Just what is it about the Artist V?

Skeeter

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So, I've been having a blast with recent PRSi purchases, like my Siggy, lately and it is great for my current band.

My former number #1, the BCB Artist V needed some TLC, and after fixing it up a little, I'm just blown away by it once again. I love the new 408 electronics and all that jazz, but I can't seem to find anything that quite competes with "that thing" the A-V does.

So I'm asking a legit question to others who own, or have cycled through more PRSi, including perhaps the AV - what makes it so special? For example, I don't have another 5x/0x equipped guitar, or a custom 22 based guitar or one with an ebony board....to really compare it to. My PRS references are the aforementioned Siggy, a 90's CE24, DGT, and a HBII.

Besides the "sum of its parts," I really do want to know what makes it stand out so much, so that I can look for those features in a future PRS.

Is it the ebony board? The pickups - are the 59/09s the closest? The particular lightweight ribbon mahogany back? The Pattern Regular carve?

I realize this is a highly subjective question, but would really like to hear others thoughts as to what "objective" factors might make it so distinct and appealing.

Thanks!
 
My Artist V is still my most beloved guitar. It's definitely the "sum of all things," but here are a few of the things that are in the recipe to ponder:

If memory serves, most (probably not all) ribbon mahogany is quarter-sawn African mahogany. The neck is Peruvian mahogany. The ebony is Gabon. Maybe these species of woods just do something magical when working together.

The pickups are unique to the model, I know they're a variant of a 5x/xx, but I was never able to find out specifically which - Markie probably has a good handle on it. My only set of 53/10s was on an SC58, and the two guitars are so physically different that I can't really say.

In a pinch, I sold my Sig Ltd, though I really dug it. Eventually I got a 408 to fill that need, but I'll never sell the A-V.

Mike, I believe the switch settings are the same as on the current CU22.
 
I have never seen in person, let alone plaedy an Artist 5, but I have a 10th anniversary and a PS with an ebony board, and the PS has a ribbon mahogany back. To me, the ebony board is THE thing. It brings it up an entire level, and both guitars have that"thing" which I am pretty sure you are talking about. Clarity, responsiveness, and just more of everything. I am still blown away that just a fretboard wood can make THAT much difference, but it does. Its huge. If you can try a Gibson 339 and a 359 side by side, you will hear the same thing. (Same guitar but the 359 has an ebony fretboard, 339 Rosewood) It brings it up and entire level. Going from Rosewood to an ebony fretboard makes a bigger difference tonally that going from a mahogany neck to a solid rosewood neck to my ear. Its really unbelievable until you check it out for yourself. And this is coming from someone who cant tell the difference between Brazilian or indian Rosewood, and only minor differences between Rosewood and maple fingerboards on Strats or Teles!
 
I have never seen in person, let alone plaedy an Artist 5, but I have a 10th anniversary and a PS with an ebony board, and the PS has a ribbon mahogany back. To me, the ebony board is THE thing. It brings it up an entire level, and both guitars have that"thing" which I am pretty sure you are talking about. Clarity, responsiveness, and just more of everything. I am still blown away that just a fretboard wood can make THAT much difference, but it does. Its huge. If you can try a Gibson 339 and a 359 side by side, you will hear the same thing. (Same guitar but the 359 has an ebony fretboard, 339 Rosewood) It brings it up and entire level. Going from Rosewood to an ebony fretboard makes a bigger difference tonally that going from a mahogany neck to a solid rosewood neck to my ear. Its really unbelievable until you check it out for yourself. And this is coming from someone who cant tell the difference between Brazilian or indian Rosewood, and only minor differences between Rosewood and maple fingerboards on Strats or Teles!

Interesting. Yea, the ebony board seems to be a huge factor in what separates my A-V from other guitars. The feel is just so slinky and smooth, besides having a great tone, the playability of it is one of the big factors I'm looking for. Plus the frets seems slightly different from my Siggy - not sure if they are actually a different size, or it's just the difference in fretboard wood.

Besides that, the woods are so light, lively and the guitar is so balanced, it just feels like a dream. As for the African Mahogany back - my understanding would be that Korina might be close to that? Definitely seeing great korina/ebony WL runs as of late, and am hoping one of those might get me something close...
 
Interesting. Yea, the ebony board seems to be a huge factor in what separates my A-V from other guitars. The feel is just so slinky and smooth, besides having a great tone, the playability of it is one of the big factors I'm looking for. Plus the frets seems slightly different from my Siggy - not sure if they are actually a different size, or it's just the difference in fretboard wood.

Besides that, the woods are so light, lively and the guitar is so balanced, it just feels like a dream.


Again, I have never played an Artist V, but would love to. The Artist series from the IIs through the LTDs and 10ths are my favorite PRS guitars ever, (I am a 22 fret guy) and it sounds like they have kept the tradition going with the Vs! If they still offered the semi hollow option, I would have been one of the first to buy one. Why they stopped that, I have no idea. :dontknow:
 
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