Private Stock peeps...

[thewesdavis]

I know this is always the place to come for encouragement lol. But besides "do it!" from the masses, I am looking for feedback specifically from Private Stock owners:
Is it worth it? Is the build quality truly so extremely high that the cost is warranted?

I'm looking for something fairly unique (not offered in any iteration of stock options, past or present) - but I am also not a professional player - so I am wondering if I just need to suck it up and "make do" with my cores.

 

[Moondog Wily]

One must consider the diminishing returns. With all products in the PRS line, I think you have diminishing returns as you move up. From SE to S2, are they worth twice the money (as in plays twice as good)? Same thing from S2 to CE or S2 to Core. Plays or sounds twice as good, I personally don't think so. And then of course, Core to PS, worth 2, 3, 4 times as much as a core. I don't think so from a playing perspective. But all of those steps up do improve some IMO, just not as much as the price increases might lead one to believe.

That said, they do have value. I think the better a player you are, the more value you can see in a PS. I suck and do not deserve a PS based on my skill level, but I have one because it commemorated a very special moment in my life and I will keep it till the day I die. I have 3 PRSi, Core CU24, McCarty 594 HBII Wood Library and a PS CU24. The biggest differences for me between my core guitars and the PS do not for me justify the price difference, but as I said, that is not why I chose to plunk down the extra dollars.

I will say this about my PS CU24. It talks to me. The tactile feedback I get on the fretboard literally sends me messages. Specifically what I am talking about is, it forces me to lighten my grip. It seems to scream at me when I am using my monkey grip. This very well could be due to the frets being slightly higher (not sure if they are or not, just conjecturing), but I can literally here it tell me "stop choking me" when I play it. I do not get that from my other two PRSi. Aside from that, I am not a good enough player to discern much else. All three of my PRSi have different sounds due to varying woods, pickup and switching configurations.

It is a huge outlay of cash, especially if you are working folk like me and not a pro musician, but there are many reasons to go PS even if you just want to hang it on the wall as art. I think many PS look way cooler than the majority of art I see in that price range. Now my girl would certainly not agree, but that is me ;~))

 

[Steve Dombroski]

I have 2 private stocks, and 1 on the way, and a few cores as well. I would say that while you can definitely feel a SLIGHT increase in quality, the reason why I have gone private stock in the past is to get a Custom 24 with a stoptail, which PRS doesn't offer in their core line (not hardtail, STOPTAIL).

So I would say that if you're looking for something unique that you can't find in the core line, then Private Stock is the way to go. However, you're not going to feel a substantial boost in quality. Cooler woods and a wider color pallet too.

 

[JasonE]

Depending on what options you are looking for you may not be able to get it at this point. They have limited what they will do on a private stock now. You may want to check with a dealer to find out if what you want done is possible and they can quote you a price on it if it is. Then you have some data to work with for making a decision.

 

[veinbuster]

Mine were worth what I paid. Quality is as good as it gets.
Prices have gone up since I last had one built.

 

[alantig]

There's definitely an uptick in quality. I can't quantify it, but it's noticeable to me. Beyond that, it all depends on if you can get what you want. It took me about 10 years before I felt comfortable knowing what I want, and for me, it was absolutely worth the cost. I'm glad I jumped when I did because I was able to get several things that I couldn't get today due to the restrictions on options (because of their backlog).

If you can do it w/o straining your finances, and if what you want isn't available in the core or a WL or dealer run, I'd absolutely say go for it, especially if you can make the trip to the factory. The experience of picking out the wood and reviewing your choice w/your dealer and the PS team is wonderful.

 

[vchizzle]

From a quality standpoint? I think it’s more of a handmade by a small group of experts feel to the guitar. Like others have said, it hard to quantify but it’s the very small finishing touches that leave that impression.

Should you/worth it?
I’d say #1, love PRS guitars.
Next would be getting something unique to you, not available in core or WL. Last, work with a dealer who will take you to the factory. The experience of that is worth it.

 

[László]

I'm in the music business. I'm in front of studio monitors all day and half the night. I've done a lot of recording over the last 33 years.I'd say the answer to the question is, 'Depends what you're into'.

Others have talked about the attention to detail by skilled hands re: build quality. The PS team spends MANY more hours on a PS build than Core, and it's there to feel and hear. I won't call any guitar 'better', because that's entirely subjective, and what's best for me isn't necessarily best for anyone else.

Regarding tone, how carefully do you listen for the subtle details that distinguish a truly great guitar from an excellent guitar? If you're really into those details, if you listen for them (and know what to listen for), I think most PS are different in a good way. It's especially obvious if you play clean.

With a lot of gain, however, you may not think the tone's any different; gain turns sine waves into square waves, affects frequency response, etc. There's nothing at all wrong with high gain, but it does tend to obscure subtle differences.

It's certainly possible to find that great-sounding, fantastic, unicorn Core model, because there are plenty of them out there.

I'll go out on a limb and say that many of the PS models sound amazing, and different in a 'worth it to me' way than Core, or even the limited non-PS runs.

The four I have are the most resonant, beautiful sounding guitars I've ever had, and I've had a LOT of PRS guitars, playing PRS since 1991.

My PS acoustic - bought because I wanted a maple guitar and when they were still making Core acoustics maple wasn't offered - turned out to be the finest sounding acoustic guitar I've ever played; it's right up there with one of my close friend's Olsons, a guitar that fetches a fortune. It's a cannon. Simple as that.

I've had 900 series Taylors, 40 series Martins, Custom ordered Collings; I wouldn't swap my PRS for any of them. None of them stuck. My PS acoustic has been here nearly ten years, and it's the only acoustic I play.

I bought my PS electrics from dealer stock. I wanted to hear them before plunking down the cash. They're amazing guitars. I wouldn't have bought them if I didn't think they're unicorns, and I'd have flipped them if I was disappointed with the tone.

Are all PS guitars incredible sounding? I have no idea. I haven't played every one of them, obviously.

I've had my PS models for between 8 and 10 years. I would never part with them. Since getting the PS models, I've bought and sold quite a few Core models. They were all excellent guitars. Did they have the tone details, resonance, gorgeous sound, etc., that my admittedly hand-picked PS models have? A few came very close. I thought each one was a keeper, but turned out not to be the case.

 

[JasonE]

I'm in the music business. I'm in front of studio monitors all day and half the night. I've done a lot of recording over the last 33 years.I'd say the answer to the question is, 'Depends what you're into'.

Others have talked about the attention to detail by skilled hands re: build quality. The PS team spends MANY more hours on a PS build than Core, and it's there to feel and hear. I won't call any guitar 'better', because that's entirely subjective, and what's best for me isn't necessarily best for anyone else.

Regarding tone, how carefully do you listen for the subtle details that distinguish a truly great guitar from an excellent guitar? If you're really into those details, if you listen for them (and know what to listen for), I think most PS are different in a good way. It's especially obvious if you play clean.

With a lot of gain, however, you may not think the tone's any different; gain turns sine waves into square waves, affects frequency response, etc. There's nothing at all wrong with high gain, but it does tend to obscure subtle differences.

It's certainly possible to find that great-sounding, fantastic, unicorn Core model, because there are plenty of them out there.

I'll go out on a limb and say that many of the PS models sound amazing, and different in a 'worth it to me' way than Core, or even the limited non-PS runs.

The four I have are the most resonant, beautiful sounding guitars I've ever had, and I've had a LOT of PRS guitars, playing PRS since 1991.

My PS acoustic - bought because I wanted a maple guitar and when they were still making Core acoustics maple wasn't offered - turned out to be the finest sounding acoustic guitar I've ever played; it's right up there with one of my close friend's Olsons, a guitar that fetches a fortune. It's a cannon. Simple as that.

I've had 900 series Taylors, 40 series Martins, Custom ordered Collings; I wouldn't swap my PRS for any of them. None of them stuck. My PS acoustic has been here nearly ten years, and it's the only acoustic I play.

I bought my PS electrics from dealer stock. I wanted to hear them before plunking down the cash. They're amazing guitars. I wouldn't have bought them if I didn't think they're unicorns, and I'd have flipped them if I was disappointed with the tone.

Are all PS guitars incredible sounding? I have no idea. I haven't played every one of them, obviously.

I've had my PS models for between 8 and 10 years. I would never part with them. Since getting the PS models, I've bought and sold quite a few Core models. They were all excellent guitars. Did they have the tone details, resonance, gorgeous sound, etc., that my admittedly hand-picked PS models have? A few came very close. I thought each one was a keeper, but turned out not to be the case.

While reading this I had a thought. What do you think they spend more time on to make the guitar better? And, by better I mean improved in the ways you mentioned. My thinking is if a person knows how to work on guitars, could they take a core guitar and bring it up to the level of a PS if they have the tools and the skills?

I give all of my guitars a once over when I get them. I have been working on guitars since I was young. I will say that I have found far less things on PRS guitars that I feel the need to address than any other brand I have purchased.

 

[László]

While reading this I had a thought. What do you think they spend more time on to make the guitar better? And, by better I mean improved in the ways you mentioned.

Great question!

I can talk about the end product, but not how they get there. I feel like my clients when they hear a track. They can't put into words what they want; they know it when they hear it. I can't put into words what's great about a PS. I know it when I feel it, play it, and hear it.

Maybe talking about tone and feel is like dancing about architecture (to paraphrase an old saw).

A while back, Paul Smith mentioned the number of hours spent on a Core model, and the same about time spent on a PS, but didn't elaborate. He also said their most experienced and talented people handle PS. Maybe that matters, as I get into later in this post, but I don't know why it matters.

PS differences:

The first thing I noticed about the guitars was how amazing they sounded. There's a depth of 'tone I can dive into and swim in' with my PS models - that's the only way I can put it - yet all of them have different pickups. So it ain't the electronics.

I can get more nuance out of them when I play. I have no idea why. They just respond differently from Core.

Despite the model differences, there's a family resemblance, if you will. Yet I can't put it into words, except vague stuff like 'tone I can swim in'. Probably meaningless to anyone but me, right?

I figure that's down to the woods chosen and to some degree, the setups - and oh my the setups are amazing. But setups are probably easy for you, with your experience. So your setups are probably not going to change. On the other hand, the woods aren't going to change with a guitar you already have, either.

The second thing I noticed was the feel, the fretwork, and the details that make up just how wonderful they feel. Sadly, I know nothing of how they got that way, and I can't even describe it in words. For me it's like playing something forged by Hephaestus on Mount Olympus: Perfection. And I bought from dealer stock, these aren't custom builds made for me to my spec.

I don't know what's different or how they got there, I just know it's different and I prefer it.

Here's an interesting thing, if you'll permit me to go down a tangential road:

I've had 5 or 6 Core Wood Library models that were built after I got the PS models, and I bought them all new. All but one were nitro finished. But even 7-10 years down the road, after you might think the PS models were no longer in a honeymoon phase, the PS guitars still felt and sounded better to me than my new WL models.

I didn't feel any special attachment to the WL models, even though they were excellent guitars. They're all gone, no regrets except the 594 Soapy, but Soapies are too noisy in my studio for some reason. The attachment thing is also true of my new DGT from last fall - love it though it's just...different somehow. I do plan to keep the DGT.

As with my other WL models, the DGT was made with materials you'd think were on the level of the PS, except it doesn't have the Peruvian neck. But there's still an African mahogany back, BRW fretboard - and it sounds excellent.

Does it have the incredible depth of tone of the PS guitars? I honestly don't think so. Again, I love the guitar, but it's different. Not worse, just different.

Back to PS:

In terms of fit and finish, I don't go in for custom fancy inlays, and I prefer a nice flame top, so I don't care about tubular quilts and all that stuff. I didn't order my PS electrics to custom spec anything at all, so except for wood neck bindings on a couple of them, and the inlays on the 30th Anniversary CU24, they don't look different from a Wood Library Core model finished in nitro to me.

I've visited the factory and spoken with the PS team. We talked about the guitars in general, and my guitars, but not about process; so I lack that specific info. I should mention that when the PS team was building my acoustic, I got a couple of calls from my dealer with questions the team had about my preferences.

When I visited the factory, I figured I'd remind the PS team which guitar they built for me, so I showed them a pic on my phone. The builder immediately said, "Are you Les?" which kind of flabbergasted me because it had been a couple of years since they made it. And he went on to talk about my guitar, he knew a lot of details about it! I thought that was pretty cool and interesting.

Another slight digression:

I figure the builder matters. It kind of reminds me of Fender Custom Shop, where people talk about buying a This Guy or That Guy Strat. But I also think the player's familiarity with the base guitars matters. A person needs a point of reference.

Not being a Strat player, or intimately familiar with the feel of their regular guitars, I have a hard time figuring out what people are getting that they don't get from a regular Strat, but a Strat player will go on and on about them.

Recently, I was in LA and someone handed me a custom Strat, said it was his best-ever. I couldn't really tell the difference, except it felt to me like a Strat made in 1965. I didn't like Strats much in the late Sixties when I started playing, so I didn't grok the whole brouhaha.

My guess was the majority of time was spent on making it look like it had been dragged down a gravel road behind a pickup truck!

I've spent very little time with Strats - they all feel yeccchhhhy to me, though I did like my Tom Anderson Droptop Strats and Tele that were different than most Fenders, and I liked them almost as much as I like a PRS. Can I tell you why they're different from a Fender? Not really.

My point is, my lack of familiarity with Strats means I don't really have a clue about what's different in a This Guy or That Guy Custom Shop Strat.

Seriously, though, I'd bet that making the neck feel like it had been made in the mid '60s was a big part of that Strat. I didn't plug it in, so can't talk about its tone.

But after 33 years of playing only PRS electrics with one exception, I am able to talk about what's subjectively different about PS from Core, yet only in analogies to other things, like swimming, or Mount Olympus. Weird huh?

How's that for a whole lot of talk that doesn't really answer your question??

 

[JasonE]

I have not had the fortune to play a PS PRS. I would definitely be looking over all of the details if I get that chance. I have always wondered if investing in a PS would get me anywhere that I am not already going with my core guitars after I do my own setups and things to them.

The custom shop Strats and Teles have always made me scratch my head. I have a good bit of experience with those types of guitars. I played both for years. I have never felt the value in any of the custom shop Fender stuff I have played. I was looking at a custom shop Tele at a guitar show a handful of years ago. It was a new guitar being sold by a Fender dealer. It was not a relic. The guy was willing to give me a pretty good deal on it. I played it and I honestly couldn't tell the difference between it and a Fender American Standard. It just wasn't worth the money to me. I know that I can make pretty much any American built fender play like I want it to. They are very consistent builds at that level. There has been plenty of music that we all listen to that was made with the American Standard series Fender guitars.

I have a couple of custom built Suhr guitars. Those are definitely on another level from Fender. They are much closer to PRS. In fact, my custom Standard has been mistaken for a PRS many times. People see the fancy carved maple top and mistake it for a PRS. I have a Suhr Classic Pro as well, which is basically a Strat copy with John's tweaks. I would say it is on par with the Fender Ultralux that has the stainless steel frets in it. Is it better than the highest level of Fender? Not sure I can say that.

I have many times wondered about the PRS PS level though. They use the same electronic components and hardware, as well as frets, on the PS as they do on the core. I haven't seen any real issues with fit and finish on my core models. That has always made me wonder what is that extra money getting me. It is a lot of extra money. Then I start wondering if it is things that I can do myself after I get a core guitar or is it really just more detail in the nice to have things. When I hear folks say they just sound better, that gets me wondering why if the bulk of the guitar is using the same components. I also believe that just because a piece of wood is prettier doesn't mean it sounds better. One of my best sounding PRS guitars is one of the plainest looking of the ones I have.

 

[László]

I have not had the fortune to play a PS PRS. I would definitely be looking over all of the details if I get that chance. I have always wondered if investing in a PS would get me anywhere that I am not already going with my core guitars after I do my own setups and things to them.

I wish you could just pop over and check one out.

The custom shop Strats and Teles have always made me scratch my head. I have a good bit of experience with those types of guitars. I played both for years. I have never felt the value in any of the custom shop Fender stuff I have played. I was looking at a custom shop Tele at a guitar show a handful of years ago. It was a new guitar being sold by a Fender dealer. It was not a relic. The guy was willing to give me a pretty good deal on it. I played it and I honestly couldn't tell the difference between it and a Fender American Standard. It just wasn't worth the money to me. I know that I can make pretty much any American built fender play like I want it to. They are very consistent builds at that level. There has been plenty of music that we all listen to that was made with the American Standard series Fender guitars.

We share that experience methinks.

I have a couple of custom built Suhr guitars. Those are definitely on another level from Fender. They are much closer to PRS. In fact, my custom Standard has been mistaken for a PRS many times. People see the fancy carved maple top and mistake it for a PRS. I have a Suhr Classic Pro as well, which is basically a Strat copy with John's tweaks. I would say it is on par with the Fender Ultralux that has the stainless steel frets in it. Is it better than the highest level of Fender? Not sure I can say that.

I've heard the Suhrs are great. I've only played one and it was long enough ago that I don't really remember much. I have a good friend who's a Suhr dealer, and I've been offered deals, but I've always said, "I appreciate the offer, but I'm a PRS player through and through."

One time he said there was a new Pete Thorn studio-centric amp I had to demo. I explained that while I LOVE Thorn's playing, I like a very different tone.

Pretty sure I pissed him off that time, because we haven't spoken since. Maybe he thinks I'm nuts. Wait, even I think I'm nuts...

I haven't seen any real issues with fit and finish on my core models. That has always made me wonder what is that extra money getting me. It is a lot of extra money. Then I start wondering if it is things that I can do myself after I get a core guitar or is it really just more detail in the nice to have things.

It is a LOT of money, I'll grant you! And there aren't any real issues with fit, finish or tone on any Core model I've ever gotten - I've had probably 35 of them. But I didn't buy my PS for fit and finish. I liked the tone and feel.

But I just don't know why PS are different. They have the same electronics, and as I understand it, they're made the same way. I was told they're pretty careful about selecting the wood, and that it's not just the looks.

As you know, there are a lot of hands-on steps involved in making a PRS. My guess is that matters, but I don't know why.

When I hear folks say they just sound better, that gets me wondering why if the bulk of the guitar is using the same components.

I think it's not so much 'better' as 'different'. I prefer my PS' but I can't even say I'd prefer someone else's PS to a Core. But 'better' is subjective. One person's 'better' is another person's 'I don't hear that' or even 'I can't tell the difference'.

Again, I only wish I knew why.

I also believe that just because a piece of wood is prettier doesn't mean it sounds better. One of my best sounding PRS guitars is one of the plainest looking of the ones I have.

This is so true. Prettier definitely does not equal better tone. No question about that, we completely agree.

But 'looks better or worse' has nothing at all to do with 'is more resonant' or 'rings out more loudly' in a particular frequency band, and that's what matters to me. They're different topics entirely.

Certainly you can find pretty wood that also rings like a bell, as well as plainer wood that rings like a bell. It's nice to have both looks and tone.

My Stripped 58 plain top had my favorite tone of any of my Singlecut models (four or five others, including Artist models) -- only the PS McCarty Singlecut sounded better (to me).

Someone else might have preferred the Stripped 58 to my PS, or any of the other ones. As my grandfather would say about preference, "That's what makes horse racing." Everyone picks a different horse.

I know Paul Smith tapped my acoustic's woods for tone, because my dealer was there and was texting me at the time. Whether that happens with all PS woods, I have no idea. I'd guess maybe before they put it in the rack? Or maybe only if a customer wants it? Dunno. I do know that my PS guitars ring and have a gorgeous tone. What more can be said?

[Edit] Well I guess one more thing can be said: When I talk about nuance, tone preference, etc., I'm talking about how the guitars sound in my hands, and how they respond to what my hands make my ears and brain hear. A different player's hands, brain, and ears will be different, and that plays a significant role - just my opinion.

Also, I'm a keyboard player first and foremost. I do a lot of synthesis, which means listening for teeny tiny sound design details. I do a lot of sound design for clients, too.

For orchestral stuff I use sample libraries, and several of them sound great, but I have a preference for the Spitfire libraries because I like the techniques UK players use; they have a characteristic vibe, just as American and German players sound different to me. The dynamics of how they play a note are unique. The other thing is the scoring stages the samples are recorded in. They help create a different sound.

Other folks might say "strings are strings, and as long as they're well recorded, I don't care." As for me, I employ at least a fifteen different string libraries for different purposes. There's stuff I listen for that others might not care about at all.

 

[alantig]

When I visited the factory, I figured I'd remind the PS team which guitar they built for me, so I showed them a pic on my phone. The builder immediately said, "Are you Les?" which kind of flabbergasted me because it had been a couple of years since they made it. And he went on to talk about my guitar, he knew a lot of details about it! I thought that was pretty cool and interesting.

Not surprising. When I was there for my PS build, I stayed an extra day to do the tour. We went through the PS area and were able to go in the room w/Eric and talk to him. I saw one in his rack that I thought I recognized as a fellow forum member's build (no name because I didn't ask his permission), and as the group moved on, I asked him about it, particularly the finish, and I said, "I think I know who that's going to." He looked at it again, and said the member's name. That's a level of detail you don't get everywhere.

 

[Bogner]

Is It Worth It? If You Can't Get It Any Other Way I Would Say It Is. I Have A Few And They Are In My Favorites List. They Sound/Feel/Play/Look Great. I Couldn't Be More Pleased. I Do Have Various Other PRS Guitars From Cores To 10 Tops To Artist/WL And All Of Them Are Great As Well...That Is Why I Bought Them. Sometimes That Last 3% Is The Biggest And Most Difficult To Attain. I Feel It Is Moot To Compare/Ponder If A Private Stock Is 17 Times Better Than An SE Model. If You Can Afford It And They Will Make You The Guitar That Fits The Desires Of Your Heart Then Why Not Go For It? I Believe Everybody Should Have At Least One Private Stock Just Because. On The Other Hand, If You Can Find Something Already Made That Is Out In The Wild And Scratches That Itch And Costs Less And Plays Like A Dream, Then Go For It...You Likely Saved Some Cash! Finding A Guitar That Really, Truly Speaks To You And Plays And Sounds Like A Dream Is Not Such An Easy Find. When You Do, And You Have The Funds To Get It, Do So. You Will Never Regret That Purchase.

 

[JasonE]

I wish you could just pop over and check one out.


We share that experience methinks.

I've heard the Suhrs are great. I've only played one and it was long enough ago that I don't really remember much. I have a good friend who's a Suhr dealer, and I've been offered deals, but I've always said, "I appreciate the offer, but I'm a PRS player through and through."

One time he said there was a new Pete Thorn studio-centric amp I had to demo. I explained that while I LOVE Thorn's playing, I like a very different tone.

Pretty sure I pissed him off that time, because we haven't spoken since. Maybe he thinks I'm nuts. Wait, even I think I'm nuts...


It is a LOT of money, I'll grant you! And there aren't any real issues with fit, finish or tone on any Core model I've ever gotten - I've had probably 35 of them. But I didn't buy my PS for fit and finish. I liked the tone and feel.

But I just don't know why PS are different. They have the same electronics, and as I understand it, they're made the same way. I was told they're pretty careful about selecting the wood, and that it's not just the looks.

As you know, there are a lot of hands-on steps involved in making a PRS. My guess is that matters, but I don't know why.


I think it's not so much 'better' as 'different'. I prefer my PS' but I can't even say I'd prefer someone else's PS to a Core. But 'better' is subjective. One person's 'better' is another person's 'I don't hear that' or even 'I can't tell the difference'.

Again, I only wish I knew why.


This is so true. Prettier definitely does not equal better tone. No question about that, we completely agree.

But 'looks better or worse' has nothing at all to do with 'is more resonant' or 'rings out more loudly' in a particular frequency band, and that's what matters to me. They're different topics entirely.

Certainly you can find pretty wood that also rings like a bell, as well as plainer wood that rings like a bell. It's nice to have both looks and tone.

My Stripped 58 plain top had my favorite tone of any of my Singlecut models (four or five others, including Artist models) -- only the PS McCarty Singlecut sounded better (to me).

Someone else might have preferred the Stripped 58 to my PS, or any of the other ones. As my grandfather would say about preference, "That's what makes horse racing." Everyone picks a different horse.

I know Paul Smith tapped my acoustic's woods for tone, because my dealer was there and was texting me at the time. Whether that happens with all PS woods, I have no idea. I'd guess maybe before they put it in the rack? Or maybe only if a customer wants it? Dunno. I do know that my PS guitars ring and have a gorgeous tone. What more can be said?

[Edit] Well I guess one more thing can be said: When I talk about nuance, tone preference, etc., I'm talking about how the guitars sound in my hands, and how they respond to what my hands make my ears and brain hear. A different player's hands, brain, and ears will be different, and that plays a significant role - just my opinion.

Also, I'm a keyboard player first and foremost. I do a lot of synthesis, which means listening for teeny tiny sound design details. I do a lot of sound design for clients, too.

For orchestral stuff I use sample libraries, and several of them sound great, but I have a preference for the Spitfire libraries because I like the techniques UK players use; they have a characteristic vibe, just as American and German players sound different to me. The dynamics of how they play a note are unique. The other thing is the scoring stages the samples are recorded in. They help create a different sound.

Other folks might say "strings are strings, and as long as they're well recorded, I don't care." As for me, I employ at least a fifteen different string libraries for different purposes. There's stuff I listen for that others might not care about at all.

I think we are in full agreement. Make no mistake about it, I love having guitars with great tops, same with women. The guitar I was referring to is my Ted McCarty that is a non 10 top that is a little plane looking. I can't remember if I mentioned that. When i look at it I am always reminded how I wish I had bought a 10 top instead of trying to save a little money. But when I strap it on and play it, I completely forget about the non 10 top. It just plays great and has a little something to it that is hard to put into words. It just has this thickness to the sound and it rings out very well. It has a set of non engraved 57/08s in it. I don't know if that is what it is or if it is something else. I kind of feel that the guitar performs better than just the sum of it's parts.

I wish I knew someone close to me that had a PS. I would love to get my hands on one. That is kind of what pushed me over the edge on the Suhr guitars. I got to play a custom built one at a shop. I then bought a used custom built Suhr. It is one that I will probably sell at some point because it is a Modern that has 24 frets. After I had my Standard built I sopped playing the Modern. That was over 8 years ago.

 

[László]

I've only played one Ted, at a GC, and I absolutely loved it. Seems like they all got snapped up pretty quickly, because I never had a chance to play another. Unfortunately, the one I played had a lot of shop wear for a new guitar. That bugged me at the time; it wouldn't bug me much now. Sounded the business.

I got a CU22 Semihollow around that time, with 57/08s. Sounded great, same finish (Charcoal) as the Sig Ltd and my current DGT. I recall that you and I are both fans of that pickup.

 

[markd21]

At the height of my PRS acquisition, I got the PS bug. I went a dealer that had multiple PS guitars, new and used, with my MC58. Playing it side by side, I could not justify the cost difference. I did not feel - honestly in my self - that ANY of the PS guitars eclipsed my Cores in away for me to justifiably go in that direction. I bought 2 Cores and an S2 that day. I was happy.

My advice, see if you can try a couple - especially if you know your favored specs and you have a nearby dealer. I drove 4 hours to find a shop with PS guitars in stock.

 

[CivoLee]

Unfortunately, with the dropping of spec customization I'd have to be the dissenting voice and say no. I'd love a Custom 24 Fatback with foil finish and a DGT control layout, but I'd told they'd say yes to everything but the third one.

If I'm dropping five figures on a guitar, it'd better be EXACTLY what I want, not just an exclusive color or fancier cosmetics than you get from the production models.

 

[Tonart]

For me it is worth it when you find that magic confluence of tone, special figuring and rarity. In one single guitar. The catch of course is that perhaps only 1 out of 100 PS fall in that category. But when one appears, you can be sure you will never find it outside of PS.

For the other 99, it’s really subjective and anybody’s guess. What I like most about PS in general is the exotic woods on offer like Brazilian RW and Pernambuco, and yes to my ears and perception, these materials make a difference not just to sustain but the inherent tone itself.

Quality wise I would say a PS guitar should not be systemically better than core but perhaps the probability of a lemon would be less, simply because Paul supposedly inspects every PS guitar personally and the PS team are like the “master builders” or Tom Murphys.

What I would advise is not to be overly distracted by the explosion of quilt and flame, mind blowing stains or inlays, albeit artistic as they are. What is truly hard to come by is tone, special figuring and rare materials. Man makes unlimited, nature makes limited.

It takes a while to learn how to distinguish the truly outstanding from the rest. Observe from afar first and save your bullets for when you know what you really want.

 

[11top]

Maybe