594 Hardware/Electronics Configuration Aesthetic - Opinions

[László]

This is kind of a dig.. but not really (but really, it is, I guess…)

The present PRS lineup looks like a late 70’s early 80’s Ibanez product line.

There’s Blazers (Silver Sky’s), Performers (SC 594’s), Artists (DC 594’s), Musicians/Studios (S2 Thinline and DC594), brass bits everywhere, modified blocky TOM bridges with string slots in the tail piece, non-standard sized hifi pickups (408/Paul’s) with mini toggles, hippie sandwich construction on PS’s and vine inlays… sh!t, maybe they should release that Tremonti one-off (Iceman) to seal the deal.

PRS wasn’t a mix of Fender and Gibson like we thought. No, they’re
Ibanez, and have been this whole time. I just didn’t see it until now.

https://imgur.com/a/lJPtp5q

I don't agree, but let's assume, arguendo, that in terms of trying to cover all bases some ideas are similar.

So what?

PRS are significantly better guitars.

 

[Alnus Rubra]

This is kind of a dig.. but not really (but really, it is, I guess…)

The present PRS lineup looks like a late 70’s early 80’s Ibanez product line.

There’s Blazers (Silver Sky’s), Performers (SC 594’s), Artists (DC 594’s), Musicians/Studios (S2 Thinline and DC594), brass bits everywhere, modified blocky TOM bridges with string slots in the tail piece, non-standard sized hifi pickups (408/Paul’s) with mini toggles, hippie sandwich construction on PS’s and vine inlays… sh!t, maybe they should release that Tremonti one-off (Iceman) to seal the deal.

PRS wasn’t a mix of Fender and Gibson like we thought. No, they’re
Ibanez, and have been this whole time. I just didn’t see it until now.

https://imgur.com/a/lJPtp5q

I didn’t realise that Mel Tormé was the CEO of Ibanez.

 

[sergiodeblanc]

I don't agree, but let's assume, arguendo, that in terms of trying to cover all bases some ideas are similar.

So what?

PRS are significantly better guitars.

So nothing, really.

I don’t know if PRS are significantly better guitars than those Ibanez, although they’re certainly my preference.

I just kinda find it interesting that these late 70’s guitar trends are coming back in style and that they’re so well received.

 

[Prina]

I'm used to the LP style 4 knob and switch layout that everything's just where I expect it.

I have the 2 piece bridge on my 594 and the 1 piece on my 245's. The two piece sounds better but the one piece has those big heads on the studs are SO comfortable and at just the right height.

 

[Alnus Rubra]

So nothing, really.

I don’t know if PRS are significantly better guitars than those Ibanez, although they’re certainly my preference.

I just kinda find it interesting that these late 70’s guitar trends are coming back in style and that they’re so well received.

As long as they don’t start making pancake bodies.

 

[sergiodeblanc]

As long as they don’t start making pancake bodies.

What if it’s just bodies made of multiple slices of wood glued together side by side?

Would we call those French Toast Stick bodies?

 

[Bogner]

I Personally Am Not A Fan Of A Toggle On The Horn Of A Double Cut PRS. It Doesn't Look Right To Me. I Am Fine With The Two Piece Bridge Although At First I Was A Bit Taken Back By It. The Functionality Of It Is Wonderful. I Like Simple Controls And From An Early Age Learned To Use A Volume Pedal So I Don't Have To Worry As Much About What Knob Does What So That Isn't As Much Of A Concern To Me As It May Be To Many Others. 2,3,4 Knob Layouts Are Fine. I Like The Toggle On Double Cuts Back Where It Is Traditionally. I Am Not A Fan Of Any Mini Toggles On Any Kind Of Guitar Nor Do I Like Blade Switches. On Some Guitars You Really Have No Choice (And I Get That) However Those Are My Personal Preferences. YMMV

 

[Alnus Rubra]

What if it’s just bodies made of multiple slices of wood glued together side by side?

Would we call those French Toast Stick bodies?

We call them “soldiers”, you have them with soft boiled eggs and dip them in the yolk.

Mmmm maple & egg or mah-egg-ony.

 

[Prina]

As long as they don’t start making pancake bodies.

Maple - Mahogany - Mahogany - Mahogany plywood going strong after a half century!

 

[László]

So nothing, really.

I don’t know if PRS are significantly better guitars than those Ibanez, although they’re certainly my preference.

I just kinda find it interesting that these late 70’s guitar trends are coming back in style and that they’re so well received.

Serg, honestly there’s a substantial difference. I’d never have bought one of those old Ibanez over a Gibson back then. For me there wasn’t a comparison in tone quality or playability. I didn’t like the Ibanez stuff. Still don’t!

When I played my first PRS there was no question about tone quality or playability vs Gibson, and I’ve felt the same way ever since.

Granted, it’s all personal opinion.

The only non-PRS guitars I’ve had truly good feelings about owning in the past 30 years have been a few Tom Andersons and Music Man and Modulus basses.

 

[sergiodeblanc]

Maple - Mahogany - Mahogany - Mahogany plywood going strong after a half century!

A chiropractor’s wet dream.

 

[sergiodeblanc]

Serg, honestly there’s a substantial difference. I’d never have bought one of those old Ibanez over a Gibson back then. For me there wasn’t a comparison in tone quality or playability. I didn’t like the Ibanez stuff. Still don’t!

When I played my first PRS there was no question about tone quality or playability vs Gibson, and I’ve felt the same way ever since.

Granted, it’s all personal opinion.

The only non-PRS guitars I’ve had truly good feelings about owning in the past 30 years have been a few Tom Andersons and Music Man and Modulus basses.

Ehhh.. it is all personal opinion, but I don’t think those Ibanezs.. wait, Ibanez’s? Ibanezes? Ibanezez? (whatever) were awful guitars. I had an indie rock roommate that loved that sh!t and had a few.

I owned an Artist back in the 80’s when you couldn’t give them away (although it was ironically stolen) that was heads and shoulders above any of my Norlin Gibsons (and I’ve had a bunch), so I’d disagree with you about rather having a Gibson.

I’d mention that those Ibanezez now go for stoopid money, but… so do those Gibsons, so that’s not an indicator of anything.

 

[bodia]

I inquired about a private stock build myself and I was surprised at what they were and were not willing to do. I had always believed it was kind of like Burger King - have it your way (as long as you’re ok paying for it). I wanted an SC trem (thinner body than the tremonti) with p245 switching/piezo, Koa bird inlays, with an opal eagle on the headstock. But I was told they won’t build the SC trem bodies anymore, and I couldn’t have multiple inlay materials. This seemed odd to me, because it didn’t seem like too big of an ask (especially since I’m happy to pay for all of it) but I guess they’re more limited than I used to believe.

Yeah, they've scaled the PS program back quite a bit in the last couple of years. Really, after the first year of the pandemic. Build times were getting silly....2 years, or some such. I get it. More orders. Huge backlogs across the entire range of their line. Supply chain issues, etc. The hope is once they get things back to "normal" they will open things back up. More like they used to be, as you describe in your post. If not, why go PS at all. Find a dealer with a WL run to your liking, and grab one of 10.

 

[László]

Ehhh.. it is all personal opinion, but I don’t think those Ibanezs.. wait, Ibanez’s? Ibanezes? Ibanezez? (whatever) were awful guitars.

Oh, they weren't awful. But the Ibanez stuff didn't have real-deal tone - at least for my taste. I know some players who had their jazz boxes and liked them very much, but I wasn't the customer for those, anyway.

Everything about them seemed tacky-tacky 'mediocre copy' to me. I don't mind a copy, if it's a good one! I simply didn't think they were very good copies.

The Norlin guitars weren't great for their finish blemishes and flaws, but they did sound the business and I found they played well after a good setup.

But heck, I'd buy a Gibson today over any Ibanez, and I don't even love Gibsons any more. Had my last one in 2006, a Custom Shop model, and was not in love.

All of this is subjective, of course!

 

[László]

Find a dealer with a WL run to your liking, and grab one of 10.

My only problem with this advice is that the time spent by the PS Team on a PS really makes a difference (for me, anyway) that I can feel/hear, and the WL models are simply Core builds with custom features.

They're cool, and all, and I've bought several. But they're Core guitars, and for me aren't comparable to PS.

As I said, I still like them and am happy to buy WL.

All of my electric PS models were PS runs bought from dealer stock; I care more about the feel and tone than having a custom one-off. I'm probably a little bit different than most, but I'm still over the moon about the ones I have, and they date from 2014, 2015 and 2016. They've been endless inspiration from Day One. I also have an acoustic PS I got in late 2013. I feel the same about that one.

 

[Mr bean]

First and foremost: I'm not here to throw shade on anything or anyone, or anyones preferences. Clearly lots of people like the 594 styling. And all that matters is that YOU like YOUR guitar.

Having said that, this is an online forum designed for discussion, and what is more fun than stirring the pot with a strong personal opinion of aesthetics? And I invite yours! There is no right or wrong opinion here. Here is mine:

I can't stand the 594 style. It works fine on a Gibson Les Paul, but PRS had it right on their guitars with the wraparound/one-piece bridges and the non-594 electronic control configurations.

A pickup selector switch on the carved upper horn of a double cut guitar...I can't think of a more incongruous design decision on a guitar. It is an assault on the aesthetic of an otherwise beautifully crafted and designed body. I remember seeing this kind of design on the EBMM Petrucci models (though I believe that switch is a piezo selector) and thought to myself..."what are they thinking? That looks horrible." But at least theirs was on a very modern guitar, with other modern control configuration elements. The 594 McCarty though...that is a different story. The switch on the horn is hideous, and its way overboard in their attempt to turn a double cut into a Les Paul. It is entirely out of place, like thats the best you can do? A straight 1:1 transplant of controls from an entirely different body style, and it just doesn't fit AT ALL. The other two elements of the 594 that I will discuss next could be excusable, but the switch on the horn is not. I will never own one of these 594-styled guitars primarily for this reason.

The 2-knob layout of the non-594 McCarty or the 4-knob layout of the non-594 Singlecut seems to fill the space so evenly. But the 594 4-knob layout has them placed slightly towards the horns, bunched up, leaving an awkward area towards the bottom of the guitar that doesn't seem to use the space effectively. It looks...off, unsettled. They appear to want to spread out and fill in the space more evenly, but they can't. The Les Paul suffers from this slightly, but to a MUCH lesser extent. Particularly when a pickguard is installed, the knobs appear to fit the space well. But on the 594? No way.

Finally, the 2-piece bridge - the least offensive of the 3 elements - looks so clunky, especially compared to the one-piece bridges PRS offers. It just looks like an ugly, blocky, unfinished version of the Tune-O-Matic bridge.

Does anyone else share my opinion? I want to note I am not doubting the functionality of the 594 configuration (which is obviously more important). There is a reason the Les Paul control configuration has never changed and is copied everywhere. My strong opinion here on the 594 is strictly over aesthetics

First and foremost: I'm not here to throw shade on anything or anyone, or anyones preferences. Clearly lots of people like the 594 styling. And all that matters is that YOU like YOUR guitar.

Having said that, this is an online forum designed for discussion, and what is more fun than stirring the pot with a strong personal opinion of aesthetics? And I invite yours! There is no right or wrong opinion here. Here is mine:

I can't stand the 594 style. It works fine on a Gibson Les Paul, but PRS had it right on their guitars with the wraparound/one-piece bridges and the non-594 electronic control configurations.

A pickup selector switch on the carved upper horn of a double cut guitar...I can't think of a more incongruous design decision on a guitar. It is an assault on the aesthetic of an otherwise beautifully crafted and designed body. I remember seeing this kind of design on the EBMM Petrucci models (though I believe that switch is a piezo selector) and thought to myself..."what are they thinking? That looks horrible." But at least theirs was on a very modern guitar, with other modern control configuration elements. The 594 McCarty though...that is a different story. The switch on the horn is hideous, and its way overboard in their attempt to turn a double cut into a Les Paul. It is entirely out of place, like thats the best you can do? A straight 1:1 transplant of controls from an entirely different body style, and it just doesn't fit AT ALL. The other two elements of the 594 that I will discuss next could be excusable, but the switch on the horn is not. I will never own one of these 594-styled guitars primarily for this reason.

The 2-knob layout of the non-594 McCarty or the 4-knob layout of the non-594 Singlecut seems to fill the space so evenly. But the 594 4-knob layout has them placed slightly towards the horns, bunched up, leaving an awkward area towards the bottom of the guitar that doesn't seem to use the space effectively. It looks...off, unsettled. They appear to want to spread out and fill in the space more evenly, but they can't. The Les Paul suffers from this slightly, but to a MUCH lesser extent. Particularly when a pickguard is installed, the knobs appear to fit the space well. But on the 594? No way.

Finally, the 2-piece bridge - the least offensive of the 3 elements - looks so clunky, especially compared to the one-piece bridges PRS offers. It just looks like an ugly, blocky, unfinished version of the Tune-O-Matic bridge.

Does anyone else share my opinion? I want to note I am not doubting the functionality of the 594 configuration (which is obviously more important). There is a reason the Les Paul control configuration has never changed and is copied everywhere. My strong opinion here on the 594 is strictly over aesthetics.

It sounds like someone doesn’t like the popularity of the 594.

 

[Bogner]

My only problem with this advice is that the time spent by the PS Team on a PS really makes a difference (for me, anyway) that I can feel/hear, and the WL models are simply Core builds with custom features.

They're cool, and all, and I've bought several. But they're Core guitars, and for me aren't comparable to PS.

As I said, I still like them and am happy to buy WL.

All of my electric PS models were PS runs bought from dealer stock; I care more about the feel and tone than having a custom one-off. I'm probably a little bit different than most, but I'm still over the moon about the ones I have, and they date from 2014, 2015 and 2016. They've been endless inspiration from Day One. I also have an acoustic PS I got in late 2013. I feel the same about that one.

All My PS Have Been Dealer Bought As Well. I Love Them And Will Never Part With Them As They Are Superb Players And Have No Rival From What I Have Found....(This Gold Santana Is Another Story So I Won't Bring It Up Again).

 

[Alnus Rubra]

Ehhh.. it is all personal opinion, but I don’t think those Ibanezs.. wait, Ibanez’s? Ibanezes? Ibanezez? (whatever) were awful guitars. I had an indie rock roommate that loved that sh!t and had a few.

I owned an Artist back in the 80’s when you couldn’t give them away (although it was ironically stolen) that was heads and shoulders above any of my Norlin Gibsons (and I’ve had a bunch), so I’d disagree with you about rather having a Gibson.

I’d mention that those Ibanezez now go for stoopid money, but… so do those Gibsons, so that’s not an indicator of anything.

My pops had an Ibanez Joe Pass model in the 80’s, which was quite a nice jazz box.

He traded it for an ES175D which he loved.

I managed to buy this for him from a guy in Dundee, which was a pretty good deal and he raves about it, being an old jazzer.

 

[show_a_little_faith]

I personally love the 4 knob layout with selector switch, so the 594 is ALMOST my perfect guitar... my only complaint with it is that I wished it was the same thinner thickness of the Customs. I tried to order a Private Stock as a CU24 with the 594 controls, they said no, so I asked about a 594 with a CU24 body thickness, again, they said no. I ended up ordering a CU24-08, but one day I will own what I desire, even if I have to make it myself LOL.

What about the S2 594 Thinline? All mahogany (no maple cap), thinner body and neck but otherwise same 594 specs (albeit the pickup switch is located next to the knobs, not on the upper bout)

 

[ViperDoc]

I’m sure this will come a surprise, but THE594ISTHEBESTF&CKINGGUITAREVERMADEBYANYCOMPANYONANYPLANETINTHEKNOWNUNIVERSEFORANYREASONONANYLISTITSJUSTTHATPERFECTEVERYTIMEIPICKITUPIFEELLIKEIMHOLDINGTHEPERFECTWEAPONOFTONALESTHETICANDPLAYABLEGLORYHANDSDOWNENDOFSTORYNOCONTESTDONEANDDONEANDDONE.

There, I said it.