![]() ![]() It’s a thicker, tougher sound than you might expect, and you can’t help thinking that some coil-splits and/or a simple treble bleed circuit would add some versatility to what is a very good-playing guitar. On a cleaner Fender-y channel, it ain’t a Tele that’s for sure, although the mix does add a little more chime and some dirty funk, especially if you knock the neck volume back a little. The neck is no slouch with a tube-y voice that, in the environment, has just enough clarity for those vocal lead lines. ![]() ![]() There’s nothing wrong with that, nor the sounds we’re hearing with a nicely gained Marshall-y amp voice where the bridge has that sort of overwound grind about it that would grace most classic rock to early metal styles perfectly. In terms of profile it’s a pretty regular medium C style: 21.5mm at the 1st fret and 24mm at the 12th, almost Fender-y in lower positions with a little more bulk by the heel.Īdding a little budget Gibson-like style, the wrapover bridge has overall intonation adjustment with raised preset saddle ridges for each string. The fingerboard edges are lightly rolled, too, and the Graph Tech Tusq nut is perfectly cut. 2.36mm wide by 1.2-1.25mm high) is beautifully installed and highly polished. It features a Gibson-like scale length and similar 305mm (12-inch) radius and the medium gauge fretwire (approx. The neck really does feel like it should be on a much higher priced guitar. The craft is excellent, particularly for the price. Overall, intonation is via the two protruding steel bolts that connect directly to the steel posts adding to the rather Melody Maker-like vibe. It means, of course, that all the wiring and pickups can be mounted to the face-plate, although with 13 screws to attach it to the guitar (there’s a hidden screw under the bridge) you won’t want to be removing and replacing it too often.Īnd while the Summit Classic SG, which we looked at back in issue 440, sported a rather nice Graph Tech ResoMax Sonic 1 one-piece “wraparound” bridge, the wrapover here is more generic in style, a heavier cast bridge with raised ridges to act as intonated ‘saddles’. These are clearly covered and classic looking with individual volume and tones, a shoulder-placed toggle and output jack below the lowest controls. The heel is left square and Gibson-esque, and the neck appears to be a three-piece construction with its headstock spliced on and a heel stack. The nice finish of the instrument is accentuated by the Carbon Black body finish and the company logo on the stylish headstock.There’s a little rear edge chamfering on the back, but otherwise we just get an edge radius to the slab body. The strings are housed in tuning machines with 18:1 (Bass side) and 26:1 (Treble side) gear ratios and a solid tailpiece. The character of the sound can be fine-tuned using the volume potentiometers, tone shutter and five-position pickup switch. It will be equally at home in the waters of juicy aggressive rock distortion and warm clean tones. The combination of three proprietary pickups, i.e., a cob and neck humbucker and a center single-coil, and the ability to change the humbucker sound thanks to the push-pull tone-shutter function on the single-coil, gives the guitar exceptional sonic versatility. Position dots make it easy to navigate its surface. A rosewood fingerboard with twenty-two frets is glued to a silver-leaf maple neck. The body of the instrument is made of Canadian linden. With its sophisticated look and build quality, it is sure to appeal to a wide range of guitarists - experimentalists and traditionalists alike. The Godin Radium Carbon Black electric guitar in its original single-cut design combines the qualities of the Radiator and Stadium models in one body. ![]()
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