Guitar Review: Godin Multiac Steel (Natural)

Godin Multiac Steel

There are only two kinds of guitar players in the world…Well actually there are many types of guitar players in the world, but allow me to break it down to what applies to me. There are only two types of guitar players in the world, those who can move between acoustics and electrics with ease, and those who cannot. While my two sons occupy the first position, I, sadly, occupy the latter. I’m an acoustic player. While I appreciate the wonderful tones that come from an electric guitar when played through effect pedals and amplifiers, I am far, far, more comfortable with an acoustic guitar. Part of that comfort comes from the fact that acoustic guitars were the first guitars I owned, and upon which I learned the instrument. Another aspect is that with an acoustic guitar no set up (and take down) of amp, cables, or pedals is part of the music making experience. You pick one up and play. One more admission: I have a relatively “heavy hand” and I find an acoustic far more accepting and forgiving of my touch. So, my three electrics generally languish in their cases and my amps collect dust.

In my explorations, I have tried various acoustic-electric hybrids such as the Taylor T5 and Godin’s Ultra-6 to name a few. Their necks and touch are far too electric in feel, and thus, never purchased. Then early in 2019 I learned about Godin’s new Multiac Steel hybrid. I tried one out at a local store comparing it with a Taylor T5. Hands down the Multiac Steel was the winner. Though heavier, it felt and played far more like an acoustic than an electric. Yet, there were many features that make it also an electric guitar.

Volume (top) Tone (bottom)

It is an attractive instrument having the appearance of a Les Paul. It is solidly built guitar.  It makes a statement of quality.  This Multiac has a solid spruce top, mahogany neck with a synthetic fretboard of Richlite (used on some Martin guitars as well), and a chambered wooden body. It has a 25.5 inch scale length and a nut width of 1.72 inches which together add to the acoustic feel I prefer. There are both acoustic LR Baggs pickups and a Seymour Duncan lipstick pickup (this single coil is located just below the fret board). There are two sets of controls and two outputs jacks that allow you to dial in a mix of both acoustic and electric qualities, acoustic only tone, or electric only tone. The control knobs on the body are the true captains of the tone. When you plug into the acoustic output you can blend the acoustic and single coil pickups: the volume knob adds in the single coil to taste while the tone knob dials in the single coils tone (neck to bridge tones). When the single coil output is accessed alone no acoustic blend can occur — it becomes purely electric in character. However — since it is a hybrid — you can plug into both outputs and play through both an acoustic and an electric amp.

The guitar without any amplification when played has the sound of a hollow body electric when such a guitar is not amplified. But, of course it needs to be amplified to demonstrate its true qualities. The Godin was first played through a Marshall AS50D acoustic amp through the acoustic output jack. Through this amp the Multiac sounded like any amplified acoustic guitar until you blend in the lipstick single coil with the volume control knob. Here, the tone is quite unique.

Next, I went for the pure electric aspect of the Godin. I plugged into a Blackstar HT Club 40 amplifier. The tone produced was truly that of a electric guitar whether played clean or on overdrive. A variety of tones were selected from the amp, and this guitar handled all of it quite steadily.

I truly have the best of both worlds — I now have an electric guitar that has the comfortable feel of an acoustic guitar. This Godin Multiac Steel is a “keeper” that will be played.

Keep on playing,
Fr. Irenaeus


Gear Review: G7 Performance 3 (ART) Guitar Capo

Quests. Some are factual, some mythical. I have one of my own: the quest for the perfect capo. Some say it doesn’t exist. I have a collection of a variety of capos. Some work well on some of my guitars, but not on others. With any capo there can be the problem of skewing the guitar’s strings upon application of the capo. Then there’s problem of the guitar staying in tune after application. And, of course, there is the issue of a buzzing of strings when the capo is applied. Thus, we guitarists have the never ending quest for the perfect capo.

There have been developments is capo design. One involves application of specific pads which correspond to the guitar’s fretboard radius. This likely solves the problem, but is impractical (I would never take the time to change the pads). Recently I read of the marketing of a new G7 capo in Acoustic Guitar magazine. The new capo is called the G7th Performance 3 Guitar Capo (clamping mechanism). It involves G7’s technology called “Adaptive Radius Technology” (ART). Per G7:

Revolutionary new active string pad infinitely adapts to match any guitar perfectly. The ART mechanism delivers unrivaled tuning stability by applying even pressure across the strings. Suitable for ALL ACOUSTIC and ELECTRIC 6 string guitars.

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Guitar Review: Taylor Grand Pacific 317e

Taylor Guitars is one of America’s premier guitar makers. Their guitars stand shoulder to shoulder with Martin, Gibson, Larrivee, and other great North American guitar manufacturers. They are known for their quality of build and playability. I have owned three Taylor guitars, but have sold all three. I bought them all for their playability. I sold them all due to tone. To me they all were “strident”, and this tone quality always put me off from them. They were set aside, all to be sold to a guitarist who loved that well known “modern Taylor tone.”

I follow the guitar industry. I strive to keep abreast of what is new, and who is doing what. What are the innovations? What are the new models? Of course, Taylor came out with its “V-Class” bracing in 2018. Bracing — you might as well try to discuss particle physics with me (and I’d probably appreciate particle physics more than bracing). “Big deal!” I thought of this innovation. Then, this year (2019) came the new Taylor news — a new type of dreadnought guitar with V-class bracing that offered a completely new Taylor tone. Okay, I might be interested, but I doubted it.

In mid-April I made another trip to Tacoma’s Ted Brown Music. In the store’s properly humidified acoustic guitar room there is a wall of Taylor guitars. In a corner hung a Taylor Grand Pacific 317e. Okay, I’ll bite. I sought to compare it to a Yamaha A5R dreadnought, and my own Faith Legacy Mars dreadnought which I happened to have with me. I compared the Grand Pacific to a Grand Auditorium 414ce, then a Grand Orchestra model. Was there a difference in tone with the Grand Pacific? An emphatic “Yes,” was stated. I have become a fan of Yamaha’s A5 series guitars. They are very playable with great clear tone and fantastic electronics. The Grand Pacific was equally playable, and its electronics, when played through a Fishman Loud Box Mini Charge (by the way, a fantastic acoustic amp!), was equal to the Yamaha system. The 317e was then compared to my beloved Faith Legacy Mars drop shoulder dreadnought. The 317e’s blended tone with strummed and arpeggiated chords held up to the Faith dreadnought, and the quality of tone was equally pleasing. Contrasting the Faith Legacy Mars to the Grand Pacific, the Faith has a more muscular tone, while the Grand Pacific had an airier, but very pleasing tone.

My go-to songs of the Beatles, Kinks, and others were a pleasure to play. The playability is typically Taylor, and of equal ease to the Yamaha A5 and the Faith guitars’ own playability.

Like the Faith and Yamaha A5 dreads, the appearance of the 317e is simple, tasteful, and classy. The tested Grand Pacific model has a gorgeous bear claw spruce top which puts forth a lovely gloss finish. The sapele back and sides are of a satin finish, as is the mahogany neck. It has an ebony fretboard and bridge. The nut width is 1.75 inches. The lower bout is 16 inches in width. The rounded dreadnought body is not new, but follows Breedlove’s (and now Bedell’s) rounded dreadnought design — this shape is nothing innovative as Taylor may claim. By the way, the case is eye candy. I feel I should buy a case to protect this case!

I was pleased and impressed with this 317e. It is truly a new Taylor sound with all the Taylor quality one is to expect. The Grand Pacific was purchased a week later. This Taylor dreadnought is a “keeper.” Finally, there is a Taylor guitar that rings true to me, and will do so for a new group — yet a more traditionally minded group — of guitarists. Well done Andy Powers and Taylor!

Keep on playing!

Fr. Irenaeus


Guitars Reviewed: Yamaha A4K Limited and A5R ARE

Confession: I suffer from G.A.S. (Guitar Acquisition Syndrome). I’m not in denial, but I don’t see it as a problem. No one does except my wife (wives must always, in some way, be opposed to their husband’s interests). In fact, those to whom she expresses her misplaced concern see no problem with my G.A.S. (I love enablers!). In this posting is reviewed my latest acquisition: Yamaha’s A4K Limited, as well as its sibling, the A5R ARE. They are both dreadnoughts with built-in electronics, and are all solid wood, and very well made guitars.

A4K Limited

The dreadnought A4K Limited is an all koa guitar — solid top, back, and sides. As you may know, koa is a hard wood, and comes principally from Hawaii. Koa, in my opinion, gives a bright , crisp, and clean tone which is quite pleasant. Other materials of this guitar are mahogany neck, and ebony fretboard and bridge. The binding appears to be mahogany, as is the case for the A5R ARE. The lower bout is a generous 16.25 inches (41.3cm), and the nut width is a typical 1 11/16 inches (43mm) of a dreadnought.

 

A5R ARE

The A5R ARE sibling has a solid sitka spruce (torrefactioned, or ARE as Yamaha describes the process), and solid rosewood back and sides. It too, has a mahogany neck, with ebony fretboard and bridge. The body and neck dimensions are identical to the A4K Limited.

Both models have identical electronics which consist of volume, treble, bass, and blend (you can mix mic and under saddle piezo pickups to you taste). The controls are laid out on the upper bout on the bass side of the bodies. A plastic “dear dummy” applique surrounds the controls and labels them for the player. The packaging that comes with the guitars contains smaller decals which are to be applied for identification at each knob. Both models have an attractive pick guard (surprisingly rare these days on many dreadnoughts).

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Guitar Review: Faith Mars Legacy Drop Shoulder Dreadnought

The name Faith Guitars is little known in the United States. I discovered the brand just a few years ago. I must admit the name Faith drew my initial interest. Now, I can have a lot of fun with the name since I am a priest in the Orthodox Church, but I’ll spare the world such plays on words. This is my third review of a Faith guitar. Here reviewed is the Mars Legacy.

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GUITAR REVIEW: Faith Blood Moon Neptune Acoustic/Electric (FNCEBMB)

Neptune Blood Moon

Trembesi. Interesting name. So, trembesi is not the site of a battle during the Napoleonic Wars. Neither is it a monument, or square, of historical interest in London. It is a tropical hardwood native to Java. It has been used for furniture for years, but recently has been used for guitar tone woods. Britain’s Faith Guitar company now uses trembesi in two of its guitar series: the Trembesi Series (possessing a spruce top), and the Blood Moon Series. The Blood Moon Series consists of three body styles: the Neptune (mini-jumbo), Saturn (square-shoulder dreadnought), and Venus (concert-style body). The Neptune and Venus bodies come with cut-aways and Fishman electronics. As the title indicates, this posting reviews the Neptune model.

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Guitar Review: RainSong JM1000N2

Any tradition must be living to be valid — otherwise tradition becomes dead “traditionalism.” That is, there must be “creative faithfulness” to the established, ongoing tradition. Hence, each new generation must both live within the established tradition, and express the tradition with a new, excited, winsome voice.

JM1000N2

The Orthodox Church, which I serve as a priest, isn’t the only bearer of tradition — the acoustic guitar also stands within a sound and revered tradition. The acoustic guitar of 100 years ago is still recognizable today: there is a neck, body, sound hole, bridge, saddle, tuners, and strings. And the acoustic guitar of the twenty-first century has the very same features. The twenty-first century guitar, however, is constructed in its factory or workshop very differently than the one made 100 years ago. Here, the creative faithfulness, in fact, has produced superior acoustic guitars which stand solidly within this venerable tradition. Such creative faithfulness to the production of the acoustic guitar is alive and well, and taken to the next level, in the RainSong brand of guitar!

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“The Only Living Boy in New York” — Here I Am

Paul Simon and Art Garfunkel

“The Only Living Boy in New York” is my favorite song by Simon and Garfunkel. It was one of their final songs as a duo being recorded in late 1969. Its origin comes from Art Garfunkel’s departure from New York to Mexico to film “Catch 22” (“Tom, get your plane ride on time / I know your part’ll go fine / Fly down to Mexico…”).  It is a great acoustic guitar song, with wonderful melody and lush vocals. The song’s bridge in its final presentation is fantastic fun to play, but it’s the lyrics of the bridge that win my attention:

“Half of the time we’re gone / But we don’t know where / And we don’t know where.”

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“Wigglin’ O’ The Puppy” — A Fun Song

Albert as a puppy

My wife and I have five dogs: two males and three females. They are a small mixed breed — a blend of Bichon and Havanese. Though small, they have big hearts and personalities. They’re active. They have the run of our three acres, where they dig, run, and chase both squirrels, and an occasional rabbit (though both species always outrun them). We’re also “back yard” breeders with the dogs. The joy is not only to see the puppies when they are born, nurse, and grow, but to see the joy they bring to those who buy them. We continually receive photos of their now grown dogs as they have grown and enriched their lives.

Shortly after the births of our first litters, I composed the following poem, setting it to a tune that popped into my head (what I think is a traditional Irish / Scottish folk tune, or something like a sea chanty). It is entitled “The wigglin’ O’ The Puppy.” I hope it brings about a smile and a chuckle!

The Wigglin’ O’ The Puppy (Key of G)

……………G.                                                 C.
Oh, the wigglin’ o’ the puppy and the waggin o’ the tail,
G                                                   D                       D7
For their cute black noses an ocean I would sail,
G.                                                           C.
And for their sweet puppy kisses a mountain I would scale,
…………….G.                                                  D              D7        G
Oh, the wigglin’ o’ the puppy and the waggin’ o’ the tail!

Chorus:
………………G.                                  C
Oh, they love to play and they love to bark.
……………….G.                                                          D.             D7
And they love to chase squirrels when they go to the park.
………………G.                                               C
And they cock their heads when they hear this reel
…………G.                                                  D            D7        G
O’ the wigglin’ of the puppy and the waggin’ o’ the tail!

Oh, the wigglin’ o’ the puppy and the waggin’ o’ the tail!
In spite of all the cuteness there’s a dark side to my tale
And to overcome the terror I must be heart n’ hale!
Oh, the wigglin’ o’ the puppy and the waggin’ o’ the tail!

Oh, they love to play and they love to bark.
And they love to chase squirrels when they go to the park.
And they cock their heads when they hear this reel
O’ the wigglin’ of the puppy and the waggin’ o’ the tail!

Oh, the wigglin’ o’ the puppy and the waggin’ o’ the tail,
O’er the peein’ and poohin’ I someday will prevail,
But now in their wake of ruin, I can only wail
At the wigglin’ o’ the puppy and the waggin’ o’ the tail!

………………G.                                    C
Oh, they love to play and they love to bark.
……………….G.                                                           D             D7
And they love to chase squirrels when they go to the park.
………………G.                                               C               C7
And they cock their heads when they hear this reel
G.
O’ the wigglin’ of the puppy…
……………………………………………………………D.           C        G
O’ the wigglin’ of the puppy and the waggin’ o’ the tail!

Albert grown up

Yours,
Fr. Irenaeus


Guitar Review: Yamaha LL-TA (TransAcoustic)

I love acoustic guitars. There’s a T-shirt that sums it up for me. It reads, “Love one woman, many guitars.” I think I just fell in love today with a guitar I met at Tacoma’s, if not western Washington’s, best music store: Ted Brown Music. A sales associate named Steve introduced me to Yamaha’s new LL-TA dreadnought. OK, so it may only be infatuation, but let me tell you about this guitar.

img_0635Honestly, I haven’t cared for the vast majority of the Yamahas I’ve played. Several years ago I picked up a LL bodied 12-string, and immediately put it back — stiff and lifeless. However, I have truly appreciated their A Series dreadnoughts. This Yamaha dreadnought caught my eye. I pulled it off its wall mount and began playing the Kinks’ “Waterloo Sunset.” I was impressed by the easy playability, and its very open, clear, and pleasant tone. Steve saw my attention and informed me of its truly unique and incredibly innovative electronic feature: in-built chorusing and reverb! Unplugged you are able to access reverb and chorusing! The TA stands for Trans Acoustic — it is self-amplified, or better, self-effected. Wow! Then, after Steve set up a bass amp (YES, a Fender Rumble 500 watt head and cab) this feature came alive like no other acoustic-electric I own, or have ever played! Wow, and wow! In this new universe, the Kinks’ “Village Green,” the Beatles’ “Eight Days a Week” and “Norwegian Wood” — songs I’ve played for years — sounded completely new to me. Wow, wow, and wow!

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Guitar Review: Faith Mars FRMG All Mahogany Dreadnought

img_0491I first learned of the existence of Faith guitars about two or three years ago. I was, naturally, intrigued by the name: I am a priest, and thus I am all for faith. If you go to their website you will find a wide array of acoustic guitars, all designed by owner and master luthier Patrick James Eggle. His guitars have a solid following in the U.K., and the brand has won the award of the U.K’s Best Acoustic Guitar for four consecutive years. Rather impressive. The brand is now available in the United States as a new British Invasion. And just like the lads from Liverpool, the reviewed guitar is FAB!

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California Dreamin’: Prayer and Chords

mp1“California Dreamin’” is one great pop song. It was written by John and Michelle Phillips while living in New York City in 1963. Their version of the song was released in December, 1965, and, well, the rest is history. “California Dreamin’” is, in my opinion, the signature song of the Mamas and the Papas. It remains an evergreen song, and is a boatload of fun to play on acoustic guitar.

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Fender Paramount PM-1 Standard Dreadnought All-Mahogany NE

2016-10-22-16-55-18After dropping off an old appliance at a recycling center, I thought I’d swing by Ted Brown Music in Tacoma — just a slight detour. I recently learned of an addition to Fender’s Paramount acoustic line up. It is an all mahogany dreadnought. Ted Brown Music carries the Paramount line in addition to a nice selection of Fender electrics. My friend Gary at Ted Brown saw me walk into the acoustic room of the store. I asked him if there were any new arrivals. “We have a number,” he said. Then he added, “we have a new Paramount — the mahogany one.” That’s exactly the guitar I wanted to see. Could this be providence? He brought out the unopened box (I have never seen a freshly opened guitar before — quite an opportunity). “Do you want to give it a try?” Well, YES!

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Guitar Review: Cordoba Acero D10-ce

img_0467-1Quality and value: these are two traits that any consumer wants coupled together when considering a purchase. Sometimes this combo is elusive, but in today’s guitar market these two qualities are the norm in this “golden age” of modern lutherie.  In fact, you have to be most unlucky to buy a “lemon” of a guitar. So, I come to this review of the Cordoba Acero D10-ce, a guitar that fully embodies both quality and value in an all sold wood import package.

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Guitar Review: Fender Paramount Series Deluxe PM-1 Dreadnought

This is the “Golden Age” of guitar making. Acquaintances in the guitar stores I frequent enthusiastically agree with my non-professional assessment. Guitars, both acoustic and electric, have never before been so well made. America has been a leader in the innovations that produce such wonderful instruments. Manufacturers such as Taylor, Breedlove, Martin, Collings, and so many others, have changed the guitar world. However, their innovations aren’t held within the geographical boundaries of the United States — the quality of asian made guitars matches those of America and Canada. I have reviewed two Eastman guitars, two Bedell Performance Series guitars, and one Cordoba Acero Series guitar previously in this blog. All of these guitars are manufactured in China — a put-off for some guitarists — but a blessing for guitarists who want a quality instrument at a more affordable price. In this posting I review Fender’s PM-1 Deluxe Dreadnought, a guitar that is part of its new Paramount line of acoustics.

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“So Far Away” Lyrics

“So Far Away” is a song I wrote.  I was inspired by the departure of an army officer who, as demanded by his country and commission, left his wife and two young children for a year to serve overseas.  I imagined also the sacrifice not only of this fine man, but all others who have sacrificed for their countries.  But, additionally, I thought of the sacrifice of wives, parents, and children of those left home, and often left to grieve without end.  Read the rest of this entry »


Guitar Reviews: Bedell THCE-28-G and Bedell TB-28-12

In two previous guitar reviews I have stated that the guitar buyer does not, I repeat does NOT, need to spend thousands of dollars to get a well made, great sounding, and highly playable guitar.  Hint:  I am not reviewing a Martin, Gibson, Collings, or a Taylor guitar to name just a few.  Read the rest of this entry »


Death Cab For Cutie — A Perspective

death-cab-for-cutieIn all honesty, I am a bit hesitant to compose this posting.  Although a fan of the group, I don’t want to gush with unbridled enthusiasm, nor pose as a bona fide professional music critic.  This posting is an Eastern Orthodox priest’s perspective of a contemporary musical group – mostly focusing on lyrical content of their songs.  There be will only a brief bio, and no musings about matters best left to gossip columnists.

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Eastman Guitars — A Review Of Two Models

If you have not heard of Eastman guitars (www.eastmanguitars.com), you need to be informed!  The company makes a variety of stringed instruments:  mandolins, archtop acoustics, flat top acoustics, and electric guitars.  They are a very well made import, and their acoustic flat top models are always well reviewed, e.g. their dreadnought models E20D, E10D, E20SS, and E10SS.  Here, in this posting, I offer my own reviews of my own two models:  the AJ816, and the AC530-12. Read the rest of this entry »


A Real Musician

There are only two kinds of people:  those who are and those who “wanna be”.  Each one of us is a combination of an “is” and a “wanna-be”.  I am many things, but I admire a truly good musician.  I am, so my wife and my instructor tell me, a solid intermediate guitarist.  They both encourage me when they note progress and advancement in my “chops.”  But, I will never be a guitarist of the caliber of a Lindsey Buckingham, Nancy Wilson (of Heart), or The Edge to name just three Guitar Heroes.  I will never come close.  So, in terms of this category of people, i.e. musicians, I’m just a “wanna-be.”  But I know someone who is truly a musician, my guitar instructor, and a family friend.  Let me introduce you to Ann Herring. Read the rest of this entry »