I've heard lots of good things about his guitars. Have any of you played one? I'd be interested to hear how they compare in tone to Collings. Thanks!

Good luck on this comparison, there just aren't that many Proulx's out there. I've played a few, different sizes and shapes, and sat in a jam last year at Winfield that had as many as five (5!) Proulx's at once. These are really great guitars, really! If forced, I'd say they are warmer, rounder, woodier and less metallic sounding than Collings. This is a gross generalization. The circle also had a D1A Varnish in it and it too sounded great.

If you've got a line on a chance to buy a Proulx, do not hesitate, go play it, buy it and tell us about it!

There is all kinds of info on Mario and his guitars over on FLATPICK-L. Mario posts there pretty well daily and a number of members have Proulx's.

I own an OM/D walnut and adirondack. Mario is building a different kind of guitar. It is definitely not a Martin copy. He uses top braces with a strip of graphite in them. His guitars are very punchy, clear, light. I would give him an A for sound and a B+ for attention to detail and finish. My guitar has a few flaws, but I love the sound. His newer instruments are much better in the fit and finish category. The problem is that he builds them one at a time.

Mario has a number of flatpickers who speak very highly of his work. He's got some cool modern design ideas (sandwiched carbon fiber bracing) that have gone over well in a very traditional/repro-oriented guitar market. I've played two. One was awesome, one was really disappointing. I think I just happened to find one of the very few sub-par Proulxs out there as I've heard people who have played a number of them say they've never heard a bad one.

Andrew


Andrew

I have a Proulx Hog/red spruce OM/D with a prototype bevel on the top of the lower bout as an "armrest" which ivery comfortable, and doesn't seem to affect the guitar adversly. When I got it it was tight, but with some help from Mario it is certainly a keeper.

Bull Harman's Poulx Dread is a killer.

Bryan Kimsey's OM/DSoutheast Asian Rosewood, sound as good as any of the dreads he plays in a very interesting comparison of fine instruments. I have one coming soon.

His waiting list is impossibly long, though I made it it after five years.Mario would be the first to say that he is less interesting in perfect workmanship than perfect sound, but his workmanship is excellent, and he seems to have great tonewoods available.

If you want to play one, come to Winfield or Kaufman Kamp. That's the only place they aggregate in enough numbers to compare.

BAR,

They're either a guitar that you'll like or you won't tone wise, seems to me. One friend had an OM/D and I didn't like it's sound at all. He later sold it and the guy who bought it LOVES it - go figure.

I think his dreads are his best sounding guitars, personally. They're strong, punchy with tons of headroom. They're not traditional sounding, which can be good or bad depending on whose ears are judging.

Talk to Roger - he's seen a bunch as well.

Gary Collier

I have owned two and played about a dozen of them. I'm one of the ones that loves them. I think that they are one of the best guitars being made today. I owned a hog/adi OM/D that I sold to buy a Braz/adi sunburst dread. I NEVER should have sold the OM/D. It was all the guitar a person could ever hope for. But I fell under the Brazilian spell. I wound up having to sell that one when things got really lean at work last year. If I ever have the cash and opportunity to buy another, I'd do it in a heartbeat!

FWIW, I played my OM/D next to several vingtage D-18s and it was about as close as any guitar I've played in volume and tone to the old ones.

quote:

Originally posted by Shaun:
I have owned two and played about a dozen of them. I'm one of the ones that loves them. I think that they are one of the best guitars being made today. I owned a hog/adi OM/D that I sold to buy a Braz/adi sunburst dread. I NEVER should have sold the OM/D. It was all the guitar a person could ever hope for. But I fell under the Brazilian spell. I wound up having to sell that one when things got really lean at work last year. If I ever have the cash and opportunity to buy another, I'd do it in a heartbeat!

FWIW, I played my OM/D next to several vintage D-18s and it was about as close as any guitar I've played in volume and tone to the old ones.

While I've not had the chance to see or play a Proulx, it's great to know that loving the tone of vintage Martins likely means I'll swoon over an OM/D. I can't wait for the opportunity. Now, where can I find one?

Well Mario has made right at 100 guitars. So finding one is next to impossible. Flatpick-L is a good place to look though. There are quite a few owners on there.

Homer, as I said goto Kamp or to Winfield.

Bill

If you'd like to hear a well recorded Proulx you might check out the group "Growling Old Men" - it's the primary guitar used. And they are a darn fine group on top of that. As I recall I picked up their CD's from CD Baby.