Read the review: http://www.premierguitar.com/articles/24943-godin-summit-classic-ct-convertible-review
I’ve learned to be skeptical about guitars that claim to be all things, but the new Godin Summit Classic CT Convertible—thanks to its comfortable playability, intuitive controls, and versatile Seymour Duncan P-Rails pickups—may make me a convert. Whether playing the Convertible through a vintage Twin Reverb, a Marshall Super Lead, a Sandora (which pays homage to the JTM45), or a humble Orange Micro Terror—or even at a gig inside a grain silo in a Mississippi cotton field that was the aural equivalent of a riot in a lunchbox—the Godin sounded great and felt familiar.
The Godin’s control layout is simple—a 3-way pickup selector, volume and tone dials, twin toggles that change the pickup settings, and a button for active/passive pickups. The guitar weighs about 7.5 pounds. The lower-bout cutaway meets the neck just above the 22nd fret, allowing comfortable access to the entirety of the mahogany neck, which has a smooth-finished, thin C-shape and is topped by medium frets. While Richlite is used for the fretboard, it plays and looks like ebony.
The guitar body is made from chambered mahogany, and the maple top has a familiar Les Paul-like arch. The finish on the test model was a high-gloss gold sparkle, and with white binding and a natural back, it’s every bit as handsome as any ’57 goldtop reissue. (The guitar also comes in crème brulee sunburst.) The tuners, bridge, and tailpiece are solid. Even the output jack is thoughtfully recessed so it’s less likely to be jarred loose, and when a cable’s plug is pushed firmly into place, it locks tight.
The Godin comes with a gig bag (a hard case is optional) that could probably use an additional layer of interior protection where the two pickup-mode switches touch the bag interior. They tore into the fabric during shipping and remained a literal sticking point every time the guitar was removed from the bag. A Cadillac like this deserves a better garage.
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