2006 PRS "Tremonti Tribal" #96/100

Unique and one-off production guitars really get my attention. PRS kind of lost me with all the limited edition runs. But this model, like the 1980 West Street LTD, the Walnut LTD, and the Thinline SC-J, just stood out from the rest.

This is a huge guitar. It's easily as thick as a Les Paul. Thicker? I'll measure some time. The neck is positively gargantuan. I wanna say that this is a Santana neck carve but it could be my mind playing tricks on me because this bad-mamma-jamma H-E-A-V-Y. That is no joke, people. It must weigh, and I'm guessing here (because I only have a bathroom scale) it weighs somewhere around 500 pounds. I mean, come on... I am all about heavy guitars when you want to conjure the beast but this guitar is the next best thing to an actual battle axe. But don't take that as a complaint. When this guitar is hanging around my neck, that heft feels right.

Another thing that I didn't realize about the Tremonti Tribal is the pearl in the finish. I had always assumed, in err, that they were just black guitars with a white graphic. Not so. There is a distinct white pearl in the finish that looks very much like the white pearl finish that PRS used way back in the day. It really pops when the light hits it just so.

The volume knob for the neck pup is forward and the volume knob for the bridge pup is back. I have to say, it's ideal. I don't accidentally hit the volume knob and turn it down when I'm being a goof-ball, leaning way back, pretending I'm a rock-star. Judge me all you want. The pups are super hot on this guitar. I loaded it with 11's and dropped it 1/2 step.

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As an interesting aside, I once ran into Mark while strolling around in Vienna in November of 2019. He was in town for a show and absconded for a few hours to see the sights.

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2007 PRS "1980 West Street Limited" (AKA Westy)

I have been told the first 3 Westys were made by Private Stock. The first one was kept in Paul's Archive for a few years but was sold about a year ago. This guitar, featured in the NAMM booth, has the very next serial number so I assume it's the second Westy made.

[By the way, I started calling these 'Westy's' when they first hit the streets after my trusty old VW Wesphalia; which are frequently called Westy's by owners/enthusiasts. It just seemed to fit, which is probably why it stuck.]

For me, there's a lot of cool stuff going on with the 'littlest Dragon' that makes it stand out. The inlay (obviously) -- the deep 'Dragon' carve on the top -- the thicker body -- the figured Sapele top which gives it that vintage all-mahogany recipe while maintaining the blingy vibe that modern PRS guitars are known for -- the hidden fret tangs on a Brazilian Rosewood fretboard -- it's just a way cool guitar.

As a reissue, there was something about the Westy that always bothered me. While I really enjoyed the unplated brass bridge, they didn't look like the Mann-Made bridges that were used in 1980. On the original bridge from that time, the sides that hold the saddles were milled back. Also, the holes (where the strings pass through the saddle) are much larger than what is used today. So one day, while I was jaw-jacking with John, he said he would make a vintage-spec bridge with proper saddles for me. In the interest of tone, it was decided they would be 1-piece bridges (the very early bridges were actually 2-pieces).

There were 7 bridges in that initial run and John has made a couple more for fans since then (but not many). Not all were installed in guitars so if you ever find one for sale, grab it. They are the ideal upgrade for Westys and Howard Leese Private Stocks if you want them to look a little more accurate.

This particular guitar is slated for one more tweek. When John gets around to building it, we're going to drop an unplated brass 1980-spec bridge plate with a tungsten block. Tungsten has double the density of brass. I am hoping the extra weight will restore some balance (you may notice the extended strap button on the upper horn). This guitar has a FAT neck which is heavy. That's why I swapped out the metal tuner buttons for ebony and extended the strap button on the upper horn by 1/4" - which helped. It's not bad - certainly nothing like a Les Paul Junior - but I want to be able to let go of the instrument without the neck diving. Its pretty close right now but the Tungsten block should be an elegant way to resolve the issue for good.

Oh yeah... this one also has a suede PS case, zebra 59/09's (which I added), and a push/pull tone pot for single-coil action. It was my #1 for a while. If the tungsten block does the trick, it might end up back in regular rotation.

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2007 PRS Korina McCarty Soapbar (500 made)

Here's another one I pried-away from @JMintzer . M'wahahahaha! This guitar is LOUD and resonates like crazy. The Brazilian Rosewood fretboard has some lovely figuring while remaining dark.

One day I'll get some better photos. maybe I'll do that this weekend. The body color is a slightly deeper hue of amber then these images seem to show. The hardware is gold.

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2007 PRS Moden Eagle Singlecut Trem
(original release, not NOS)

This guitar used to belong to my friend Mark Lehmann (@phretbored). I begged and pleaded for him to sell it to me -- for months -- but he wasn't parting with it. Until one day... I whipped out the secret weapon. I offered him a trade for an '87 custom in his favorite color (Tobacco Burst). That was the winning ticket.

Based upon a poll we ran back the days of Birds and Moons with a sample population of 100 original Modern Eagles (all owned by forum members), roughly 20% of them were Singlecut Trems. Since Faded Blue Jean was the color to have for this model (again, in my opinion) I decided an SCT ME in FBJ was the one to get. Besides, the double-cut stoptail ME is just a Brazilian Rosewood McCarty with a matte-finish nitro paint-job in my book. Well, except the BRW McCarty run had very old wood that was sourced from Martin. It was darker too.

I never liked the RP pickups so this one was upgraded, in my opinion, with 59/09's. I also replaced the stock trem with a 1-piece Mann tremolo bridge and highly polished (and unplanted) brass saddles.

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2007 PRS Swamp Ash Special (with PTC Upgrades)

In the fall of 2010 I was on the hunt for a nice SAS when I saw this one pop-up on the Gear Page Emporium. The flamed neck, fretboard, and 1-piece body blew my mind. I immediately PM'd the seller (not knowing who it was by his username). Lo and behold, the seller was none other than @Shawn@PRS .

After buying it, I sent it back to the factory for some PTC upgrades. It received some zebra 53/10 pickups (the only set I've ever seen), a new-generation nut, 1-piece Mann tremolo, and artist tweaks. It was also set-up for .11's. After these photos were taken the metal tuning knobs were replaced with faux ivory and the nickel-plated saddles were replaced with brushed, unplated, brass saddles. I'll take newer photos one day.

This is the guitar that benched my Westy. It was my #1 for quite a while. It wasn't until The White Rabbit came along that it got any rest. This guitar and an old Fender Vibrolux are a match made in heaven.

Take a look at the TRC. It reads "15" as it was the next guitar to come home after the fateful day Paul told my wife (by accident) how many PRS guitars I had stashed in the house (14, at the time).

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2008 David Grissom Tremolo (DGT) Goldtop

I hunted for a goldtop DGT with old birds for well over a year. While we were running around at the NAMM show in Anaheim one year(2012, I believe), my friend Jeff (@martysnarf) offered up this one up. I'm still pretty stoked to have it. If you can find a DGT with old birds, grab it. There weren't many made before PRS switched the birds. I've heard estimated quantities that suggest there are around 20 of them but nothing has ever been confirmed as far as I know.

This guitar is bone stock and is set-up with 11's, as all DGT's should be. There is magic in the recipe. I won't swap the bridge on this one in an effort to keep it as original as possible.

The mahogany neck has some nice figuring and the texture of the flame in the maple cap can been seen through the opaque top - which I really dig. I'm hoping the nitro finish starts to check as it ages.

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2008 Singlecut Jumbo (SC-J) Thinline

I love this model because it is so far outside the usual PRS recipe. Joe Knaggs pulled a rabbit out of the hat when he managed to get this one approved for production. Look at that headstock! There were 300 production SCJ Thinline guitars made. Some had an ebony trapeze and some had the Bigbsy. I bought this one from @markie and added the gold Starla pickups; a gift from Director of International Sales (at the time), Mr. Larry "Lars" Urie. I also added a push/pull tone pot to split the coils. Now it has that classic Gretsch/Filtertron vibe with a sound that is all its own. Don't expect it to sound or play like a Gretsch. It doesn't.

Starla pickups in hollow body guitars got a lot of positive attention when they first hit the streets. That combo sure sounds good - especially through my old Blackface Twin. This is the way they should have been shipped in my opinion.

Some of the Private Stock versions I've seen had slightly thicker bodies with floating bridges. One day I'll grab a Charcoal SC-J with the ebony trapeze. Have one for sale?

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2008 Chesapeake Severn
Private Stock #1989

In September of 2008, I flew to the east-coast from my home in Honolulu (at the time) to gather with friends from far and wide. This was the event where I met some of the best friends I've ever had. It was also significant for PRS. The 2008 Experience was where they debuted many new products (like the venerable 57/08 pickup and the Starla).

On the evening of September 18th, amongst the laughter and merry-making, many stories were shared about the inaugural (2007) PRS Experience. One of the things that really got me excited was the prospect of unique guitars that were made exclusively for that event. The next morning, Mike Hanson and I hatched a plan to get to the PRS factory before the crowds. We wanted the inside scoop on any special guitars that might be available. We knew that my friend Kota from BUG Guitars (Tokyo) was also in town and so was the crew from Korg Import Division (KID). Those guys are notorious for walking onto a room and buying every single guitar before anyone has a chance even look (like the entire NAMM booth).

So, the next morning, Mike and I got to the factory well before the gates opened. As luck would have it, we ran into Shawn in the parking lot. At this point, Shawn and I had spoken many times over the years but had never met, in person.

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After catching up for a few minutes, Shawn offered to escort Mike I through the factory grounds (it was a short cut) to the other side where we were supposed to sign-in. Shawn was very clear that we couldn't stop along the way to look, touch, or take photos. We agreed and then we were off.

Half-way across the PRS campus, to my left, I saw a very unique guitar sitting on display under a canopy. I was gobsmacked and pleaded with Shawn to just let me take a photo as we passed by. He politely declined. A deal was a deal. So we continued on our way. But the hook was set.

When we arrived at the sign-in area on the other side, I immediately called Jack Gretz and told him about the guitar. He started pinging his sales rep and other info-sources for info and got the scoop. He reserved the instrument and we set a time to meet at the display table a few hours later.

When the gates opened, I ran to the guitar for a closer look. I loved it. I loved everything about it. The figured mahogany top blew my mind. I had to have it. But it wasn't time to meet with Gretz just yet, so I wandered over to see the archive.

When I returned to the guitar for our meeting, a crowd was already gathering. Jack picked it up, put it in my hands, and explained that this wasn't a PRS. Rather, it was a new brand called Chesapeake that was only going to be made by Private Stock (original press briefing here). As cool as it was, I just couldn't get past the crazy price tag. I'm not really a PS guy and was even less interested in them back in 2008.

As I stood there, shellshocked, I looked around at all the people who appeared to be waiting for me to make up my mind. Some of the Japanese buyers were standing right beside me, politely waiting. I started to hand the guitar back to Jack and decline. Jack looked at me and said something like "Are you sure, Hans? The moment I set this guitar down, it's gone." I looked around again. He was 100% correct. So I did what any other idiot in my situation would do... I said "My wife is going to kill me. I'll take it".

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Later that morning, Joe Knaggs explained to me that the guitar was inspired by a pre-CBS slab-board Strat that he had for a long time. His new design featured a glued-in neck and a 'full-float' trem-system that he designed with unplated brass saddles to push the string energy into the body of the instrument. When he told me that it was called the Severn, I asked him to add the name to the back of the headstock. That's why you'll see it in some photos but not all of them.

Not long after I bought this guitar, Joe left PRS and took the Chesapeake designs with him. Only about 19 Chesapeak guitars were made by the Private Stock team before the brand was terminated. Some Chesapeake-brand guitars were rebranded by Joe. I don't know how many ‘original-condition’ Chesapeakes remain.

What happened next was... well.. messy. Let's just say some bullsh!t went down, I ended-up with a few Knaggs guitars, and sold them both - along with my Chesapeake. Here is the Severn (just before I sold it) with a Knaggs-brand Choptank that I had built. The first Chesapeake -brand guitar (serial #1) is a Choptank. This is the first production Severn (serial #2).

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Flash forward to last month - about 10 years after selling the Severn. One of my best friends (Markie, who bought it from me) sent me a text that he was going to part with some guitars. He had plans to ship some to dealers for consignment and the Chesapeake Severn was on the chopping block. I just couldn't bear the idea of this guitar being out there in the wild. I have far too many memories tied to it. Joe and I made apologies to one another years ago. It was time to move on and maybe, just maybe, look back. So, once again, I did what any idiot in my situation would do.

I present to you one of the most widely hated guitars (based on forum comments 13 years ago) ever made by Private Stock. This is the second Chesapeake-brand guitar and the first production Severn ever made. It is one of very few Chesapeake brand guitars (made by PRS Private Stock) that remain in existence.

Specs:
- Construction: Set neck with contoured heel
- Scale: 25.5"
- Body: 1-piece Alder
- Top: Figured South American Mahogany (1-piece) over book-matched Curly Maple top
- Neck: Curly Rock Maple
- Neck Carve: Fat as hell (850/.860 1/2 fret to .940/.950 12.5 fret)
- Fretboard: Brazilian Rosewood
- Radius: 8.5"
- Fret wire: .100 / .051
- Inlay: Red Heart Abalone diamond-shape inlays with 14k gold outlines
- Side Markers: Rectangular Red Heart Abalone
- Headstock Veneer: Brazilian Rosewood with Red Heart Abalone inlay
- Tuners: Gotoh (locking), Blued to match trem system
- Truss Rod Cover: Brazilian Rosewood with Red Heart Abalone inlay
- Guard: Macassar Ebony with Red Heart Abalone purfling
- Back Plate: Macassar Ebony
- Pickups: Fralin Blues Specials
- Hardware: Chesapeake Trem, brass saddles, 'blued' metal
- Finish: Gloss Nitro

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Some interesting comments from Paul (regarding the Chesapeake brand) in this write-up from the December 2008 issue of Guitarist Magazine.

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2009 PRS 305 Prototype

If you know me, you're aware that I tenaciously pursue what I want in life; especially when it comes to guitars. When the 305 model first hit the streets, I was enamored. There were 20 prototypes (supposedly all made by the Private Stock shop) and all of them got snapped-up before I could pull the trigger. The one I like best is owned by George (@Dancing Frog ) but he promised his to Rosenberger - should he ever part with it. That meant it was time to go bark up a different tree.

Turns out@Vito had one that we *think* is the first of the prototypes (based on serial number). I wanted it bad. Once again, the tried and true method of begging began. Eventually, Vito sold me the guitar. All I have changed is the bridge. Like most of my trem-based PRS guitars, I swapped the 2-piece trem for a 1-piece Mann trem (in gold of course). No, I can't hear the difference. I just like 'em because they are part of the original PRS design.

This guitar features a 1-piece, figured, Alder body, flamed maple neck/fretboard, and 513 inlay made out of something that looks like wood. Whatever it is, it matches the color of the body beautifully. I also put it in a Paisley case (original case shown in a few photos).

This thing is impossible to photograph. Some photos were snapped outside on a snowy day and some were taken indoors with a flash. Between all these shots you should give you a sense of the actual color.

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2008 PRS "Paul's 28" Private Stock #2084

I won't say that this in my last NGD. I know better. But this Paul's 28 (#13 of 28) is among the final few and a 'holy grail' guitar for me. Pernambuco... Brazilian... mammoth ivory... celtic knots... made by Paul... you know the deal.

I just returned from a brief visit to the states and had just enough time to look it over, noodle around for a few minutes (unplugged), snap some photos, and throw it into a fire-proof gun safe. It was hard to walk away from this one without an opportunity to plug it in.

It has been sitting in a private collection so its flawless but the frets need to be polished and the original strings need to be replaced. I'll handle all that - along with a PG bridge upgrade - when I see it again. This one will be a player, not a case queen.

Special thanks to my friends John and Roxanne Mann of John Mann's Guitar Vault.

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2009 PRS "Violin McCarty" Private Stock #2466

This is one of the crown-jewels of my collection.

Shortly after selling all of the Paul's 28 guitars ($35k MSRP, around $22k street), PRS released a limited run of 50 Private Stock guitars with similar (but not quite identical) specifications. These were known as the Violin McCarty model (the original run, not the Violin II). 25 were made with Brazilian Rosewood fretboards (like this one) for the US market. 25 were made with some other fretboard material for export. This is #14/50 (US Market).

While many Paul's 28 owners were frustrated by this model, it was a chance for many of us to get a Private Stock with most of the Paul's 28 specs for a lot less money. And, in my opinion, it did not diminish the value of the Paul's 28. But that's obviously open for debate.

I bought this Violin McCarty (in 'Paul's 28 BlackGold') new from Rudy's in New York City. The top is European Maple; the impetus behind the Violin monicker. Plus, it has a nicely figured mahogany back - which I adore. The celtic knot inlay is now reserved for the Collection Series. Then there's the Pernambuco (AKA Brasilwood) neck. That's a topic for another thread; another day. Suffice to say, people want the real stuff which is endangered, protected, and getting harder to source (legally). I'm glad this guitar has it.

As some of you know, there are 4 'loose' sets of Paul's 28 pickups out there in the world. At one point, all 4 sets passed through my hands. I still have the NAMM documentation used to transfer them from Paul to Teddy at Make'N Music (Chicago). The last set I had went into this guitar. It didn't change the tone but it added an interesting nod to its legendary predecessor. I also added some gold components and ebony tuning knobs (not shown) to complete the Paul's 28 vibe.

I share a birthday with this guitar; October 12th.

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Last time I was in Colorado (where this guitar sits in an armoured vault), I replaced the original bridge with a Paul's Guitar bridge. I wish I was able to play it more often.

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2010 PRS SE Mushok Baritone (with PTC Modifications)

This one was modified at the factory (PTC) by Skitchy with Phase II tuners, ebony buttons. US-spec nut, Tremonti pickups, a Ghost Piezo system. The 3-way blade gives me full Treble pup, full bass pup, or bass pup with a filter cap of some sort. The Piezo system has two modes: Dreadnaught and Jumbo body. I can blend them from the same output jack or run them to separate amps (1 Acoustic & 1 Electric).

This things sounds remarkable in acoustic mode through an old Portaflex.

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2010 'The Raven' (PTC Modified 305)

In the way of bad-ass guitars, the Raven stands tall. It started life as a '305' but was sent back to the factory to be customized at the PTC by James (Skitchy) Zimmers. I always wanted a Super-Strat and this 25.5" scale PRS was the ideal foundation for a totally custom riff-machine.

Like all of the original super-Strats, this guitar was modified from it's original design; a labor-intensive prospect if you do it correctly. Skitchy plugged the bridge pickup hole, re-routed it for a humbucker, routed the PRS trem cavity for a Floyd Rose, and added the proper shelf to the headstock for a Floyd Rose nut. After it was repainted (also at the factory), he added custom 305 pickups to the middle and neck position. Don't ask me what kind of voodoo he did to the pickups. I couldn't tell you. They look different and they sound different. The original plan was for Paul Miles to do a campy, 80's era, paint job on the body. The theme was supposed to be based on Edgar Alan Poe's poem 'The Raven'. Schedules and budgets may have nixed the paint job but the name stuck.

All of the nickel hardware was replaced with black hardware and it received a set of old-school black speed knobs (not shown); a subtle nod to what is lurking under the hood... a vintage Deep Dish II. It's rare when a guitar looks as beastly as it sounds (to me, at least). A lot of guys around these parts can attest to the fact that The Raven delivers in a big way.

The photos illustrate Skitchy's conversion from start to finish.

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1997 EVH Prototype (1 of 2 made)

Like many PRS players, I saw a photo of this guitar many years ago. When it was hand-carved by Joe Knaggs (or so he told me), in 1997, Eddie was several years into his relationship with Peavey. While it's clear that he never played this PRS in any public way (so far as my research has uncovered) it illustrates the lengths PRS went through to try and bring him on board. So it may not be a significant part of Eddie's history but it's certainly a part of PRS history. In the end, it could be just another Lanahan Special (that's another story).

This EVH proto has a Swamp Ash body. The other EVH proto, wherever it is, has an Alder body. If it ever hits the market, please let me know. I'd really like try and reunite the pair.

For the record, I painted the case, the ebony tuner buttons, and replaced the black volume knob with the cream-colored 'Tone' knob. The guitar was cool but it needed some details fixed, IMO. I also had the signature buffed off while it was at the factory. Without some proof that it was signed by Eddie, it had to go.

Specs:
- 25.5" scale length
- Custom-carved, bolt-on, flame maple neck & fretboard (check out the rounded corners at the 22nd fret)
- 1-piece Swamp Ash Body with deep "Dragon Carve" top that was hand-carved by Joe Knaggs
- Peavey-license FR Tremolo with D-Tuna (left the factory with a Floyd, came back with the Peavey)
- Very unusual (and thick) neck heel
- EVH-style pickup cavity with hard-mounted, custom-wound, McCarty humbucker (8.8k, Alnico II)
- No neck pickup, no tone pot, & no pickup selector switch
- Relocated output jack (moved down a few inches to the bottom of the body)
- 12" fretboard radius

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Here's the signature I had removed at the factory.
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Skitchy having a good time.
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It is my understanding that it left the factory with a 'real' Floyd and returned from Eddie with a Peavey Floyd. if you have straight dope, send me a PM.
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Far and away my favorite, so beyond hot.
 
2010 PRS Modern Eagle Limited #11/100

I can't understand why this model isn't more popular. The Madagascar Rosewood neck and fretboard on these things is ridiculously nice. Is so smooth and looks fantastic. My ME LTD is quite resonant. Is it the Madagascar Rosewood neck? I dunno. But I like the way it feels as much as any Brazilian neck guitar I've ever played. And, its not something you're going to see a lot of.

Madagascar Rosewood is CITES protected -- just like Brazilian Rosewood and Pernambuco. Getting a piece big enough for a 1-piece, quarter-sawn neck isn't easy. My $.02 is... grab one while you can.

The Celtic knots are cool too. I believe most of the ME LTD's have the rosegold NF pickups. I added a Paul's Guitar bridge to this one last time I was in the US (where it is stored until I return).

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And one photo with flash to show the figuring in the top.

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2010 BMF3

My love affair with the SE One started with a white one I bought from a fellow forum member in Denver. That guitar was killer. I routed it and dropped in a legendary PRS Deep Dish II pickup. Good gracious, what a screamer. It was nicknamed the "Bad Motha****er"; or BMF for short. I ended up giving it to a loyal friend and co-worker.

Flash forward a few months and I decided to build BMF #2. It was based on a Korina SE One. Initially, this guitar had gold US hardware, a Deep Dish II pickup, and a gold 2Tek bridge. From there, it evolved into BMF3 (shown here). It was shipped off to the PTC where the 2Tek hole was plugged by Skitchy, it was routed for a 3-way toggle, repainted at the factory, and set-up with a US nut, gold US hardware, push/pull volume pot (splits Starla pup), push/pull tone pot (pups out of phase), a stupid-rare gold Starla pickup, and a gold Kent Armstrong lipstick pickup in the neck position.

It would surprise most seasoned players how well this guitar plays and how good it sounds.

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2010 Silver Sparkle Starla (Core, not S2 or SE)

You wanna talk about a guitar that looks great in person but is a complete pain in the ass to photograph? It's this one. This is the second Silver Sparkle Starla I have owned. The first one was a stoptail (tune-o-magic bridge) and I sold it when there were a little too many guitar boxes being delivered for a healthy marriage. After things cooled down at home, I replaced it with this one. I opted for a Bigsby the second time around. I like the heft that it adds to an otherwise flyweight instrument.

I dig Starlas. Always have. I don't know how the S2 versions sound but the originals, like this one, are fantastic.

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Here's the demo video that sold me on the Starla model. Phil Miller (GuitarJamDaily.com) seems like a good dude. I smile every time I watch this video.

 
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[A quick detour from PRS guitars]

2011 PRS 25th Anniversary Head & Cab #77/100

(Serial Number L16333)

Instead of the usual logo on the face plate, this amp is hand-signed. The circuit isn't quite stock and the story goes a little something' like this...

Shortly after buying this amp from Jack Gretz (Northeast Music Center), I sent my amp back to Mr. Doug Sewell (one of the nicest guys on the planet, by the way) because a capacitor had become mechanically disconnected (probably during shipping) and the amp was not getting filtered on the screens/phase inverter. Turns out the ground wire to those caps had come off. This was the source of some ghost notes (not good) along with some really fantastic overtones (very good). It was an odd trade-off and I was a little worried about "fixing" the amp and risk losing those overtones.

Doug made the repair under warranty and then installed the HX/DA switches per my request. I told Doug that I loved the stock tone of the 25th Anniversary amp so he adjusted the HX/DA switches a bit from the production models so that in the HX positions I would still have my original, pristine, 25th Anniversary circuit. The only variance in the HX mode (from a production HX/DA) is that mine retains .022 uF coupling caps in the phase inverter where a production HXDA is .1 uF. Don't ask me how that translates to tone - I have no idea, but Doug regarded it (at the time) as an upgrade. The DA positions, however, take the amp into production component values for that setting.

This is a huge-sounding amp and it's nearly impossible to play it without making my ears ring.

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2011 PRS SE Custom Semi-Hollow with Bigsby

I got my hands on a set of 4-lead 57/08 squabbins and decided that this model was the ideal guitar for them. It took me almost 3 years to find one in good shape but it was worth the wait.

In addition to replacing the pickups, I made a number of improvements. The control cavity was shielded and properly grounded. It was rewired with a push/pull tone pot and CTS volume knob. The gloss finish was removed from the neck (with a stinger on the headstock). I added a roller bridge, reshaped the nut, and filed a few sharp frets and then polished them all.

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2011 PRS Artist Stock #132 (Heather's Guitar)

This is a long story but I hope I was able to capture it. What you are about to read is fairly personal but I would like to share the whole story.

I realize that most people around here have already seen this video. Hell, a bunch of you were there for the actual conversation - but the story of this guitar is inextricably tied to this video. Before you watch it, let me set the tone. I was following Paul around the factory like a shadow trying to get him to sell me a set of 53/10 pickups. I just wanted the pups for guitars I already owned but Paul is in the business of selling new guitars, not new pickups, so he would just laugh and say, "buy the pickups and I'll give you a free guitar".

In previous years, Paul walked around the Experience randomly handing out pickups to people. The first year it was 57/08's. The 2nd year it was 59/09's. This was the 3rd year and 53/10's had just hit the scene. I was hoping to get lucky and score a set.

This conversation came about because I raised my hand in a crowded room and pleaded with Paul to SELL me some pickups to upgrade some of my old guitars. I didn't really know Paul at this time. I had met him a few times prior but I was just a guitar guy hanging with friends at the Experience. Anyway, as soon as I angled for the pickups, he went into sales mode (which he's good at). Then things started to unfold.


Now a lot of you may think that this story ends the following year but it doesn't. There was more in the middle.

Nothing thrills me more than meeting my friends at the Winter NAMM show each year. You may have seen my NAMM threads. You may have even seen me get my pee-pee slapped for posting pictures of the Vela before it's formal release. Yes... yes... dealers were already posting photos of it on FaceBook but my post is the one that got noticed.

Four months after this video was filmed, my wife, daughter, and I drove to Anaheim to spend the week at Disneyland. The plan was to spend the week enjoying some family time before my pals started showing up. Then we would do the NAMM thing before flying to Japan for a 3-week business trip. Three days before the NAMM show opened, Paul walks-in to have breakfast with a briefcase and an SE gig bag.

I said hello, introduced my wife and daughter, and invited him to join us for breakfast. As he sat, he handed me his SE guitar case and said "there is something very special in there." When I opened it, I sh!t bricks. This was the first time I (or just about anyone outside of the factory) had seen 408 pickups.

If you are a die-hard PRS fan then you understand the significance of a PRS with pickups that were totally designed by PRS. For once the guitar that came to fame splitting the difference between a Strat and a Les Paul was available with pickups that weren't designed by Seth Lover. Based on the Seth Lover design? Sure. But unique enough to be their own thing. These immediately reminded me of the P90 humbucker and P90 that Paul and John Ingram used to build for the Sorcerer's Apprentice guitars (which are killer-sounding instruments). Needless to say, I was head-over-heels in love with that guitar

With Heather sitting right there, I pulled out my wallet, handed Paul my American Express, and said "please sell me this guitar. Keep it as long as you need it and then ship it my way when you're done." He politely declined but I protested. I said "come one Paul. You're going to give this to a rockstar who may play it from time to time but you can sell it to me and it will be treasured in my family for generations." Still, he politely declined.

When he finished his breakfast, he tried to pay but I had already covered the bill. I was a Diamond member with Hilton (at the time) so everything was already paid for. He said "I'm the one who is supposed to buy YOU breakfast". He thanked me, hugged Heather and Eden, and left for work.

As he was walking away, without prompting, Eden (my daughter) softly said, in her tiny little voice "goodbye Mr. Smith". Her mother and I were totally gob-smacked. Completely left-field. Never saw it coming. He stopped dead in his tracks, paused, turned around, smiled the biggest smile, said "Goodbye Eden", then he disappeared into the crowd.

A few days later, Paul had a party at the hotel (prior to the start of the NAMM show) and Shawn invited a small group of us along. It was a grand time. Truly. While I was there, I took the time to photograph the guitar but was sworn to secrecy.

By Friday of that week, the news was out. Paul spared no expense bringing out all the players for the announcement of this instrument. The NAMM booth was standing-room-only and rock-stars were thick as thieves. Everyone was talking about the new pickups -- at the show -- on the internet. It was a big deal and I was thrilled for Shawn, for Paul, and for all the employees who make PRS guitars the best instruments on the planet.

When the dust settled, the guitar was given to Mr. Ricky Skaggs. I saw it coming. I am a businessman too.

That night, there was another party. Once again, everyone was there. There were legends in that room. And when I saw Paul, I jokingly jabbed "YOU GAVE IT AWAY ALREADY?!?!?". I sometimes forget that I can come across angry when I'm not. Paul immediately jabbed back. Firmly. He's a lot of fun but he's also a bright guy with a sharp wit. He tore into me pretty good. I had pissed him off. Sincerely. I reached out, grabbed his arm, softened my tone and said (as best I can recall) "oh, man... Paul... clearly I have upset you and I'm really sorry. I'm just being playful. I understand that you have a business to run and things like this are part of that process. Please accept my apology." He took a breath, said something along the lines of not letting my alligator mouth write checks my hummingbird ass can't cash - and walked away. I was so embarrassed. How could I have let this happen? Shawn turned to me, laughed, and said "wow man, you really pissed him off." I left the party with a horrible knot in my stomach. I was in shambles. I hadn't felt anything like that since I was a kid.

The months passed and I slowly learned to live with what happened. I was in DC on business and stopped-in to the factory to say high to Shawn before meeting Mintzer for chili-dogs at Ben's Chili Bowl on U Street. Shawn was taking me up to the PTC to ogle one of Carlos' guitars when Paul passed us in the hall. He looked at me and all I could think to say was "don't hit me". Yes. That's what I said. He laughed and said "I'm not going to hit you". He shook my hand, said "nice suit", and was on his way. It was relieved to get that behind me - even though I couldn't manage a simple interaction without sounding like a 6th grader.

A few weeks later I get a call from Paul's secretary. She called to get info so she could buy Heather's plane ticket to the PRS Experience. I politely declined. She reminded me that Paul is a man of his word. Again, I declined. The truth was, I was Diamond Medallion with Delta airlines so I was flying first class (using Frequent Flyer Miles) and I didn't want to end up with me in 1st class and my family in coach and I sure wasn't going to allow someone else to foot that bill on my behalf. So Paul called me himself and said he wanted to buy the plane tickets. Once again, I politely declined the airline tickets and assured him my family was coming. He reluctantly accepted my refusal and said goodbye.

Then... the agenda for the PRS Experience is published. The main event, Friday night, is clearly printed for all to see. It reads as follows:

"Hans gets a divorce".

I read it twice and yelled "WHAT THE FU@K!?" I called Shawn for some explanation. Shawn laughed and said... "dude, I told you. You really pissed him off." Then he laughed again. I figured it was a joke but I couldn't be sure. As I said, Paul will roll-up his sleeves and verbally box you if you give him a reason. I didn't know what to expect.

The rest of the story ends with security guards grabbing me. They took a really long time to put me in a costume straight jacket. Then Paul brings out a guitar. He parades it around. He lets me smell it. I couldn't smell much of anything because the boys were busy pouring scotch down my throat. Then he graciously have the guitar to my wife and daughter after making them promised I can never touch it.

The rest, as they say, is history.

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Like most stop-tail PRS guitars in our family, this one was upgraded with a Paul's Guitar bridge last time I had access to it.

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2011 PRS DC22

The DC22 is such a great guitar. It's light, compact, but feels and sounds like a 12-pound Les Paul. It has all the vintage vibe with the benefits of modern construction. I searched for quite a while before buying this one. The top and the color are just what I was hoping to find. The fretboard is nice and dark too. There were 80 made with birds so it took some time to find.

When it showed up, I yanked the original 59/09 pickups and dropped in a very special set of 57/08's (note the engraving with Peter Frampton's initials in the last photo). I did try some covered 53/10's in this guitar before the 57/08's but the tone was too dark. The 57/08's were perfect. I also replaced the metal tuner knobs with faux ivory to get some weight off the neck and balance-out the creme-colour of the pickup rings. Just like the Westy, this guitar has a fat neck so getting all that weight off the headstock really helped with balance. I eventually added a Paul's Guitar bridge (not pictured).

Here's a great description of the DC22 from Mr. Chris Swope, who was part of this project before he left Private Reserve Guitars (a subsidiary of Musician's Friend). I added a few details [in brackets] for clarification and historical reference:

"The DC22 was a wood library run [in 2010] limited to 25 pieces [which were all numbered on the back of the headstock]. All moons. 2 colors. These two colors are unique to the DC22 not in name but in the way the finish is applied. I used to work for Gibson Custom Shop, and the DC22 was drawn up to pull Gibson guys who thought PRS perhaps too pretty over to the brand. At that company, with regards to the Historic Program, rather than stain the raw wood a sealer coat was applied first. While they don't pop as hard as a PRS they do have a cool vintage flicker.

The Santana neck profile is very close to the '59 historic neck. The body...reminiscent of another DC. The wraptail bridge....... you get the idea. Nitro top coats and a satin finish on the back of the neck to be just a no frills workhorse. We came back the following year with a second run [80 more guitars, not numbered like first run] of those two colors, now in V12 (glossy back of neck on this version), and also offered the oh so sexy birds-10 tops/PRS-style stained beauties in 3 [additional] colors."

It is worth noting that the first run of 25 guitars sold very quickly but the second run didn't. Was it because they weren't numbered? Perhaps Chris was on target with the first run -- and not all PRS owners want a blingy top and bird inlay. Whatever the reason, Private Reserve Guitars sat on a dozen or so DC22's for a couple years before they finally sold.

As of 2020, this model is finally starting to get the recognition it deserves. With only 105 in existence, they aren't easy to find.

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2011 PRS NF3

As I mentioned a few posts back, only two electric guitars made it across the Atlantic with me. When I bought this guitar I was singing and playing in a blues band and I needed something a little more blues-oriented. I saw John Mayer playing an NF3 on stage with Clapton and thought "If it's good enough for him, it's good enough for me." This was before the Super Eagle and Silver Sky hit the streets.

@justmund sold me this one and @sergiodeblanc (who had it in his possession) shipped it to me from the home of Jake and Elwood. I have been very happy with it. The fretboard has a subtle flame and the neck is dead quarter-sawn with a nice straight grain. Birds just wouldn't fit this guitar but the black dots look right at home.

I found a dude on TGP with the same color NF3 who had a guard made by Bill Asher. It was swanky so I dialed-up Bill and he agreed to make me one. Dear mother of sweet baby Jeebus... it was stupid money but the results are solid.

I added some snakewood knobs from Crazy Parts here in Deutschland. I also added some unplated brass tremolo saddles from John Mann. They were too blingy in their original high-gloss state so I brushed them with some 400 grit. Here is the finished product. It plays as good as it looks.

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2011 PRS Signature Limited (2012 Winter NAMM Guitar)

In the summer of 2011, I heard that Guitar Center bought the booth for Winter NAMM 2012. This was big news because Korg Import Division (KID) of Japan had purchased the booth both previous years. That meant buyers in the USA had a shot at getting a NAMM guitar without having to buy it from Japan; which was a serious financial commitment at the time.

I saw the new 408 pickups having breakfast with my family and Paul at the 2011 NAMM show earlier that year. So I knew that a production guitar was coming with 408's and I wanted an early one. Unfortunately, my usual GC guy had left so I was without a contact. I called Tony Buffalo in Denver and asked for the name of a reliable guy within GC. He connected me with Joey Brasler, GC's chief buyer at the time (now VP of Dev at Fender). Joey is a solid guitar player in his own right, by the way. Well, needless to say, Joey was much higher up in the food chain than I was looking for but he helped me out anyway.

When Joey received the spec sheets and colours of the guitars in the booth, he read me the list and I got to choose. Initially, I picked out a black gold guitar but lost my mind when I saw this one in Eriza Verde. It also had the lowest serial number of the five 408 guitars in the NAMM booth (11_183548). I had to have it. HAD to have it. Joey was very kind to let me switch guitars - which was a little bit of a pain in his ass since I had already paid for the Black Gold guitar. I love this thing and am truly grateful for his help and his tolerance.

It was sent back to the factory at one point to have the nut replaced with the new gen version. While it was there, I had the bridge replaced with a 1-piece Mann trem. It also received the artist tweaks and was set up for 11's. A short time later, I gave it the candy treatment and swapped out the gold tuning knobs and volume knobs for faux ivory. The trem bar tip too. I just had a cherry TRC custom made to give it the AppleTini vibe (see last photo).

This guitar sounds huge. If I was in a single guitar band and I needed more girth in my tone, this is the guitar I would bring.

By the way... the Moody strap was sold to me by the Lovely Ms. Allison Suter. She was selling straps to a guy in one of the hotel lobbies. He wanted every strap in the box except this one.

Perfect.

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