![]() If that outer nut works lose (it will) the whole socket can drop inside the guitar and you'll have 'fun' - especially backstage before you're about to go on - getting it out! SoundsĪcoustically, the laminate archtop sound can be an acquired taste and the 5th Avenue doesn't broaden that appeal with its slightly 'tinny' mid-range honk that lacks the depth of our comparison guitar, a fifties Hofner Congress, which still has that mid-range, but with more looseness and a far wider dynamic range. The pickup selector is shoulder-mounted, but the standard output jack is mounted through the side. The Godin pickups, aside from the small logo, look pretty vintage-accurate, as do the silver-topped control knobs for the master volume and tone. But overall - especially in this satin cognac burst, a 'custom polished finish' that Godin states "creates a gorgeous satin sheen reminiscent of the French polish of the 19th century" - it certainly has old-school charm by the bucket-load. However, the full but well-shaped neck is nice enough with a subtle flame to the brown-stained maple and a slight in-turn to the fingerboard edge. ![]() It's not helped by small gauge 'acoustic' fret wire that's a little sharp edged, a sloppy set-up and an absence of dot markers past the 12th fret. This raised feel does take a little adjustment playing-wise - other 5th Avenues we've checked have a flatter neck angle, and therefore lower bridge height, which indicates some production variances. The dual dog-ear P-90s are mounted on substantial spacers and the two-piece archtop-style bridge (made by Graph Tech from black Tusq) is adjusted some 6mm off its foot. ![]() ![]() The neck sits quite high over the body, however, even for an archtop of this style, and this means that the strings sit some 25-28mm off the front. Through the clean f-holes you can see old-style kerfed linings - it's a very clean job. The silver leaf maple neck glues into the body at the 14th fret, the remaining neck portion sits (just) over the top of the body. ![]()
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