Question, PRS Need Neck Binding or No ?

Macmutt

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Jan 14, 2015
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Hey guy's i'm new here and i'm purchasing my first PRS Custom 22 or PRS ever for that matter in another week or so.
However i've always had guitars with neck binding but the custom 22 doesn't have it, i could probably custom order it but that would take months, and i don't want to wait.
So will it really be that noticeable going from neck binding to no neck binding ?
Please give me your opinions....Thanks.
 
I don't like it on most PRS and most don't have it. I don't think there's every been a normal CU22 with binding. Binding originated to cover up poor workmanship or fret ends popping. Paul's never been big on it. You get it on the 30th CU24, but that's more a purfling not a binding.
 
Go for it you'll never notice the difference, as if the Cu22 has a black or invisible binding :D
 
Actually, surprisingly, bound fingerboards can be found on guitars from the 17th Century like this one from the MET that had tied-gut frets instead of metal ones. It was originally ornamentation that was simply expected on an expensive guitar from what I can see looking at some of these older instruments.

http://blog.metmuseum.org/guitarheroes/guitar-late-17th-century/

if you saw the link you'll also see other traditional guitar making elements that are still with us in one form or another. However, it's also true that a bound neck worked well for guitar makers in the North like Gibson (Michigan) and Martin (Pennsylvania) whose instruments had to go through climate changes.

I've got both bound and unbound PRSes, and while I slightly prefer bound I find it doesn't matter enough to worry about. Sharp fret ends are very easy to fix.
 
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I have PRS guitars with binding (Signature Limited, ME III) and without (several), and I can't detect any difference in feel. Cosmetically, I think the binding on the ME III is a little too "white", but the binding on the Signature Limited is a "just right" cream color. Personal taste, of course.
 
Actually, surprisingly, bound fingerboards can be found on guitars from the 17th Century like this one from the MET that had tied-gut frets instead of metal ones. It was originally ornamentation that was simply expected on an expensive guitar from what I can see looking at some of these older instruments.

http://blog.metmuseum.org/guitarheroes/guitar-late-17th-century/

if you saw the link you'll also see other traditional guitar making elements that are still with us in one form or another. However, it's also true that a bound neck worked well for guitar makers in the North like Gibson (Michigan) and Martin (Pennsylvania) whose instruments had to go through climate changes.

I've got both bound and unbound PRSes, and while I slightly prefer bound I find it doesn't matter enough to worry about. Sharp fret ends are very easy to fix.
Well, I know you date back nearly that far, but we're talking 20th century when electric guitar came about. :rofl:
 
Well, I know you date back nearly that far, but we're talking 20th century when electric guitar came about. :rofl:

Well what I'm saying is that there"s a tradition in guitar making. Certain parts and ideas that start showing up in 1600 carry forward, you still see them in the 1800s when CF Martin and Orville Gibson were making 'em, and they were carried forward and showed up 80 years ago on the first high end Gibby Jazz boxes, along with 20, 30, and 40 series Martin acoustics.

Why are electric guitars variations on a few themes, for example? There are traditions and expectations. Plus, more trim means you can charge more for the instrument!

And consider the "scraped" binding look of many PRSes. That is a variation on tradition, isn't it? It's the familiar look of a bound guitar. In fact we refer to it as a binding when all it is is lack of stain,

I think it's important to figure in certain traditional appointments and expectations when considering why things are the way they are, and why in the 21st century lots of people still expect a bound neck,

I remember when PRS was new, people were surprised that these expensive guitars didn't have bindings. I'd say it's all about traditional expectations that have their origin hundreds of years ago.
 
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I've owned one PRS with neck binding (an HBII which I've moved on now) and most without. I honestly did not notice a difference going from one type to the other.
 
Binding, glad most of mine don't have it. If you don't make mistakes you don't have to cover them up with binding.
 
Well what I'm saying is that there"s a tradition in guitar making. Certain parts and ideas that start showing up in 1600 carry forward, you still see them in the 1800s when CF Martin and Orville Gibson were making 'em, and they were carried forward and showed up 80 years ago on the first high end Gibby Jazz boxes, along with 20, 30, and 40 series Martin acoustics.

Why are electric guitars variations on a few themes, for example? There are traditions and expectations. Plus, more trim means you can charge more for the instrument!

And consider the "scraped" binding look of many PRSes. That is a variation on tradition, isn't it? It's the familiar look of a bound guitar. In fact we refer to it as a binding when all it is is lack of stain,

I think it's important to figure in certain traditional appointments and expectations when considering why things are the way they are, and why in the 21st century lots of people still expect a bound neck,

I remember when PRS was new, people were surprised that these expensive guitars didn't have bindings. I'd say it's all about traditional expectations that have their origin hundreds of years ago.
Yep, I get the tradition thing. I also think adding plastic to a guitar where it shouldn't need to be added is kinda, well, meh. That's why I like the scraped binding look...they're not adding work or not needed materials to a guitar. For the most part I just prefer the look of unbound fretboards and that's what it's all about really...preference and expectation. When I see a LP custom, it looks right with binding. A PRS, not so much - because that's what we've come to expect. It's kinda the same with bird inlays, some people just don't like them. I do, because it's my first memory of being introduced to PRS - even though I don't have any special love for birds at all.

Some special PRS runs have fancy inlay work on the tops, and apart from the Dragon series, I'm not a fan. Just personal preference.
 
My SC-58 has binding and my McCarty does not. They're both fantastic guitars. I find the binding is just cosmetic and doesn't affect playability.
 
Yep, I get the tradition thing. I also think adding plastic to a guitar where it shouldn't need to be added is kinda, well, meh. That's why I like the scraped binding look...they're not adding work or not needed materials to a guitar. For the most part I just prefer the look of unbound fretboards and that's what it's all about really...preference and expectation. When I see a LP custom, it looks right with binding. A PRS, not so much - because that's what we've come to expect. It's kinda the same with bird inlays, some people just don't like them. I do, because it's my first memory of being introduced to PRS - even though I don't have any special love for birds at all.

Some special PRS runs have fancy inlay work on the tops, and apart from the Dragon series, I'm not a fan. Just personal preference.

I completely understand, just saying its traditional is all. As opposed to a coverup for poor workmanship.

Incidentally, the binding on my McCarty SC is maple, not plastic, but I even liked the plastic on my SC58. I also like no binding on the Tonare I spec'd. I'm easy. I like oysters and snails, Spartacus.
 
I dig purfling too... on the right guitar. It's a little blingy and it's usually a hefty upcharge but it can be a nice little artsy touch. The Violin II has it IIRC and I find it a little more intricate that I'd like on that one but it's kinda neat.

prs-private-stock-violin-ii-[3]-13262-p.jpg
 
I've heard that from someone who I consider a reliable source and would know. Not saying it's always the case though.

We agree, actually- I'm sure that in some companies it disguises sloppy work, just not PRS Core models, etc.
 
You will not notice anything going from guitars with binding to a guitar without.Personally I like without like most PRSs but it looks great on the 30th Ann.I really like Fenders new channel bound necks for looks.
 
Bindings are 100% aesthetic. Nothing more. It's truly just a matter of "personal" taste.

I wouldn't expect a cheap guitar to have them, nor would I expect an expensive guitar not have them. But yea, prs guitars typically don't. Which is fine, right?

.02
 
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Depends on the guitar for me. I personally like the look of most PRS without it. But on something like say, a USA Jackson, if it doesn't have a bound neck & headstock with sharkfin inlays it just looks weird to me.
 
Binding is functional, it prevents minor bumps and dings. I prefer the look of the natural maple faux binding on PRS, but that hard edge dings quite more readily than a guitar with binding. The plastic bumpers don't dent as often, and if they do its replaceable. Its more funcitonal on the body than the neck, but its still a consideration.


PRS specialty really isn't binding, just the two strips on either side of the fretboard is a bit silly really, but I don't mind the feel of it on a neck.. The side dots are more visible, but the dots on PRS unbound boards are plenty visible too...

A custom 22 I'd much rather have it with no fretboard binding.
 
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