I don't mean to get off track but does anybody know why they don't make many (any?) 24 fret models with a hardtail bridge?
Yes. Paul never stops his quest of perfection.
I sense this is a touchy subject, but what is it about the big heels that make it such a no-go? I'm just curious because I never think about it and I don't visit PRS forums (I would buy too many). I had the first run of N-4's (hand-made) with the Stephen's cut-away as my main guitar for several years. So, I went from no heel at all, to a strat heel, to big PRS heel. Never had the smaller heel version of a PRS. Is it thumb position? I notice my thumb never goes into that area, heel or no heel, so its hard to feel one way or the other about it. Interested to hear a grounded opinion.
If this is going to result is some one busting out the popcorn smilie, forget I asked.
Anyone have any input on this?
It's just bulky, it does throw off my thumb position and I just don't understand it. Aside from RIC putting a heel on their neck through guitars, I just don't get the change. It's inelegant on a top end instrument. I also find the cheap wraparound bridges offputting, YMMV.
I use a PRS and a Marshall. (And sometimes a LP and a Marshall). My PRS MC-58 has more high-end (i.e. less muffled than my 3 LPs).
Where the heck do you get your info from? Is Ed Roman's site still up?
It's common knowledge PRS are dark in general. Not exactly a huge claim. "Smooth".
Gloop covered. Rounded soft smooth wraparound saddles. Pickup placement...it's not an opinion. How much crap can you put on fretboards? Is it a competition?
Gibsons dominate PRS in the studio. You won't find racks of PRS guitars in the average studio. You will get racks of Gibsons and fenders. Way tighter. More bite. More chime plus they can do the smooth stuff if you roll off tone/volume etc on the neck. An SG has even more bite. No way can PRS do what that does. Limiting.
It's science. Not opinion. The further up the pickup goes the more wooly it gets. They use too much finish. They always have pretty thin caps which is like rubber wallpaper unless you pay insane amounts for a thick cap and specify something less gloopy as a finish.
IMO PRS users don't know what they are missing in terms clarity, chime, subtle shifts in overtones etc.
I get my information from owning the best PRS money can buy. Experience.
It's like a roller bridge. Kills your attack. Soft offshoot from string and saddle = no ping/sing. It's like using coated strings.
Only good for things like single coils or p90's IMO. But what do PRS do? Coil tap. Another tone downgrade. You never get the true snap of a single coil via a humbucker/tapped etc. so even when you put it in single coil mode it's got that slightly off underpowered humbucker tradeoff you get from coil taps/splits.
This is an example of a wrap around and a p90. A proper p90. Not a muted noiseless tradeoff:
PRS should listen to me. They would dominate Gibson with a few minor changes.
I have 3 LPs and 3 PRSs (all McCarty-based) --- It is much easier to get to the upper frets on the PRSs than the LPs. Are you related to Ed Roman by any chance?
P.S. Upper fret access on the PRSs is easier than on a Strat or Tele too.
I have two PRS. Flawless from a fit and finish standpoint. If you can't make them sound good, I wouldn't look at the guitar first.
I do notice mine are a little more sensitive, truss rod wise, to my other two, but my other two are over 20 years old.
I've found that my PRS guitars are much more sensitive to truss rod adjustment than any other guitar brands I own. A tiny amount goes a long way. Not a bad thing just something I didn't know right away.