Go Type II Parlor travel guitar

Tuesday, June 12th, 2007

Just before we left for Hawai`i in April, I received my handmade Go Type II Parlor guitar from Sam Radding at Go Guitars. You can see some clips of this little instrument in action at my Kaleponi Music News blog.

For the last few years, I’ve checked my full size guitar in a Calton case, but I really enjoy having a guitar with me during those long airport waits. When I learned that Mr. Radding would build one of his parlor guitars with a custom neck shape and bridge spacing, I signed up. His guitar turned out to be a great success, small enough to fit in the airliner overhead compartment, good enough to play on stage at the Royal Hawaiian Hotel.

When we returned from our trip, I contacted Matt Hayden to see if we could get together to compare his Larrivee Parlor to this new one. Matt’s guitar is walnut and sitka, just like the Go, so the comparison seemed like a natural.

Here are some pics showing the two guitars side by side.

The Larrivee is several years older, so the sitka spruce top has mellowed to a lovely shade. The smaller body of the Go is evident in this shot, as is the compact headstock and lesser overall length.

Looking at a closeup of the backs, I prefer the walnut back of the Larrivee with its slight curly figure and darker finish, but many people commented favorably on the interesting figure of the Go walnut. The bookmatch on the Go two piece back is nicely done, and the backstrip adds a little appeal as well.

This side by side shot illustrates the shorter body and longer scale of the Go. I think it’s amazing that Mr. Radding has squeezed so much guitar into such a diminuitive shape.

I plugged a DPA 4061 mic into my Marantz PMD670 recorder and played a verse of “Kui Lima” on each guitar. Here’s the Larrivee sample (link). The Go sounds like this (link). In person, the Go seemed a little fuller and a bit louder. In fact, everyone who tried the Go so far has expressed amazement at the amount of sound that pours out of this tiny guitar.

As far as playability, the comparison is a bit unfair. I owned a Larrivee similar to Matt’s but sold it because I had a hard time with neck shape and bridge spacing. One of the great advantages of the Go Parlor is the availability of custom neck shape and bridge spacing. The slightly wider neck and bridge on my Go Parlor makes all the difference in ease of playing.

The first generation of Larrivee Parlors, like Matt’s, were built as style 01 Larrivees, which means they were stripped down models. They were also a wonderful bargain. But these days Larrivee only builds these guitars with style 09 trim. They’re much more nicely finished but cost over twice the price of the older model. The Go, which is handmade and available with custom features, is a terrific value and a very fine way to carry your music with you wherever you go.



This entry was posted on Tuesday, June 12th, 2007 at 9:29 pm and is filed under Comparisons, Guitar. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


5 Responses to ' Go Type II Parlor travel guitar '

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  1. steve miller said in post # 1,

    on April 16th, 2009 at 8:44 am

    Hi Fran,

    Thanks for posting your impressions of your Go Parlor…

    I’m in the process of purchasing one from Sam Radding…

    Curious what sort of neck profile/nut spacing you have on yours?
    Seems to be little chunkier vs. the Larrivee… which is what I was looking for.

    Beautiful guitar btw.

    Thanks,
    Steve

  2. Fran Guidry said in post # 2,

    on April 16th, 2009 at 10:10 am

    The chunky neck (and bridge spacing) was the reason I went to Sam. Mine is 1 13/16 at the nut and 2 5/16 at the bridge, with a fairly beefy neck. My hand cramps if the neck has too little front to back depth.

    Thanks for stopping by,
    Fran

  3. Jan Campbell said in post # 3,

    on July 25th, 2010 at 9:10 am

    I have to say that I think I have finally found the guitar I have been searching for. The Go Guitar Type II is it!
    After listening to your soundbites I’m sure. Thanks for you review. JC

  4. Ben said in post # 4,

    on March 7th, 2011 at 2:29 pm

    Fantastic review. Very useful comparison. Thank you.

  5. Matt said in post # 5,

    on September 12th, 2014 at 1:22 pm

    I’m fond of the Larrivee – it’s been a good guitar. It doesn’t record particularly well, but it amplifies wonderfully and actually sounds pretty good in person.

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About the Blog

    Howdy, my name is Fran Guidry and this is my Homebrewed Music blog.

    I play Hawaiian slack key guitar and recorded my solo acoustic CD at home. Most of the recording information I find on the internet seems focused on bands, drums, multitracking, and so on but my main focus is recording solo acoustic guitar. Lately I’ve been enjoying video recording along with audio, so that shows up in the blog as well.

    I’m also a guitar nut. I love big ones and little ones, handmades and factory guitars, cheap ones and expensive ones. So I’ll be sharing the fun of exploring guitars as well, along with the challenges of amplifying acoustic guitars for live performance.

    Welcome!

Philosophy

    My recording philosophy is pragmatic, skeptical, not super critical. After all, the performance is by far the most important component of a track, and every aspect of any recording is a matter of taste.

    But I do like to know “about stuff.” Back in hifi days I learned about double blind testing. I learned that we humans can easily hear differences that don’t really exist. The more I’ve learned about our human auditory system, the more I’m skeptical of what people say they hear, especially if they claim that a particular microphone or preamp or cable has some magical property.

    I’ve only been recording since 2001, and when I started I found the usual places on the internet. I sought advice and accepted it, thought I would improve my recordings by using more expensive equipment. It didn’t work.

    Two things that did seem to lead to better recordings were experience and room treatment. Getting an appealing sound is the combination of many small details, and learning those details only comes from experience. Amd the sound of the recording space is obviously a big factor.

    I’ve only recorded seriously using digital technology, but I remember trying to record rehearsals and gigs back in analog days. I don’t have any nostalgia for analog recording and playback systems at all. I think even low end digital systems can capture marvelous recordings. So when I look at gear, I look for good specs: low noise, broad flat frequency response, wide dynamic range, low distortion. I’m not interested in colorful components, mics and preamps with a sound, I want the sound to be the sound of my guitar.

    But the last word is that I’m just learning and I hope you find something useful in my posts.