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Thread: Time to get real. Forget looks, post a pic of the best sounding PRS you now own.

  1. #41
    I enjoyed that Kinglsey, and the most excellent guitar faces made the whole thing even better.

    That guitar sounds great!
    I saw ten thousand talkers whose tongues were all broken...

    Website: http://www.elfxi.com

  2. #42
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    Quote Originally Posted by kingsleyd View Post
    I did a quick-and-dirty iPhone video of the singlecut HB spruce yesterday. As usual with the iPhone, the midrange is overcooked and there's too much reverb, but whatever. It sorta kinda gets the idea across.

    The more I play this one, the more I like it.


    Hey Kingsley,
    REALLY sweet playing and tone! LOVE it! We need more clips! I love hearing everyone play, regardless of levels. HEARING is what this is really all about! I need to check some of those out again. I think the Spruce tops are the way to go. Its really the perfect balance. When you play a Maple top next to Spruce, you can hear and feel the "hardness" of the Maple. (The Maple sure can look pretty though) I remember going back and forth on the old R.ford fender models. The Spruce was just IT. Regarding the other guitar, I think it had a "blackwood" board? Is that similar to ebony? I find your description of that guitar very similar to my thoughts on my Blue (and probably favorite) PRS. Its not an easy guitar to get along with. Going back to a RW board is kind of like ..AHHHHH!!!! I can play so much easier and with much less energy spent! However, you lose something tonally. The harder attack and fighting is really not heard for some odd reason, but all the positive tonal attributes ARE. (Of course the additional clams are heard as well!) The pern neck I tried had a RW board, and none of that pop or clarity ebony gives you, so I am wondering if its the blackwood you are hearing, and not so much the pern. My ebony board is on a regular Mahogany neck, and effects the tone of the guitar more than a solid Brazzy or Maple neck even does! I find the same thing when comparing a Gibson 339 to my 359. (Same basic guitar, just an Ebony vs RW board and some aesthetics) They sound completely different! On a PRS, it is even more pronounced though, and I think it is because the longer scale adds some snap and zing anyway, so the ebony just adds to that even more.

  3. #43
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    Speaking of hearing...here is one I did last night with the bridge 57/08 split on the guitar. It helps take away some muddiness, and if you roll the tone control back about 1/3rd of the way, it sounds almote just like the hum position, only a bit less thick. I love the way PRS has their tone controls configured. So many great tonal shades available.


  4. #44
    Senior Member vchizzle's Avatar
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    I have a hard time with the word "one", but...


  5. #45
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    Quote Originally Posted by Tag View Post
    Hey Kingsley,
    REALLY sweet playing and tone! LOVE it! We need more clips! I love hearing everyone play, regardless of levels. HEARING is what this is really all about!
    I agree. For me, as well, it's all about the sound, and more data is always good.

    I need to check some of those out again. I think the Spruce tops are the way to go. Its really the perfect balance. When you play a Maple top next to Spruce, you can hear and feel the "hardness" of the Maple. (The Maple sure can look pretty though) I remember going back and forth on the old R.ford fender models. The Spruce was just IT.
    I don't know how easy to find they are. Mine came about as the result of a lot of discussions among Craig Snyder, Paul Smith, Paul Miles, and myself. The spruce/hollow idea was in the forefront for both Craig and me because we'd both gone kinda gaga over a spruce Collings SoCo that came through Craig's shop. We also share a fondness for the SOUND of an old Super 400CES (think early-60s Kenny Burrell; Gary Burton-era Larry Coryell; Eric Gale) but not for the huge body. Besides that, we'd both been through the whole Gustavsson Bluesmaster S tornado, and I'd been through a bunch of other semi-hollow guitars trying to find something I kept not quite finding.

    (here's a demo track I did with the Bluesmaster S that I owned for a while: http://www.soundclick.com/bands/page...ongID=12025507 )

    ^^^ now I really like the sound of that guitar on that track (it's the main guitar, also the guitar I used for the solo; the crunch guitar that comes in on the second verse is the pernambuco-neck Collection guitar) but there's something missing for me, which is that sweetness that spruce provides, as well as a little different articulation. The other thing is this: I like the PRS 57/08 pickups WAY more than the Throbaks that are in that Gustavsson. People go gaga over those Throbaks. I've now had them in four different guitars, and in every case I have had issues with them. One of the main issues has to do with the way the tone and volume pots work. PRS *gets* that. It's a whole circuit, you know: how the pickups, the pots, the caps, and even the wires interact. On a great old guitar like my PAF Les Paul, everywhere on both the tone & vol dials there's a usable sound. With the Throbaks, they sound pretty good with everything on 10, but get off of there and they go to hell in a hurry. Totally unusable for me, and why that lovely Bluesmaster S was sent off permanently after only about 9 months.

    Regarding the other guitar, I think it had a "blackwood" board? Is that similar to ebony?
    Yeah, more or less. It's a little more waxy and a little harder. It's what they use to build high-end oboes. (if you think we're all nuts, you should talk to my friend who is a serious oboe player about THAT world...) With any one guitar, it's hard to conclude anything about any particular element, and it's the only guitar with that fretboard wood I've ever played, plus it has very distinctively-voiced pickups. So I have no idea whether I'm hearing more "pernambuco" or "blackwood" there. In the pernambuco-neck guitars I've played, it seemed like the main effect was more pronounced on the ADSR envelope than on the frequency envelope. All the perny-neck guitars I've played seemed to have a distinctive ADSR curve. They don't have that characteristic "bloom" thing that good mahogany necks seem to do; they're more even, with better definition on the attack, and absurd sustain: they seem to ring forever. (which is why I had Scott Walker put a pernambuco neck on the fretless guitar he built for me this past year)

    I find your description of that guitar very similar to my thoughts on my Blue (and probably favorite) PRS. Its not an easy guitar to get along with. Going back to a RW board is kind of like ..AHHHHH!!!! I can play so much easier and with much less energy spent! However, you lose something tonally. The harder attack and fighting is really not heard for some odd reason, but all the positive tonal attributes ARE. (Of course the additional clams are heard as well!) The pern neck I tried had a RW board, and none of that pop or clarity ebony gives you, so I am wondering if its the blackwood you are hearing, and not so much the pern. My ebony board is on a regular Mahogany neck, and effects the tone of the guitar more than a solid Brazzy or Maple neck even does! I find the same thing when comparing a Gibson 339 to my 359. (Same basic guitar, just an Ebony vs RW board and some aesthetics) They sound completely different! On a PRS, it is even more pronounced though, and I think it is because the longer scale adds some snap and zing anyway, so the ebony just adds to that even more.
    Hmm, I haven't played many ebony-board PRS guitars but your theory makes sense to me.

  6. #46
    Quote Originally Posted by vchizzle View Post
    I have a hard time with the word "one", but...

    OK, that's one of the most beautiful guitars, ever.
    I saw ten thousand talkers whose tongues were all broken...

    Website: http://www.elfxi.com

  7. #47
    Raven Lunatic Raven17's Avatar
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    Quote Originally Posted by vchizzle View Post
    I have a hard time with the word "one", but...

    Everytime I see that one I wish I'd never let it go. Stunning
    2014Private Stock Custom 24,'14 Tremonti Artist,'13 HB II Artist, '11 SC 58 Artist,'10 Private Stock Custom 24,'12 Custom 22 Artist, '12 Tremonti one-off,2007/13 McCarty Korina,'13 408 10Top, '11 Custom24 10Top,'12 DGT w/BK Miracle Man pups,'12 Studio w/BK Cold Sweat,'07/13 Navarro w/BK Cold Sweat pups,'09 Tremonti SE with \m/ pups, EVH 5150 Half stack, Randall Half Stack, Hughs & Kettner TubeMeister, other fiddles beyond counting

  8. #48
    Senior Member sergiodeblanc's Avatar
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    Quote Originally Posted by vchizzle View Post
    I have a hard time with the word "one", but...
    It's lookin' at me again man.

  9. #49
    Recovering Bass Player ]-[ @ n $ 0 |v| a T ! 's Avatar
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    Quote Originally Posted by sergiodeblanc View Post
    It's lookin' at me again man.
    Mmmm hmmm.
    One Life

  10. #50
    Junior Member dprather's Avatar
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    I don't have any really good photos of this one, but it's the guitar non-musicians always told me sounded the best after gigs at the local bars, and my Gibson loving friends bring over their LP's to see if they've tweaked and changed enough to stand up to my 245. (Jesus says you have to love everybody, even Gibson fanatics and Ravens fans)

    This is the nitro Sunburst 245 - (the 3 nitro guitars were so unpopular the line was cancelled before it really got started) - there is something magical here. (I was told it has no grain filler and only 3 passes of nitro before calling it done) I think this was one of the earliest models to get 57/08's, so they're from the wildly unpredictable days, no etching. This poor thing has been dropped on stage, played outdoors in Houston summers (which is like gigging at your local sauna), and is really starting to show lots of what I like to call 'character'. It's not the guitar I grab first, but it IS the one that pretty much everyone else picks as their favorite over and over. I'd really like to have the McCarty and Cu22 from this line so I can spread my dings around....


  11. #51
    Senior Member vchizzle's Avatar
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    Quote Originally Posted by sergiodeblanc View Post
    It's lookin' at me again man.
    Quote Originally Posted by ]-[ @ n $ 0 |v| a T ! View Post
    Mmmm hmmm.

    Quote Originally Posted by Raven17 View Post
    Everytime I see that one I wish I'd never let it go. Stunning
    I thank you kindly for doing so. It's the best sounding SC I own and my favorite guitar.

    Quote Originally Posted by LSchefman View Post
    OK, that's one of the most beautiful guitars, ever.
    It's undergone a few mods since I got it. Gold is not for me, so it's all gone. Tuners replaced with locking Gotoh kluson style tuners, uncovered 5909 pickups and a PRS adjustable stoptail.

  12. #52
    Junior Member pjdude's Avatar
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    My IRWMcCarty - my go-to guitar for just about anything!


  13. #53
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    Quote Originally Posted by Tag View Post
    Speaking of hearing...here is one I did last night with the bridge 57/08 split on the guitar. It helps take away some muddiness, and if you roll the tone control back about 1/3rd of the way, it sounds almote just like the hum position, only a bit less thick. I love the way PRS has their tone controls configured. So many great tonal shades available.

    Man Tag that is THE sound! To my ear there is just enough hair that you could have taken those passages anywhere and it would have fit. Really great.

    Are you running any pedals into the Quinn here?
    Chasing Fragile Harmonics...

  14. #54
    Senior Member slev's Avatar
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    This one has put my DGT on the bench which I didn't think possible.

    Gear: Fender, PRS, Orange, Budda

  15. #55
    A♥ hoards guitars ♥A rugerpc's Avatar
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    Not at my regular computer, but I can use this pic. My gold top HB spruce is my most played guitar, hands down! I used it in the thread award pic!

    Thbbbbbt...
    Check it out: Phillybri used to have a band: Resonance, but he's soooo missingpieces over them now!
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  16. #56


    Ive own (and still own) some outstanding PRSs and DGTs but this one tops them all. The George Music Center Korina DGT limited run, one off Grandma Hannon Pink w/braz board with Dimarzio 36th PAFs. She purrs like a cat and wails like a banshee. Incredible guitar.

  17. #57
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    My DGT has been doing it for me for the past six years. It's armed with very early 57/08s...soon to be some very different pickups in there.
    __________________________________________

    mgd

    DGTs

  18. #58
    Quote Originally Posted by slev View Post
    This one has put my DGT on the bench which I didn't think possible.

    I've been singing the praises of that model and the two piece bridge...it's really great, isn't it?
    I saw ten thousand talkers whose tongues were all broken...

    Website: http://www.elfxi.com

  19. #59
    Senior Member slev's Avatar
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    Quote Originally Posted by LSchefman View Post
    I've been singing the praises of that model and the two piece bridge...it's really great, isn't it?
    Truly. I've had some great SCs, had 5708s in one, but the tones this one produces are just special.
    Gear: Fender, PRS, Orange, Budda

  20. #60
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    Quote Originally Posted by Faded View Post
    Man Tag that is THE sound! To my ear there is just enough hair that you could have taken those passages anywhere and it would have fit. Really great.

    Are you running any pedals into the Quinn here?

    Hey thanks! I really appreciate that! No pedals, straight into the Quinn. (I did have a Trex roomate reverb pedal in the loop, giving it the verb) For me, the Quinn (Dumble 183 clone) is the perfect amp for overdriven tones. You can play harmonically soaked tones with the presence turned up, or smooth as glass tones with the presence and treble rolled off just a bit. Its the closest thing to a "clean" tone with lots of sustain added. The only problem for me, is that the cleans on ANY Dumble are not as good as the best Fender cleans. Thats why I have a Super reverb as well. I use an A/B box, and have the fender for the ultimate cleans, the Dumble cleans for big fat middy cleans, and step on the overdrive button on the Quinn for my favorite drive tones ever. Of course you then have the preamp boost button on the Quinns pedals for cleans with boost, and overdrive with boost to send you into over the top metal tones if you want them. I never use the boost. Way to much gain for my needs. I also use a Mad Professor Sky blue overdrive sometimes in the chain, then I get...fender cleans..fender cleans with Mad professor overdrive, Hit the A/B box and I go to Quimnn cleans, then I can add the Mad professor overdrive the the cleans of the Quinn, then I have the preamp boost of the Quinn in clean mode, both with or without the Mad professor pedal, and the overdrive on the Quinn, with or without preamp boost, or with or without mad professor pedal! There is every level of gain and clean from KILLER bop jazz (fender straight in)to totally over the top metal with Quinn and boost or Quinn and mad professor, or Quinn and boost AND mad professor. SICKNESS!!! I finally have every tone I could ever want with just two amps and an A/B box. The mad professor just adds all kinds of in between shades. GREAT pedal!!! (Blue sky hand wired version)

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