Veillette Guitars in the Press

Articles

Veillette Gryphon by Art Thompson, Guitar Player Magazine, May 2010.
The Gryphon ... definitely brings some enticing new flavors to the genre, and that's reason enough for it to receive an Editors' Pick Award.
The Gryphon H1 12-String by Paul Brett, Acoustic Magazine UK,
October 2009.
Sitting somewhere between a standard 12-string guitar and a mandolin The Gryphon looks like a new innovation. It certainly got Paul Brett excited.
Veillette Gryphon High 12 by Bob Thomas, Performing Musician Magazine, April 2009.
As good as the High 12 is acoustically, it gets even better when you plug it in.
Veillette Acoustic Gryphon High 12 by Paul Kotapish, Acoustic Guitar Magazine, November 2007.
A striking, high-tuned 12-string stakes out new tone territory using the familiar fingering of a standard-tuned guitar.
High and Mighty by Joe Gore, Guitar Player Magazine, December 2002.
But the most exciting thing about the Gryphon is its glistening treble response. Crafty players will discover dozens of uses for the Gryphon.

Paris 5 by Brian Fox. Bass Player Magazine, July 2009.
With the Paris 5, Veillette has given bass guitarists a pretty convincing surrogate for an upright.
Mk IV Lined Fretless 5-string Bass by Stuart Clayton. Bass Guitar Magazine (UK), February 2008.
In many ways it really does offer the best of both the electric bass and the upright...
Mark IV Bass by Scott Shiraki. Bass Player Magazine, August 2001.
Veillette Guitar's Mark IV falls into the category of electric-acoustic bass guitars made to sound like an upright...

Parlor 14-Inch by Charles Saufley. Acoustic Guitar Magazine,
January 2010.
Adventurously styled acoustic-electric broadens the definition of parlor guitar.

Veillette Jazz Arched-top by Art Thompson, Guitar Player Magazine, August 2006.
Luthier Joe Veillette recently came up with a design that achieves the playing feel – and much of the tonal richness – of a full-sized archtop, but is lighter, sleeker, and better suited for a life of long drives and one nighters.

Veillette Centaur & Archtop by Jonathan Herrera, Bass Player Magazine, May 2007.
Veillette Guitars of Wooostock, New York, builds sensuous basses and guitars with unassuming looks and exceptional workmanship.

Harmony Central by Brett Ratner. Summer Namm, August 1999.
If you're looking for a cool sounding acoustic instrument, look no further than the acoustic-electric guitars of Joe Veillette…
Guitar Boom by Haven James. Woodstock Times, April 1998.
If the first gun you ever fired was a 12-gauge shotgun, it probably just about knocked you down. It's the same shock with a Veillette Baritone 12-string…
Wild Thing by Pete Prown. Guitar Shop, November 1997.
I feel the earth move. You know that special feeling when a power A chord smacks you in the chest. Alas, acoustic players have never been able to duplicate that sublime sensation… until now.

Singlecut Retro 4-string Bass by Andrew McKinney. Bass Guitar Magazine (UK), August 2006.
In use the Veillette is lively and expressive. The graphite-reinforced neck gives a consistent tone all over and the bass feels nimble and responsive.
Retro Singlecut 4 by Brian Fox. Bass Player Magazine, September 2004.
In the marketplace of meat-and potatoes basses, the Singlecut's fantastic playability, versatile tone, killer vibe, and hefty price tag stand out.
Modern Singlecut 5 by Jonathan Herrera. Bass Player Magazine, June 2003.
The petite Singlecut is beautifully constructed and designed. Staffers agreed that the natural-feeling, stone-colored stain was an elegant match for the dot-less fingerboard and big bridge.

A Graceful Sequence. Woodstock Times, May 2003.
"These are mainly tools for musicians, to facilitate someone making music, that's what I want to do. Making a collectible is of no interest to me."
Sculptured Beauties by Baker Rorick. Guitar Shop, November 1997.
Veillette-Citron emphasized craftsmanship, making each instrument a labor of love.

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