Paul McGill is a 43 year veteran of luthiery who began building at a time when there was a very limited pool of information for aspiring luthiers, learning directly from a mentor or by trial and error. In a time where builders were often geographically isolated from their potential customers and hindered by the politics of the guitar world, Paul strove to distinguish himself through innovation and adaptability. In a field where customer expectations can be more than conservative, he decided to define his own concepts and use them to create instruments that went beyond the traditional offerings. Instruments that could give musicians something more. Originally favoring classical guitar designs, he then moved into the design of resonator guitars after receiving requests from customers trying who wanted a Del Vecchio resonator tone without the notorious tuning difficulties.
The experience was inspirational for Paul and he gained a new perspective on guitar design that allowed him to continue to follow his path of creativity and innovation. He broke from the traditional classical guitar marketing approach and began to enlist passionate players from other genres as well, gaining many faithful customers over the years. The experience would eventually lead Paul to discovering a need by these players and others like them for improvements in live acoustic instruments. The necessities of the stage acoustic guitar are very different from that of an instrument played in the studio or a venue that doesn’t need much amplification. Feedback is a major issue as well as the way that the bridge transmits the vibration of the strings to an under-saddle pickup. McGill pursued this aspect of guitar design for many years, working with McClish RMC system preamps before determining ways to improve on the design to benefit steel string guitars. Partnering with Ben Shaw, an electrical engineering expert, he has formed Go Acoustic Audio, a company which is producing his brand new improved design acoustic preamps used in the new Super Ace line of guitars and to be available as an aftermarket drop in.
Guitar Connoisseur: Can you tell us about your early years and how you got into Guitar building?
Paul McGill: I was a kid who was always using his hands and developing skills. I was flying model airplanes I made when I was 11 years old and making kites younger than that. I spent endless hours throwing a football and developed eye-hand coordination with that skill. I think my hand skills came from these activities from early on.
So at age 17, I tried to build a guitar. I got some of it put together but it never got completed.
In 1976 I made my first guitar at age 18. I spent 6 weeks working with Charles Fox at his school in Vermont. It was a different time. Anything was possible if you worked at it. Rent was cheap, you could live off a low-income job and build guitars in your spare time.
GC: How has guitar building changed over the decades that you’ve been doing it?
PM: When I started there was already a culture of guitar making alive in the country. I was inspired by this knowledge. I spent summers in Boulder, Colorado with family and became aware of local guitar makers Max Kremmel and Monty Novotny – NBN guitars, these were renaissance men to me. Wow, people actually making guitars on their own. They made guitars for many stars in those days – Steven Stills, Jerry Jeff Walker, John Denver – both were making beautiful guitars.
Later I moved to Wisconsin in 1978. I had been in Athens Georgia since going to Vermont. I had heard about a guitar maker in Wisc. before I arrived and I went to see him, Robert Ruck. By that time Bob was probably the most sought after guitar maker in the country. In all the years I knew him, he never had a business card, never marketed, and he always sold guitars well below market value which kept his client list long. I always admired this success even if it was something I grew to understand was not my direction. He was selling his guitars for $800 at a time when a Rameriz was $2000. Nobody thinks this way today. He was making 30-35 guitars a year, alone, in a house in Middleton, Wisconsin. He used the basement for equipment and spraying finish, he used a bedroom upstairs for a shop. He had learned at a young age from a British trained pattern maker, a skilled hand craftsman. Bob carved every neck by hand and made rosettes. I lived under his shadow for many years. It was humbling, but it also made me better.
Today I do not know of anyone that productive as a solo act – UV cured finishes, CNC machines and all.
But Bob was not open to divulging info. Over time he respected me enough to share things and most of my finishing knowledge was from him. In recent years he was different. we talked design and execution and he would want to send me his specs, wanted me to give him feedback on ideas, he was always looking for a better way. He discussed his legacy, he wanted me to be in his tree of disciples but I never worked with him so I did not feel like I was his student even if there was a clear history. Sadly he passed away last year which was the last thing I expected, he was so fit. He was a major link to a different era, 50 years ago.
When I began there were basically two books on guitar making, Irving Sloane’s book of Classical guitar making, David Russell Young’s book on steel-string guitar making. Then there were a few books on repair. The proliferation of information is so much greater now. For the people who came before my time information was even more limited. I think the proliferation of people building instruments was driven by access to information and while that made it possible for more people to be able to enter the market it also requires less out of people.
So in the early 80s, I did a lot of repair work and mostly made steel-string guitars. In 1984 I decided to focus on classicals and threw myself at it into the 90s. When I moved to Nashville I set up a shop in my apartment which was in an old mansion on Broadway near Vanderbilt. I was working at Gruhn’s while spending as much time building guitars as I could.
GC: What impact has the internet had on the world of guitar building?
PM: That’s an interesting question. It has made it easier to enter the craft while at the same time more difficult to be distinguished, it is not unlike how music is more diffuse now, formatted. Today people have their eyes on a cell phone screen mostly, and things go bye in sound bites. One thing I appreciate about GC is I have been given the chance to be fully heard. My story is a long history spanning almost 43 years. Not to dismiss the internet, it is very valuable and I do not think I would want to go back to the times before it, hoping to be recognized by a publisher is something I do not miss.
GC: What kinds of obstacles have you overcome to get where you are today? How important is adaptability in your business?
PM: I guess I could say I failed so many times I had to create to continue, for whatever reason I have had many stages to my career.
For some people, adaptability is the creative pursuit. Many see a holy grail and try to produce or replicate their perception of perfection. This means if too many are competing in a likeminded direction there is going to be a log jam of supply.
In my case, I started off trying to be a classical guitar maker. I was replicating tradition. Years ago I received a copy of the Gendai Guitar catalog. In it, there was a listing of just about every classical guitar maker in the world, and I was just another in a long list of people trying to compete for the same market.
Innovation and novelty are what breaks through the crowd, if not the unyielding lust to own what a guitar hero owns. The classical guitar went through much design exploitation and players were offered something new over the last 30 years that went beyond the Spanish tradition. I think this is significant given the desire of so many for nostalgic designs in other guitar markets. Today it seems that phase has ended and people are going back to more traditional desires for sound, but this is just a limited moment in the ebb and flow of markets. I think Edward Demming had it right when he advised that if you ignore innovation and advances in technology you will fail.
In recent times I have gone back to building some classical guitars that are more traditional. But it is not exactly like going back because all the concepts I have learned are in them only differently deployed.
If you look back over the 20th century which names in the guitar world are thought of first and why?
Gibson is known as an innovative company with a long history putting out original designs, be it mandolins, banjos, archtop acoustic guitars, flat top acoustic models and lastly, electric guitars.
Fender is known because they were the first electric guitar to take over the market.
Dopera was the beginning of resophonic instruments
Martin did not make dreadnaughts in their early years. They were transformed by design changes that are still their trademark.
In almost every case the brands that are remembered are brands that did not copy other designs, they created desirable instruments that took music to a new place.
I feel like I have worked with tradition most of my career, but not to be traditional. In 1992, after making many classical guitars for Earl Klugh, Earl asked me to make a Del Vecchio style resonator guitar. I was inspired to go in a different direction. I sought to redesign the instrument but mostly because it was so novel when people saw it I became very attracted to novelty in my work.
Being a huge devotee of Chet Atkins, Earl loved the DV sound and Chet had given him a DV which was featured on the cover of the “Collaboration” album he made with George Benson. Like most DVs, the guitar was not easily tuned and was a challenge to record. Chet would literally punch in notes and retune constantly while tracking the DV. So in August of 92, I made Earl a DV style resonator.
The prior year was a bleak time for me. The recession had made guitar sales difficult and I was thinking of perhaps moving in another direction in life. All I aspired to be seemed impossible and I had grown weary of the lack of opportunity. So doing the DV was kind of a concession to reality. I thought it would ruin my image as a builder to make a guitar thought of as a piece of junk. I could not have been more wrong. The project allowed me to see the guitar in a new light and changed my perception of how guitars work. I was granted a Patent for the design.
This was a defining point in my life. I realized that creative people are open to experiences that inspire them. Instead of engaging guitarist hoping they would find my guitars acceptable, I found passionate artists who wanted to use a new sound to their advantage and stand out. If you build it they will come.
As a result, I had people showing up interested in my classical guitars. Not so much classical players but a wider range of players with different interests.
This was a new inspiration for me, conceptual approaches to design that would offer something to people they did not already own. Good or bad this became my direction, it has brought me to something new again, Acoustic guitar amplification.
I always found installing pickup systems lacking. I heard about a PU system made by Richard McClish, RMC. A client told me it was the best thing ever. In 96 I met Richard and spent days listening to his concepts and realized I could use them to make a stage guitar that would be capable of handling the demands of guitarist that I could have only dreamed of before that time.
So I envisioned my nylon string electric guitar, the Super Acoustic Classical Electric, the Super ACE. It took me two years to get it made. But it was a success.
Obstacles became directions that took me into places I would never have gone and I was driven in those directions by others who had an impact on my life. I went from chasing a vision to accepting what was given to me. I went from hoping to be recognized by a crowded market to being recognized for doing something different by Chet Atkins, Jim Stafford, Steve Earl, Peter White, etc…. and probably the most meaningful to me personally, the legendary Nato Lima who brought the Brazilian resonator to America and provided Chet his first DV.
The thing I found kinship within Nato was his struggle. Here was a man born into a tribe in northeast Brazil. He grew up a true primitive and his stories were completely fascinating — too many tales, too long to repeat. But what he overcame in life was so massive I stopped looking at the hurdles the same way. This was a guy who had to deal with being discredited by Segovia. Why?
Nato took classical music to a place on guitar I don’t think has ever been matched. He would say things to me like, “They want perfect? No, they cannot have perfect,” or “I would rather be the first to do it worse than the last to be perfect.” He was not interested in limits on his creative passion or proving he was better than anyone, He would say things like, “I now play something you can not”, he was literal about it, not so much I am the greatest. He did not worry about what people said, only his connection to his audience as he perceived it.
If Nato wanted to play a high note beyond the fretboard he would drive a spike in the top and play it. If he wanted to play with a pick he played with a pick. He attached a pick to his thumb using a rubber band through a hole in it. He would say, “ I do with one condom.” I am sure he did.
Being innovative is often a risk so great it cannot be overcome in the perceptions of others. But knowing Nato taught me how to use creative intelligence. He sold a lot more records than Segovia but to a different audience. That was his gift to me. Make your own success, find those who relate to your novelty and don’t be distracted by the negative energy of those who don’t.
The Los Indios Tabajaras version of Maria Elena is still the third most successful instrumental hit of all time behind only Classical Gas and Tubular Bells. Imagine that, an uneducated Indian from the jungles of northeast Brazil. I believe you must develop creative intelligence to interact with others as an artist.
GC: What is your design methodology and how do you select the materials you use?
PM: The use of materials serves the needs of the design or the purpose of the design. The concepts that are deployed in design to enhance the aesthetic, energy, or dynamics of the instrument.
These things can be anything from sustain to percussiveness, or all things combined.
GC: Can you tell us about your relationships with the artists that play your instruments and what is the importance of having those relationships?
PM: Back in the winter of 1989, I suffered a fire and my shop was put in storage for a few months. It was during that lull that I learned Earl Klugh had recorded a “Solo Guitar” CD and used two of my guitars for the whole project. There was probably no one event that was more significant to my career. I had never met him. I had no idea it was happening.
In 1999 I was trying to get my nylon string stage guitar off the ground, a friend was interviewing Peter White for Fingerstyle Guitar Magazine and called to tell me Peter wanted me to contact him about my new design.
The owner of Fingerstyle Guitar came to me in 1993, John Schroeter. John is a special guy who created a big tent with his publication and I believe he did so much for the guitar. John was doing a cover on Earl and he was not getting an arrangement required for his edition from Earl. So I called Bill Piburn knowing Bill could put Earl’s arrangement on paper and then I faxed it to Earl. He called so grateful that I had done that and the issue came out with “If I Only Had a Brain” from “Solo Guitar” in it for readers to learn.
I emailed Peter and then we talked for a long time. He said it sounds great but there is no way he could know if it was usable unless he got it on stage. I overnighted a guitar and the next night he performed on it. He called me several days later and said he had to have it. He also went out of his way to say that in his experience people pitch lots of products that usually do not live up to their presentation, but he felt like everything I had told him about the guitar was true.
I have had the good fortune of interacting with some of the most successful guitarists to ever live. But building a guitar for someone does not define success in relating to them.
I see other people in my field put up names like it defines them. Sometimes I see guitarists’ names used by another maker and my history with one of those players is more significant. I try not to overuse people.
So what does it mean for a great guitarist to play your guitar?
It can mean nothing really. Just another shirt in the closet worn occasionally and returned to the hangar, a tool for some occasions. Or it can be a bond that an artist relies on and has a creative connection with. The dark sunglasses on Roy Orbison. Something that is defining in the creative sense.
The most rewarding thing for me is when a player comes to me and says that my work has made a difference for them. It does not matter if they are well known, although when a well-known player says something like, “You changed my life,” it has left me speechless.
I first met my friend John Standefer in the winter of 94. John asked me to make him a resonator. He is a devotee of Chet’s style. I have known John all of these years and he is a great guitarist. It was wonderful to see him win the Winfield Fingerstyle championship in the early 2000s. John has been a generous contributor to our development of the new amplification system. To answer part of your question, it means a lot to have interaction with the best if you can trust you are getting honest information about what you are doing. It can be a gift for both parties.
When John started playing my Super Steel model he was not convinced it would be his main guitar. But then he called one day and played harmonics all over the neck in odd places. He said he never was able to do that on any other guitar. He went on to define the guitar as having the best qualities of several of the favorite guitars he had ever played in his life, all combined into one and then even more beyond that. That kind of bond is artistic. The guitar is all he plays now.
I hope your readers check out my old friend and come to know his musical brilliance. A few years back he made a duet record on my Super Steel with a brilliant young guitarist named Brooks Robertson. “Guitar smiths” It’s a great example of his ability to arrange music for guitar and it’s wonderfully performed.
GC: Would you say that each musician has their own requirements when it comes to the sound of their stage instruments? Do you have to be very precise based on those needs?
PM: I try to listen; part of this business is learning to interpret the words you are told into the desires of the buyer for a specific outcome. It is an undefinable set of parameters. It’s listening, it’s making decisions about what is requested and then executing to an end result. Sometimes it’s just how the guitar feels and sounds. Chet said to me once when I was carving a neck for a guitar I made him, “If it sounds good I’ll get used to it”.
GC: You’ve made transitions from classical’s to resonators to state of the art stage instruments. What was that journey like and where is it headed?
PM: My journey includes steel string guitars as well. I took the Super Acoustic concept for nylon and designed a steel string version as a fingerstyle model.
My journey started at a young age. it was survival. I remember going out at night and hanging around in music spots hoping someone would ask me to work on a guitar, so many people and events from so long ago.
I lived in Wisc. From 78-85, those where foundational years when I created the ability to make consistent guitars. It was living by a thread and working with little tooling.
I came to Nashville to take a position at the Gruhn shop when it was at 410 Broadway across the street from the Ernest Tubbs Record shop. I watched the scene recently of the NFL draft with several hundred thousand people crowded on Broadway and thought back to what it was like when I moved here. Street people bundled in winter coats on a 100-degree day, Johns and prostitutes.
I came to prove to myself that I had mastered the craft and for a few years I did a lot of repairs and restoration work. So as much as I have discussed Classical guitars I have a very deep background in Steel string instruments that date back to my days in Wisc. , where I made guitars for successful acts like Free Hot Lunch and Timbuk 3 before they became known as Timbuk 3 across the country.
Often creative journeys consume your life for long periods of time. I was consumed by the resonator project for 5 years. I chased the classical guitar for longer than that. Most recently I have been engaged in a pursuit for amplified sound with my partner which for me started 7 years ago.
I must say that McClish was a major inspiration for me 23 years ago. My need for stage amplification became pivotal to my models and about 7 years ago I came to understand that unless I had creative control over the live sound I could lose it. If you are dependent on something what happens if its no longer available?
So my current focus has been to develop an amplification system that serves the needs of the guitarists that already rely on my work.
GC: Tell us about your journey into pre-amp technology and the Super Ace.
PM: We are proud to introduce a new PU system.
Go Acoustic Audio
I started this journey as an electronics neophyte. Like I have said, I think conceptually so finding a partner to execute my whimsy was probably the most difficult task. Why? Because if you do not know how to evaluate the abilities of those you seek to design circuits you don’t find solutions. I had interactions with many people that failed to go anywhere. I was 3 years into my search for answers when I discovered someone who has been the most amazing partner I could ever hope for, Ben Shaw.
I met Ben through one of Nashville’s great drummers, Greg Morrow. Greg had come to my shop many years ago with a mutual friend who helped him refinish a drum kit, I let them polish the drums on my equipment.
I called Greg and he recognized me right away. In our conversation, I expressed my frustration with electricians and he told me of his issues keeping his studio functioning. He then said there is ONE guy. That was how I became aware of Ben. Since 2015 I have worked with this talented and gifted young person to achieve my desire to have a
GC: Phase cancellation on hexaphonic output. Use of odd and even strings in reverse phase. Mass filtration. A differential circuit that’s 80 % efficient. These are terms that leave many people scratching their heads, can you enlighten us?
PM: It’s easy to say too much, harder to make these things clear.
In developing our system the most important thing to conquer was feedback.
The McClish, RMC system uses a unique concept that can be defined as mass filtration to prevent feedback. Basically, the string sits on a suspended string rest which attaches to an uncompressed transducer mounted under it. The string rest is 5 times heavier in the center than at each end so that Newton’s law of mass can be exploited. The mass in the center prevents vibrations from cycling back to the transducer. Unfortunately the string its self is not mass filtered so the effect is good on Nylon strings but in my experience not as effective on Steel strings which seem to overcome the filtering effect more so than nylon. In the earlier RMC Preamps I used, the odd and even strings were running through separate input circuits which were differentially opposed making the strings out of phase. Recreating the RMC design was not a very practical approach because it would require making a complex PU to exploit mass filtration.
I started off looking for a set of individual PUs, I discovered the Saddles made by Graphtech Labs in Canada around 2013. I also attempted to use the Barbera PU which at the time had growing popularity.
When Ben began working on the preamp design he first looked at the differential circuit of the RMC input and calculated its efficiency as being less than adequate for achieving enough phase cancellation to control Feedback. It was clear that more would need to be done. It was two years to develop the basic circuits and another 2 years refining and beta testing the sound with many performers.
In the beginning, I was convinced I would use the Barbera PU. My friend and Nashville guitar guru Joe Glaser exposed me to the Barbera, it has internal phase inversion in the construction of the PU body, the Transducers are wired alternately + and – which reverses the phase of odd and even strings. The perfect solution I thought. Unfortunately, the result was not as effective as was needed and without individual string outputs to the preamp, we could not get the desired result after days of trying through the circuits Ben designed.
So we settled on the individual Graphtech PUs which have worked out very well for us because the string energy is isolated on separate saddles and each string has its own separate wiring. I feel like the Preamp Ben designed goes beyond the effect of mass filtering in controlling the individual strings in a way that could not be done after the signals are combined.
The GT saddles are pressure sensitive and this changes the vol. of each string under varying loads, so our preamp has vol. adjustment for each string yielding perfect string balance.
It also allows midi output if desired, but its not the main focus of the system.
GC: You have an interesting story about Ben Shaw, who has worked on the engineering of your products. Could you share it with us?
PM: For me, Ben has become the most significant designer of analog acoustic guitar electronics to appear in a generation, and I am so excited by all that he has created for not only my guitars but the guitar community as a whole who have experienced it.
Ben is not an average young person in my opinion. He was only 23 when I met him. He already had a history with Pro Audio and was discovered by a well respected Audio Electrical Engineer while he was earning a degree in Mathematics at Belmont University here in Nashville. I was nowhere as accomplished when I was young.
The Engineer is Sal Greco and Sal designed and built Oceanway way studios on Music Row as well as in Ca. He also designed Paisley Park for Prince. Ben spent 3 years at Oceanway and worked there reverse engineering vintage gear and taking on projects like converting a later vintage Neeve Mixing board to a 60’s version.
The technology Ben needed to deploy in our project is SMT technology, or Surface Mount Technology, to make circuits compact enough yet inclusive enough to fit in a guitar. He learned most of this technology while developing the GO Preamp on his own. Its amazing how much can be put in such a small space, but
The system is more feedback resistant and does not feedback easily even though the Graphtech PUs are not mass filters. The GT PUs are also solid and I feel they sound much better acoustically than the other high-quality sounding PUs like either RMC or Barbera, which both have flexible string supports that absorb energy from the string to create added output voltage. It is also an excellent MiDi system from what I get back from those using midi exceeds other products they have used.
GC: How important is the separation of strings in amplification design?
PM: I always hear players talk about an amplified Acoustic sound. So the question is what does that mean? If we look at how string energy is transmitted into a soundboard is it not filtered? The Bridge has mass. Ebony bridges have more density and mass. So a lot of high frequencies are filtered through this mass and The natural string noise is regulated to limit harsh high frequencies inherent to strings drawn across a saddle. So how do we get the effect of mass, limiting high frequencies, when a String is in direct contact with a transducer? The highs are not filtered. If the transducer material has a tendency to create ultra-high frequencies then the issue becomes more noticeable. The under saddle Pus that are compressed tend to have a tonality referred to as Thwack as well.
So in an acoustic sound, the String transmission is filtered through the bridge. Then there is the body cavity resonance and lastly the percussive effect of the body structure.
As Amplified volume is increased the cross over energy between strings accelerates. This means the strings have greater amplitude. The harmonics tend to cycle between strings and create an uncontrollable interaction. So string separation improves the control of the interaction between strings at greater amplitude.
GC: What does your system bring to the table for stage performers?
PM: I think the Go Acoustic Audio amplification systems changes the expectation of live acoustic sound. You can literally exploit an acoustic guitar in a loud stage environment. I have been in situations where I was playing with a group and walked over and placed the guitar in front of the monitor with no feedback. Of course, anything will feedback but that is our experience. `
The first thing it does is allow the performer to relax and enjoy the interaction with their guitar. The guitarists do not have to be on edge wondering when their margin for volume is consumed and cycling starts to be a struggle.
I had a great guitarist at my shop recently after installing the Go Acoustic system in his guitar. He sat down, played and applied vol. as he played, back and forth between acoustic and amplified tone. That is part of the expectation, does my guitar sound like it does unplugged. He took note of this, how faithful the Plugged sound was to the acoustic sound.
Last Year I got a call From Marc Antoine, it was 8 am on a Sunday morning. I had installed a system for him more than a month earlier and I had fallen asleep on the couch my phone was laying next to me. I thought Marc is calling at 8 am? this cannot be good, what has gone wrong, did it quit in the show and is he panicked because he was on a tour with a dead guitar. So with trepidation, I answered and Marc said, “Do you want the god honest truth”, Still in trepidation, I agreed to hear the truth. He said, “this Bleeping thing is Killer”!! There was a silence on the line for a few seconds as my anxiety released and knowing he had set me up he was laughing at me.
Marc then went on a long explanation of everything he experienced the night before, his first show using it. He explained he could drone strings below and single line above with no fear of feedback, something he explained he had never been able to do. He said the touch sensitivity was as if he was not plugged in and he could exploit his technique through the sound system, at one point he said, “I can feel my nails in the speakers”.
The system has also been reported to be very dynamic. Peter White has played a Super Ace since 1999. Until last year he always had RMC to work with. He agreed to let me install a Go system for him. I did not know he did it but he explained later he was using a booster box to drive high notes above the band when the dynamics became very loud and he had to get on top of that dynamic. He reported that with Go he no longer needed the booster. He could dig in and cut through more dynamically.
Last Fall I visited Peter at a Show outside Atlanta. I took several version of the Preamp for him to try and while backstage I walked past a sound engineer who stopped me and asked if I was the guitar maker. He then told me that he had worked with my guitars on stage for years but the new guitar was way better. He said he was running sound the first night Peter used it last summer. I explained it was not a new guitar just a new PU system we were developing. He said the difference was immediate to him. I asked what he noticed. He said the guitar has more definition, It was easier to mix and it sounded more natural.
GC: How do you remain relevant in a constantly changing market?
PM: I just try to use my creative intelligence and keep myself conceptually inspiring as best I can.
GC: Are there artists that are using your pre-amp technology now?
PM: Yes, it’s grown into a very nice list of players.
Thom Bresh- son of Merle Travis, collaborated with Chet Atkins
Pat Bergeson- Great Nashville player who came here to work with and play in Chet’s band.
Jack Pearson- Nashville’s revered guitarist who spent time as an Allman brother and worked with so many others.
Rick Vito- The “Like a Rock” track we all heard on TV commercials from his recording with Bob Seeger, he also worked with Delanie and Bonnie, Replaced Buckingham in Fleetwood Mac in the ’80s and toured with acts like Bonnie Raitt and John Fogerty. I upgraded the guitar he used acoustically on stage with Fleetwood Mac and solo tours with Stevie Nicks.
Ray Kennedy- The vintage sound studio owner of Nashville who owns 5 Grammys for his productions.
Gary Nicholson- Storied Nashville songwriter
Peter White- Al Stewart collaborator and band member, Bashia, Matt Bianco, and his long career as a Composer and headliner in contemporary jazz.
Jonathan Butler- The great artist from South Africa.
Marc Antoine- Classically trained Jazz guitarist, sideman to many acts including Two projects with Sting and the soundtrack for Clint Eastwood’s Midnight in the garden of good and evil and headlining Performer and mainstay of contemporary jazz airplay.
Larry Koonse- Guitar faculty at CalArts and major touring and session guitarist for so many going back decades. Truly one of the most recorded guitarists of the last 40 years.
Strunz and Farrah- The legendary guitar duo that features their incredible technical exploits combined.
Joe Taylor- Long time NY session player, currently is Performing with and producing acts in his studio In South Carolina,
Tim Thompson- Winfield Champion
John Standefer- Winfield champion
Jeff Troxel- Winfield champion
Wayne Johnson – Contemporary Jazz artist
GC: So after all this time, you’re ready to begin crowdfunding for your state-of-the-art pre-amp! How are you going to accomplish it?
PM: We plan to get the word out this summer and want to begin a crowdfunding campaign Sept 1st.
We would like to raise funding to expand our product line to include more drop-in replacement systems which will require investment in molding to accomplish. We also need to build an inventory to sell and provide all other expenses in establishing Go Acoustic Audio in the market place.
GC: Can your technology be retrofitted onto guitars that are already using other electronics?
PM: The short answer is yes, the long answer is we want to be the Go-to replacement system for as many retrofits as we can provide.
Right now we have Systems that drop into two OEM installations.
The first is a Taylor ES system retrofit. The second is a replacement for the Godin Polydrive RMC system.
We also have a 3 band EQ + Vol. system, that I use in my own guitars,
And a simple nonintrusive soundhole mounted control system like many products sold today.
We hope to be able to expand our product line to serve more aftermarket needs and this is part of why we are crowdfunding.
GC: Is there anything else you would like to share with our readers?
PM: Thank you to the guitar community that has supported me for so long and made it possible to pursue such an unusual career. I have had so many great people to share this career with and I will always be grateful.
To Learn more about Paul McGill you can visit his website at: mcgillguitars.com
To Learn more about Go Acoustic Audio you can visit their website at: goacousticaudio.com