SE2Slinger
New Member
- Joined
- Aug 5, 2017
- Messages
- 16
Hi, first post here.
Was wondering if perhaps Paul or John could chime in and divulge which strain served as inspiration for their "Hemp Green" colour? I just got my Super Eagle II a couple days ago and have been enjoying it immensely, but can't stop wondering about this pressing matter. Below you'll find a photo of my new SE2 adorned by some "velvet bud" strain (acquired purely for scientific comparison) as well as another couple images of the guitar alone.
It all happened so fast... I was at my local shop for some strings when I spotted the SE2 they'd just gotten in and I walked out a lot of dollars lighter, completely unexpectedly. I'd had one on order with Wildwood, but backed out when I learned there'd be no Brazilian board. Guess I felt at that price it's expected, but I admit it's foolish to afford such great weight to such a little thing. After playing it for a short while at the shop I couldn't care less about something as trivial as fingerboard wood- not that African Blackwood is in any way subpar (I'm aware it's a CITES wood). "Brazilian" has really just become a buzz word for marketing and I can firmly state it offers *no* sonic advantage in my experience (which has been quite vast)- sorry, wouldn't want to live with the golden ears some folks live with as I'd waste all my time chasing nuance instead of playing/writing.
The guitar is a complete departure from anything I've owned, from both a sonic and tactile standpoint. Most guitars I've owned have been either vintage ('54 LP, '55 Strat, '59 345, etc.) or vintage-inspired boutique (Gustavsson, Yaron, Bartlett, etc.). PRS was never really on my radar as there was a sort of unjust stigma surrounding the brand among the vintage crowd which I foolishly bought into. It took some getting used to the Eagle, but now I'm pretty darn comfortable with it and have no qualms operating all the switches.
What's blown me away most is the vast array of incredibly usable tones available at the flick of a switch (or six). Operating in split coil mode doesn't yield the anemic sounds I'd always been accustomed to with split coils, but rather ones that rival (or I'd say even best) the greatest single coils I've played. A good portion of my music is sort of groove-based mellow stuff like some of Mayer's and the ability to coax all these sounds while playing over my own loops is terrific.
On the neck: my main guitar for years has been a Nocaster with a fat "U" profile and anything less doesn't usually agree with me, but the medium-chunky profile of the SE2 is actually really well paired with the kind of guitar it is and works just perfectly.
The attention to detail is absolutely bogus and is leaps and bounds beyond any boutique guitar I've owned before. Areas most builders neglect PRS goes above and beyond on. Really love the top on mine as well- not at all a fan of the sharp/perfect fiddle tops.
Overall a huge home run, imo. I can't put the thing down and it has already inspired some wicked tunes, which is what it's all about, right? One thing I've noticed is that the Eagle begs the player to practice more finesse and not bash away at it like you might on other guitars. I like that though, as it forces you to approach it differently, which often yields new material.
Anyways, if John or Paul could comment re: colour inspiration, that'd be great!
Was wondering if perhaps Paul or John could chime in and divulge which strain served as inspiration for their "Hemp Green" colour? I just got my Super Eagle II a couple days ago and have been enjoying it immensely, but can't stop wondering about this pressing matter. Below you'll find a photo of my new SE2 adorned by some "velvet bud" strain (acquired purely for scientific comparison) as well as another couple images of the guitar alone.
It all happened so fast... I was at my local shop for some strings when I spotted the SE2 they'd just gotten in and I walked out a lot of dollars lighter, completely unexpectedly. I'd had one on order with Wildwood, but backed out when I learned there'd be no Brazilian board. Guess I felt at that price it's expected, but I admit it's foolish to afford such great weight to such a little thing. After playing it for a short while at the shop I couldn't care less about something as trivial as fingerboard wood- not that African Blackwood is in any way subpar (I'm aware it's a CITES wood). "Brazilian" has really just become a buzz word for marketing and I can firmly state it offers *no* sonic advantage in my experience (which has been quite vast)- sorry, wouldn't want to live with the golden ears some folks live with as I'd waste all my time chasing nuance instead of playing/writing.
The guitar is a complete departure from anything I've owned, from both a sonic and tactile standpoint. Most guitars I've owned have been either vintage ('54 LP, '55 Strat, '59 345, etc.) or vintage-inspired boutique (Gustavsson, Yaron, Bartlett, etc.). PRS was never really on my radar as there was a sort of unjust stigma surrounding the brand among the vintage crowd which I foolishly bought into. It took some getting used to the Eagle, but now I'm pretty darn comfortable with it and have no qualms operating all the switches.
What's blown me away most is the vast array of incredibly usable tones available at the flick of a switch (or six). Operating in split coil mode doesn't yield the anemic sounds I'd always been accustomed to with split coils, but rather ones that rival (or I'd say even best) the greatest single coils I've played. A good portion of my music is sort of groove-based mellow stuff like some of Mayer's and the ability to coax all these sounds while playing over my own loops is terrific.
On the neck: my main guitar for years has been a Nocaster with a fat "U" profile and anything less doesn't usually agree with me, but the medium-chunky profile of the SE2 is actually really well paired with the kind of guitar it is and works just perfectly.
The attention to detail is absolutely bogus and is leaps and bounds beyond any boutique guitar I've owned before. Areas most builders neglect PRS goes above and beyond on. Really love the top on mine as well- not at all a fan of the sharp/perfect fiddle tops.
Overall a huge home run, imo. I can't put the thing down and it has already inspired some wicked tunes, which is what it's all about, right? One thing I've noticed is that the Eagle begs the player to practice more finesse and not bash away at it like you might on other guitars. I like that though, as it forces you to approach it differently, which often yields new material.
Anyways, if John or Paul could comment re: colour inspiration, that'd be great!
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