That is just a stunning guitar - sonically and visually. I have to keep reminding myself that my playing, at this stage, doesn't deserve such an instrument, to keep myself from shelling out $12K or so. And the day that I do choose to shell out that kind of dosh for an axe, I'll have it built to my spec: the only thing I'd change on this one, is to put a fixed bridge, rather than trem system. I'm just not a big trem user
My playing is mediocre at best and I could not justify owning a guitar like this even if I could afford one. Kudos to those fortunate ones who will buy them anyway. It is a stunning guitar and in Pete's hands it sounds magical for sure.
Normally I would not opt for so many switches but on this they don't appear overly obtrusive to me and I would be happy to let the trem stay
I saw the Dead & Co. last summer when John was playing the original Super Eagle. And if nothing else - it seemed like they were intent on capturing Garcia's tone first and foremost.
I think in that regard, the middle NF was the perfect solution (Jerry mostly played on a middle humbucker split). Also the on-board pre-amp was used to help push that signature Mutron effect which apparently works better with a bit of push or compressor in front of it.
And for whatever reason, John would switch back to a PS (or Collection) solid body (looked like a classic McCarty) when he played more bluesy, Mayer-type tunes. Will be very interesting to see the final resulting S-type guitar he has been working on with PRS.
In any event, the Super Eagle is a gorgeous looking and sounding guitar, and seems like you could play anything on it.
Maybe PRS should at least offer that pup combo: H - NF - H, on a revamped core "Studio" model?