Peter White & his Super Ace at the
Royal Albert Hall
Peter White on Super Ace guitar with Al Stewart
I became aware of the Super Ace in the late 1990s during a interview for a guitar magazine. Later, I talked to Paul and he explained his design to me. At that time he had only built three prototypes of the Super Ace model but he sent me one of them to use at my show the following weekend. I played the entire concert on his guitar and never looked back.
Paul had told me in our phone conversation that the Super Ace would sound more acoustic when plugged into a sound system than the guitar I was currently using. He also told me that his guitar would resist feedback, due to a special pick-up design. I found that he was right on both counts - it sounded just like an acoustic guitar through the sound system and I had no problem with acoustic feedback.
In the past it was difficult to compete against the volume of a live band - I tried many options, including stuffing my guitar full of T shirts to dampen the feedback. I even tried another guitar that featured the same electronics as Paul had installed in his guitars, but it did not have the sound I was looking for. When I perform, I am sometimes competing with a full drum kit, amplified keyboards, bass, and horns, and I am doing this all with an acoustic guitar. In these demanding stage environments the Super Ace has given me a I confidence I never had before and I am able to focus completely on my performance. I now have four of Paul’s guitars in my collection and use all of them.
Since 1999 the Super Ace has been the guitar that I can count on in any situation.
Introducing: the New Amplification System
Since 2012 I have been working on a new pickup system for my guitars. I now have a novel new system that provides all the capabilities required for stage guitarists who demand quality sound in even high volume performances. Amplification
Larry Koonse accompanies Catina De Luna on his McGill Super Ace guitar
John Mock playing his composition
"The Keeper's Companion"