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LeftRight

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Hi everyone Call me LeftRight I am looking at PRS but I play lefthand so finding a 10 top or a custom 22or 24 on the rack is a impossible they are out there but always 1000 miles away. My choice is pick one from a picture and live with it I wish I could walk in play 5 and pick the best one but .....So tell me and ALL advice is good what would you choose ? McCarty, 22 or 24 ? I am 60 the PRS will never leave the house will be playing everything from 70's I possibly can, Currently play American Strat, Martin D28 and Larrivee LV 09 THANKS TO ALL
 
Hi everyone Call me LeftRight I am looking at PRS but I play lefthand so finding a 10 top or a custom 22or 24 on the rack is a impossible they are out there but always 1000 miles away. My choice is pick one from a picture and live with it I wish I could walk in play 5 and pick the best one but .....So tell me and ALL advice is good what would you choose ? McCarty, 22 or 24 ? I am 60 the PRS will never leave the house will be playing everything from 70's I possibly can, Currently play American Strat, Martin D28 and Larrivee LV 09 THANKS TO ALL

This is PRS - not Gibson! You don't have to try 100's to find the right one that sounds right, has no fit/finish issues and feels great. Chances are, you walk into a shop, play 5 PRS guitars, determine they all fare built flawlessly, feel great, play fantastically and ALL sound extremely similar (very small differences due to natural materials) and end up walking out with the one that looks the best (favourite colour or grain pattern).

Its a guitar that you can look online at the various shops with the model you want to find the top and colour you want and order in complete confidence that you will get a fantastic guitar.

I would not recommend 1 guitar because its not me that will be spending the money and playing the instrument. That being said, tI will try and give you some information that may help you decide which maybe right for you. The Custom 24 is the 'PRS' guitar with the PRS sound. Its a more modern sound with the Pick-ups closer together than most other Double Humbucking guitars and of course, you get 2 extra frets as well. The Custom 22 is a bit more towards the Les Paul - a cross between that and the Custom 24. The McCarty is a cross between the Custom 22 and a Les Paul and is a bit thicker in the body and the McCarty 594 is like a 58 Les Paul - just with the modern appointments of locking tuners and coil splitting. The 594 also comes in both double and single cut with the Single Cut being a bit thicker again and closest visually to a Les Paul.

Essentially its a decision on which part of the spectrum you are looking for as you from 'PRS' to Les Paul territory. If you want the most vintage Les Paul type, go with the 594 but if that's 'too' close, the McCarty may be the model you want. The Custom 22 is closer to the 'traditional' PRS but still can sound more LP like if you want but the Custom 24 is PRS - the guitar that launched PRS to the world.

Armed with that, I hope you can be more informed to help you reach the right conclusion for you! I would suggest trying one or two but if that's not feasible, you should be safe to order the model you want online and get an amazing high quality instrument. If that is still a concern, buy from a reputable dealer that you can return it to if its not quite what you wanted/expected.
 
This is not intended as a slight. My wife is left handed. I understand the difficulty. I bought her an electric can opener after seeing her fight a manual one.

But wouldn't you be better off learning to play a righty?

These are my arguments for the proposal:
1. When you are starting out, both directions suck equally. Making my left hand fingers get to the correct strings was impossible. Using the right hand to strike the pick across the strings without getting stuck in between one of them was impossible. So if it sucks either way, why not begin with the method that gives you the most options later?

2. I have often thought that in reality, it is us right handed folk that are getting screwed. Right handed guitars are really made for left handed people. Think about it, one could argue that the part of the guitar that needs the most dexterity is the fretboard. You would have better dexterity at the fretboard than I ever will. The right hand needs only larger "macro" muscle movement to play rhythm, and at most, the same dexterity to pick individual strings. With hammer on's and pull off's, it looks to me like the less dexterous hand on the right would win again.

3. Gear selection would be maximized and all instruments would be uniform. Paul is known to have said, "They don't make left handed pianos." It's a valid point. The pianist has to train the brain to perform equally at both hands. It seems to me that the guitarist ultimately has to do the same thing.

So as I type, and looking introspectively, I suppose I am arguing that I would play a left handed guitar as well as a right given an equal amount of practice. Without that experience, I can only guess.

I know it would be very difficult, but it was the first time too. I am not just saying "deal with it", but I am saying I think it is valid to suggest that you actually have an advantage using a right handed guitar on the fretboard; and, in my view, not much of a disadvantage at the right hand. Which brings me to a story.

I grew up in a desert hick town in Az. As a young kid my best friend got his right hand caught in a hay bailer and it tore his right thumb nearly off. After they put it back on, he could use it to grip large things, but had no real movement in it. He was naturally right handed, but out of necessity learned to do most things left handed. He ended up being "ambidextrous" and overall it was an advantage to him. He could do left handed layups better than all of us, and right handed he had enough control to do well there too. The moral to the story is that I think necessity can make adaptation more than adequate, and the result will be a wide array of possibilities for any natural lefty.
 
This is not intended as a slight. My wife is left handed. I understand the difficulty. I bought her an electric can opener after seeing her fight a manual one.

But wouldn't you be better off learning to play a righty?

These are my arguments for the proposal:
1. When you are starting out, both directions suck equally. Making my left hand fingers get to the correct strings was impossible. Using the right hand to strike the pick across the strings without getting stuck in between one of them was impossible. So if it sucks either way, why not begin with the method that gives you the most options later?

2. I have often thought that in reality, it is us right handed folk that are getting screwed. Right handed guitars are really made for left handed people. Think about it, one could argue that the part of the guitar that needs the most dexterity is the fretboard. You would have better dexterity at the fretboard than I ever will. The right hand needs only larger "macro" muscle movement to play rhythm, and at most, the same dexterity to pick individual strings. With hammer on's and pull off's, it looks to me like the less dexterous hand on the right would win again.

3. Gear selection would be maximized and all instruments would be uniform. Paul is known to have said, "They don't make left handed pianos." It's a valid point. The pianist has to train the brain to perform equally at both hands. It seems to me that the guitarist ultimately has to do the same thing.

So as I type, and looking introspectively, I suppose I am arguing that I would play a left handed guitar as well as a right given an equal amount of practice. Without that experience, I can only guess.

I know it would be very difficult, but it was the first time too. I am not just saying "deal with it", but I am saying I think it is valid to suggest that you actually have an advantage using a right handed guitar on the fretboard; and, in my view, not much of a disadvantage at the right hand. Which brings me to a story.

I grew up in a desert hick town in Az. As a young kid my best friend got his right hand caught in a hay bailer and it tore his right thumb nearly off. After they put it back on, he could use it to grip large things, but had no real movement in it. He was naturally right handed, but out of necessity learned to do most things left handed. He ended up being "ambidextrous" and overall it was an advantage to him. He could do left handed layups better than all of us, and right handed he had enough control to do well there too. The moral to the story is that I think necessity can make adaptation more than adequate, and the result will be a wide array of possibilities for any natural lefty.

This is a great post!

To the O.P. - you really can't go wrong with whatever you pick up. The McCarty is going to be the most "Vintage" of the 3 you listed. The Cu24 would be the "flag ship" of PRS. Any of those you mentioned will be more than capable of rocking that 70s thing! I have a Cu22 and a Cu24, and love them both, equally. I need to get a McCarty back into my life!
 
Well AP515 I am actually right handed my left hand was in an accident and my little and ring finger are just sticks that don't move I can hold a pick good thats about it. Thats how LeftRight stuck as a handle. I takes alot of patience with my left hand but my right hand found chords and scales easy. I learned to play 30 years ago I traveled for my job So I bought a guitar to keep me IN hotel and out of trouble best idea I ever had! Now I am retired and will never leave home again ever. Live in the country on 100 acres with horses cows and my dogs. I know I can't go wrong on any PRS I feel good about that
 
Well AP515 I am actually right handed my left hand was in an accident and my little and ring finger are just sticks that don't move I can hold a pick good thats about it. Thats how LeftRight stuck as a handle. I takes alot of patience with my left hand but my right hand found chords and scales easy. I learned to play 30 years ago I traveled for my job So I bought a guitar to keep me IN hotel and out of trouble best idea I ever had! Now I am retired and will never leave home again ever. Live in the country on 100 acres with horses cows and my dogs. I know I can't go wrong on any PRS I feel good about that

Hendrix
Tony Iommi
Paul McCartney
Dick Dale
Albert King
Otis Rush
Al McKay
Elloitt Easton

..... U go with it southpaw, you're in good company.
 
Well AP515 I am actually right handed my left hand was in an accident and my little and ring finger are just sticks that don't move I can hold a pick good thats about it. Thats how LeftRight stuck as a handle. I takes alot of patience with my left hand but my right hand found chords and scales easy. I learned to play 30 years ago I traveled for my job So I bought a guitar to keep me IN hotel and out of trouble best idea I ever had! Now I am retired and will never leave home again ever. Live in the country on 100 acres with horses cows and my dogs. I know I can't go wrong on any PRS I feel good about that

Sounds like a similar story to my friends. You could still play slide from the right. Some of the best blues is played with a slide.

I agree with the others. Just pick the one you want from sight. Chances are very likely that what you get will be top notch.
 
I’m going to suggest the flagship, go Custom 24. I’m 10 deep right now, but the Custom 24 can only sound like a custom 24. Think Tom Johnson of the Doobie Brothers.
 
I am the voice of dissent. I still feel you take a sizable chance by buying by sight. PRS will give you a better success rate, but you could still be disappointed. If you have to buy online, then please do these checks first.

1/ vet the vendor. Research store customer reviews. Read the comments.
2/ check out the return procedure. Is it conditional? Is it simple? Is there a affordable recovery (at stores liability) service?
3/ talk to the vendor. Establish a rapport and ask about 'worst case scenarios'.

Good luck
 
As a lefty that plays righty (ok, you could call me a conformist...a sell-out:oops:), I can be a little empathetic to your plight. If you reverse string a right hand guitar, you should probably avoid the fixed stoptail models. Without the ability to correct intonation and the natural bridge saddle stagger needed, you’d fight the guitar from day one. But, you could get a Mann Made adjustable bridge to solve the problem, so it’s really not a huge deal.

My first was a Custom 24, which, IMO, is the quintessential PRS experience and highly recommend. But knowing what I know now, I’d probably get a Custom 22 first. Second would be a CU24. Third would probably be a Paul’s guitar. Then a Single Cut 594. Then, Santana. Then Vela, HB, DGT, Angelus acoustic, a couple amps and...sorry. :eek::D
 
I know choices are limited for lefties and there are examples of people who made it with damaged and/or missing fingers but its going to be difficult enough to learn at an 'older' age than someone coming at this for the first time as a child. If my child was a leftie and wanted to play, I think I would try and convince them to play as a righty first and the fact that I play right handed would help because the guitars I have and the support and tuition I can give would help it set in.

If something really drastic happened to my left hand - more than the arthritis and weird joint on my little finger - I would find it incredibly difficult to switch from a righty to a lefty and try to 'relearn' to play, Having to try and undo everything that has become natural feeling first before then learning everything from scratch would be incredibly difficult but it would really depend on what 'damage' I have on my left hand and what I wanted to be able to play. I think though that if someone is willing to spend 'big' on a Left handed PRS, then chances are they are willing to work hard to build up to competent left handed musicians and so I wouldn't try to tell them to stick with playing righty when they must know the limitations of their left hand and how that impacts on the style of music they want to play. Whether they can play 'slide' or not isn't the important thing, its whether or not the person want's to play slide. With enough work and dedication, they can switch to playing left handed and train themselves to be good enough to play the music they wanted. That goal of playing what they want is better than being forced to play 'slide' for example because that's all they can do right handed now. Its about having the right incentive to achieve their goal.

As I said, if its a 'child' or someone new who has never picked up a guitar before, I would encourage them to at least start out playing right-handed - even to the point of letting them use my right-handed guitar and gear so they are not wasting 'money' if they really feel they need to go Left handed. But for someone late in life, feeling that they have to go 'left' handed to achieve the goals they want, especially one who feels their 'left' hand is only good enough to hold a pick now, then I think I would try and be sympathetic and helpful. It can't be easy to feel that you have no choice but to swap - especially to a Left handed playing style in the guitar world that doesn't cater to lefties to the same degree as to right handed guitarists.

All I can say is good luck to the OP and really hope it works out well for you...
 
Morning Boogie, Mozzi I think without accident and both hands worked There is a good chance I would have given up But my chord hand {right} learned fast I just had to get old stumpy {left hand} to keep up,and the challenge made me keep going. I also agree with a lefty playing righty the instrument choices are better Try finding a left hand banjo mandolin or just a decent guitar or a 12 string guitar hanging on the wall in a music store.I have to order one try it and hope I like it. Any PRS will be better than I have and more than I deserve HAPPY 4TH TO ALL
 
...I would not recommend 1 guitar because its not me that will be spending the money and playing the instrument. That being said, tI will try and give you some information that may help you decide which maybe right for you. The Custom 24 is the 'PRS' guitar with the PRS sound. Its a more modern sound with the Pick-ups closer together than most other Double Humbucking guitars and of course, you get 2 extra frets as well. The Custom 22 is a bit more towards the Les Paul - a cross between that and the Custom 24. The McCarty is a cross between the Custom 22 and a Les Paul and is a bit thicker in the body and the McCarty 594 is like a 58 Les Paul - just with the modern appointments of locking tuners and coil splitting. The 594 also comes in both double and single cut with the Single Cut being a bit thicker again and closest visually to a Les Paul...

Mozzi,

Could you compare the neck profiles of these guitars? Some of us have hands that the necks just feel better with (no joke).
 
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Mozzi,

Could you compare the neck profiles of these guitars? Some of us have hands that the necks just feel better with (no joke).

I find this quite difficult because they are not too extremely different to me and going between my most extreme neck shape differences doesn't really feel that extreme to me. Its not like going from an ultra thin 'Wizard' neck to a chunky wide and thick baseball bat of a neck and I don't really feel like I notice much difference that takes more than a second of thought. I find going from my Custom 24 (Pattern Thin) to my 594 (Pattern Vintage) - the two biggest extremes of PRS necks (at least in mine as I don't own older PRS that are not 'pattern'), takes any thought or time to adjust - the biggest adjustment for me is more the switching and pot layout. Wanting to go from Bridge to Neck (or vice versa) takes much more 'thought' and I find myself going to switch PU's and searching for the switch position. Some of that is inherent from always playing LP type guitars so its 'easier' to go from Custom 24 to 594.

I know the neck is extremely important but for me, these differences are not so extreme that it really matters to me. All mine are regular PRS gloss necks, no satin or natural wood so feel the same in that sense. The Pattern Vintage with the asymmetric carve to me is more like 'home' and a lot of that maybe because the overall design and layout is much more familiar to me as a LP player before I was able to get my first PRS. As an LP player, it made sense for me to get the 594 first so again that maybe why it feels most at 'home' for me.

I can't comment on the McCarty or the Custom 22 as I think that may be a different neck to my PRS Special 22 (Pattern Regular vs Pattern) but switching between my Pattern and Pattern regular guitars feel remarkably similar in my hands. They may have some differences but I really don't give it any thought. Going between them, its more the 'big' differences in layout, weight and functionality that register. Going between the 509 (solid with a 25.25" scale, 5 SC PU's, trem bridge etc), to my HBii (Hollow with Piezo static bridge and double HB's) to my PRS Special 22 (semi Hollow, added NF in the middle), the neck differences don't really register, doesn't affect the way I play and, any difference is immediately and automatically adjusted for as the all the other differences require a bit more thought and adjustment to. That's also the case when I go from Cu24 to these its a very similar shape if just a bit thinner.

Maybe a lot of it is psychological too as they all look similar from the top, all have the same headstock. The one that stands out most to me is the Pattern Vintage and some of that is also the way the strings feel with the shorter scale length. I admit the guitar I play the least is my 509 which has the longest scale length and I see it more as my guitar for Tele/strat options - probably under estimating its HB functionality but having a 594 (classic LP Humbucking tones), my Cu24 (more modern PRS HB tones), My HBii (Hollowbody and Piezo with great HB's too) and most recently, my PRS Special 22 (a Custom 22 with the NF adding extra functionality - the 58/15s are great HB's and great tapped too), its pushed my 509 down and why it rarely gets used for its HB qualities.

I am sure there are people here who can be a lot more helpful in describing the different neck profiles and there are threads dedicated to this very thing. From my perspective, I would notice something if it didn't feel right, made me have to adjust my playing, caused me to think and/or be aware of the neck shape over any other differences and even if it only affected me after 'hours' of playing. The fact that none really require much thought although as I said, the Pattern Vintage does feel 'different', more 'broken in' than the others but that's a momentary thought, is a good thing. I don't want to pick up a guitar and find myself having to get used to the neck carve as well as the different positions of switches, knobs etc.

Sorry I can't be more helpful than that and, if you do want more info, I would suggest you check the forums for Neck Carve differences.
 
I find this quite difficult because they are not too extremely different to me and going between my most extreme neck shape differences doesn't really feel that extreme to me. Its not like going from an ultra thin 'Wizard' neck to a chunky wide and thick baseball bat of a neck and I don't really feel like I notice much difference that takes more than a second of thought. I find going from my Custom 24 (Pattern Thin) to my 594 (Pattern Vintage) - the two biggest extremes of PRS necks (at least in mine as I don't own older PRS that are not 'pattern'), takes any thought or time to adjust - the biggest adjustment for me is more the switching and pot layout. Wanting to go from Bridge to Neck (or vice versa) takes much more 'thought' and I find myself going to switch PU's and searching for the switch position. Some of that is inherent from always playing LP type guitars so its 'easier' to go from Custom 24 to 594...

...I can't comment on the McCarty or the Custom 22 as I think that may be a different neck to my PRS Special 22 (Pattern Regular vs Pattern) but switching between my Pattern and Pattern regular guitars feel remarkably similar in my hands. They may have some differences but I really don't give it any thought. Going between them, it's more the 'big' differences in layout, weight and functionality that register. Going between the 509 (solid with a 25.25" scale, 5 SC PU's, trem bridge etc), to my HBii (Hollow with Piezo static bridge and double HB's) to my PRS Special 22 (semi Hollow, added NF in the middle), the neck differences don't really register, doesn't affect the way I play and, any difference is immediately and automatically adjusted for as the all the other differences require a bit more thought and adjustment to. That's also the case when I go from Cu24 to these its a very similar shape if just a bit thinner...

...I am sure there are people here who can be a lot more helpful in describing the different neck profiles and there are threads dedicated to this very thing. From my perspective, I would notice something if it didn't feel right, made me have to adjust my playing, caused me to think and/or be aware of the neck shape over any other differences and even if it only affected me after 'hours' of playing. The fact that none really require much thought although as I said, the Pattern Vintage does feel 'different', more 'broken in' than the others but that's a momentary thought, is a good thing. I don't want to pick up a guitar and find myself having to get used to the neck carve as well as the different positions of switches, knobs etc.

Sorry I can't be more helpful than that and, if you do want more info, I would suggest you check the forums for Neck Carve differences.

Last sentence says it all. It's interesting that there are a greater number of designations for neck thickness/carve than when PRS first began...my personal knowledge was limited to WT / Regular / WF / Santana, in order of increasing neck profile/girth. I used to like the WF (wide fat) but was spoiled over time with other builder's designs (compound radii, C-Shape, V-Shape, etc.).

That being said, I've recently been happier with the S2 line because of its consistency and appeal to folks who may have larger hands, but less flexibility. (Read: less speed and judicious note choice ability. Yeah, my chops could use some practice). Yet that being said, the S2 neck profile is one that I can appreciate despite my inclination for more expensive neck carves.
 
Last sentence says it all. It's interesting that there are a greater number of designations for neck thickness/carve than when PRS first began...my personal knowledge was limited to WT / Regular / WF / Santana, in order of increasing neck profile/girth. I used to like the WF (wide fat) but was spoiled over time with other builder's designs (compound radii, C-Shape, V-Shape, etc.).

That being said, I've recently been happier with the S2 line because of its consistency and appeal to folks who may have larger hands, but less flexibility. (Read: less speed and judicious note choice ability. Yeah, my chops could use some practice). Yet that being said, the S2 neck profile is one that I can appreciate despite my inclination for more expensive neck carves.

PRS have 4 now - since adding the Pattern Vintage and you cannot count Signature models with there own preferred neck carve. If you discount the Santana, the only 'difference' between the nomenclature you were used to (ie the wide fat, wide thin and regular) is the fact that you now have Pattern, Pattern Regular and Pattern Thin. The Pattern Vintage is unique to the 594 series and was only introduced in 2016 and only used on the 594 series. Basically every guitar is either Pattern or Pattern Regular with the exception of the Custom 24 which can be Pattern Thin and the 594 which, as I have already said, is the Pattern Vintage. Signature models may have some 'unique' carve only used in that model - but its a Signature model and built to their preference. The Mark Holcome is the only PRS with a 20" radius and the Silver Sky is 7.25" but you don't whinge that there is too many neck radii to struggle with, a greater number of 'designations' now PRS are making a greater variety of instruments than they did 4/5yrs ago that has meant a few changes to necks to fit with the ethos of the instrument or the requirements of the Artist it was built for.

If the Pattern Vintage isn't for you, don't go looking for a 594. You may have to hunt for a Cu24 with a Pattern Regular (if they are still offering that as an option) but there is very little difference between Pattern and Pattern regular in my opinion and even the Pattern thin is the same basic shape albeit a bit thinner. The only 'regular' (not signature) PRS that is 'different' is the Pattern Vintage which is asymmetric but the rest are all 'C' shape and all feel similar regardless of the designation. Its why I don't find any of my PRS particularly different, different enough that it even warrants any thought from me when I pick up and play, swapping between all doesn't even warrant thought that the 'neck' is different.

I don't know if there was a bigger difference with the older PRS guitars but I know I can buy any PRS that has a PRS designed neck rather than a client designed for their signature model, and I don't have to worry about the 'carve' or the designation of that neck. Whether its Pattern, Pattern Regular, Pattern Thin or Pattern Vintage, I know that the neck will feel great and certainly won't have any impact on me, my playing or thought process. 3 out of the 4 are all pretty much the same carve with slight variation but basically the same carve - not a V or D or have some compound shape (Start as a C and change to a D or V) and compound radius as they are all 10" radius unless otherwise stated, all C apart from the Pattern Vintage.

That's why I struggle to really describe the difference because they are all so similar and not something that you pick up and take a few minutes trying to get used to the different neck carve because it feels like the others. Others may be more affected by the small differences but all I can say is that in my experience, owning at least 1 each of ALL 4 of the 'Pattern' named neck shapes, the only one that feels remotely different is the Pattern Vintage but not in a bad way. The rest all feel like a PRS neck and if PRS just called them ALL pattern, I wouldn't be able to say this guitar is a bit wider at the nut or that guitar was much thinner than the others and the 2 that are the same designation may feel different because of weight and string gauge - my HBii has 11's with a wound G and I believe my PRS Special has 'Pattern' neck like the HBii.

The point I was trying to make is that there is a greater difference in other aspects, like where the switch to swap PU's is or where the different pots, mini-toggles etc are, whether you have a fixed bridge or trem, whether you have a pick-up between the humbuckers or not - let alone differences in scale length and string gauge that can all make the guitar feel different and require a bit more thought to get used to than the neck carve. The difference is so minor to me that they may as well all had the same neck for all the difference it makes to me - hence I said I am probably not the best person to ask because of that.
 
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