrome roller bridge is a work of art. The strings are anchored in a 3-screw tailpiece that feeds a fully adjustable bridge assembly with rounded chrome saddles. The edges of the Graph Tech nut have been honed and rounded, a nice finish detail I appreciate. The neck is attached to the body at the 20th fret with four screws through a pair of neck plates, providing the benefit of excellent upper fret access—but I found it a little too easy to execute neck stock bends. The neck pocket was clean, but it did have a slight gap where I could partially insert a business card. The fretwork is executed flawlessly, a definite highlight of this guitar. Combined with the “Ergocut” fretboard (a Godin shaping technique bevels the edges of the fingerboard and frets back in towards the center of the fingerboard), it makes the Dorchester extremely easy to play. The satin finished, medium-large C-shaped, tapered neck, combined with a 12” fretboard radius and medium jumbo frets, makes for a very comfortable playing experience.
Plugging In
The Dorchester comes to life with the help of a pair of the state-of-the-art, classically voiced Lace Alumintone humbucking pickups. The folks at Lace Music have a winning pickup design in the Alumintone, as it meets its intended goal of providing a very broad frequency response. These pickups utilize an aluminum exoskeleton in conjunction with conventional ceramic 8 magnets that use 95% less wire than traditional pickups. This not only reduces the overall weight of the instrument (by about 1/2 pound), but this design is intended to enhance the nuances of your amplifier.
Amplified, this guitar cuts its own swath in the sonic landscape, delivering four unique tones in both clean and overdriven settings. Plugging into a vintage blackface Fender Bandmaster driving a 2x10 Music Man cab, the Dorchester responded with chime and authority across the entire tonal spectrum. The neck pickup is woody, but not too “boomy,” and both pickups in parallel (position 3) offer a wonderful, harmonically rich experience perfect for fingerpicking. The bridge pickup was somewhat strident, but backing off the Tone knob a couple of notches produced a tone reminiscent of blending a 335 with a Gretsch. Adding a dimed Barber Burn Unit to the mix kicked things up with the position one setting (both pickups in series), delivering a searing tone with the edge of harmonic feedback within easy reach.
The bridge pickup held up well, delivering a great, snarling seventies rock tone that would make Pete Townsend think twice before sending the guitar headstock-first through a 4x12 enclosure. I did experience a touch of microphonic feedback in the bridge setting— this is a typical issue with chambered body guitars. The neck pickup alone serves up its own tone that had me playing Neil Young one-note leads with reckless abandon. Similar drive tones were had testing the guitar through a Carr Mercury, as well as a modded Marshall JTM-30 (Both amps running EL34 output tubes). Even as someone who already owns too many guitars, I would give serious thought to adding this uniquely styled tone machine to my arsenal.
Buy if...
You enjoy being on the cutting edge of guitar styling and design—all at a great price.
Skip if...
You are more of a traditionalist seeking more established tones, or a high-gain shredder.
Rating...
MSRP $1250 - Godin Guitars/Richmond - godinguitars.com |
Phat Machine
The Phat Machine
The Phat Machine is designed to deliver the tone and responsiveness of a vintage germanium fuzz with improved temperature stability with no weird powering issues. Loaded with both a germanium and a silicon transistor, the Phat Machine offers the warmth and cleanup of a germanium fuzz but with the bite of a silicon pedal. It utilizes classic Volume and Fuzz control knobs, as well as a four-position Thickness control to dial-in any guitar and amp combo. Also included is a Bias trim pot and a Kill switch that allows battery lovers to shut off the battery without pulling the input cord.
Silk Worm Deluxe Overdrive
The Silk Worm Deluxe -- along with its standard Volume/Gain/Tone controls -- has a Bottom trim pot to dial in "just the right amount of thud with no mud at all: it’s felt more than heard." It also offers a Studio/Stage diode switch that allows you to select three levels of compression.
Both pedals offer the following features:
- 9-volt operation via standard DC external supply or internal battery compartment
- True bypass switching with LED indicator
- Pedalboard-friendly top mount jacks
- Rugged, tour-ready construction and super durable powder coated finish
- Made in the USA
Static Effectors’ Street Series pedals carry a street price of $149 each. They are available at select retailers and can also be purchased directly from the Static Effectors online store at www.staticeffectors.com.
Galloup’s Plek tech Adam Winarski preps a Yamaha acoustic for the machine.
Presently, many certified guitar-repair specialists possess the expertise required to deliver an instrument that both sounds and plays wonderfully. The standards set by manufacturers and distributors have significantly risen, safeguarded by rigorous quality protocols to guarantee the best possible acoustic experience for customers. Additionally, lutherie training has raised the bar for critical processes, and one of the most tricky is fretwork.
Traditional fretwork once involved manual labor, with technicians utilizing sandbags or similar supports to steady the neck as they straightened it with a truss rod during the filing process. A notable advancement in this field came in the mid 1970s when Don Teeter, an author and repair expert, imposed a new method: fixing the guitar body to the bench and using blocks to maintain the neck in a playing position. This refinement was one of many in the continued quest to produce superior instruments by standardized methods.
An example of the Plek’s readings from an acoustic guitar.
Photo courtesy of Galloup Guitars
In the late 1970s, another pivotal innovation was introduced by Dan Erlewine. He created an advanced fret jig with a specialized body-holding system and neck supports, adding another layer of precision to the repair process. During my collaboration with Dan in 1985, we developed a rotating neck jig that counterbalanced the forces of gravity, keeping the instrument in its playing orientation while adjusting the neck supports. This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry. By 1986, our approach had evolved into a freestanding workstation coupled with a sophisticated hold-down mechanism and enhanced neck supports, culminating in increased accuracy, efficiency, and consistency. Over the decades, the Erlewine/Galloup rotating neck jig has become a benchmark in numerous shops, enhancing fretwork performance.
"This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry."
By the 1990s, automated and computerized technologies permeated the guitar manufacturing and repair sectors. Initially applied by import companies in the mass production of guitars, the technology, although expediting processes, did not immediately achieve high execution standards. However, the tech dramatically improved over time, with computer-driven systems eventually transforming the industry. Contemporary automated production utilizing such advancements meets exceedingly high standards of precision. Some bespoke guitar manufacturers, such as Steve Andersen, were pioneers in adopting these methods, but it was companies like Taylor that established them in the modern era.
Inevitably, the progression of technology extended beyond the mere production of parts. Around 1995, German engineer Gerd Anke envisioned the integration of computer-assisted technology into enhancing instrument playability, giving rise to Plek technology, which uses computers to precisely measure and analyze the various components of a guitar, like neck relief, fret height, nut and bridge specs, and more. Nashville guitar-repair tech Joe Glaser was among the first to recognize the machine’s value, followed by San Francisco luthier Gary Brawer. When Heritage Guitar Inc. invested in a Plek machine, the guitar industry could no longer disregard the significance of this innovation.
“The machine’s scanning data confirmed that there was one nature of an ideal fret plane, done by hand or machine, and unsurprisingly, it conformed exactly to what physics predicts, not personal mojo.”
In the spring of 2022, Galloup Guitars obtained its first Plek machine. Promptly, our technician Adam Winarski paved the way for the Plek’s integration in our shop. Now, it’s a rarity for an instrument to leave our shop without having undergone Plek analysis and machining. Impressed by the results of our integration, we created “Intro to Plek” as a course for all students enrolled at the Galloup School of Lutherie, offering our students a practical introduction to this technology. We furthered this educational initiative with a comprehensive one-week intensive “Plek Certification Training Course” for both students and the public. This advanced Plek course serves those seeking to boost their knowledge base and employability in this high-precision field.
Plek is rapidly becoming an industry standard for major manufacturers and smaller shops alike. However, this does not mean that those without access to this technology cannot execute proficient fretwork. Personally, I continue to use my Erlewine/Galloup neck jig—not only out of nostalgia, but also because it remains an excellent method for delivering accurate and reliable guitars. Still, it’s undeniable that the process of fretting, fret dressing, and analytics of fretted instruments has undergone significant transformation, resulting in better sounding—and playing—guitars. And ultimately, that’s what it’s all about.