Chris Henderson of 3 Doors Down has been playing PRS Guitars since 2000. For 2012, he has revamped his Maryland-made signature model, shedding the middle pickup for a classic electronics configuration. This guitar will now feature a PRS 250 treble pickup and #7 bass pickup with a volume and tone control for each and 3-way toggle on the upper bout, making this not just a guitar for 3 Doors fans but for anyone lamenting the discontinuation of the PRS SC 250 model. Other features include a maple top, mahogany back, mahogany neck, rosewood fingerboard, and adjustable stoptail bridge.
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Finish should enhance the look, sound, and feel of a guitar by accentuating the wood’s inherent beauty and feel without hindering its natural resonance. And PRS Guitars’ new “V12” finish does just that. Introduced at Experience PRS 2010, “V12” is a very thin, hard, and clear finish that will not crack or react with thinners. After roughly 12 years in development, it is halfway between acrylic and nitro but with a classic feel all its own. “PRS models with this new finish feel like old instruments,” said Paul Reed Smith.
Neck shapes have always been a high priority for us and a hallmark of our quality. A guitar should feel comfortable, like “home,” as soon as you pick it up, and the neck is paramount to that connection. Perfected after years of prototyping, the new “Pattern” neck is an updated Wide Fat PRS neck style based on Paul’s pre-factory design. These necks were found on the instruments built for Carlos Santana, Peter Frampton and Howard Leese from the late 70’s to the mid 80’s.
Whether in woodworking, machining, or cast and die work, pattern making is the art of arriving at a perfect standard which can be duplicated or used to create new designs from by “offsetting.” All of our necks came to be as a result of offsetting from this original, Wide Fat design.