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photos: Clément Topping (1994) / Laurence Labat (2002, 2006) / Mark Miller (1997) / Bang on a Can (2010)

For those gear-heads who are interested /
pour les mordus de l'équipement qui s'interessent....

I seem to like Godin guitars a bit more than is reasonable... /
il semble que j'aime pas mal les guitares Godins ...

Godin logo

Order of Lists: Guitars / Amps / Pedals / Studio Gear

14 guitars, 9 amps, around 40 pedals as of 2019, so - trying to take a year off from G.A.S.

(Gear Acquisition Syndrome - in case you did not know...) - maybe 2020!

I am the original owner of all 8 Godins (received new in stated year).


THE MAIN AXE - Godin PASSION RG-3- prototype

Godin "Passion RG-3" #1
(22 frets, chambered spruce body with maple cap) - 2008 - Maple neck (25.5") with Rosewood fingerboard, double cutaway "Strat"-style body...

but - I have one of only three protoypes they made in the H/H configuration, rather than the final S/S/S version. Amazing workmanship and wood, very cool sounds with the H/H set-up. I put in the then new (2008) Seymour Duncan P-Rails pickups (2 asymmetrical Alnico 5 single coils joined to be a humbuckers). With 2 mini-switches, this gives 12 different sounds all through passive electronics (changes in impedance).  The best sounding/playing guitar I have ever owned. I call it the "Godin Passion H/H Convertible " - though the model is not available commercially. John McGlaughlin used this rare, prototype model for several years,
though he used the stock pick-ups, and the MIDI out.
(without P-Rails, just regular humbuckers) as the Godin RG-2.

Godin "Passion Custom Swamp Ash"

(22 frets, 25.5" scale, maple neck with maple fingerboard, single cut, chambered Spanish Cedar body with Swamp Ash top, HD revoicing switch) - 2017

Looks like a Tele, sounds totally original.  The snap of the long scale neck and maple wood, the warmth of the Spanish Cedar and the SD Jazz.  I ended up swapping out the original pick ups and switching system.  I already have 4 guitars with SD P-rails - it felt redundant with the stock P-rail! So now it has an SD Jazz in the neck (with 3 way mini switch - series, single, parallel), and SD Red Devil alnico 5 single-coil size humbucker in the bridge (also with 3 way mini switch - series, single, parallel), the single coils are true humcancelling in centre position (RWRP wiring). Very balanced sound - even with heaps of distortion, or a dark, jazzy sound, it never seems muddy or middy. I find the HD revoicing switch interesting to just juice the gain a bit on overdrive, once in a while. Has a nice tremolo, but I hardly ever use tremolos...my #2 guitar, at this point. Well, maybe #1....

Godin "Summit Classic CT Convertible"
(22 frets, chambered Spanish cedar body, maple cap, mahogany neck with Richlite fingerboard, 24.75" scale, single cut, 2 X P-Rail pickups, 2 mini-switches for P-Rails) - 2017

Took delivery of this in Feb. 2017 - I am in love. I've never really bonded with the LP style guitar, but Godin has made the perfect version of this classic.  More airy and transparent sounding, but still with the big, dense powerful sound if you need it.  Balance is incredible - every note in every register to rings and sings, is never shrill or muddy. This uses my absolute favourite SD pickups - P-Rails (like Passion RG-3 mentioned above, my main touring guitar).  So in addition to great traditional humbucking sounds, you can click-in P-90s or single coils.  Singles will not replace your Strat (gets close with HDR engaged!), but have a very cool sound on this shorter-scale, mahogany guitar.  Super ergonomic, weighs just a bit over 7 lbs, tummy cut.  Within 48 hours it has become my #2 guitar, and giving my #1 a serious run for its money. Ok, now #3...

And, the good folks at Godin made me one in a custom colour: the beautiful Creme Brulé! Production Convertibles only come in Goldtop (which I really, really do not like), so they spoiled me and made this one-off.  Thanks - serious customer service!

Godin "Passion RG-3" #2
(22 frets, chambered cedar body with mahogany cap) - 2010
Maple neck (25.5") with Rosewood fingerboard, double cutaway "Strat"-style body

I discovered that Godin had made another prototype of my favorite guitar (see above), with slightly different woods.  So I bought it, to have a back up.  Put on a Trem-King whammy bar (not a great whammy, but a nice big sound as a fixed bridge, don't use it much as a whammy) and my favorite Seymour Duncan P-Rails pick-ups.  Another "Godin Passion H/H Convertible " - sounds just a bit different than my #1 guitar because of the different woods, but still an amazing instrument.

Godin "Montreal: Premiere" #1
(22 frets, semi-hollow body, set-neck. 24.75" scale, cherry-wood body, mahogany neck, spruce centre block with "breath through" sound chambers, stop-tail piece) - 2013.
Natural colour.

This is a new model (2013) and this guitar is AMAZING.  24.75" scale, single-cut, semi-hollow puts it in the 335/339/137/135 camp, but it is so much more flexible, has a much better neck joint, and the choice of wood gives it an incredible sound. A little more open sounding than the Gibson semis, probably because of the chambered spruce rather than solid mahogany centre block.  Cherry is somewhere between maple and mahogany, so you can push this guitar easily from pure jazz (Benson/Metheny) to Scofield and well into serious blues and rock (no metal). I now have a tough time choosing between RG-3 #1 and this guitar, it is that much fun to play!  However, they sound and feel very, very different, so the context usually makes the choice for me.

Godin "Montreal Premiere" #2 - version: Supreme
(22 frets, semi-hollow body, 24.75" scale, cherry-wood body with maple top, set maple neck with inlays, spruce centre block with "breath through" sound chambers, trapeze tail piece, Seymour Duncan pickups and HDR boost circuit, sunburst) - 2017

Yes, I bought a SECOND one - I had a 2nd regular Montréal with a Bigsby, but sold it to buy this new upgrade.  This is probably the best "jazz" guitar I've ever  - stunning jazz tones, but it can be much more.  The new neck, maple with a Richlite fingerboard, has a very solid feel, incredibly focused notes with unbelievable balance. You want snappy, you want warm, you want something in between? It has it all - I think the SD pickups probably help (Jazz and Custom).  The boost circuit means it can actually rock-out as well, but honestly, that is not why I use this one - it's about beautiful, warm, transparent tones.  The finish is utterly gorgeous, as well. Great block inlays on the neck put it in the seriously high-end semi-hollow category, in terms of look. Because of the maple neck and trapeze tailpiece, this has a more "hollow-body jazz" vibe than Montréal #1 (which has a mahogany neck, stop tailpiece) - which is a bit more "335"-ish.  Nice to have both options!

Godin "Summit Classic HB"
(22 frets, chambered Spanish cedar body, maple cap, mahogany neck with Richlite fingerboard, 24.75 " scale, single cut, Alnico II and '59 pickups) - 2017

Another take on the LP body - exactly like the Summit Convertible (see above), but with 2 more traditional vintage (slightly lower output and non-splitable) SD HB pickups.  A bit less dense and a bit brighter than the P-Rails humbuckers, but still with tons of depth and bottom end.  What I love about this guitar is the simplicity - 2 pickups, 3-way switch, vol/tone, that's it. (Well, ok, it has the HDR as well).  Killer rock, jazz and blues tones with just 3 basic sounds + tone control - ah, yes, the simple life! And the colour - Burgundy.  The most visually striking guitar I have ever owned.  Classy and subtle, but you cannot take your eyes off the instrument.  Note: both these Summit single cuts come in at a very shoulder-friendly 7 lbs - take that, Les Paul!

Godin "Velocity"
(22 frets, maple fretboard and neck, maple/poplar body, S/S/H) - 2011

For certain sounds, that special transparency of a maple fretboard is essential. So I got this very affordable Godin, set it up with light strings (.10 - .46), put in some Seymour Duncans (Little '59 - neck, Classic Stack Plus - middle, both humbucking single coils, and a Custom humbucker in bridge - neck and bridge with series/parallel switches), added Gotoh locking tuners and voila – an amazingly rich yet transparent S/S/H-style guitar with the added flexibility of the Godin High Definition Revoicer (HDR), fully humbucking single coils, and that amazing Godin woodwork!  It's basic sound is a bit darker than a Strat (probably the different woods), but the use of the HDR button on clean and slightly overdriven sounds gets you right into that "clacky" Strat territory.

I have owned many other Godins - Flat Five, Freeway Floyd, Icon, first generation Summit, Montreal, LG Signature, xtSA, LGXT, Artisan, obscure early S/S/H unfinished S-Style, they all played very well and sounded great. However, I only have so much room to store guitars so I am just keeping my absolute "best" pieces.

  That will make 8 Godins - 4 long scale, 4 shorts scale, some single cuts, some double cuts, some with whammy bars, some fixed bridge, some semi-hollow, some chambered, some solid, etc...with the exception of a full-on Floyd Rose equipped metal machine or 17" hollow jazz box with floating neck pickup, I have it covered!

In fact, I can even fake the two above mentioned guitars pretty well, in a pinch!

...and because Godin does not make 25" scale guitars,
headless-24-fret, 6-string basses, or 50-year old vintage acoustic guitars...

PRS "SE Semi-Hollow Custom"
(22 frets, mahogany body, natural maple top veneer, 25" scale).
2007 model (hey, that makes it "vintage" - first year of issue for this model!) - bought in 2013. So, in 2013 I sold my high-end PRS semi-hollow because I was not using it at all, as well as using the cash to finance the new computer.  I've had several PRS's in the past (Standard, Mira, Semi-hollow Ltd.), and I am intrigued with the PRS 25" scale length (Godin only does the 2 traditional scales of 24.75" and 25.5"). That 25" scale really is something different - kind of a "warmed-up Fender" or a "snappy Gibson". Plus, I wanted a double-cut semi-hollow (which Godin doesn't make) without paying a fortune (Gibson 335/339, not to mention Collings, etc...).  I found a decent deal on eBay for this used PRS SE Semi Hollow. The scary thing is that I enjoy the feel and sound of this budget guitar way more than the $2,800 high-end model I used to own!  And it is only a bit of a joke about it being "vintage" - I actually think the aesthetic design of the early models was considerably classier than the current models.  Simple dot inlays, nicer, simpler tops.  To me, the design of the older ones said" "I am an affordable, quality guitar", the newer ones are saying a bit more: "I am an affordable, quality guitar but I'm trying to look a bit more up-market".

  I also put my extra Seymour Duncan P-Rail pickups in the this guitar.  The stock pick-ups are good, but those SD P-Rails are special!!  This gives me access to humbucker, P-90 and single coil sounds on the 25" scale with a traditional mahogany body, quite different than my Godin S-style guitars. The humbucker and P-90 sounds are spectacular (fat and warm but with great clarity), single coils sounds are functional (but nothing special) in this guitar.

PRS "SE Singlecut Tremolo"
(22 frets, mahogany body, black, maple top, 25" scale, tremolo).
I realised I did not actually own a standard "rock" guitar - singlecut, mahogany+maple, 2 humbuckers...that most basic of instruments!  But I liked this little twist on the principal: 25" scale and a tremolo.  Also got this for a crazy low price....changed the pickups for some covered Seymour Duncans (covers for that little bit of high cut!) I had lying around: Jazz (neck) and Custom (bridge), added Schaller locking tuners.  Voila - for less than $600, I got a killer rock guitar - simple, basic black, 3-way switch, 1 volume, 1 tone, series/parallel push-pull switch on each pickup for 2 output levels - just shut up and play. A little brighter and snappier than a "LP", for sure (slightly thinner body, 25" scale, tremolo), but a monster with a fair bit of flexibility and subtlety, if desired.  Really fun to play.

Steinberger "GM4T"
(24 frets, black, 25.5" scale, double-cutaway S-style body, trans-trem) - circa 1991
H-(EMG 89: non-standard)-S-H (EMGs) Toured the world with this in the 1990s - very tough, sounds good if a bit less traditional. The original configuration is S/S/H, but I replaced the neck pickup with am EMG splittable humbucker with gives the guitar a better clean, warm sound, when needed. The 25.5" scale makes 24 frets almost usable! An untraditional guitar sound, not really a crunchy "blues-rock" thing, but very good with processing, quite good for clean sounds, and high gain. Great to have a guitar that does not need to be checked baggage, with a neck that will not twist, break or budge, sometimes.

Gibson "J-45 acoustic"
(20 frets, sunburst) - circa 1965: bought in the early 1980s
added: non-standard "clear" pickguard, added "cutaway", new bridge for better intonation

I recorded with this in the 80s and 90s, it sounds amazing in the studio!

Too bad I don't play it more these days...

Squier / Fender Bass VI - 2014
(21 frets, 30" scale, 3 single coils, 4 P-U switches, basswood body, sunburst)
In Instruments of Happiness (IoH - the all-guitar group), Antoine Berthiaume uses an older MIJ Fender Bass VI for some pieces. It sounded so great I decide I wanted one.  And then I discovered Fender has a budget version - a Squier, made in Indonesia, very, very affordable, it sounds really good.  What could I say? It will be used for fun, and also in the context of my multiple guitar pieces for the IoH Quartet, IoH Orchestra (20 players)
and IoH EXTREME (100 players).

ION (Alesis) - incredibly cheap Strat copy - 2008
I need an incredibly cheap guitar to abuse for a project in 2008, so I got this $40 guitar.
It feels just like $40 guitar - crude, baseball bat neck; terrible, jagged fret job; awful wood; awful action; seemingly tin-foil hardware (the input jack broke the second time I plugged it in!). What can you say - $40?  However, surprisingly, it sounds half-decent, if you can ignore the 60 cycle hum!


Funny you should ask that!

In my younger days I had a few classics (Les Paul Custom, ES-335, ES-335-12, ES-120), but, in fact, I always failed at sounding like any of my guitar idols.  In retrospect, this was very useful (though frustrating at the time), as it forced me to find my own sound and create my own unique music. By late 80's I knew I needed to find "other"

guitars, to find another sound.  I had an 1985 PRS Standard for several years (when they were still unknown - used on albums and touring from 1990 to 1995 ), but I found it a bit too dense and aggressive at times.  This is probably why they eventually became so popular with hard rock and metal bands - that slightly in-your-face tone!

Then I had (and still own) a Steinberger GM4T - quite a different sound, almost too "clean", used it from 1995 to 2005 (CDs and tours). I have also had a few PRS guitars that were nice. But when I found Godins in 2005, I knew we were getting close to what I wanted - a new platform that was clearly linked to the great guitar tradition, but one that was not loaded with historic connotations and pre-imagined sounds.

I spent 5 years experimenting with different pickups in relation to different woods and different body shapes and I now have a clear image of what I want to hear, and how to get it, and it sounds like me.  The "24 Frames" (2010 - 2011) triple CD project is the best example, and is in fact a result of, all this search for my ideal sound.

I love a great Strat or Les Paul sound, but that's for Eric, Stevie-Ray, Duane,
and Jimmy P., not for me"

I've now offically run out of guitar storage room in my studio, so we are into the

"one in, one out" principle for the collection from now on!!

My six main Godins are all strung with D'Adarrio .11 - .49, as is the PRS Semi-Hollow.  The "rock guitars" are a bit lighter: Velocity, Summit Classic Convertible, RG3 #2, PRS Singlecut and Steinberger are all strung 10. - .46 (but usually with a .11 on top!).

Gibson acoustic is .11 - .49 as well.
I had tendonitis many years ago on my left hand and I can't quite go up to .12 any more!

Mods and maintainance done by Montreal guitar gurus Al Gunn and Pierre Laporte.


For a 10 years from 2006 to 2016 I tried many different amp and speaker combinations, looking for "the sound" - the perfect balance of warm but detailed and transparent.

I now have it: an all-tube PTP vintage combo stereo pair with 10" speakers (Fender, 6V6), and a small selection of amp heads, all capable of being loud but very quiet: a solid state/tube hybrid (Evans), pure 6L6 all-tube bliss (Groove Tubes), pure EL34 all-tube bliss (Koch Twintone), a micro-head (Carvin, with EL84s), using a variety of cabinets. Added a few solid states as well - with a bit of research, you can actually find really good SS amps!

I also play almost exclusively solo, or with chamber groups or orchestras, almost never with "bands" (no drums, no PAs), so I am looking for a big, real, 3-d guitar sound without needing anything approaching "guitar/rock-band" levels. Which is not to say this stuff can't get loud if necessary - it is just that quiet and transparent are my priorities.

Fender Super Champ  (Paul Rivera era) - 1983/84 (6V6 power tubes) - bought: 2007

with upgraded Eminence "Lil Buddy" 10" hemp-cone 50 watt ceramic speaker

modified to be able to switch from Class AB (18 watts) to cathode-biased pseudo-Class A.

I had the bright capacitor cut and boosted the bass response of the tone circuit so

it sounds big and warm at all volumes. Recording out is now an 8ohm speaker out,

so it can get fairly loud (but still clean and quiet, if I want!) when I plug in

an extra 12" speaker. Sounds like the worlds smallest Twin Reverb (perhaps a slight exaggeration, but it sounds awesome for 18 watts and a single 10" speaker).
I run this in stereo sometimes, with my Evans and a 10" Hendriken cabinet, like a great stereo Vibrolux - that amazing 2 X 10" speaker sound, but with more space!

Mods and maintainance done by Montreal amp guru Rick Onslow.

Evans AH200 hybrid (head) - bought: 2008

An interesting take on solid state power amp - with a tube preamp (3 X 12AT7 tubes) and 200 watts (Class D), with really flexible EQ. I often plug it into a Lopoline cabinet with an Eminence Delta light 1 X 12". The whole thing is astonishingly light weight (head - 5 lbs, cabinet - 18 lbs) for the power and clarity. Sounds equally good, if a bit darker, into the Raezers Edge cabinet. I simply cannot believe the quality of this amp - ABSOLUTELY quiet, amazing EQ - from very dark and jazzy to almost country bright (without the "icepick" - thanks!). Even has a pretty cool flanger / chorus circuit in the back (switch on or off), and you can adjust the reverb dwell (time plus balance) - very flexible!! Almost as loud as a Twin, if you want/need that kind of thing.  This model is now discontinued, and is only available as a pure solid-state (see below!).

Evans AH200 - solid state (head) - bought used: 2014 (from around 2008)
Basically, the solid state version of the AH200 - pretty much the same sound as above (but not quite...that tube pre-amp!), but just a bit less fragile, a bit less expensive, a back-up, plus it this gives me the Stereo Evans Effect - 400 watts of clean, warm, detailed, punchy sound at 10 lbs!

Quilter 101 Reverb - mini head (2017 - new)
I bought the original 101 mini-head in 2016, and liked it.  This update has a more traditional tone stack (T/M/B), plus reverb and a limiter.  Absolutely love it - a bit more expensive than the basic 101 mini-head, but it really gets about as close to tube feel and sound, but weighs in at 2 lbs!  I think the limiter is the key - it creates the subtle "squish" factor that we love in tube amps.

It's high quality analogue solid state, not modelling (I'm not a fan of the modeling amps I've heard and played, admittedly only low or mid-level examples, no Kempers or AxeFX...)

Given the size, sound and construction quality, and cost (very affordable), I predict this little amp showing up at lots of rehearsals and small gigs in the guitar world.  I know it will be showing up at a lot of my rehearsals ("schlepp" factor). Sounds great with all my cabinets.

Groove Tubes Soul-o 45
- mid 1990's (head - 6L6 power tubes) - bought: 2009

A somewhat rare (rumor has it only 400 were built), all-tube, hand-wired but PC-board based 6L6 head rated at about 45 - 50 watts, almost totally clean sound, 1 channel with volume, treble, mid, bass, presence, reverb and master volume. Very effective and flexible EQ. Designed and built by tube amp guru Aspen Pittman. Gives that BIG 6L6 tube sound with no hiss, no distortion - just very slight crunch at maximum volume - but it sounds great with pedals!. It is in a smallish, short chassis head that weighs only 32 lbs....I plug it into one of my Lopoline or Raezers Edge.  Mostly for bigger halls - it sounds huge!

Koch Twintone - early 2000's (model I - head - EL34 power tubes) - bought: 2012
I had a Twintone combo in the early 2000's and loved it, but I found it a bit heavy and bulky, and it did not have as much low end at low volumes as I would have liked (open back).  But it was very nice, and quiet, the cleans are special (that slight EL34 mid-range "hollowness" is great) and the distortion channel is incredibly flexible - from the lightest crunch overdrive to truly heavy, dense distortion. So when a head came up on eBay for a crazy low price - I did it! I had to repair the reverb, but it still came out to less than 1/2 price of a new one. Plugged into a Raezers Edge Twin 8 it sounds gorgeous.  Yes, it is a PC-board, not PTP, but if it sounds great and is reliable, does it really matter?

  Carvin V3M - 2013 (4X EL84 power tubes) - used - bought: 2014
Seems like the best compromise for an affordable, light-weight but powerful all-tube head (50 watts - 19 lbs!).  As a back-up, and I was looking for an EL84-based amp (though, in fact, they are probably my least favourite tube...), just to have a different sound world from my other tube amps. The cleans are very good (with the right EQ - getting rid of a bit of that EL84 "honk"), and it is very quiet, which is what I am looking for. Overdrives can be a bit over the top, but can be made to behave by using the right EQ and very low drive settings (under 4).  The amp is voiced a bit dark (which basically suits me) but the EQ is very, very flexible, so you can get lots of sounds - just flick that bright switch!.  Does not really sound like a "fake Fender", "fake Mesa" etc - it is it's own thing.  The cleans are the best part of the amp, to me.  I tend to use my Fulltone and other pedals for overdrive/distortion in concert and on tour, in any case.

Yamaha JX55 - solid state, 50 watts, 1 X 12" open-back - 1980 (bought - 2014)
I stumbled across one of these at a rehearsal space recently and was amazed! Clean, warm, articulate, quiet, great EQ (including a great "FAT" switch, which adjusts the overall mid-range character of the amp!) - and the thing still worked perfectly after 35 years!  Found one on eBay - they are a bit rare, but quite affordable.  It needed a cleaning (it is a 35 year old amp!), but it works perfectly and is great for jazz, chamber music, basically anything that is built around a clean sound (or pedals).  Overdrive option is not great (but not awful), but that is not the point. Turns out these amps, and the follow-up Yamaha G series, are underground cult amps - the best affordable solid state amps around.  They probably beat the current crop of affordable modeling amps hands down (I've tried a few - will not be going there again - see below!). No tubes: no transportation worries (only 32 lbs for 50 watts), no microphonic issues, no meteorological worries about -30 degree temperatures (I do live in Montréal). A keeper.

2 X Lopoline custom 1 X 12" Speaker Cabinets - 2009

I had these made a few years ago - using very light-weight but strong Italian Poplar and an Eminence Delta Lite neodymium speakers.  They weigh only 18 lbs. each and can handle 125 watts.  The speaker baffles have a 15 degree angle upwards, so even when placed on the ground you can hear some direct sound, and I can run them open-or-closed back. A very balanced sound - you can really push them in whatever direction you want - dark or bright. Plugged into my Super Champ (which has an internal hemp-based 10" speaker), you get a really rich sound, due to the asymmetrical speaker sizes and cone materials. Makes for a cute little 18-watt mini-stack as well.

2 X Raezers Edge Speaker Twin 8 Cabinets (used)
I started using this in December 2011 - I got one for a good price on eBay.

Very impressive - 2 X 8" heavy duty speakers in a ported cabinet, rated at 250 watts, they can handle anything you through at them!  I really like the ported sound - somewhere between closed and open back, with huge low-end response, and 2 speakers in a cabinet always gives a more complex and 3-D sound.  Did I mention it is not much bigger than a 1 X 12" cab, and weighs only 30lbs?  Found another one on a blow-out sale for 30% off, so now I can run them in stereo.

I have re-wired one 2 X 8" cabinet so it can run mono (4 ohms - 250 watts) or stereo (2 x 8 ohms - 125 watts per side) - which means I can have a true stereo rig with one, 30 lbs, portable cabinet.

1 X Henriksen 1 X 10" Ported Speaker Cabinet (used)
I wanted a really small, really light, really high quality speaker - saw this on eBay - an older model (a bit smaller and lighter than the current model), very portable, with a port, so it has more low-end and openness than a small closed-back 10" cabinet normally would.  Also a rare 4 ohm cabinet, which means the Evans head is running at a full 200 watts, so I get huge headroom.  Works very well with Quilter mini-head as well - even smaller and lighter!  Basically this gives me top quality sound and volume in a very small 15lb cabinet - ideal for rehearsals, little gigs, etc .  Weighs less and is smaller than most cheapo modelling amps and sounds about 3000% better.

.....My Dirty Little Secrets.....
For a while I had a Roland Cube 40 - ok, but could never find my sound, it was always a bit too brittle, no matter what I did with the EQ.  An awkward shape to carry, as well. (Note: new range of Cube 40's are a bit better - sound and shape!) Then I swapped it for a used but relatively new Fender Champion 40 modeling amp. Very, very lackluster tone - NOTHING like my 1980s Fender Super Champs. Got rid of it in a few months.  I quickly decided to get the above-mentioned Henriksen 10" speaker to solve the issue of highly portable sound. Cost more, but the sounds quality is SO MUCH better.

For really, really simple rehearsal needs and ultimate portability I now have a VOX MINI5 - 5 watts, 6.5" speaker, 7lbs, can run on batteries and is a functional sounding amp with basic effects. Sounds ok/livable (for a 5 watt $160 modeling amp....) - hey, at least I don't hate the sound, that's a start. Hey, it has a built in metronome function that we use at rehearsal to play the beat over the sound of 4 crazy guitars. Keeping it just for that!

Guitar Cables

I actually spent the money on some high-end guitar cables (Evidence Audio and also some George Ls) and I can honestly say I hear a difference but it is quite subtle and I

play solo a lot, the difference in a band situation might be less obvious. I will also use whatever cord is hanging around....

Touring - I rent:  2 X Fender Hot Rod Deluxe / Fender Deluxe Reverb / Fender Twin Reverb

The Gear List
used on current and upcoming projects
I've had serious reliability issues with some newer TC stuff, and try to no longer use it!

Most of this gear is organised onto 2 boards (which can run stereo or mono):

Both boards are carry-on luggage size and weight
Pedaltrain Classic JR (2 full rows:
Boss od/dst, Xotic compressor, mini-wah, volume pedal,
TC delay, Pitchfork, 2 H9s-one with Barn 3, EXH looper)

- the BIG board: more for solo, electroacoustic-type projects

Pedaltrain Metro 20 (1 main row: TC buffer, Strymon Sunset, Xotic compressor, volume pedal, TC delay, Pitchfork, H9, DD-20)

- the SMALL board: more for ensemble/quartet projects

I also have a ThinkTank camera case that can hold 12 pedals in a carry-on size
back-pack, if I need a totally different set up with different gear. This used to be my main travel system, but switching to boards for quicker setups and saving a bit of weight.

Boss DS-1 (With AnalogMan mod)
Boss SD-1 (with Keeley mod)
Boss BD-2 (with Keeley mod)

Electro-Harmonix Ring Thing

Electro-Harmonix Freeze
2 X Electro-Harmonix Pitch Fork
Electro-Harmonix 720 looper

4 X Eventide H9 effects pedal (unbelievable sound quality!) - with all extra algorithms (MAX)
One of the H9s has the Barn3 OX9 auxiliary switch add-on for more flexibility

2 X Digitech Timebender - delay/harmoniser/looper pedal (now discontinued)
Digitech - Jaman Express XT looper (stereo)
TC Electronics - Ditto x2 stereo looper (stereo)
Zoom G2.1.nu (small multi-FX unit) - 2011 - 2012 tours - 24 Frames
Zoom G3X (slightly bigger and significantly better multi-FX unit) - 2013 onwards
Zoom G3 (smaller version of G3X with no controller pedal - for smaller shows, and backup)

Fulltone Fulldrive 3 - Orange model - from the Fulltone Custom Shop
Fulltone Catalyst overdrive
Strymon Sunset double overdrive pedal
TC Electronics Bona Fide buffer
Tech 21 SansAmp GT-2 - distortion
2 X TC electronic Flashback delay
2 X Xotic Effects SP compressor
2 X Boss DD-20 Giga-Delay/Looper Twin Pedal (now discontinued)

Boss PS-3 (delay/pitch shifter - "legendary" - new versions don't have all the wild delay/pitchshift/feedback sounds like these ones!)

E-Bow (both old and new version) + slides (glass and metal)
HoTone Soul Express - mini volume/wah/expression (crappy potentiometer!)
Dunlop Mini-Wah pedal
Dunlop Mini-Volume pedal
3 X Volume pedal (Boss FV-50)
Expression pedal (Boss EV-5 - for Timebender and/or the Ring Thing/H9)

TC Electronic Polytune tuner pedal
Power supply: Yankee PS-M2 - made in Poland, 120/240 - had every conceivable output!
My Yankee (which was great) got stolen!  Have replaced it with the new Strymon Ojai power supply - very small, very powerful, very light - I have 3 (2 boards plus backup!). No AC, but I just use the AC adapter for the Timebender, and am moving to 4 H9 units (instead of Timebender), in any case.

Other stuff I sometimes use (or have used in the past)

Volume Pedal (Ernie Ball)
ProCo RAT - distortion

Boss GT-8 multi-effects processor
Zoom 2100 multi-effects (small floor pedal with tons of stuff: late 90's touring!)
The "legendary" Boss SE-70 multi-effects
(used to have 3, kept one, in case!)

for "Strange Atttractors" CD and tours (1997 - 1999)
Roland GP-100 guitar preamp
2 X BOSS SE-70 multi-effects
Lexion JamMan
Rocktron MIDIMate controller / or /
Lake Butler Midi Mitigator (contoller)

and in the 1980s /early 1990s!
2 X Roland SDE 3000 delays
Ibanez HD1000 delay/harmoniser
Yamaha R1000 digital reverb
Rocktron Intellifex - multi-effects
Symetrix SX201 preamp
DBX 163X compressor

Gallien-Kruger 250RL (head version of the famous "lunch box"amp)

Personal Studio
PRE-AMP/DI: Demeter H series Stereo Tube Mic Preamp/DI

INTERFACE: RME Fireface 400 digital audio interface
MONITORS: Dynaudio BM5 speakers
HEADPHONES: Sennheisser 650, 570 and 450 HD headphones
CONTROL: Mackie "Big Knob" studio command system
MICS: Sennheiser 421 (2), Audiotechnica AT825 (electret condenser stereo - for remotes)
2 X Mackie 1202 VLZ Pro mixer
Marantz portable DAT (1991 - still works perfectly!) - kept as a back-up unit...
Hardware Sampler: Yamaha A4000 (with 128 MB RAM) - kept as a back-up unit...
COMPUTERS: studio: 2013: Mac Mini 2.3 Ghz i7 chip, with 1.2 TB fusion drive, 16 MB ram, two external drives (2 TB and 4 TB), and a Mac Superdrive (CD+DVD burner)
Laptop: 2015: Macbook Air 13.3 ", 2.2 Ghz i7 chip, 128 GB drive+128 GB USB3 key
Old Laptop (back-up, old files):
MacBookPro (2007) 2.16 Ghz, 2 GB RAM, 100 GB hard drive
VIDEO MONITORS: Dell 24" flat screen with built in "soundblock" speakers (main screen)

Hewlett Packard 24" flat screen LP2465 (for notation work - can rotate to vertical)
SOFTWARE: audio - Digital Performer 8.0 / Atliverb - GREAT reverb! /
notation - Sibelius 6 - I LOVE this one! (upgrading to version 8.6 soon...)
Garriton Personal Orchestra 4 / Wallander NotePerformer for Sibelius

KEYBOARDS: Yamaha YPP200 digital piano (88 keys-just for composing)

Yamaha P-85 (weighted 88 keys for rehearsals, electronic projects -
sounds great, weighs 25 lbs!)

For Larger Productions
Converters: Apogee or ProTools HD192
Remote Recording: RME Fireface 400 / RME 800 to Mac Book Pro
On-stage monitors / rehearsal speakers: Yamaha MSR 100 (4)
Mastering Monitors: Genelec 1030 / Dynaudio BM5
Pre-amps: Focusrite, Avalon, Manley, Studer, Neve, Langevin, Grace
Mics: AKG, Neumann, Schoeps, Shure, Sennheiser, Earthworks, Countryman (voice)
My sound tech/recording engineer for the past 25 years has been Morris Apelbaum (Silent Sound Studio, Montreal).  He has the most incredible and ever-evolving range of mics and pre-amps, I can't keep up. I don't even try.  But it always sounds good.