This Favino has a Jacques label and is also signed by Jean Pierre. It is a transitional Favino. Still strongly a Jacques guitar with the growing influence of Jean Pierre. Many other players in Québec were arguing that this guitar sounded good with a microphone...
Well, I bought it because I felt it had something. I had it go to my luthier a couple of times for a perfect setup. It improved the guitar, but it still had this nasal thing. I played the guitar as often as I could and I put it at least 10 hours a day on the Tonerite for three months or so, at various frequencies. It had this treatment and the sound improved. I then lent the guitar for two months to a very good player in Montreal who comps so strong it would tear off the strings.
Guess what? This Favino then turned out to be a superb sounding instrument and I sold it through Michael Horowitz, and the new owner must be in heaven. A real great Favino. So, trust me, a guitar with potential and flaws can sometimes become a great instrument.
I told the story to Dorado Schmitt when he was in Montreal last November and offered him one of the two Tonerite gizmos I had. In turn he just showed me how to play as good as him (just joking).
Live and learn! There is at least one lesson we can learn (I did) from this 1979 Favino story: Guitars with potential can be greatly improved by care, a good luthier, by playing it and also with a Tonerite