Godin Redline 3 With Floyd Rose Tremelo Reviews

Take ane look at Godin's website and you lot will see a company that offers a wide variety of innovative and unique instruments. From affordable acoustic archtop guitars (5th Avenue and Kingpin) to nylon and steel-string acoustics that include MIDI capabilities and feedback-rejecting designs (Multiac series) to crazy and downright cool designs like the Glissentar, an 11-string fretless acoustic, Godin makes a point of ever bringing something new and useful to the tabular array. In their electric series they offer a adequately wide range of guitars to meet most styles, only not until recently did they accept an selection for the modern metal or shredder guitarist.

The Redline 3 is an bonny and thoughtful musical instrument that was born to rock… er, shred... and is styled around a rock maple cervix with a rosewood or maple fingerboard (the review guitar was rosewood) and 22 of the biggest colossal frets I've encountered on a guitar. The calibration is 25-one/2" and the fingerboard measures 1-xi/sixteen" at the nut. The torso is constructed from a silverleaf maple center with poplar wings. The review guitar came with a killer— and perfectly book-matched—transparent cerise flame maple tiptop and sported a pair of EMG active humbuckers (85 in the neck, 81 in the bridge). Standard controls include a iii-fashion slide switch with one Volume and one Tone knob, shared by both pickups. Topping off theRedline 3 is a licensed Floyd Rose tremolo with a deep recess cut in the body for reverse swoop-bomb pull-ups.

In play
Before plugging in, I spent some time with the guitar unplugged to go an idea of what was happening with its tone. This is a snappy instrument with a lot of pop and bite, only not at the expense of some trunk in its sound. The maple eye gives the guitar an firsthand assail, and the poplar wings add warmth to the tone to residue information technology out. Notes rang out articulate and fairly long, though the Floyd did take a little of the natural sustain out (a common side upshot of most any tremolo), merely not enough to be an result. Information technology sat nicely on my lap, and the contour body cutting was a welcome design pick, keeping the guitar comfortable during long playing sessions. Rather than a cervix plate, the RL3 uses 4 recessed screws that stay completely out of the way and add an elegant touch to the look of the back of the guitar, every bit does the rear bottom horn-to-body contour. The neck is radiused very apartment at 16", which allows y'all to rip and bend across the guitar with pinpoint accurateness and extreme speed. The neck cleave isn't terribly shallow, nor is information technology baseball bat-like, and it fit my hand nicely without inducing much fatigue. While I adopt a slightly "clubby" neck, that isn't necessarily in line with this fashion of guitar, so Godin hit the mark for their target audience. The cervix is finished in a light satin that adds to the sleek and speedy feel, and the massive frets make sure you get big tone and killer command without sacrificing playability. Squeamish.

Since there were a variety of amps at the studio during my fourth dimension with the RL3, I had the run a risk to run it through quite a few to get a feel for how it handled dissimilar situations. Whenever I remember of a shredder guitar, it usually involves pickups like a Duncan Distortion or DiMarzio Super Distortion Humbucker, just that's just my age talking. Godin went the modern route with EMGs, and it lends a decidedly modern audio to the guitar. Through most of the amps, I had to back down the gain on the amp to conform the higher-output pickups. This type of front-end hitting to an amp can be used quite beneficially, if you're looking for a super-tight bottom and searing top end. These pickups are certainly not subtle, and it's obvious why and then many modernistic metallic bands use this exact combination! Non surprisingly, the guitar tended to favor college-gain amps like an Engl Ritchie Blackmore head, Mesa Boogie Dual Rectifier and a Krank Rev Jr. With classic amps, like a Marshall Super Atomic number 82 and a Vocalization AC30, the tone was decidedly less "classic" and lacked some of the dimension that comes through with lower-gain pickups. To be fair, Godin did not intend to create another Les Paul or Strat, so there's no reason to spend a lot of time trying to make it something it isn't. Make clean tones were more sparkly than chimey on the height end, but the solid depression terminate was very impressive and lent an authoritative presence to the sound that would never go lost in a mix.

Getting a petty trem
I was diddled away with the Floyd Rose trem, which was the all-time implementation of i I've ever experienced. The arm pops into place, rather than being threaded or screwed in, and then it will never strip or need tightening. The experience is ultra-smoothen with no bounden whatsoever, and you lot can pull dorsum far plenty to suspension a string due to the recessed well cut into the torso behind the assembly. Sure, this has been around for years equally part of the design on other guitars, simply for some reason information technology just seemed smoother, tighter and more precise on the RL3. And of grade, the trem stayed in tune flawlessly no affair how hard it was abused.

Some other blueprint choices include a 3-way Strat-style selector rather than a toggle, as well as a unmarried Volume and Tone knob. Having only one volume and tone setting for the two pickups is limiting—for those who don't want to be fiddling with the knobs— just it'southward zippo radical and keeps the guitar simple. Having a toggle switch can be effective in creating automobile gun-style rapid on/ off effects with the neck pickup off, so I'd exist lying if I said I didn't miss that. Information technology'south besides nice to take that setup so you can shut the sound off altogether between songs without rolling the volume down, especially with the power to create so much gain. It'southward a nice feedback shutoff mechanism, also.

The neck heel expanse is designed to give the histrion ultimate admission to all of the frets, and it achieves that very nicely. All the same, my hands connected to bump the meridian of the heel when playing around the 15th fret. It wasn't until I checked confronting some other i of my guitars with a traditional commodities-on blueprint that I realized this was quite an improvement. The action on the guitar was gear up college than anticipated and would probably exist a scrap also high for some players, just no doubt a quick cervix adjustment would fix that. Existence fabricated of wood and traveling from Canada to the killing desert heat of Arizona probably didn't help much either!

The Final Mojo
Godin has made a nice archway into a new marketplace for them. The RL3 is a tight, fast and snappy guitar that has just enough mental attitude to get noticed but could easily hang next to collectible guitars with high-end tops. Godin also sent two Redline II guitars, which are 24-fret guitars with fixed bridges. These guitars showed that the action setup on the RL3 was a fluke, because both of the Redline IIs had killer low action. For the price of the RL3 yous but can't go wrong. Then in that location you have it! A great guitar company adds some other offering to round out their fine collection of instruments. Definitely ane to cheque out!

Purchase if...
modern and heavy tones are your business organisation.
Skip if...
you don't need a speedy guitar
Rating...

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Source: https://www.premierguitar.com/gear/godin-redline-3-electric-guitar-review

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