sergiodeblanc
New Member
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- Apr 26, 2012
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I dunno. Have you tried a West Street Limited?
594 Hardware/Electronics Configuration Aesthetic - Opinions
- Thread starter c340
- Start date
ViperDoc
Plugged In.
No, but I would love to. I have a Santana, and to be honest, I really really like it. It’s incredible. If I was going Westie, I’d definitely want a dragon.
EDIT: Googled. Yes, those look hot. I love the no bull$hit mahogany design, the BRZ, and of course, that dragon.
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Geo408
Not a new member.
My gateway into the 594 was an SC-58, which I loved playing..sitting down. Standing up, it felt like a concrete block hanging off my neck and shoulder. I moved and rep it with a new 594 single..all the while avoiding the 594- DC, mainly due to the looks, but the weight wasn’t to my liking, or the way it hung…wood is weird, sometimes it’s bottom heavy, sometimes it just weird placement.
Moving on to 2019, the semi- hollow 594-DC caught my fancy, and WOW! Winner, winner, chicken dinner! Perfect in every way: 6 lbs, 11ozs, perfect hang, perfect feel, locking tuners, 10 top, bone nut, , 10 top! Just perfect in every way.
it is a lifetime keeper! Oh, did I mention tone?..yeah, incredible!
The point is, I loved the concept, but I had to play a bunch, and find the right one for me..ymmv, so keep on looking!
I’m also thinking of looking for the HB variant! Lol!
Moving on to 2019, the semi- hollow 594-DC caught my fancy, and WOW! Winner, winner, chicken dinner! Perfect in every way: 6 lbs, 11ozs, perfect hang, perfect feel, locking tuners, 10 top, bone nut, , 10 top! Just perfect in every way.
it is a lifetime keeper! Oh, did I mention tone?..yeah, incredible!
The point is, I loved the concept, but I had to play a bunch, and find the right one for me..ymmv, so keep on looking!
I’m also thinking of looking for the HB variant! Lol!
They really are fantastic. I have one and love it.
However, I'm giving the All-Time Greatest PRS Prize to the 2016 20th PS Anniversary model. 594 scale length (but Pattern neck), two Paul's 408s and a 57/08 Narrowfield in the middle. Thicker mahogany, slightly thinner maple.
Maybe I just lucked into a very good one, but I've never played a guitar that can touch it for beauty of tone.
Prina
Avoiding imperial entanglements
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Mine is by far the most resonant and expressive guitar I've ever owned, and it's only an S2. Scary, from a financial value perspective, to think there's another level or two above it.
ViperDoc
Plugged In.
I lost an opportunity on one of those and I’ve regretted the hesitation ever since. Would!
The beauty is, it's a really different type of tone than the 594, so there'd be very little "overlap". Just a couple of great choices for different vibes.
bodia
Authorities said.....best leave it.....unsolved
Correct answer.
ViperDoc
Plugged In.
It’s crazy how the little things can make huge differences. I’ve never felt at home on the 24.5 scale, strange that an extra tenth would change things. It’s gotta be more than that for me. Maybe it’s because I rarely wang dip and absolutely love the 594 bridge. What about a 594 Westie PS? Oooooohh.
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bodia
Authorities said.....best leave it.....unsolved
John Mann did a Santana PS with 594 control layout and bridge. Not sure about the scale length. He’s got another one in the oven now.
ViperDoc
Plugged In.
I keep dreaming about that one. Like a bronze-looking finish with Paua Santana lines, if I recall. Looked way hot.
(Google, google....) THIS ONE:
bodia
Authorities said.....best leave it.....unsolved
That’s the one. So hot!I keep dreaming about that one. Like a bronze-looking finish with Paua Santana lines, if I recall. Looked way hot.
(Google, google....) THIS ONE:
ViperDoc
Plugged In.
This one does not suck either--Beach Crossfade with 20th Birds? Fork me. (sorry, OP 
):
):
bodia
Authorities said.....best leave it.....unsolved
Would!This one does not suck either--Beach Crossfade with 20th Birds? Fork me. (sorry, OP
Glide-bpm
We were small but we were slow...
Would 2......
Herr Squid
I was severely impressed
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- Aug 19, 2012
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- 2,106
I've posted similar heresy here myself!
I dare anyone who disagrees with this take to spend some, er, quality time with the 1985 Ibanez catalog, then try to argue in good faith that all those guitars are radically different from the current PRS product line. Yeah, we don't have a PRS Destroyer yet, but hey, we can hope!
Lewguitar
Old Know It All
I agree with alot of what the OP said about the 245. I don't like the location of the 3 way switch on the upper horn. Too faraway.
I'm thinking: 3 way switch, 2 volume controls, 1 tone control. All in the usual place southeast of the bridge.
I do like to combine my neck and bridge pickups and when I play my CE22 I miss having a volume control for each pickup like I do on my ES-335.
But I don't need two tone controls. I never turn down the tone when using the neck pickup. But I almost always turn down the tone when playing lead on the bridge pickup to get more of that "OW" sound, and if the tone control was only connected to the bridge pickup I could leave it turned down when I switch to the neck pickup without it affecting the tone of the neck pickup.
The single tone control could be connected to the terminal on the 3 way switch leading to the output jack for it to affect both pickups. That would also accomplish "50's Mod wiring" which some players prefer the sound of.
Or to the bridge pickup terminal on the 3 way switch so only the bridge pickup would have a tone control that you could preset.
You'd still have a fully functional tone control when both pickups are combined, because the tone control would come along for the ride with the bridge pickup. And it would affect both pickups. Just not the neck pickup by itself.
I prefer the sound of a tuneomatic bridge and a separate stop tailpiece. It also gives me somewhere to rest my picking hand when I want to.
I was surprised to hear Robben Ford say he thought the combination bridge/tailpiece sounds better. I don't think it does.
I'm thinking: 3 way switch, 2 volume controls, 1 tone control. All in the usual place southeast of the bridge.
I do like to combine my neck and bridge pickups and when I play my CE22 I miss having a volume control for each pickup like I do on my ES-335.
But I don't need two tone controls. I never turn down the tone when using the neck pickup. But I almost always turn down the tone when playing lead on the bridge pickup to get more of that "OW" sound, and if the tone control was only connected to the bridge pickup I could leave it turned down when I switch to the neck pickup without it affecting the tone of the neck pickup.
The single tone control could be connected to the terminal on the 3 way switch leading to the output jack for it to affect both pickups. That would also accomplish "50's Mod wiring" which some players prefer the sound of.
Or to the bridge pickup terminal on the 3 way switch so only the bridge pickup would have a tone control that you could preset.
You'd still have a fully functional tone control when both pickups are combined, because the tone control would come along for the ride with the bridge pickup. And it would affect both pickups. Just not the neck pickup by itself.
I prefer the sound of a tuneomatic bridge and a separate stop tailpiece. It also gives me somewhere to rest my picking hand when I want to.
I was surprised to hear Robben Ford say he thought the combination bridge/tailpiece sounds better. I don't think it does.
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I agree with you, but of course, it all depends on what ya wanna do.
Robin handed me his Baker when he came to town and did a clinic a bunch of years ago. He said the tone was better with the strings WAY off the fretboard. The action was so high it was painful!
Everyone's different. I like a low-to-medium action, and I think that usually the two piece bridge resonates the body at its 4 contact points in a way I like.
On the other hand, I've had some McCartys and an Artist II with the wrap bridge that killed. In a good way.
You just never know. If the guitar sounds good and feels right, it IS good. Doesn't matter much what it is, as long as the player enjoys it.
Tim Pierce's most recent Private Stock is also a McCarty with a single wrap tailpiece. Sounds great when he plays it!
Lewguitar
Old Know It All
The '95 CU22 in my profile photo is a wrap tailpiece and noone would ever say that guitar doesn't doen't pack some mojo. It's a great sounding guitar.I agree with you, but of course, it all depends on what ya wanna do.
Robin handed me his Baker when he came to town and did a clinic a bunch of years ago. He said the tone was better with the strings WAY off the fretboard. The action was so high it was painful!
Everyone's different. I like a low-to-medium action, and I think that usually the two piece bridge resonates the body at its 4 contact points in a way I like.
On the other hand, I've had some McCartys and an Artist II with the wrap bridge that killed. In a good way.
You just never know. If the guitar sounds good and feels right, it IS good. Doesn't matter much what it is, as long as the player enjoys it.
Tim Pierce's most recent Private Stock is also a McCarty with a single wrap tailpiece. Sounds great when he plays it!
But I suspect it would sound even better with a Tunematic and a stop tailpiece.
Which ain't ever gonna happen.
In 1971 I had the stop tailpiece removed from my '65 SG Special, and replaced with a Tune-O-Matic. I couldn't afford to have it refinished, so the dowel rods they used as plugs are still there, plain as day (the guitar currently resides with my son, who seems to cherish old things).
There was no question in my mind that the tone of the thing improved quite a bit, and I was delighted with the guitar.
Of course, Paul's wrap bridges are (IMHO) a nice improvement over the old Gibson pieces.
Here’s a shot I took at my brother’s place when I was there for a little playtime a few years ago. It's ugly, but was my main guitar for many years:
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