The story behind the guitar...

[Mozzi]

My final (at least as of now) PRS Guitar I bought was my 2019 PRS Special 22 semi-hollow Limited Edition.

The story of this goes back to the 2018 Experience. When I first heard about this as the PRS Experience guitar, I was very interested but wasn't all that keen on the couple of colours it seemed to be available in - A blue and the Autumn Sky. I didn't really bother looking in to it in too much detail as I was more interested in finding a Hollowbody and Piezo guitar. I thought owning one would be great but I did have a 509 and a 594 and I didn't have a Hollowbody or a Piezo so I didn't really do much research on it.

By Christmas, I had enough money saved to really start looking for a Hollowbody ii and whilst searching I happened to see a PRS Special that wasn't a 2018 PRS Experience model and was in a Black Gold wrap. I happened to notice one a few weeks later in a McCarty Burst when I found my Fire Red Hollowbody and as I looked around other sites, I found more in other colours - not a Red Fire Burst but more in 'regular' core models. My Hollowbody though took a big chunk out of my savings as you would expect but seeing a few more Specials in different colours really made me think, what if Fire Red burst was available? Checking on the PRS site, it seemed it was a possible colour - even though I had never seen one crop up, I started to save - doing what I could to maximise the amount of money I could put away.

With the announcement that the 594 Hollowbody was being made part of the core line, that news made me want 2 new PRS guitars and now I was thinking which ever guitar I find in Red first, I will buy. Over the months that I was saving, I was searching and searching for a Special and a 594 HBii but as I drew nearer and nearer to actually being in a position to buy, the more I wanted to find a Special. I rationalised that a Special will disappear from sale as its a Limited Edition but the 594 HB could be made for years and as yet, I hadn't even seen one 'core' version that was actually available for sale, let alone a Red one. I had also seen a lot more demo's, chat etc about the Special whilst in 'save' mode and it really offered me a much wider palette of new tones than a 594 HB would so my next guitar was going to be a Special!

As I had never seen a Red Special come up for sale in the UK (or with a few European sellers) I had bookmarked 1 or 2 that would be 2nd/3rd choice colour scheme. I had seen one in a US store so I was hopeful that I could find one in the EU. I spoke to my favourite dealer, asking if they could speak to their rep and see if one could be found. A day or so later, I got the message that there were no Red Specials in Europe and that PRS won't be making anymore - at least none that were not 'special order' ones that they were a bit behind on. As soon as I got that message, I opened up my 2nd choice and ordered straight away.

If I can't have a Red one, then I was more than ready to get my second choice - besides the top of this was perhaps the best I had seen regardless of the colour. A few days later, it arrived and, as with all my guitars, the online pictures were not quite as good as it looks in person. In reality, the Red around the outside is darker and overall that makes the overall look a bit darker which I prefer. However, the detail of the grain and the flame has been captured very well - if any, this guitar was the closest to the actual pictures I had seen compared to any of the others. Whilst it may not be Red, it has to be one of the best tops I have ever seen - especially for a non-10top!

The first few acoustic strums were incredible - very resonant and just rang and rang. It was still ringing quite audibly after I got up and laid it carefully back in the case to clear up all the packing and cardboard away. I had considered this as a bit like a 509 but with a different function for position 3 and a 'little' disappointed that I couldn't use the Narrowfield on its own - less so than not being able to use both 'humbuckers' on my 509 as someone who was more a double humbucker player - but I was wrong. Its very much a Custom 22 but on steroids to have much more versatility whilst the 509 is, as far as I am concerned, a Super Strat! The 58/15 MT's sound great and different from the 58/15 LT's. As these are MT for Multi-Tap, I assume that these are tapped rather than split. Either way, they sound great tapped too. The Narrowfield adds more thickness than a Single Coil - as you would expect so I didn't think you got quite the sound you get with a 509 with the SC and a split Humbucker but it still sounds great in any position and combinations of full or tapped humbucker. As I said, it would be nice to have just the Narrowfield but there are 12 other possible PU combinations.

The Semi-Hollow may add a little something to the sound, certainly adds to the weight reduction and resonance. Mine wasn't the lightest - may even be the heaviest I found at 7lb 8oz but its still not 'heavy'. It feels very comfortable to play with its Pattern neck and 25" scale length - nothing unusual for a PRS guitar. I haven't had it long - not enough to get through the honeymoon phase - but right now, I absolutely love it. The variety and versatility is amazing and I recommend that you should get out there and try one, even buy one before they disappear.

 

[László]

So in 1998, I passed on a Standard 22 Maple Top in Goldtop. But in 2017, I bought the evolution of that same guitar, a Custom 22 in Goldtop.

After completely falling in love the 594 and the Pattern Vintage neck carve the previous year, I went looking for a trem-equipped companion. I was at Righteous Guitars and they said, "We have the guitar for you. We picked up this Custom 22 with a Pattern Vintage neck." Story was they perused the available stock from the factory, found this oddity and snapped it up because they knew it would sell.

I compared it side-by-side with my 594 and another Custom 22 with Pattern neck. The staff and I both swore we felt a difference between the neck on the Goldtop and the other one. The guitar was all-around fantastic, so the deal was made.

Later, I checked the MODCAT, which shows it having a normal Pattern neck. I emailed PRS customer service and they claimed that Pattern Vintage must've been an error on the hang tag. But Righteous bought it as an already-built guitar because of the unique spec, so something doesn't add up. All I know for sure is it's a dang good guitar, so I ignore the whole neck shape conspiracy and just enjoy it.

I have two 594s (one’s a Soapbar version) and I swear the necks feel a tiny bit different. I’m guessing it comes down to the hand sanding, but it’s amazing the details that our hands can feel.

 

[László]

When I first saw this being touted as Paul’s personal guitar, I did not know the dealer, and though I was blown away by the wide flame top and color, I was naturally skeptical. What proof could there be it was Paul’s?

Then I found that the guitar PS certificate explicitly states it’s Paul’s personal guitar, that he personally picked the woods, and that it’s the precursor prototype (ie grandpa) to the current batch of core and SE TCI Paul’s Guitars! Safe to say this was the first time a certificate swayed me.

As a final nail I was provided with videos of Paul gigging with it. Apparently, Paul was going around the globe carrying the guitar along and the dealer managed to talk Paul into selling him the guitar. So I thought, why not grab this little piece of history? Well the rest is history.

It’s turned out to be one of my favorite guitars, one of my best sounding, and one of my most magical guitars. It’s even got pick scratches left behind by Paul. Hell no I’m not buffing this one!

It even looks magical. Seriously.

 

[László]

Mozzi, I couldn’t quote your post due to “internal server error,” but that CU22 SH looks amazing. I love the 57/08 NF in the middle of my 20th PS Ltd; how do you like it in your guitar?

 

[garrett]

I have two 594s (one’s a Soapbar version) and I swear the necks feel a tiny bit different. I’m guessing it comes down to the hand sanding, but it’s amazing the details that our hands can feel.

Yup, ultimately came down to me following this crazy idea of actually playing the instruments and determining what feels/plays/sounds right for me.

 

[Mozzi]

Those internal server errors are getting ridiculous. I kept getting them whilst trying to tell my story of the Special (as well as the stories behind my other guitars). Its certainly not about quoting others posts - especially those with emoji's as some thought. I had to 'copy' my post, refresh the page, paste in my post and carry on until the next 'error' notice cropped up. Pasting the whole post when finished and quickly hitting the post button before any error cropped up worked for me.

I have been trying to reply to @LSchefman for the last 10 minutes and keep getting Error codes so I will try splitting the message in to 2...

 

[Mozzi]

Mozzi, I couldn’t quote your post due to “internal server error,” but that CU22 SH looks amazing. I love the 57/08 NF in the middle of my 20th PS Ltd; how do you like it in your guitar?

The Narrowfield cannot be used on its own as I have never used a guitar with a Narrowfield before. As such, I cannot really say how good it really is. The closest guitar I have to the layout of the Special is my 509 but as that has a SC in the middle, it seems more obvious when you split the humbucker you are using with the middle as you lose that fullness a Humbucker has. As the Narrowfield is thicker and fuller sounding anyway, when I tap the neck/bridge, it still sounds a bit fuller. I know the 509 is completely different but its the only other guitar I have with a 'middle' pick-up to compare.

To me at the moment, it seems that the Narrowfield is much more a tone shaping option. It seems its purpose is to reduce the distance and the effect of the pick-up separation when used in conjunction with either the neck or bridge. If, for example, you want something that is a bit less bright with the Neck pick-up than the bridge offers, then you can use the Narrowfield. Positions 2 and 4 seem more like 'stepping stones' to bridge the distance between Pick-ups and the tones that the distance creates. In other words, If you want a humbucker that's not quite as bright as the Bridge, not quite as far away, you have the Narrowfield option.

Where as I see my 509 as the Super-Strat, I see this as more of a Custom 22 with more tonal options and more than just a Custom 22-08 could offer. I would have liked the option to use the Narrowfield on its own but because it can only be used with either neck or bridge Pick-ups, its a bit difficult to determine what its really bringing. To me, it seems to offer tones that are stepping stones. middle ground between the bigger separation tones of the Neck and bridge together if you know what I mean.

I certainly love the guitar and all the range of options it offers. The Narrowfield does make this very much a unique instrument but without being able to use just the Narrowfield on its own, its much more of a tone shaping option, a way of adding something between just the one humbucker and both that a regular Custom 24 does. If jumping from a Neck to a Neck and Bridge sound is too big of a step, you can have a Neck and Narrowfield in between. I am not complaining about this at all and love the variety of options and tones too. I would certainly recommend picking up a Special before its too late but its a bit difficult to say whether the Narrowfield is what makes this guitar Special as I don't really have the experience or knowledge of this Pick-up and what it really sounds like because its always being used with a 58/15 MT pick-up too. I wouldn't change it because I love the guitar as a whole and have enjoyed playing it, experimenting with different PU combinations etc.

 

[sergiodeblanc]

I have two 594s (one’s a Soapbar version) and I swear the necks feel a tiny bit different. I’m guessing it comes down to the hand sanding, but it’s amazing the details that our hands can feel.

Same with my two West Streets, the natural colored one has a noticeably thicker neck the higher up you go.

 

[László]

The Narrowfield cannot be used on its own as I have never used a guitar with a Narrowfield before. As such, I cannot really say how good it really is. The closest guitar I have to the layout of the Special is my 509 but as that has a SC in the middle, it seems more obvious when you split the humbucker you are using with the middle as you lose that fullness a Humbucker has. As the Narrowfield is thicker and fuller sounding anyway, when I tap the neck/bridge, it still sounds a bit fuller. I know the 509 is completely different but its the only other guitar I have with a 'middle' pick-up to compare.

To me at the moment, it seems that the Narrowfield is much more a tone shaping option. It seems its purpose is to reduce the distance and the effect of the pick-up separation when used in conjunction with either the neck or bridge. If, for example, you want something that is a bit less bright with the Neck pick-up than the bridge offers, then you can use the Narrowfield. Positions 2 and 4 seem more like 'stepping stones' to bridge the distance between Pick-ups and the tones that the distance creates. In other words, If you want a humbucker that's not quite as bright as the Bridge, not quite as far away, you have the Narrowfield option.

Where as I see my 509 as the Super-Strat, I see this as more of a Custom 22 with more tonal options and more than just a Custom 22-08 could offer. I would have liked the option to use the Narrowfield on its own but because it can only be used with either neck or bridge Pick-ups, its a bit difficult to determine what its really bringing. To me, it seems to offer tones that are stepping stones. middle ground between the bigger separation tones of the Neck and bridge together if you know what I mean.

I certainly love the guitar and all the range of options it offers. The Narrowfield does make this very much a unique instrument but without being able to use just the Narrowfield on its own, its much more of a tone shaping option, a way of adding something between just the one humbucker and both that a regular Custom 24 does. If jumping from a Neck to a Neck and Bridge sound is too big of a step, you can have a Neck and Narrowfield in between. I am not complaining about this at all and love the variety of options and tones too. I would certainly recommend picking up a Special before its too late but its a bit difficult to say whether the Narrowfield is what makes this guitar Special as I don't really have the experience or knowledge of this Pick-up and what it really sounds like because its always being used with a 58/15 MT pick-up too. I wouldn't change it because I love the guitar as a whole and have enjoyed playing it, experimenting with different PU combinations etc.

On my 20th PS the narrowfield can be used on its own, but my guitar doesn’t have coil split options (though with the Paul’s Guitar 408s, I wouldn’t use them anyway. I think it’s the best sounding middle pickup used on its own, than I’ve ever had in the past.

However, there may be a way of wiring your guitar that’ll enable you to use the middle pickup on its own. Might be worth inquiring of PRS Customer Service to see if it’s possible.

 

[Mozzi]

On my 20th PS the narrowfield can be used on its own, but my guitar doesn’t have coil split options (though with the Paul’s Guitar 408s, I wouldn’t use them anyway. I think it’s the best sounding middle pickup used on its own, than I’ve ever had in the past.

However, there may be a way of wiring your guitar that’ll enable you to use the middle pickup on its own. Might be worth inquiring of PRS Customer Service to see if it’s possible.

I have thought about adding a push/pull option to both this and originally my 509 to change the function of position 3 between using just the middle pick-up to using both humbuckers. Given the choice, I would opt for both humbuckers in the down position but just the middle in the up position. Maybe one day...

 

[Collywobbles]

The Saga of Signature Model #2XX

Here you go – this is from before I owned it but when I get round to it I’ll add Part 2, which is how I ended up with it, how I sold it, and how I ended up with it again. With apologies to John Crunch as this is his work – John if you see it and want me to delete just say.


[John Crunch, on the now retired Vintage PRS site, wrote …]

April of 2010 I saw a Craigslist add for a “black gold” PRS guitar. The pic in the ad was extremely small, so I contacted the Pawn Shop selling it and asked if they could send better pics. The shot above is the first they emailed me. There’s no mistaking Vintage Yellow, and there’s certainly no mistaking a way-beyond Ten-Top. Immediately I thought to myself — could this be a Signature Model? No. No way. Then the last pic they sent came through…

So I’d stumbled upon an early Signature Model, and the sellers didn’t really understand what they had. I brought my girlfriend along to go check it out. The shop was located out in Pacoima, CA. Trust me when I tell you Pacoima’s not the best of neighborhoods in the San Fernando Valley. But I was certainly wasn’t going to let an astronomical homicide-rate put me off a vintage PRS hunt.

What I never could’ve expected was that the neighborhood itself wouldn’t be a problem — it was the pawn shop and its Owners that scared the holy hell out of you.

When we walked inside, we were immediately eyeball-to-eyeball with two stocky bald Russian gentlemen. “I’m here to see the guitar?” I mustered up my most congenial middle-class smile.

Owner #1 responded by grabbing a cartoonishly thick length of chain and giving it a hard jerk. A monstrous pit bull — had to be 150 lbs. if it was an ounce — immediately bounded out beside him aiming a low growl our way. My girlfriend — a dog-lover all her life– unconsciously took a BIG step back towards the door. My first thought — Thank God I left my cash outside hidden under the trunk mat.

Having successfully threatened to dismember a young bougie couple, he put the case atop the counter. When I opened it I got a big-time vintage PRSi rush — the top was OUTSTANDING. But on closer inspection, it was quickly apparent this find was also a tragically battered beauty.

There were deep, nasty gouges pockmarking the headstock, neck and body without rhyme or reason — two huge chunks were missing from the playing surface of the neck, which are particularly noticeable when gripping it. The original tuners were corroded, dozens of random divots of clear-coat were missing pretty much everywhere, and the buckle rash beside the trem plate wasn’t just worn “down TO the wood” it’s worn “down UNDER the wood” — whomever owned this beauty had clearly played the ass off it and had worn a heavy belt buckle every single day of their lives doing it (which is a pretty scary thought itself).

And yet, it was still such a beautiful guitar. Paul’s craftsmanship and design still shone through despite the many hard years she’d seen.

The Russians never warmed up. Not a degree. They were outright rude. “Why are these guys so ANGRY?” I kept wondering. But I did manage to coax them into letting me take these pics.

There were some pretty funny moments. When I asked about the deep-dish buckle-wear the owner told me it was “Nothing… just a chip of paint that had fallen off.” When I asked if I could lift up and check out the pickups to make sure they were original he said — “Tell you what. You give me the money, I’ll let you check the pickups, and if you don’t like what you see I’ll give you the money right back.” Needless to say, I declined his extremely generous offer with a strained laugh, but I definitely wasn’t smiling.

The brief backstory I got was this was a one-owner guitar, and the guy had hocked it to here “dozens” of times over the years for quick cash. The Russians implied there was a drug habit involved, and given the shitty area, it made perfect sense. When I asked how they knew he wouldn’t be coming back like the many, many other times, the owners just gave me a strange look. Evidently they knew something that’d convinced them the days of bouncing this vintage beauty back and forth had come to and end. I didn’t push any further to find out what that was.

When it came down to money, the owners predictably wanted too much for it — twice what I calculated it was probably worth. I bounced the pics off PRS expert John Ingram and he said fixing her up was out of the question, she was best bought as a weathered but high-end PRS “player”. Believe me, I considered it for a long while. But the angry Russians were intractable on the price and end of the day I simply couldn’t justify that kind of cash for a guitar in such disrepair.

Later, in September of 2010, Rick at Garrett Park got turned onto her by a friend. He acquired the piece, cleaned her up nicely without attempting any repairs, and offered her for sale. I know initially due to the condition he was having trouble moving Sig #2XX — a very rare predicament for Rick — but ultimately it was sent to England and then flipped to a long-time PRS aficionado [Collywobbles].

She really was a flawed beauty in the best sense, just a striking guitar that had undertaken a hard road since leaving Maryland back in ’88. God only knows what that axe witnessed over those 22 years — I think it’s a safe bet a lot of it wasn’t legal.

 

[Collywobbles]

Pics for the above post as it won't let me add them there.

 

[Tonart]

Here’s an interesting one.

Sometime 2008 Paul introduced a new neck wood called Pernambuco, and it was literally quite new to the guitar world. The run was called Paul’s 28, which featured Paul working personally on the 28 guitars. The guitars featured celtic knot inlays that would be repeated on subsequent runs closely associated with Paul’s personal preference and designs, such as the Violin I and Collection Series.

[Voiceover and creepy music] Well in the land of Mordor and fires of Mount Doom, the Lord of the Fiddles forged in secret a one-off clone of the Paul’s 28. One guitar to rule them all and in the darkness bind them.

It featured 24 frets as opposed to 22 in the Paul’s 28, and was christened “Paul’s 24” behind the headstock. Pernambuco neck, dark Mexican Rosewood FB, Chevron flame, Celtic knots, off the charts tone and resonance.

 

[sergiodeblanc]

Here’s an interesting one.

Sometime 2008 Paul introduced a new neck wood called Pernambuco, and it was literally quite new to the guitar world. The run was called Paul’s 28, which featured Paul working personally on the 28 guitars. The guitars featured celtic knot inlays that would be used on subsequent runs that were closely closely associated with Paul, like the Violin I and Collection Series.

Well in the land of Mordor and fires of Mount Doom, the Lord of the Fiddles forged in secret a one-off clone of the Paul’s 28. It featured 24 frets as opposed to 22 frets in the Paul’s 28, and was christened “Paul’s 24” behind the headstock. Pernambuco neck, dark Mexican Rosewood FB, Chevron flame, Celtic knots, and off the charts tone and resonance.

Uhh... Bangin’!

 

[Tonart]

Another one that used to be Paul’s personal guitar. It’s a prototype of the PS signature model, which means instead of a wide 408 at the bridge, it has a narrow 408. In other words, the precursor to the Paul’s guitar.

Pernambuco neck, Honduran FB with mammoth ivory birds, “Dirty Violin” stain. A particularly solid feeling, resonant and tone filled guitar. Again one of my favorites.

With its twin partner in crime!

 

[Alnus Rubra]

Pics for the above post as it won't let me add them there.

Why did I read the:

“NO MONEY, NO SHOWING OF MERCHANDISE”

sign in a pseudo-Russian accent?!

Great story, amazing guitar!

 

[Tonart]

When I wanted to build a PS, I wondered what could I do to make it really unique. I mean, why not given the opportunity.

So I started researching on woods, focussing on industry track record for tone, stability, toughness and rarity. I did not want the body to be drastically different from the tried and tested maple top and mahogany back, so I was really looking at the neck as the variable.

Eventually I arrived at African Blackwood. Amongst the hardest woods known to man, highly stable, and highly rated as a tonewood in itself. But large ABW blanks are rare as the tree is small and rarely straight. I decided to ask anyway not expecting a positive reply.

Lo and behold, there was ONE blank sitting forgotten in the PS vault. Only one! Would it be the jet black that I wanted? Would it have defects? Heck I went for it.

Out of it came an instrument that Paul declared to the dealer as a magic guitar. Given the way the strings behave on it, I fully agree! I often play it acoustically to listen to the differences and nuances.

And according to the dealer, the guitar actually led Paul to hunt for another ABW neck blank. In a FB video later shot in the PS vault, Hunter asks Paul what is the rarest wood he’s encountered and the answer was indeed, ABW neck blanks. Paul then reveals he’s only see two ABW necks in his long career.

Without further ado, here’s one of the two!

 

[László]

Here’s an interesting one.

Sometime 2008 Paul introduced a new neck wood called Pernambuco, and it was literally quite new to the guitar world. The run was called Paul’s 28, which featured Paul working personally on the 28 guitars. The guitars featured celtic knot inlays that would be repeated on subsequent runs closely associated with Paul’s personal preference and designs, such as the Violin I and Collection Series.

[Voiceover and creepy music] Well in the land of Mordor and fires of Mount Doom, the Lord of the Fiddles forged in secret a one-off clone of the Paul’s 28. One guitar to rule them all and in the darkness bind them.

It featured 24 frets as opposed to 22 in the Paul’s 28, and was christened “Paul’s 24” behind the headstock. Pernambuco neck, dark Mexican Rosewood FB, Chevron flame, Celtic knots, off the charts tone and resonance.

Oh my freaking goodness do I love this!

 

[László]

Another one that used to be Paul’s personal guitar. It’s a prototype of the PS signature model, which means instead of a wide 408 at the bridge, it has a narrow 408. In other words, the precursor to the Paul’s guitar.

Pernambuco neck, Honduran FB with mammoth ivory birds, “Dirty Violin” stain. A particularly solid feeling, resonant and tone filled guitar. Again one of my favorites.

With its twin partner in crime!

Doubly fabulous.

 

[László]

When I wanted to build a PS, I wondered what could I do to make it really unique. I mean, why not given the opportunity.

So I started researching on woods, focussing on industry track record for tone, stability, toughness and rarity. I did not want the body to be drastically different from the tried and tested maple top and mahogany back, so I was really looking at the neck as the variable.

Eventually I arrived at African Blackwood. Amongst the hardest woods known to man, highly stable, and highly rated as a tonewood in itself. But large ABW blanks are rare as the tree is small and rarely straight. I decided to ask anyway not expecting a positive reply.

Lo and behold, there was ONE blank sitting forgotten in the PS vault. Only one! Would it be the jet black that I wanted? Would it have defects? Heck I went for it.

Out of it came an instrument that Paul declared to the dealer as a magic guitar. Given the way the strings behave on it, I fully agree! I often play it acoustically to listen to the differences and nuances.

And according to the dealer, the guitar actually led Paul to hunt for another ABW neck blank. In a FB video later shot in the PS vault, Hunter asks Paul what is the rarest wood he’s encountered and the answer was indeed, ABW neck blanks. Paul then reveals he’s only see two ABW necks in his long career.

Without further ado, here’s one of the two!

You’re killing me with all this incredible stuff! Wow! Good stories, too.