![]() ![]() The Carbon Black model has an eye-catching finish, worthy of a classic/aged vintage guitar. The guitar is voiced with Custom Godin Zebra Humbuckers for intense tones, with the addition of a Godin Custom Cajun Nickel Single Coil in the middle. The Radium also comes equipped with an H-S-H pickup configuration for a multitude of tonal possibilities, and a re-invented vintage-style control plate, which has a Volume, Push-Pull tone, and an angled 5-way switch that follows the natural sweep of your right hand for easy pickup selection. Presenting a new breed of single-cut guitars, which combines all the best elements of the Radiator and the Stadium into one: The Radium! It offers some unique features compared to the more traditional single cutaway solid-bodies, such as short-scale (24 ¾”) set-neck and a 3&3 headstock design for comfortable playing and bending. Godin really knows how to make a good guitar.View this product description in Norwegian. Above all, it’s the playability that punches way above its weight. If the original Radiator was more indie, this one is more alt-rock, armed with some pretty serious clout. The short 24-3/4-inch scale length, 3x3 tuning machine. This T-style guitar inherits its shape, control configuration, and single-coil pickup from the Stadium. The Radium takes the best elements from the Godin Radiator and Stadium and combines them to create an entirely new instrument. 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. Combining Two of Godin’s Most Beloved Models. ![]() 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. ![]() There’s a little rear edge chamfering on the back, but otherwise we just get an edge radius to the slab body. ![]()
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