Private Stock Question - Santana Semihollow

[PabloRocha]

I have never played a semi-hollow Santana. I'm comparing semi-hollow PRSes in general to solid body ones.

Good point

 

[sergiodeblanc]

Completely agree with this. I've had a P245 SH, the Cu22 SSH Ltd, and a 594 SH. None of them sounded drastically different from their full body counterparts. Maybe a minimal change, or airiness, but not enough to sway my mind, one way or the other.

Also agree that the Santana model is the best PRS model ever.

And your old redwood topped Signature Limited. That guitar felt and sounded hollow to me.

That's interesting because a Les Paul sounds different from an ES-335.

Through a cranked Marshall or with mondo-distortion they start sounding much the same.

But played clean or semi-clean they sound and vibrate quite differently.

335s (as you’re aware of) have wildly different construction, dimensions, and materials. I’ve never played an ES LP (or whatever their real name is) but I feel like that would be a better comparison.

 

[Greywolf]

While I love Semi's , hollow bodies , and chambered guitars , in regards to the Santana specifically I would lean on the solid . I have a semi hollow Santana built by Tony Nagy with coil tapped low wind Fralins . It is a delightful instrument but doesn't have quite the "meat " of the solid. The Santana is one of the heavist PRS models ( if not the most) frequently over 8lbs , it's nice to have the lighter weight but there is a sacrifice.

 

[Lewguitar]

And your old redwood topped Signature Limited. That guitar felt and sounded hollow to me.


335s (as you’re aware of) have wildly different construction, dimensions, and materials. I’ve never played an ES LP (or whatever their real name is) but I feel like that

would be a better comparison.

ES LP? Never heard of that one. There's Les Paul Standards, Customs, Specials, Juniors and Studios. Might be some more.

All I meant was when you're playing really loud or with a ton of overdrive you hear more of the sound of the pickups and than you do the actual guitar.

Whether it's an EVH Frankenstrat, PRS Custom 22, Gibson ES-335, Les Paul or Ted Nugent's Byrdland you're hearing the sound of humbuckers through a cranked tube amp.

The subtleties of the guitar itself don't come into play as much until you turn it down, use less distortion and overdrive, and then you can hear if it's a solid body, semi-hollow or fully hollow L5 or other hollow body jazz guitar.

I always thought Clapton's guitar on the live version of Crossroads was his Gibson SG. Turns out it was an ES-335 through two 100 watt Marshall stacks.

 

[sergiodeblanc]

I've gotta disagree here, having lived with two semi hollow PRSes, including my current Special.

There are different resonances, and the low-midrange frequencies are less prominent. The highs are a bit more sparkly, but the mids are more scooped. The cleaner you play, the more this is apparent; heavy amplifier distortion always adds bottom end as the signal goes from a sine to a square wave as the tubes get pushed hard. So with high gain you might hear a smaller difference, but that's true of any guitars you're comparing.

So you notice more differences playing clean or low-gain. I think the difference is very easy to hear; in fact, I can't imagine not hearing it!

I've played chambered guitars, this is different. I'm not saying it's better; that's personal taste. I prefer the solid body models to the semi-hollow models; they pack a bigger punch. I play Special as when I want something a little different. But yes, different it IS.

I don’t really hear “sparkle” out of semi hollow or Hollowbody guitars in general. I hear more of a pronounced mid range and resonant sustain in the “better” examples I’ve really enjoyed.

I’m super fortunate to live close to Bodia, MAPete, Rider, Brian C., and Yankee Bulldog and have gotten to spend time with all their incredible guitars, and in the case of 594’s there was a stack! Lol.

I wanted all the hollow and semi hollow guitars before playing them. And, ya know, they were super nice guitars but, I didn’t leave thinking I was (personally) missing anything by not buying one.

I’m not a high gain player. 90% of my time is spent playing clean AF. Cleaner than you (from the myriad of wonderful examples you’ve posted over the years), so it’s not because of gain that I’m making my claims. I personally believe that the sparkle you attribute to your SHS may have more to do with its ebony board, pickups (and maple neck?) than it does with the wood they carved out.

I mean, if Tag were here he’d be on your side but go on a tangent about how much PRS has changed their bracing and the inside of the top carve over the years, and to only buy/order the “old” style.

I’m really only disappointed in myself for not going through with the PS order because of how much they’ve raised prices, how long the wait is now, and how they’ve limited the options. But I haven’t really found a repeatable signature tone out of all the semi hollows that I could list as an attribute of them. Some have been amazing, some have been alright just like the solid bodies.
As always: YMMV/IMO/etc.

 

[sergiodeblanc]

ES LP? Never heard of that one. There's Les Paul Standards, Customs, Specials, Juniors and Studios. Might be some more.

All I meant was when you're playing really loud or with a ton of overdrive you hear more of the sound of the pickups and than you do the actual guitar.

Whether it's an EVH Frankenstrat, PRS Custom 22, Gibson ES-335, Les Paul or Ted Nugent's Byrdland.

The subtleties of the guitar itself don't come into play as much until you turn it down, use less distortion and overdrive, and then you can hear if it's a solid body, semi-hollow or fully hollow L5 or other hollow body jazz guitar.

I always thought Clapton's guitar on the live version of Crossroads was his Gibson SG. Turns out it was an ES-335 through two 100 watt Marshall stacks.

Yeah, I dunno, Gibson makes/made some LP shaped object with F holes. I don’t really follow what they do anymore.


I agree that Santanas can be heavy, I have played and owned at least a few anchors. But, I own a light example (that I didn’t even really want lol) that changed my mind on the semi. And @bodia’s DC22… that thing is sofaking resonant, it feels like a semi.

 

[jxe]

Yeah, I dunno, Gibson makes/made some LP shaped object with F holes. I don’t really follow what they do anymore.


I agree that Santanas can be heavy, I have played and owned at least a few anchors. But, I own a light example (that I didn’t even really want lol) that changed my mind on the semi. And @bodia’s DC22… that thing is sofaking resonant, it feels like a semi.

les paul florentine.

 

[sergiodeblanc]

ES LP? Never heard of that one. There's Les Paul Standards, Customs, Specials, Juniors and Studios. Might be some more.

All I meant was when you're playing really loud or with a ton of overdrive you hear more of the sound of the pickups and than you do the actual guitar.

Whether it's an EVH Frankenstrat, PRS Custom 22, Gibson ES-335, Les Paul or Ted Nugent's Byrdland you're hearing the sound of humbuckers through a cranked tube amp.

The subtleties of the guitar itself don't come into play as much until you turn it down, use less distortion and overdrive, and then you can hear if it's a solid body, semi-hollow or fully hollow L5 or other hollow body jazz guitar.

I always thought Clapton's guitar on the live version of Crossroads was his Gibson SG. Turns out it was an ES-335 through two 100 watt Marshall stacks.

les paul florentine.

One of these: https://reverb.com/p/gibson-memphis-es-les-paul

 

[jxe]

One of these: https://reverb.com/p/gibson-memphis-es-les-paul

https://reverb.com/item/65616833-19...t-bantam-elite-ebony-board-es-335-semi-hollow

a ‘bantam elite’ is like a posh little chicken?

 

[bodia]

And your old redwood topped Signature Limited. That guitar felt and sounded hollow to me.

That was a rad guitar. Probably should have held on to that one.

 

[bodia]

And @bodia’s DC22… that thing is sofaking resonant, it feels like a semi.

Yeah, that guitar is fantastic. A keeper, for sure……unless Mike offers me $3,500 for it…

 

[PabloRocha]

While I love Semi's , hollow bodies , and chambered guitars , in regards to the Santana specifically I would lean on the solid . I have a semi hollow Santana built by Tony Nagy with coil tapped low wind Fralins . It is a delightful instrument but doesn't have quite the "meat " of the solid. The Santana is one of the heavist PRS models ( if not the most) frequently over 8lbs , it's nice to have the lighter weight but there is a sacrifice.

Can you share a picture please?

 

[Greywolf]

The back matches the front, Earvana compensated nut. Master Vol/neck coil tap Master Tone/ bridge tap and Blend ...which I'll take over a switch any day . I have them in 3 instruments

 

[Greywolf]

My big project of the year is to make my own Santana , Cocobolo /Pernambuco 3 piece neck wih Ziricote fretboard Spalted Maple violin top and a Sapele body , fixed bridge

 

[jxe]

My big project of the year is to make my own Santana , Cocobolo /Pernambuco 3 piece neck wih Ziricote fretboard Spalted Maple violin top and a Sapele body , fixed bridge

ever do any weird body shapes? (oblig: tws/hs)

 

[Greywolf]

Mostly for bass players , I always work with the client to come up with a body shape that they like, and is ergonomic for their body. The top one has a curly koa top , ash body and Bartolini pickups and pre amp For Chris Conrad of Copper into Steel

the bottom wone is my lined Fretless, Birdesye redwood burl, chambered Claro core and a Lacewood back , Bartolini Soapbar and Narrowfield with their 3 band pre amp

 

[jxe]

Mostly for bass players , I always work with the client to come up with a body shape that they like, and is ergonomic for their body. The top one has a curly koa top , ash body and Bartolini pickups and pre amp For Chris Conrad of Copper into Steel

the bottom wone is my lined Fretless, Birdesye redwood burl, chambered Claro core and a Lacewood back , Bartolini Soapbar and Narrowfield with their 3 band pre amp

that is cool! like the little scroll headstock carve.

 

[RedGuitars]

I don’t really hear “sparkle” out of semi hollow or Hollowbody guitars in general. I hear more of a pronounced mid range and resonant sustain in the “better” examples I’ve really enjoyed.

I’m super fortunate to live close to Bodia, MAPete, Rider, Brian C., and Yankee Bulldog and have gotten to spend time with all their incredible guitars, and in the case of 594’s there was a stack! Lol.

I wanted all the hollow and semi hollow guitars before playing them. And, ya know, they were super nice guitars but, I didn’t leave thinking I was (personally) missing anything by not buying one.

I’m not a high gain player. 90% of my time is spent playing clean AF. Cleaner than you (from the myriad of wonderful examples you’ve posted over the years), so it’s not because of gain that I’m making my claims. I personally believe that the sparkle you attribute to your SHS may have more to do with its ebony board, pickups (and maple neck?) than it does with the wood they carved out.

I mean, if Tag were here he’d be on your side but go on a tangent about how much PRS has changed their bracing and the inside of the top carve over the years, and to only buy/order the “old” style.

I’m really only disappointed in myself for not going through with the PS order because of how much they’ve raised prices, how long the wait is now, and how they’ve limited the options. But I haven’t really found a repeatable signature tone out of all the semi hollows that I could list as an attribute of them. Some have been amazing, some have been alright just like the solid bodies.
As always: YMMV/IMO/etc.

So where’s MA Pete been? Haven’t seen anything from him in a long while.

 

[bodia]

So where’s MA Pete been? Haven’t seen anything from him in a long while.

I was on a group text (Sergio, Rider1260, MA Pete, Rider's neighbor, and me) around Christmas. Rider was hoping to set up a get together, that didn't work out. Pete responded that he sold all but two of his guitars (Silver Sky that he had refretted with SS frets and a one pickup Knaggs), and all of his amps except for his Metropoulos Superplex. He said he wasn't really playing any guitar, and had turned his attention to a fast car. It was a Porsche (maybe a 911 Turbo S, can't remember for sure), and joined the local Autobahn Club so he could drive it fast on a track.

 

[László]

I don’t really hear “sparkle” out of semi hollow or Hollowbody guitars in general. I hear more of a pronounced mid range and resonant sustain in the “better” examples I’ve really enjoyed.

I’m super fortunate to live close to Bodia, MAPete, Rider, Brian C., and Yankee Bulldog and have gotten to spend time with all their incredible guitars, and in the case of 594’s there was a stack! Lol.

I wanted all the hollow and semi hollow guitars before playing them. And, ya know, they were super nice guitars but, I didn’t leave thinking I was (personally) missing anything by not buying one.

I’m not a high gain player. 90% of my time is spent playing clean AF. Cleaner than you (from the myriad of wonderful examples you’ve posted over the years), so it’s not because of gain that I’m making my claims. I personally believe that the sparkle you attribute to your SHS may have more to do with its ebony board, pickups (and maple neck?) than it does with the wood they carved out.

I mean, if Tag were here he’d be on your side but go on a tangent about how much PRS has changed their bracing and the inside of the top carve over the years, and to only buy/order the “old” style.

I’m really only disappointed in myself for not going through with the PS order because of how much they’ve raised prices, how long the wait is now, and how they’ve limited the options. But I haven’t really found a repeatable signature tone out of all the semi hollows that I could list as an attribute of them. Some have been amazing, some have been alright just like the solid bodies.
As always: YMMV/IMO/etc.

Well, different guitars, different ears, different players, different rooms, different setups, different mics, different recording sessions, right?

I've had PRS semis with both rosewood and ebony fretboards. There's something that you mention that's true of the ebony, but the sparkle was still there with rosewood, at least in my room, with my amps, my mics, and so on.

There's a LOT less beef/tightness in the lower midrange, and the bass end is less piano-like.

This thread got me wondering if I really wanted to keep my Special. so I played it this AM against my other guitars. Very different, at all levels, clean to dirty. Wasn't happy.

In fairness, I should mention that I've been going back and forth on this for some time.

I decided I could do without it. It's outta here, already sold. Went out and bought another Neumann mic and pocketed the rest.

You'd have sold it because it's blue and lord knows what else. I sold it because playing it just didn't quite get 'there' for me. And that was purely sonics. Now I have cash burning a hole in my pocket.

I think I should spend it before it disappears.