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GODIN 25510 Details
The Signature Series instruments combine the very best in wood, hardware and electronics together with industry leading craftsmanship. All of the Signature Series guitars feature two or three voice systems.
Montreal a cool place, and now, a very cool guitar.
Every year for two weeks in July, the city of Montreal is transformed into the worlds largest Jazz club. Montreal is a great city, and it becomes that much cooler during the Jazz Festival. Montreal's love affair with jazz was the inspiration for Godin's latest guitar, which is — fittingly — named, Montreal. The Montreal is the latest in a series of two-voiced guitars from Godin that marry the electric sound from traditional magnetic pickups with the acoustic sound from saddle transducers in the bridge. The two-chamber body of the Montreal is carved from a solid block of Mahogany and capped with a carved solid mahogany top adorned with two F-holes and cream binding. The 22-fret, 24 ¾ scale, neck is also fashioned from mahogany, and shaped for exceptional comfort by means of Godin's ergocut technique. Hardware is black and gold including, two Godin humbuckers, a bridge loaded with L.R.Baggs transducer saddles, and an on-board preamp EQ. The two humbucking pickups produce an extensive range of sounds thanks to a special 5-way switch that provides five distinct tones on its own. Add in the bridge transducers and the palette of sounds becomes infinite. The two outputs are set up so that the electric and acoustic voices can be blended in the guitar using a single patch cord or at the amp/mixer using both outputs. Jazz and Blues players will love the way this guitar sounds and feels. The city of Montreal should also be pleased, as this guitar is as cool as its namesake.
Specs
Body - carved solid mahogany with carved solid mahogany top
Fingerboard - rosewood
Neck - mahogany
Scale - 24 ¾
Electronics - 2 X Godin humbuckers plus and LR Baggs bridge transducers and custom PreAmp
2 outputs
Volume, tone, blend
Natural High Gloss Finish
GODIN 25510 Elements
Godin Solid Body Guitars
What makes a great sounding solid body guitar? First and foremost, a solid body electric guitar must have a great acoustic sound. Solid body instruments may not produce much in the way of volume of sound. But make no mistake, wood weight and density, type (and quality) of the neck/body attachment, type of bridge and nut material all have an impact on the final sound. If this intrigues you, then the next time you find yourself in a quiet room with some electric guitars, try strumming them—unplugged—while resting your ear against the body of the guitar. This is the sound that the pickups will ultimately amplify. This isn't to suggest that pickups don't impact the sound in any way. Different pickups will definitely color the sound, but there is no question that a set of high quality pickups will not rescue a poor or unresponsive instrument.
Rock Maple
We use rock maple grown in the northeastern part of Canada. The colder climate in this region makes for a shorter growing season, which in turn results in a much denser grade of maple than maple grown in a more temperate climate. Rock maple necks provide a couple of significant advantages; the first being excellent high frequency response and sustain. The second advantage comes from the incredible stability that these necks provide. We use premium grade rock maple in the Radiator, SD, Exit 22, Freeway Classic and Freeway 4 & 5 models.
Rosewood and Maple Fingerboards
The Radiator, SD, Exit 22 and Freeway models are all available with your choice of maple or Indian rosewood fingerboard. Equipped with a rosewood fingerboard the guitar will produce a focused sound emphasizing the midrange. The maple fingerboard tends to accentuate the top and bottom frequencies with a dip in midrange. In guitar playing terms, the rosewood guitar tends to be the choice of rock players. Rhythm and blues players often prefer maple fingerboards.
Neck Attachment & Pitch
Slight changes in neck angle have a major impact on a guitar's sound. A neck that is angled too far forward—away from the player—will lose some of its high frequency response and become muddy sounding. A neck angled too far back in the other direction will lose its low frequency response and become tinny sounding. The neck attachment is also crucial in terms of neck/body resonance and the transfer of energy between the two. We take this connection very seriously and make sure to spend the time to insure that every Godin guitar features an ideal neck angle and a tight fit in a deep pocket free of any glue or paint.
Synth Access & Tracking
Guitars that include synth-triggering capabilities have been a Godin specialty for several years now. From the classical feel of the Multiac Grand Concert to the sonically powerful LGXT, there is a synth access instrument here for players of all styles. Throughout our web-site you will find synth-ready instruments identified by our little synth access guy. Each of these guitars produces a divided output (called hexaphonic) via a 13-pin connector that plugs directly into Roland TM GR-Series guitar synths.
Tracking is the term used to describe the speed at which an instrument can recognize pitch and trigger the synth. All of the Godin synth access guitars have been designed with synth triggering in mind—as opposed to retrofitting old models—and each one offers exceptionally fast and accurate tracking.
Ergocut
The Godin Ergocut shaping technique bevels the edges of the fingerboard and frets back in towards the center of the fingerboard providing an extremely comfortable feel. All Godin necks include this feature.
LGX Series Guitars
Multi-voice guitars have been a Godin specialty for many years, and the LGX Series guitars represent the pinnacle of the concept. The smooth sound of a mahogany guitar, spectacular figured maple tops, and the seamless integration of the best electronics available make up the basic elements of these guitars. Superbly hand-finished, these instruments are as comfortable as they are beautiful.
Necks In 2002 we underwent a major transformation. Following countless requests the new necks boast a little more girth, and a new shape, which includes our new ergocut shaping technique. The sculpted heel section provides easy access to the top part of the neck and the recessed hardware in the top creates a more natural playing position for your picking hand. The necks of the LGX's are fit into deep neck pockets with industry leading precision. This connection is of crucial importance to the sound of the guitar both in terms of setting the neck at its optimal angle—neck pitch—and insuring a smooth transfer of vibration between neck and body. All this attention to fit and finish results in a guitar that is acoustically responsive and this provides the foundation for extraordinary sonic power.
Electronics
Electric guitar sounds are powered by two Seymour DuncanTM humbucking pickups - exclusive to the Signature Series guitars. The potential of the humbuckers are fully exploited by using a 5-way switch to create multiple configurations. The bridge of each guitar is equipped with six custom saddle transducers along with an onboard preamp and 3-band graphic equalizer - add incredibly authentic acoustic guitar sounds.
GODIN 25510 FAQs
Are our guitars MIDI capable?
No, at least not on their own. Several guitars in the Godin lineup provide hexaphonic output, in other words, a separate signal for each string. The LGX-SA, LGXT, xtSA, Multiac (steel, nylon, Jazz) and the ACS all include this feature. This divided output signal is a key element in the interface between guitars and synths. The synth output on our guitars comes from a 13-pin connector (MIDI is 5-pin) and is matched for the Roland GR-Series guitar synths. We matched our guitars with the Roland synths because they are affordable, easy to use, sound great, and are supported by Roland's long-term commitment to guitar synths. Of course once you are connected to the guitar synth you can use the MIDI output from there to connect to other synths, sound modules, sequencers etc. Also note that Roland's GI20 interface provides a USB connection to your computer which eliminates the need for a MIDI interface.
What is tracking? Tracking refers to the speed at which the synth is able to recognize the pitches being played and convert them into voltages. The pickup type and related electronics play a big role in this however, wood selection, scale, and setup all have a significant impact on tracking as well.
So how good is the tracking? Most players rate our guitars tracking as the fastest available -see users list.
Will I have to adjust my technique? Certainly a big part of the appeal of this system is that players at any level can plug it in and have fun with it immediately. However, minor adjustments in technique are inevitable. The biggest adjustments are required when playing synth sounds in context. For example when you are triggering a violin sound it becomes necessary to phrase like a violin player, and your violin phrasing may not work well with a percussive instrument such as a marimba. Many players find themselves focusing most of their effort on a handful of sounds because these are the sounds that they really learn to play.
What about other modules and computers? Sure, just take the MIDI out from the Roland GR synth into whatever MIDI devise you are triggering or into a PC for sequencing. Note: you may find that more dramatic adjustments to technique and possibly data filtering become necessary when using a guitar trigger for sequencing purposes.
Do I have the choice between a Flame or Quilted Maple top on my LGX / LGX-SA? No. Right now we have an excellent supply of flame only.
What kind of strings do we use? We use our own Godin strings on all of our guitars. For models/gauges see the Godin string chart .
What are the Seymour Duncan pickups that are being used in the LGX, LGX-SA & LGXT? Seymour himself selected these pickups for us and chose a Jazz II for the neck position and put a new magnet in the Custom Custom for the bridge position. This pickup is unique to Godin and is arguably a Custom Custom Custom.
What is Phantom Power and what does it do for my Multiac Duet? Phantom power is most commonly used to provide the current used in condenser microphones. The power typically comes from a phantom power capable mixer and arrives at the mic via one of the three pins - called XLR connectors -in a standard mic cable. The under-saddle transducer and the I-Beam transducer in the Multiac Duet require active electronics, which means that they require power to operate. This is true of most pickup-equipped acoustic guitars and the power typically comes from a 9volt battery. The Multiac Duets offer you the choice of powering the guitar via the standard 9volt battery along with a standard guitar cord and from there into the amp of your choice, or you can use a standard mic cord to plug the guitar directly into a mixer and draw power back into the guitar and bypass the need for a battery. The advantages of this approach are that the mic cable is shielded against outside interference - such as radio frequencies - and the XLR connection locks the cable in place avoiding any accidental disconnections. Note: Not all mixers produce phantom power check your mixer owner's manual if you are unsure about this.
What is a truss rod? A truss rod is an adjustable metal rod that sits inside of the neck, underneath the fingerboard.
When should the truss rod be adjusted? The short answer is that your truss rod should be adjusted when your neck develops a bit of a bow in it. The reason for the bow is a combination of the string tension that is constantly applied to the neck along with changes in relative humidity. Humidity is the most important part of this equation. Wood reacts to changes in relative humidity when it absorbs or loses moisture. Absorbing moisture causes the neck to expand which results in a back-bow in this case loosening the truss rod slightly will allow the neck to return to its original form. When a neck dries out it will under bow, which can be treated by slightly tightening the truss rod. The neck on all Godin Guitars is reinforced by a double-action truss rod system. Click here for adjustment details.(pdf) WARNING: Over adjusting your truss rod can cause irreparable damage to your guitar and therefore should only be handled by a qualified guitar technician.
The fret edges are sticking out of the side of the neck. Why? And what should I do?
This is not nearly as big a problem as some people make it out to be. Once again the culprit here is humidity. In the case of the protruding fret edges this is because the fingerboard has dried out slightly and shrunk. The frets are metal (nickel/silver) and do not shrink from a change in humidity. The problem is easily fixed by a good guitar tech with a file.
Godin Montreal Natural High Gloss 2 Voice with Gig Bag at MusiciansBuy!
RATING:
Sound Quality
10
Features
10
Ease Of Use
10
Value
10
Reliability
10
Overall
10
WOW -- I just received my Montreal a couple of days ago, and it exceeds all of my expectations. I've had Fenders, Gibsons, Martins, Ovations, and others, and this guitar easily matches and/or surpasses any of them in sound, quality, playability, and just plain beauty. Sound: The Montreal, though billed as a jazz/blues guitar, plays rock with the sustain of a Les Paul and the sheer, nasty punchy-crunch of my old SG -- and also sounds sweet clean. The variety of tones seems to be endless, and the pickups are extra-hot. The fat (phat!) humbucker tone can be sharpened more than most guitars I've played, and I managed to get a nice quasi-single coil twanginess by playing with the tone control along with the sound-shaping controls on my Fender Hot Rod Deluxe amp. As for quality, it's easy to see how Godin started out making high-quality,precision parts for other guitar companies. The bolt-on neck can't be bent like an SG's, but only the cruel and desperate would want to do such a thing anyway. The Montreal looks and FEELS custom-built, with smooth, solid controls and great body-ergonomics. By the way, mine arrived, via UPS, IN TUNE! Playability is always an issue for me I don't have "guitar hands" (ring size 14, short fingers), so I fell in love with the SG I purchased 20 years ago, which had the slickest neck I've ever played on when playing my Strat, I have to modify my playing style considerably -- no criticism, just fact. The Monreal's neck and fingerboard are closer to the Sratocaster's specs, but it feels closer to the SG's thinness. I don't know how they did it! As for looks, all I can say is park one in your living room on a Fender-style guitar stand, and it'll be the best-looking piece of furniture in your house. The gold-colored hardware gleams the natural, highly glossed mahogany body and top are perhaps exceeded in lushness only by the fiercely colored, highly-figured maple facade of a PRS. Overall, maybe the sweetest instrument I've ever had, judged by -- as the car ads say -- initial quality. Oh yes, I'm not in any way a Godin spokesman, even though I'm gushing so much. It's just that good.
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Godin Montreal Natural HG
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