as an engineer, it always baffled me that people want to try guitars to find 'the one' out of a bunch of the same guitar. On my end, if one guitar sounds that much better or worse, thats a QC issue that should NEVER happen (even in the better case). In the end, even if the guitar sound is 'incredible' compared to others. You are the one that plays and actually creates the sound. The goal of a brand should be consistency, because thats how you either get repeat customers, or word of mouth. As opposed to people being frustrated when they cant find 'the one' because all the qc is mediocre. This is also coming from someone that has played trombone their entire life, and has seen the consistency across all these brass makers to where you can pick up any trombone with the same specs and it will sound the same (depending on the player of course).
@user-zi8hj5ne1z As an engineer, you should know about the inherent variability in the materials used when talking about a guitar (wood) and a trombone (brass). You can get the properties of different batches of brass to within extremely tight tolerances of each other, but wood is a natural material with natural variability. The density, hardness and elastic modulus of different logs of the same species of tree - even different cuts from different parts of the same log - vary to a degree that would utterly ruin the reputation of any metal alloy supplier. On top of that, the tighter you make QC, the more wasteful you become with natural resources, like when Taylor normalized brown streaks in ebony so that they wouldn't have to throw away any log or cut that wasn't pure black. And that's great. But it also means appearance is less uniform, so one buyer might like one example more than the next, and is justified in trying several of the same model until they find the one with the properties they like the most. It's not failure of QC, it's acknowledgement of the nature of working with natural materials. Buy a carbon fiber guitar if you want man-made repeatability, and a wood one if you're ready for natural variability.
I’ve been through basically every PRS, some more than once. They’re great but I do think they sound a little “even.” I don’t currently have any in my stable for that reason. What some people say is “no mojo” or “sterile” is really just that I think PRS guitars tend to have a really balanced frequency response compared to the more uneven frequencies you get out of a lot of fenders and gibsons. I’ve personally found Suhrs to have a little more character to my ears. But plenty of people say Suhrs are sterile too. So it’s just personal taste I guess.
@@chiricm I don’t disagree. I’ve had a ton of PRS and I also agree they do lack “character.” I believe that’s what others perceive as mojo. Just some quirkiness and unevenness that makes certain frequencies really stand out and have their own vibe going on. I currently have no PRS(used to have like 10…and mostly USA). That being said, I ordered two SE that should be arriving next week. I did this because I realized I’m all out of 24 fret guitars lmao and I’ve got the neoclassical and metal shred bug and have been learning a lot of material that requires 24 frets. I also have several Seymour Duncans laying around that should help these PRS sound more how my ears like them to.
I think it comes from people that don't really get instruments. A friend of mine hates fender stratocasters because he feels it is the reason Eric Clapton lost his MOJO and blames the guitar.
I have really appreciated your PRS Series. I’ve enjoyed AND learned a lot (and not just about PRS guitars). I’ve been watching a TON of guitar gear reviews. Your channel and a half dozen others, have led me to buy three different PRS guitars. Over 30% of guitar sales are done online. Detailed (nit-picky (not a bad thing)) reviews like yours provide a very important services to those who can’t get to a store. I too have noticed the unwarranted negativity towards PRS Guitars. I call it unwarranted because negative reviews that I’ve come across have a very distinct theme…. The reviewer does not WANT to like the PRS guitar. One reviewer left me so perplexed because with each point he was acknowledging looks, feel, appointments, playability, sound quality and even price, yet ended with with a thumbs down. When I commented that I was confused, his reply was “I just don’t like it.” I have a couple of favored brands and PRS is probably top of my list because of the thought (engineering) put into every model. The attention to detail and quality control, makes PRS my first go to If I’m looking for a specific type of guitar. For ME PRS is the “Lexus” of guitar makers. Like Lexus PRS elbowed its way into the High End market. You have lists of top luxury cars, some approaching a century of existing and one an upstart from the 80’s. Likewise, you have various lists of the top guitars, with PRS (started in 85) consistently being in the top 5 along with other famous brands that have been around forever (having enjoyed their cult following for decades. The PRS hate is emotional. Thank you for this series! But I'm kind of glad it’s ending…. I’m running out of cash! :-). Looking forward to you next challenge.
when i was doing my research getting into guitar this year, it seemed like people just didnt like Paul because of his ego/loud way of speaking. but to me its not a bad thing, especially because the products back up everything he says. from what i've seen, PRS has done more innovation compared to gibson and fender recently, and the QC by far outshines those for the price point. You pay a premium, but you get quality even if its a 'low end' model. I have also been buying cheaper import guitars and QC on some of them were horrible and they were only 100-200$ cheaper. I'd rather buy the guitar that is perfect out of the box, besides swapping strings out and doing a setup if you like specific action.
Rhett's subjective feelings about guitar brands with poor quality control and wild variability from one year to another, one model to another, or one guitar to another, being why certain guitars they produce have "mojo" is one of the most absurd takes i've ever heard expressed on UA-cam.... and there are a lot of really dumb things said and written here. I have some great Gibson and Fender guitars, but i've played some really bad ones, including guitars that cost over 3K. Gibson QC has gotten better, but the demo shop is all the proof you need of issues that still get sent out the door on an average work day. Fender QC really tanked a few years ago because they let 300 of their most experienced Corona luthiers and craftsmen go, and also moved most signature line production to Ensenada without adding personnel or equipment to handle the capacity or increased expectations for those instruments. The average PRS SE has objectively better QC than the average MIA Gibson or Fender guitar. The S2 and Core models create even more separation from the competition. The difference between the average Indonesian or MIC PRS SE and a MIC Epiphone, or MIC Squier, is a veritable chasm. Folks can like what they like. It's any musician's prerogative to prefer a particular brand or model. That doesn't mean there aren't objective differences in the quality, fit, finish, and design, between different brands. Ultimately if "mojo" is picking up one guitar from an assembly line of bad guitars, i'll be just fine never having a guitar with mojo in my collection.
I could not agree more. Rhett's take on brands and mojo is disappointing to say the least. I would like to think that someone who makes their living by playing guitar would have a more objective opinion on their tools.
Well the guy has 10 grand Les Pauls and talks about 1 grand guitars as if they were garbage... he had a good Epiphone and seemed totally amazed that a guitar for 700 bucks could be good. The worst kind of gear snob. And the guy used heavy strings because he thought it sounded better but then in a blind test preferred 8 gauge said he was converted and put 9 gauge on his guitars because I suppose 8 gauge just isn't manly enough or whatever even if it sounds best... The guy talks about an R9 as if that was a proper guitar. Not some cheap 3k off the shelf 50s Les Paul Standard... So really I think anyone sane shouldn't care what the guy has to say. Now me personally I don't like PRS that much from the sound but to critique their QC is madness. I may not like them to play but I always spend a minute or two admiring one if I see one. They are gorgeous and really well made. So if I had too much cash I would definetly grab one and add some PAFs. Just not a fan of the very modern sounding pickups so if someone handed me a PRS with pickups I enjoy, I suspect I would love it. Mojo is just an excuse for not being able to put your thoughts into words. PRS are too flawless but let's spend 10 grand on an R9 because that's a flawless guitar? I couldn't care less what the guy says. I love Gibsons, I have one. Is it my favourite guitar? Nah that spot goes to my 370€ SC550+. The pickups are nicer so it sounds better and I prefer the feel of necks with binding, that my G doesn't have. And finally, I'm sorry but nitro finish is stupid. It's so fragile. My Gibson looks exactly as old as it is. Scratches from the pick, dings, huge part is loosing it's gloss from sweat... I prefer to leave it hanging on the wall and look pretty. Id it a great guitar? Absolutely. Is it somehow magically better than my well built not made in America non Gibson guitars? Nope... The nut actually wasn't cut that well and the 3 way switch keeps malfunctioning, which has not happened on any of my Epiphones, LTDs or the HB... now to be fair I got it really cheap for a Gibson, due to the nut and it being a sun bleached display model. 800 bucks for 1998 Flying V, limited edition. Would I pay the 3 grand they want for Flying Vs now? Fk now. I bought some Toneriders for my Epiphone and I strongly suspect once installed it will also sound better than the Gibson. Same age, 20 years. Gibson looks heavily used. Epi looks brand new. But oh no poly finish bad!!! That's why every single wooden item on Earth except high end guitars uses poly finish. It's objectively better. And it comes in matte and semi gloss to for you "too shiny" people. Polyurethane finished guitars will last 1000 years easily. As a woodworker using nitro finish makes me laugh. I would never... why would you? More expensive, way harder to apply, highly toxic, takes forever to cure, less durable ahh but its thin and won't impinge on the tonewood... Snobs...
@@HunnysPlaylists Although they are checked by machines now, Plek or something it's called, the machine check if all the frets and everything is perfect and you can see if one needs work. Gibsons since that era are impeccable. I am lusting after an Antique Natural Flying V. 1700€, is not too bad and no one besides Epiphone or Gibson makes proper Flying Vs. They all look weird. Though Jackson and ESP make the Randy Rhoads / Alexi Laiho models, I like those but it's a different thing... but fretwork and all that on new Gibsons is fantastic. Half the people who crap on Gibson never played one. And as to the increase in price, it's still much cheaper than what Les Pauls cost originally. By inflation a Les Paul should be 5 grand. So given how pricey labour is I don't think it's that unreasonable. Now I'd rather buy 3 Epiphones and 4 Harley Bentons for the same money but I have not bought my last Gibson. Also my 98 Flying V cost about 800 bucks (plus 20 years inflation, call it 1500) it is now worth 5 grand. I'll sell it when it's worth 30k until then I have some more nitro finish to ruin with my sweaty paws.
I have a PRS 277 and my take on "no mojo" is: 1. Primarily fueled by Rhett's hive mind. 2. The pickups are very distinct. I REALLY don't like them. I also don't really like Ibanez pickups. I just did a pup swap. 3. The flawless QC makes them feel precision manufactured rather than like an instrument. If you have ever picked up a relic'd or heavily used guitar, you know that there's inherently a HUGE difference in feel. If you like the weathered wood feel over the plastic manufactured feel, your brain will tell you "nope" when you pick up a PRS. At the end of the day, only #2 is a real issue IMO, and if it's a big issue to you, just swap pickups. PRS pickups are ideal for some music, but not everyone has to like that. Sometimes the muddiness of a LP, or extra articulation of an Ibanez are desirable. Personally, I'm more a fan of SD and Schecter pickups. To each their own.
dunno who's Rhett, but to me "no mojo" of PRS just comes down to looks. they are just so bland and meh-inspiring. every time i see a PRS i don't think "a vintage-looking guitar", "an agressive guitar", "a blinged out guitar", "a stylish guitar", "a bright guitar" or any other adjective. it's always just "a guitar".
@@swancrunch fair point, but your making a comparison and have an expectation. What I don’t care for is how proprietary they are. Good luck modifying even tuners. Damn mine has sustain for daaaayyyysss.
@@23kyd49 how are they proprietary? from the look of it, you can easily change them to like hipshot or gotoh or some shit. they use all the standart run-off-the-mill electronics (except for rotaries, but those are still easy to find in like radioshack), pickups, nuts, etc. teuffel is proprietary, rick toone is proprietary, strandberg is proprietary (but there are tons of alternatives for their hardware if for some unknown reason you want to change it), but prs? cmon.
@@swancrunch I actually think my satin charcoal PRS looks pretty killer when I hold and play it. And I'm not a PRS fanboy or something, it just looks cool (to me).
I build electric guitars and traditional violins. My take on mojo runs like this - I think on solid bodies and even most semi-hollow bodies, you are completely right. Hitting the production spec properly makes way more difference than anything else here. In the case of acoustic instruments, individual instruments *absolutely* do have mojo. At the point where the individual pieces of wood really, really start affecting tone, then yes, individual instruments, even ones made with the utmost care will be wildly different. As an example, If you think of a Stradivarius violin, there are several with very similar measurements, and safe to say no quality issues - but the difference in tone between these instruments is profound. The same is true on acoustic guitars. There is a video here on the tube where a world class violinist gets to compare multiple Stradivari - even if you don’t like violin it is interesting to watch. But yeah, in guitars like you are showing here, you are absolutely right. Attention to detail and a really good design which is consistently delivered is honestly 99%, if not higher, of the battle.
Thank you! That whole 'No Mojo' section is something I've been ranting on about for years. It's always been baffling to me that Gibson always gets away with the whole 'looking for the one' mentality - when all guitars of the same product line should be equally good. Especially at the premium price point they are at. If you charge several thousand dollars, you need to deliver every single time.
If they were all grat guitars it wouldnt matter if they are different. The prs though is a beautiful commodity but i never liked playing either ther electrics or acoustics. They record beautifully though.
Yes! I’m about 20 live shows into using the DGT SE. Can confirm it’s just brilliant, does everything I need and does it very very well effortlessly. And that’s live, in the heat of battle. Would recommend one to anyone, and full of inspiration and mojo when you need it in a solo.
Pretty stoked to hear this. I'm a huge Fender and Gibson guy, but I had to pull the trigger on the McCarty SE. Looking forward to getting back into the PRS arena. The DGT looks to be a killer guitar too.
This hasn't been my experience, I tried out several different DGT SE's and they were all quite different, one really dark sounding another bright, some had three piece tops others two piece, the one I own is 7.1 pounds, but one I tried was 8.3 pounds. I think the mojo thing comes from people liking the sound of the good examples of vintage guitars and any modern change goes away from that vintage sound, obviously a guitar like an Ibanez RG isn't going after a vintage thing so no one cares. PRS markets itself in both camps both always improving (modern) as well as being vintage in looks, sounds and design cues, Paul often talks about owning vintage guitars and figuring out what makes them sound so good and finding the key and implementing it into his guitars and the reality doesn't match up to the marketing spiel, so people try out the guitars with an expectation of hearing some vintage mojo but get disappointed.
@@voxshallyou need to try that with the US line of geets. PRS hired McCarthy bc Gibson kicked him to the curb and employs a lot of the vintage construction where it makes sense, makes upgrades where it makes sense. The modern USA pickups are excellent and very vintage sounding.
I agree they sound good, but I've had a lot of the US line on medium term loan and compared to the best vintage examples they are still a big downgrade in my opinion, I think this is most obvious in p90's but also in humbuckers and the silver sky single coils. Sometimes I prefer the modern stuff in a band mix though, but by itself I prefer the sound of the vintage guitars and find them more inspiring to write songs. @@papa_pt
Mojo is also related to the feeling that people get when they hold the instrument they saw in the hands of their idols as a kid. But if music is about doing something interesting now - using what the world is like today, then this isn’t a problem. Jimi never played a PRS but if he was alive today, he probably would have.
Maybe that's why I've never understood the prs has no MOJO comment because all of my favorite artists growing up in the late 90's and early 00s played PRS
This is a good point but today it's a 38 year old company and many of our idols have been famously playing them for a long time now. I've heard this PRS has no mojo comment for years and I think a lot of it has to do with exactly what you said. However a lot of people saying it back in the day were playing Kramer, ESP, Jackson, Charvel, BCRich, etc and those were all new brands at the time too. I got a PRS in 1988 about 3 years after they started and kept it until 2006. It was a USA made CE 24 bolt on. It was the best guitar I ever played and sounded amazing. I regret selling it every day since 2006. LOL I think it had a lot more mojo than my Ibanez RG-550 that I sold to get it.
John Mayer might help. But before John, there werent many famous PRS players. Santana. John MCoughlin. Mark Tremonti. Chad Kroeger. Not the type of people that attracts guitar players these days. If anything, having Creed and Nickelback players probably put them off, even though Mark is a beast player. Ive said it before, get rid of the birds and more people would like them. Cheaper to make too. Leave the birds for custom.
@@ToneDeth.dgt gold top has no birds , don’t mind the birds but actually don’t want more birds either so have been happy about that to be honest and it is the best SE for me to date for sure
What an intelligent and comprehensive assessment of PRS guitars. While I’m primarily a Fender and Gibson guy, I never bought into the no mojo thing for PRS guitars. I have one PRS guitar and that is the original Zach Meyers signature guitar. The tone that comes out of that guitar is incredible. I will never part with it. In fact it’s my belief that one of the distinguishing characteristics of PRS guitars, besides their great build quality, is the clarity and tone of their pickups.
My first guitar search after seriously starting playing led me to buy a PRs se custom 24 08 early this year. I was watching all these videos about factories for Gibson, fender, and PRS. The PRS ones stood out. Specifically, because they gave credit to the international builders on the headstock, and they actually were showing off their foreign facilities in addition to their USA facilities. For the price, quality control was incredible (except for a cracked/slightly burned binding that was next to the neck humbucker in a pretty hidden spot. I did get credit back from sweetwater for that, because it slipped through both PRS QC and Sweetwater). It was set up perfect out of the box. I only lowered the action, after putting in a set of 10s instead of 9s. Beautiful blue quilted top, and the neck and body have Birds Eye and flame in it. Even with the neck/body being 3 pieces. If you have the money and like the sound of PRS pickups, and a wide/thin neck I think it’s a great purchase. They even do all the SE demos on their youtube channel as well. The SE pickups are meant to be 'import equivalents' to the core/s2 models, and still have that signature PRS sound (i know its not for everyone, but I like that sound) I would love to by the new quilted violet se custom 24, but they have the same pickups as my current one. All of those new models look amazing. I'll have to keep an eye out for holiday sales this year.
Honestly, my SE has the same quality as my Core. The SE has the second best top, second only to the Core. I own 6 guitars, and honestly, I prefer the sound of my SE 85/15s pickups over the 59/09 pickups in my core.
The earliest example of the "mojo" misconception that I can think of is the PAF pickups. The original Gibson PAF humbucker pickups were wound up in a machine that did not count the number of turns, so the operator had to eyeball it. This lead to each Les Paul having a slightly different character. While this is touted by many as a source of "mojo" (mojo = uniqueness?), by modern manufacturing standards it was simply an issue of quality control.
Plus PAFs had lower output and required turning up the amp for the same level out, that allowed greater gain character from the amp at the same relative volume.
I own a PRS SE custom 24 which is from a previous line up when they were still made in Korea. It has actual binding and a beautiful zebrawood top. It's the perfect guitar for me and there is just nothing wrong with it. Especially for people like me, that don't live in a country with these huge guitar shops, PRS is just amazing, because I can order something with the specs/looks that I want and be sure that I will get a good instrument.
Problem is PRS makes the most boring sounding guitars I have ever played. There is a reason you see them with bands like Nickelback but not with legendary players because lets face it, no one beats the sound of a Fender or a Gibson. They are the sound of rock. PRS play great, feel great but just do not have "it" in my opinion they sound sterile.
8:31 as someone who has been doing the comparison thing since the 70's, I can say your mojo theory may be a bit flawed. I've been that guy who played hundreds of Teles, Strats, Les Pauls, ES-335's, SG's, Rickenbackers, etc.. to find "the one" in each batch; but not because the others sucked (although, when you pick up that many over nearly 50 years, there's bound to be a turd in the punchbowl along the way). The reason I would land on "the one" was because it fit ME best. The way I play, the way I pick, the fact that I'm short, my love of fatter necks and flatter fretboards, my ear for tone... And when it comes to PRS SE's, I can say that the experience, the hunt if you will, is just "Yeah, I'll take that one, I like the way the grains are on the top." That's because they are alike. Nothing wrong with that, but there's no "this guitar is mine, there are many like it, but this one is mine." That's fine and is generally what we look for in most products, but the experience is like buying a new iPhone, a Dyson vacuum, or a McD burger (anywhere in the US). They will all be the same, and that's exactly what many people want, and some people want that in a guitar. Why get surprised that the neck is slightly slimmer or has a quirky tone in the pickups or something like that? You know that if you tried on at Guitar Center, you can buy one at Sweetwater, they will be nearly identical (weights do fluctuate, even if by a few ounces), and your experience should be the same. Just as there's a thrill opening that new pedal, iPhone, or Super Soaker 5000; there's a thrill with that new PRS SE. I love the SE and S2 lines, and I've owned cores as well, and I even have a PRS birds tattoo. That said, my main guitar for years on stage was an American Standard Strat and recently for several years, a Les Paul Standard. I played a core PRS SC and CU 22 as well as a CE24 for a while in between. I've been to the factory and done the "Experience". I've met Paul and the team. I can say, unequivocally, that they make a fine product. I look at them like a BMW motorcycle. They are incredible feats of engineering, but it's the Harley Davidson that people deck out, customize, and turn into a work of art that reflects their persona. It might leave an oil stain wherever it goes, but it truly has but one owner who blings it out for the world to see.
I appreciate your insight thank you! I purposely said theory because i don’t think I have all the answers. And what I’m saying may be true for some in some cases but not true for others. Thanks for sharing!
My pov on the "no mojo" thing doesn't go along with the one guitar doesn't stand out in the brand, it's that PRS sound is so Hi-Fi and middle of the road trying to be so versatile in one guitar it really doesn't stand out,, I'm gonna go with bassist Joe Dart's Signature bass came out, a one knob one pick-up bass, people saying "that bass isn't versatile" Joe Dart responded by saying "you're not versatile" it's kinda something like a good stand out tone and signature tone instead of a middle of the road indistinct sounds like everything but not like anything tone would make a big difference in making the mojo happen
This has been my "mojo" argument for years. Fenders range in quality from 1-10 and 90% of their guitars are 5 and lower. But, because of their QC and the way they spec their materials, pretty much every PRS is an 8. There are still 10s to be sure and they're just as rare as a 10 by Gibson or Fender but it's much harder to tell the difference with a PRS because the spread is so much smaller.
I would say one influential brand on Paul that doesn't get recognized is Ibanez. I heard him mention owning one in his young life. The tri-Tone switching became the 24-08. The artstar headstock ala John Scofield model and its similarity to the original Santana Model to today's PRS headstock is rather uncanny. Even the double cutaway that had a maple cap, unlike the Gibson Jr, that's all mahogany was an Ibanez and Yamaha thing in the late 70s.
Great video and great series! And yes, if a PRS is missing its “mojo”, look no further than the player. Mojo comes from the soul, not the tool. By the way, I love and appreciate the self-deprecation. It makes you very relatable. Keep up the good work!
Yep ...... Carlos Santana comes to mind. I know of a guitarist that can play every note Carlos plays, but he comes across like a machine without a soul ....
Yessss, well-said! I think the mojo discussion highlights the differences between how people approach their guitar journey, especially these days. Sooo much time and focus is spent on gear and analysis of tone and sound, which is hugely important, but not more important that what's coming from your fingers. I feel very picky here, but it just seems there are sooo many players, though very impressive, who are just replicating tones and licks that they've spent their time trying to emulate, and the "mojo" isn't there. It's not just about technique and feel, but the unteachable originality, which many people seem to fail to realize is not there. One of the things that always drew me to PRS was how they strived for quality, but also playability. They focus on the guitar, not on the legacy, and I think that translates to the guitar player's individual journey. Innovation is at the heart of what they do, not constantly referencing what they used to do, or that this guitar looks like the one people loved 50 or 60 years ago.
@@geoffmckinnon6622 You hit the nail on the head! Just like with many vocalists, it’s rarely the technicality that makes the music. It’s the soul… the EMOTION. The tool can definitely contribute to that, but mojo comes from the soul, not the hardware.
Great video. I agree with you 100%. I own many guitars and so far the PRS has become my favorite. They are reliable, always sound great and when you know the QC is good you can play it without worrying about it. Keep up the great work.
The QC isnt really my idea of mojo. For me its how the thing inspires you. Hard to define and very personal. I pick up a lot of brands with excellent QC and mojo. PRS guitars are just too refined to appeal to me. I would never say they are bad, they are high quality, they just dont have a character that appeals to me. Every once in a while I see one.
@21:15 you're describing a tremonti pickup layout😂. Same reason I own two. I've played in fusion and big bands with that guitar and then went straight to metal/djent gigs. Such a perfect layout
@andrefludd just don't go for the SE. I've never been able to jive with it. Probably because I love the cores too much. He'll maybe I should just make a video on it instead. Save you 4k
PRS are great! They feel great, they sound great and they look great. I think their finishes are some of the best looking. My main workhorse is a Tremonti SE. I typically choose it over my Les Paul.
12:42 totally agree, the brown brings out some of the upper mids and the burst fade helps curtail the the highs to bring out the chimey bright dull tone
I feel PRS guitars basically "get out of your way" - so if you have a style, you just want a guitar to get out of the way between you and your sound then they are really awesome... but I actually think my fenders and gibsons are more clunky or in your way... sometimes that's helpful for a certain style, but honestly I think PRS are just more ergonomic so they don't force you into a mojo position, they just get out of your way, less balanced, sticky necks, just slightly less curvy, etc. - . does a Strandberg have mojo, a Klein, etc. I just think the mojo thing is kind of mediocre player looking for something that helps them sound better but the PRS will more likely expose you... you'll sound like how you really sound... so it can help you find your sound, because it doesn't force you or limit tone.. that's my honest opinion. When I got my prs, I was able to explore how I was playing with more sensitivity.. but it was a transition.
I enjoyed your commentary about PRS and agree with alot of what you said. . I have a couple of comments The Silver Sky: I had a 1982 Fender Stratocaster and when I compared it to the Silver Sky core, the differences were the following. 1. The Silver Sky was easier to bend the strings. 2. The heel area is more comfortable as the back joint is rounded and not square like the Fender. 3. Locking tuners which is helpful with a guitar with a tremolo on it. 4. No ice pick back pickup like the Fender. 5. The tone controls on the Silver Sky affected all pickups while the Fender only the middle and front pickup. 6. The pickups on the Silver Sky are very balanced and articulated. It reacts more to your touch, providing more dynamics. 7. Larger frets on the Silver Sky which helps secure your fingers in the right position . I also compared the Silver Sky to the Professional II Stratocaster. It has a thinner sound over the Silver Sky, back pickup is brighter, no locking tuners, and it's heavier (more moisture in wood?) Than the Silver Sky. The pickups are not as balanced either. On the PRS McCarty 594, vs Les Paul, the quality control is much better on the PRS. The headstock design helps the D and G strings stay in tune better than the Gibson. Pull switches on the 594 give a single coil sound. It has the option of double cut or single cut. But even the single cut version allows better access to the higher frets than the Les Paul. They also weigh less, are better balanced and with the brass material and wood having less moisture, the sustain on the PRS is longer. The tone is similar though the Les Paul offers a slightly thicker tone. These are my reason why I prefer PRS over the other 2 brands.
Totally agree with your take on "mojo" after having shopped plenty of Squier/Fender/Gibson/Epiphone/etc. But! PRS occasionally makes a totally production-line guitar that will be different from others on the exact same line for whatever reason. For example, I have an older core model with a maple top, but unlike most others of the same model, mine happens to have a single-piece top. Also, I got it used and there's a couple chips on the finish, and to me those factors give it juuuust a tiny bit of extra mojo!
I found after buying 5 of these things, that the standard/custom 24's have a drastically different neck than the McCarty or 245. I actually hate the chunky necks, but those 24's are amazing. Wonderful video! Thanks!
Super interesting theory on the mojo thing! Never thought of that before but it's exactly what happens with vintage instruments. It's not that there was something magical about an old guitar being old, it's just that only the really good ones have survived, making it seem like ALL vintage 1962 Strat's were amazing, but I've heard from enough people that are in that world that they've played vintage Strats/LP's that are amazing, and vintage Strats/LP's that were absolutely terrible. Something else I would add to the "mojo" thing is PRS makes a very pristine sounding guitar. There's a clarity and cleanliness to the tone that some people like and some people don't. I think in some people's mind imperfection is mojo, personality, character. I have played PRS long enough that I can tell when a guitar player is playing a PRS with his coils split, it has it's own sound, it's a thing. Whether that translates to having "mojo" is completely subjective.
A lot of it is bunk but vintage instruments are a bit different because of the way the wood sap crystalizes and becomes more stable and the pickups change as the magnets age.
Got a DGT SE and immediately put locking tuners on it. Fantastic guitar and I’m comparing it to my Artist DGT. Crazy what they did for less than a grand!
I really like the PRS guitars I own or have owned, my biggest complaint with PRS is that outside of the Holcomb you don't have a hardtail with a more modern hardtail bridge. That being said I like the Holcomb and it has specs I like (20" radius, hardtail etc).
I know it will never happen. but i would love to see a prs flying v style guitar. if I ever get rich enough to buy a private stock, i would try and twist their arm to make one XD
@@user-zi8hj5ne1z It could happen. At a big rock festival in 2018 or 19, I saw Mark Tremonti playing an Explorer shaped PRS. He only used it for one song and changed guitars. I whipped out my phone and took a picture of it. Been wondering when that guitar will come out. I think all that needs to happen to make a Flying V possible is one of Paul's big artists wanting one for their signature.
I think it's exactly that high quality control thing with Music Man too - their CNC process is so dialed in that you're not going to get crazy variance. A JP is a JP, a Luke is a Luke, etc, there aren't good and bad copies. In fact I remember even as far back as Eddie's signature model with them one of the chief goals was to make it so that if need be, he could go into a local shop in a city they were playing in, borrow a guitar for the show, and it'd be identical to his personal main one. I know I've heard Petrucci say similar things too.
Do you notice any of the screws along the pickup rings are stripped? Ive owned 4 SE's and currently own 2 and they've all had at least one screw holding in the pickup rings completely stripped. Not a problem for me since i keep mine stock, but could be annoying for people who accidentally break a pickup ring and need to replace it. That's my only QC issue.
Excellent take on the mojo topic. I appreciate the fact that I know what I'm getting from prs. I had to try multiple fenders of the same year to find one I liked.
I'd argue that the Holcomb should have tuners because metal guitarist tend to favor fresh string for their brighter tone. I'd want locking tuners if I'm changing strings on a shorter intervals.
It’s worth mentioning, I was at a PRS event a month ago where somebody asked him why certain guitars weren’t available in flatter radii and he answered, to paraphrase “just get the frets ground down to whatever radius you prefer, any luthier can do it for a couple hundred bucks”
A good luthier can work wonders. I even had my 60s rosewood tele turned into 12" radius with fat extra jumbo frets. Sacrilege sure, but a superior instrument far better than any factory Fender from the era. Turned out so well, I had the same guy restore the entire neck on my 58 Gretsch 6121 even beautiful wood binding and fresh lacquer superior to any Gibson at any price.
Great review and really appreciate the full explanation over general review plus you adding what you thoughts are specific to your tastes. I also love the brown in that Hollowbody Piezo II. Thanks for sharing your detailed input!
When I was a sophomore in college (this would have been fall of 1997), I went to World Music Supply in Des Plaines, IL and played something like 15 different Buffet R13 clarinets. And they all played and sounded at least a little different from one another. My professor suggested I play a minimum of 8-10 because it's a lifetime instrument. He said it's likely I'll own that clarinet and play it until I no longer play clarinet (which, spoiler, was about 2015; I still own it but I haven't played in years). And so yeah I get the concept of going into a store and trying a bunch. That one $2500 (at the time, more like $4k today) clarinet had a lot of magic. But I also love exactly what you said about PRS, you don't need to pick up a bunch and try them all to find one that's great. Every one I've ever touched has been perfect; I can pick them out based on looks on Sweetwater's website and I'm good to go.
Thanks for a great informative video. I’ve been looking at the PRS SE guitar range, wanting in my current mission to find the right humbucker guitar. I get a bit overwhelmed with the various models on offer so your PRS videos have been helping me get a clearer picture. Of course, I need to go to a shop and get a couple of them in my hands to really know if it’s gonna work for me (plus the Epiphone 1959 Les Paul is always lurking in the shadows, tempting me). I have a strong feeling though that the DGT SE is gonna be a strong contender. I prefer the sunburst version rather than rather than the gold top and I know already that I’m gonna have to get the volume pots switched as I also prefer neck pickups. But maybe the unusual configuration could be something I could grow to like as I can imagine using the bridge pick up to blend in more brightness and attack to the core sound of the bridge pickup. Oh yeah…. Mojo is subjective - end of story.
Great overview on PRS, thanks for taking the time! I have a couple of favourite guitars, 1968 Les Paul Custom from my 70s band days and a Roger Sadowsky NYC S Style HSH I bought in 1992 - this has been my studio Swiss Army Knife for 3 decades now. I had heard so much about PRS, pros and cons, and finally figured I should try some 'entry level' models and bought the SE Custom 24-08, which I really like. Not a fan of coil splits but at a pinch this one guitar can happily cover my needs if I were to play live - I can leave the above 2 and my Strat at home, basically. I am planning on buying a black Tremonti SE (on sale here in HK) because I have always wanted a LP with a whammy bar and the fact that it's black like my Gibson is cool - the neck is perfect! I will most likely put in either Monty's Bethnal Greens or Bare Knuckles PG Blues because I do want that Peter Green clean bluesy thing. Whatever. Final comment on PRS is that I LOVE the bridge / whammy bar set up - similar to my Sadowsky & Strat, in fact a bit of an improvement with the 'no screw' option. I have a couple of guitars with Bigsby & Duesenberg trems but I just find them clunky and 'un-subtle' so big vote for PRS on that score. Sorry to go on - I tend to get excited about guitars! Cheers. 😅
Can you make a video like this for the absolute beginner? I am looking at getting an SE model like the Swamp Ash special but I am not sure if this is the best option for me. SInce I have never played, I would be unable to know which thickness of neck would be best for a newbie like me. I love clean tones the most so does that mean I should think about the Piezo models? Also agree we need the gold frets! Those and the abalone inlays would look amazing......Thank you for any and all replies! :)
Mojo. It can't be scientifically measured. But art isn't science. Play what you like because any guitar can have mojo, for any random person that might happen to play it.
At 14:55 you explain exactly how I feel talking about guitars too 🤣 This was hyper interesting to hear you in depth take on PRS. Couldn't have been a better dude to do it. And I back your ideas fully too.
Superb wrap-up Dr. Fludd. Thank you for your studied, measured approach and careful, considered comments. Further, thank you for all the hard work and attendtion to detail that fully supports your well-crafted reviews.
I may have missed this somewhere. But how would you compare this to Rivolta quatity wise? Did you have a preference? I'm torn between the DGT and Combinata
there are a few companies -- prs in america and yamaha in japan who take a very modern approach to making guiitars. very computer driven. design, sound profiling ...the list goes on. some people think this is awesome and some people really don't like it and say that these brands have no mojo.
I have a PRS American CE. I got it because it was less than the core, but it had a lot of the same parts. Now to find out that there's an SE CE, All I want to do was buy one and compare. The heel joint is the biggest difference. From what I see it's not quite the same. But knowing that it's PRS. There's always good quality with everything they do just about. That swamp ash special is really calling my name. I've always had a great experience with any PRS.
I took a PRS SE Korina Singlecut w/moons,added PRS locking tuners,PRS wraparound adjustable bridge w/Brass studs. Schaller S-locks strap locks and put in Seymour Duncan Green Magic pickups (so it’s a PRS Greeny) and made it no tone,2 volumes so I can control the out of phase middle by having a neck volume.
Nice content Andre. Bang for the buck, I'd like your thoughts of the PRS against a Classic Vibe guitar. The CV seems to my ears to have "better" pickups. Your thoughts.
My ideal PSR SE: fixed bridge. Compaund radios (12-16 or 10-16). Jumbo/MediumJumbo Stainless steel frets. Pickups - 245s. Satin back if the neck. Locking tuners. Price: 1200 EUR.
If you play a guitar long enough, it gets mojo........if you don't play a fender or a gibson, it does not have mojo either. That means...for me when you buy a new guitar in a shop, you have to create the mojo during the years using it :)
Mine have no mojo. All My Gibson's, Yamaha's, Fender's do. I like my Prs's, but a pickup change is mandatory. They do lack personality where my other stuff oozes personality and flavors. I like my prs's , feels good, plays well (but for the neck joint), sounds like... not so much. Thank God for Dimarzio, EMG and Seymour Duncan. I would off my Prs's (two USA and one import) if I couldn't change the pickups. Prs is great if you want to fight with the sound, change magnets, tweak pu heights and then ultimately change pickups.
I have a modest collection (I'm 71 and still play a lot) but I was looking for a guitar or two to use every day. Being a Santana freak, when I saw a mid 2000s Santana SE I had to have it. After adjusting the action to my taste it took months for me to warm up to it. I basically found that the pickups were way too loud when setup close to the strings. I'm used to my mid 60s ES-335 and the bit of sparkle they have. lowering the pickups into the body (a lot) made the thing come alive and gave me the mojo. Now it's my favorite instrument ! I have only played one other Santana SE and it's quite good but even its owner prefers mine. Quality control overall is outstanding!
I owned two PRS guitars, and while I loved their aesthetics, tones, and quality to price ratio of the SE models, but I disliked how the lower horn carve doesn't clear the last fret (and the round hollowed out area doesn't help much for upper frets access). For me, clearing the last fret is critical because it allows for the most comfortable upper frets access, without forcing you to angle your fretting hand awkwardly towards the pickups. There are some passages that simply can't be played efficiently if the lower horn carve doesn't clear the last fret. This is one of the reasons why I prefer Ibanez, as their guitars are designed with great upper frets access in mind. John Petrucci's signature Majesty models are a great example of awesome upper frets access.
I think you're kinda right about the mojo thing, but that's exactly what I want in a guitar - all my favourites are ones that I picked up in a store and felt like I had found something and would be foolish to let it go.
Top video, thank you! I agree 120% to your first „SE Modern Line“ Guitar suggestion. No Fretboard Binding! In solid sparkle red or blue an absolutely no- brainer!
I've always been a Strat/Tele only kind of player until I bought a PRS SE Custom 24/08 EV about two years ago. I was blown to be honest, great feeling, fabulous neck, and the floating trem is master. Plus, with the split funktion the splittet HBs actually sound SC like and You can play any kind of music with that beast
I recently bought an SE custom 24 from sweetwater. Within a few hours of playing it I noticed the input jack was loose. I tried tightening it, but the nut was cross threaded and wouldn't budge. I was in a rehearsal for a Christmas concert I was playing and the nut fell off right before a big solo. Fun times, maybe I just got a bad one, but as far as I can tell (my first PRS btw) the quality control is as good as a everyone seems to think. Also, the figure disappeared on half of the top from most viewing angles. I'm a wood worker and understand pretty well how figuring and chatoyance work, but a veneer top shouldn't be this drastically different from one half to the other. I'm returning this guitar today.
Excellent thoughts and wrap-up for the series. Am quite certain you will eventually get your signature PRS. Just a matter of time. Great job, sir! Mahalos! 🤙🎸🎶
I don’t disagree with what you’re saying about the QC at PRE vs Gibson, but I think there’s something special about finding a unique instrument (Gibson, fender) which you bond with. That’s part of the magic of playing guitar.
One of the best SE guitars PRS ever made is a 277 Semi-hollow baritone with P90 style pick-ups. It’s long been discontinued, but if you come across one, get it. It’s amazing to play with different styles from country, jazz and space-y stuff. But, it snarls and growls like the meanest junkyard dog if you want to play really heavy stuff too. It’s my go-to guitar when I’m needing some creative inspiration.
Also, I love Stainless Steel frets as well. I haven't seen you mention or review the 24 Floyd Rose model SE. I own one and love it. Did they discontinue it, or you just don't have one? I personally prefer 2 point floating bridges, and I'm curious why you prefer the 6?
I have been looking for a 24 fret, Floyd guitar hat isn’t overly expensive for years. I picked up. PRS SE Custom 24 and was floored. For the price it’s unbeatable. I did change the pickups (for a set of Pariah medium output humbuckers) and put in a big brass block to make it more my thing but even stock it was amazing. When people say a guitar doesn’t have Mojo I usually say ‘the mojo is up to you’
I agree with your statement. Its not that PRS guitars dont have mojo or soul. Its that they were built to be the perfectly "balanced" guitar. PRS is building off of the classics sure, plus adding some modern features and specs, but they are the perfect tool for the job and are great for recording. If you gig and cover many different genres then your set. I own a se 24-08 and it does everything you need tone wise with whatever amp you use and delivers. It checks all the boxes!
I have the new SE Swamp Ash Special. After playing it for a few days I can confirm it lives up to the high PRS level of qualify. I have an S2 Standard 24 and an SE McCarty 594 and is every bit as great as them while being a truly unique guitar.
That's good to hear. I'm eyeing one of those myself, probably the Vintage Sunburst. Knowing that all guitars are different, is yours heavy? At my age I always hope for the lightest I can find.
@@davidthomas5035 mine was 8 pounds 10 ounces on Sweetwater. Most were in the low 8 pound range at the time I ordered (mine was the heaviest at that time, but it had the most attractive grain).
One of the tuners on my new SE 594 was a bit sloppy, so I put the PRS locking tuners on it. It's a double cut vintage sunburst version,. it's a sweet guitar! Just picked up an SE Silver Sky with a Rosewood board & an SE Quit top Custom 24. The 24 is up there with the 594 quality & playability wise.
PRS just started a 20% of most sale on SEs (not the DGT though) after this video posted. Includes Sweetwater so use Dr Fludd's link to save if you're getting one. And nice video series on the SE line too, Andre.
Excellent video!!! On the evogold frets suggestion, PRS are doing their own development of parts, testing 10s of materials composition and alloys before mass production. Their frets on S2 and core are a harder nickel alloy to preserve great tone while being more durable than the usual. Then they file them flat to give you the feeling of played-in. It's defeating their values to go with 3rd party fret materials. The nuts as well. Proprietary material with brass infusion for the tone and harmonics. Again...only S2 and above line
What up Andre. The PRS I own are the USA CE 24 DW Floyd, CE24 semi hollow, limited run exclusive sweetwater CE24 and a old school custom 22. I absolutely prefer the moon inlays on my custom 22 over the others. I believe that the birds absolutely distract from the beauty of the body shapes and beautiful flames
Your video is well presented. Concise and straight to the point. You have a good knowledge of guitars in general, and you explain all the major points for the SE series in a fun and interesting way. Also, I enjoyed all of your SE series videos. All the best and good travels.
Great vid. I own several PRSs from the SEs to a Private Stock. I prefer non locking tuners - they add weight and IMHO are superfluous. I prefer the slightly rolled fingerboards of the S2 and core models. All quality control is exceptional but fretwork is superior in America. I would like to see PRS use short barrel knobs like the ones found on the Strandbergs instead of the slippier plastic. I would also like to see a headless, super-lightweight, Strandberg-like model. Thanks for the vid.
I owned 3 SEs over the years and the quality was absolutely perfect on every guitar. I kept a SE Custom Semihollow 22 (orange) which is in original state, I just added a coil-split with a push-pull pot. Beautiful instrument, lightweight, very resonant, great sound.
Great take on the “MOJO” idea. From my perspective and experience regarding PRS & trying several samples, not for expecting a different “MOJO” - but for cosmetic or aesthetic reasons. In looking for a recent single-cut , LP Type, went through about 1/2 dozen before I found 2 samples that stood out to me. Between the those 2, only 1 buyer was willing to work with me and thankfully, that SC top was really choice. So what I do see is that in the “SE” range, the cosmetic attraction is very limited so that would generate looking through several samples.
Watched 5 mins if this, never seen your UA-cam channel before and figured after 10 years of wanting one, now was the time to buy a PRS. Should be here soon after Thanksgiving
I love my S2 Custom 24. It's just a solid guitar. I did change the pickups on it, but otherwise there was little I needed to do to it. And I'm seriously eyeballing the new SE CE24's. (the GAS is real, haha!!)
Man your honesty is so refreshing. Somehow I don't see Fender or Gibson offering you a signature model anytime soon. That's ok though you already have a signature UA-cam channel.
Excellent video, but the neck profiles should be explored when you’re looking for a PRS. Please explore the bolt and pickup types too…it’s true that they check a few of the same boxes but play a few and you’ll find virtue in the differences..
Yoooooo, I play EVO 6100’s on all my guitars for the last 8 years and LOVE THEM! They are fire, polish out like glass and last Forever! Great call brother! Really enjoyed your take on everything. My favorite PRS is hands down the DGT. David’s a heck of a nice guy and enjoyed hearing him week after week at Antone’s and with Storyville while I lived and played full time in Austin
Excellent take on the “no mojo” comments.
as an engineer, it always baffled me that people want to try guitars to find 'the one' out of a bunch of the same guitar. On my end, if one guitar sounds that much better or worse, thats a QC issue that should NEVER happen (even in the better case). In the end, even if the guitar sound is 'incredible' compared to others. You are the one that plays and actually creates the sound.
The goal of a brand should be consistency, because thats how you either get repeat customers, or word of mouth. As opposed to people being frustrated when they cant find 'the one' because all the qc is mediocre.
This is also coming from someone that has played trombone their entire life, and has seen the consistency across all these brass makers to where you can pick up any trombone with the same specs and it will sound the same (depending on the player of course).
@user-zi8hj5ne1z As an engineer, you should know about the inherent variability in the materials used when talking about a guitar (wood) and a trombone (brass). You can get the properties of different batches of brass to within extremely tight tolerances of each other, but wood is a natural material with natural variability. The density, hardness and elastic modulus of different logs of the same species of tree - even different cuts from different parts of the same log - vary to a degree that would utterly ruin the reputation of any metal alloy supplier. On top of that, the tighter you make QC, the more wasteful you become with natural resources, like when Taylor normalized brown streaks in ebony so that they wouldn't have to throw away any log or cut that wasn't pure black. And that's great. But it also means appearance is less uniform, so one buyer might like one example more than the next, and is justified in trying several of the same model until they find the one with the properties they like the most.
It's not failure of QC, it's acknowledgement of the nature of working with natural materials. Buy a carbon fiber guitar if you want man-made repeatability, and a wood one if you're ready for natural variability.
I’ve been through basically every PRS, some more than once. They’re great but I do think they sound a little “even.” I don’t currently have any in my stable for that reason.
What some people say is “no mojo” or “sterile” is really just that I think PRS guitars tend to have a really balanced frequency response compared to the more uneven frequencies you get out of a lot of fenders and gibsons.
I’ve personally found Suhrs to have a little more character to my ears. But plenty of people say Suhrs are sterile too. So it’s just personal taste I guess.
@@chiricm I don’t disagree. I’ve had a ton of PRS and I also agree they do lack “character.” I believe that’s what others perceive as mojo. Just some quirkiness and unevenness that makes certain frequencies really stand out and have their own vibe going on. I currently have no PRS(used to have like 10…and mostly USA). That being said, I ordered two SE that should be arriving next week. I did this because I realized I’m all out of 24 fret guitars lmao and I’ve got the neoclassical and metal shred bug and have been learning a lot of material that requires 24 frets. I also have several Seymour Duncans laying around that should help these PRS sound more how my ears like them to.
I think it comes from people that don't really get instruments.
A friend of mine hates fender stratocasters because he feels it is the reason Eric Clapton lost his MOJO and blames the guitar.
I have really appreciated your PRS Series. I’ve enjoyed AND learned a lot (and not just about PRS guitars). I’ve been watching a TON of guitar gear reviews. Your channel and a half dozen others, have led me to buy three different PRS guitars. Over 30% of guitar sales are done online. Detailed (nit-picky (not a bad thing)) reviews like yours provide a very important services to those who can’t get to a store.
I too have noticed the unwarranted negativity towards PRS Guitars. I call it unwarranted because negative reviews that I’ve come across have a very distinct theme…. The reviewer does not WANT to like the PRS guitar. One reviewer left me so perplexed because with each point he was acknowledging looks, feel, appointments, playability, sound quality and even price, yet ended with with a thumbs down. When I commented that I was confused, his reply was “I just don’t like it.” I have a couple of favored brands and PRS is probably top of my list because of the thought (engineering) put into every model. The attention to detail and quality control, makes PRS my first go to If I’m looking for a specific type of guitar. For ME PRS is the “Lexus” of guitar makers. Like Lexus PRS elbowed its way into the High End market. You have lists of top luxury cars, some approaching a century of existing and one an upstart from the 80’s. Likewise, you have various lists of the top guitars, with PRS (started in 85) consistently being in the top 5 along with other famous brands that have been around forever (having enjoyed their cult following for decades. The PRS hate is emotional.
Thank you for this series! But I'm kind of glad it’s ending…. I’m running out of cash! :-). Looking forward to you next challenge.
As long as you play the guitars you buy, nothing wrong with it! Life’s too short and guitar is too fun. Thanks for supporting the series.
when i was doing my research getting into guitar this year, it seemed like people just didnt like Paul because of his ego/loud way of speaking. but to me its not a bad thing, especially because the products back up everything he says. from what i've seen, PRS has done more innovation compared to gibson and fender recently, and the QC by far outshines those for the price point.
You pay a premium, but you get quality even if its a 'low end' model.
I have also been buying cheaper import guitars and QC on some of them were horrible and they were only 100-200$ cheaper. I'd rather buy the guitar that is perfect out of the box, besides swapping strings out and doing a setup if you like specific action.
Rhett's subjective feelings about guitar brands with poor quality control and wild variability from one year to another, one model to another, or one guitar to another, being why certain guitars they produce have "mojo" is one of the most absurd takes i've ever heard expressed on UA-cam.... and there are a lot of really dumb things said and written here. I have some great Gibson and Fender guitars, but i've played some really bad ones, including guitars that cost over 3K. Gibson QC has gotten better, but the demo shop is all the proof you need of issues that still get sent out the door on an average work day. Fender QC really tanked a few years ago because they let 300 of their most experienced Corona luthiers and craftsmen go, and also moved most signature line production to Ensenada without adding personnel or equipment to handle the capacity or increased expectations for those instruments. The average PRS SE has objectively better QC than the average MIA Gibson or Fender guitar. The S2 and Core models create even more separation from the competition. The difference between the average Indonesian or MIC PRS SE and a MIC Epiphone, or MIC Squier, is a veritable chasm. Folks can like what they like. It's any musician's prerogative to prefer a particular brand or model. That doesn't mean there aren't objective differences in the quality, fit, finish, and design, between different brands. Ultimately if "mojo" is picking up one guitar from an assembly line of bad guitars, i'll be just fine never having a guitar with mojo in my collection.
I could not agree more. Rhett's take on brands and mojo is disappointing to say the least. I would like to think that someone who makes their living by playing guitar would have a more objective opinion on their tools.
It's his opinion who cares., At the end of the day Don't listen to a youtuber. Make your own decisions
Well the guy has 10 grand Les Pauls and talks about 1 grand guitars as if they were garbage... he had a good Epiphone and seemed totally amazed that a guitar for 700 bucks could be good. The worst kind of gear snob.
And the guy used heavy strings because he thought it sounded better but then in a blind test preferred 8 gauge said he was converted and put 9 gauge on his guitars because I suppose 8 gauge just isn't manly enough or whatever even if it sounds best...
The guy talks about an R9 as if that was a proper guitar. Not some cheap 3k off the shelf 50s Les Paul Standard...
So really I think anyone sane shouldn't care what the guy has to say.
Now me personally I don't like PRS that much from the sound but to critique their QC is madness. I may not like them to play but I always spend a minute or two admiring one if I see one. They are gorgeous and really well made. So if I had too much cash I would definetly grab one and add some PAFs. Just not a fan of the very modern sounding pickups so if someone handed me a PRS with pickups I enjoy, I suspect I would love it.
Mojo is just an excuse for not being able to put your thoughts into words. PRS are too flawless but let's spend 10 grand on an R9 because that's a flawless guitar? I couldn't care less what the guy says.
I love Gibsons, I have one. Is it my favourite guitar? Nah that spot goes to my 370€ SC550+. The pickups are nicer so it sounds better and I prefer the feel of necks with binding, that my G doesn't have. And finally, I'm sorry but nitro finish is stupid. It's so fragile. My Gibson looks exactly as old as it is. Scratches from the pick, dings, huge part is loosing it's gloss from sweat... I prefer to leave it hanging on the wall and look pretty. Id it a great guitar? Absolutely. Is it somehow magically better than my well built not made in America non Gibson guitars? Nope... The nut actually wasn't cut that well and the 3 way switch keeps malfunctioning, which has not happened on any of my Epiphones, LTDs or the HB... now to be fair I got it really cheap for a Gibson, due to the nut and it being a sun bleached display model. 800 bucks for 1998 Flying V, limited edition. Would I pay the 3 grand they want for Flying Vs now? Fk now. I bought some Toneriders for my Epiphone and I strongly suspect once installed it will also sound better than the Gibson. Same age, 20 years. Gibson looks heavily used. Epi looks brand new. But oh no poly finish bad!!! That's why every single wooden item on Earth except high end guitars uses poly finish. It's objectively better. And it comes in matte and semi gloss to for you "too shiny" people. Polyurethane finished guitars will last 1000 years easily. As a woodworker using nitro finish makes me laugh. I would never... why would you? More expensive, way harder to apply, highly toxic, takes forever to cure, less durable ahh but its thin and won't impinge on the tonewood...
Snobs...
Gibsons, when they are good are GOOD because they aren't made by machines. Prs has no variation.
@@HunnysPlaylists Although they are checked by machines now, Plek or something it's called, the machine check if all the frets and everything is perfect and you can see if one needs work. Gibsons since that era are impeccable. I am lusting after an Antique Natural Flying V. 1700€, is not too bad and no one besides Epiphone or Gibson makes proper Flying Vs. They all look weird. Though Jackson and ESP make the Randy Rhoads / Alexi Laiho models, I like those but it's a different thing... but fretwork and all that on new Gibsons is fantastic. Half the people who crap on Gibson never played one. And as to the increase in price, it's still much cheaper than what Les Pauls cost originally. By inflation a Les Paul should be 5 grand. So given how pricey labour is I don't think it's that unreasonable. Now I'd rather buy 3 Epiphones and 4 Harley Bentons for the same money but I have not bought my last Gibson. Also my 98 Flying V cost about 800 bucks (plus 20 years inflation, call it 1500) it is now worth 5 grand. I'll sell it when it's worth 30k until then I have some more nitro finish to ruin with my sweaty paws.
I have a PRS 277 and my take on "no mojo" is:
1. Primarily fueled by Rhett's hive mind.
2. The pickups are very distinct. I REALLY don't like them. I also don't really like Ibanez pickups. I just did a pup swap.
3. The flawless QC makes them feel precision manufactured rather than like an instrument. If you have ever picked up a relic'd or heavily used guitar, you know that there's inherently a HUGE difference in feel. If you like the weathered wood feel over the plastic manufactured feel, your brain will tell you "nope" when you pick up a PRS.
At the end of the day, only #2 is a real issue IMO, and if it's a big issue to you, just swap pickups. PRS pickups are ideal for some music, but not everyone has to like that. Sometimes the muddiness of a LP, or extra articulation of an Ibanez are desirable. Personally, I'm more a fan of SD and Schecter pickups. To each their own.
dunno who's Rhett, but to me "no mojo" of PRS just comes down to looks. they are just so bland and meh-inspiring.
every time i see a PRS i don't think "a vintage-looking guitar", "an agressive guitar", "a blinged out guitar", "a stylish guitar", "a bright guitar" or any other adjective. it's always just "a guitar".
@@swancrunch fair point, but your making a comparison and have an expectation. What I don’t care for is how proprietary they are. Good luck modifying even tuners. Damn mine has sustain for daaaayyyysss.
@@23kyd49 how are they proprietary? from the look of it, you can easily change them to like hipshot or gotoh or some shit. they use all the standart run-off-the-mill electronics (except for rotaries, but those are still easy to find in like radioshack), pickups, nuts, etc.
teuffel is proprietary, rick toone is proprietary, strandberg is proprietary (but there are tons of alternatives for their hardware if for some unknown reason you want to change it), but prs? cmon.
@@swancrunch I actually think my satin charcoal PRS looks pretty killer when I hold and play it. And I'm not a PRS fanboy or something, it just looks cool (to me).
I build electric guitars and traditional violins. My take on mojo runs like this - I think on solid bodies and even most semi-hollow bodies, you are completely right. Hitting the production spec properly makes way more difference than anything else here. In the case of acoustic instruments, individual instruments *absolutely* do have mojo. At the point where the individual pieces of wood really, really start affecting tone, then yes, individual instruments, even ones made with the utmost care will be wildly different.
As an example, If you think of a Stradivarius violin, there are several with very similar measurements, and safe to say no quality issues - but the difference in tone between these instruments is profound. The same is true on acoustic guitars. There is a video here on the tube where a world class violinist gets to compare multiple Stradivari - even if you don’t like violin it is interesting to watch.
But yeah, in guitars like you are showing here, you are absolutely right. Attention to detail and a really good design which is consistently delivered is honestly 99%, if not higher, of the battle.
Somewhat of my comment. Wood is ever changing. Makes for an imperfect instrument.
Thank you! That whole 'No Mojo' section is something I've been ranting on about for years.
It's always been baffling to me that Gibson always gets away with the whole 'looking for the one' mentality - when all guitars of the same product line should be equally good.
Especially at the premium price point they are at. If you charge several thousand dollars, you need to deliver every single time.
NOOOOOOOOOOOO. The beauty is in the differences.
If they were all grat guitars it wouldnt matter if they are different. The prs though is a beautiful commodity but i never liked playing either ther electrics or acoustics. They record beautifully though.
@wind016 I dont think prs's play that nicely but thats a matter of personal opinion. I dont like their neck profile(s).
Good point on consistency and QC. Very important for a brand to be consistent in the age of ordering guitars online sight unseen
Yes! I’m about 20 live shows into using the DGT SE. Can confirm it’s just brilliant, does everything I need and does it very very well effortlessly. And that’s live, in the heat of battle. Would recommend one to anyone, and full of inspiration and mojo when you need it in a solo.
Pretty stoked to hear this. I'm a huge Fender and Gibson guy, but I had to pull the trigger on the McCarty SE. Looking forward to getting back into the PRS arena. The DGT looks to be a killer guitar too.
Your point about PRS QC and the "magic guitar" phenomenon is absolutely on-point. Kudos to you for putting that idea out there.
This hasn't been my experience, I tried out several different DGT SE's and they were all quite different, one really dark sounding another bright, some had three piece tops others two piece, the one I own is 7.1 pounds, but one I tried was 8.3 pounds.
I think the mojo thing comes from people liking the sound of the good examples of vintage guitars and any modern change goes away from that vintage sound, obviously a guitar like an Ibanez RG isn't going after a vintage thing so no one cares. PRS markets itself in both camps both always improving (modern) as well as being vintage in looks, sounds and design cues, Paul often talks about owning vintage guitars and figuring out what makes them sound so good and finding the key and implementing it into his guitars and the reality doesn't match up to the marketing spiel, so people try out the guitars with an expectation of hearing some vintage mojo but get disappointed.
@@voxshallyou need to try that with the US line of geets.
PRS hired McCarthy bc Gibson kicked him to the curb and employs a lot of the vintage construction where it makes sense, makes upgrades where it makes sense. The modern USA pickups are excellent and very vintage sounding.
I agree they sound good, but I've had a lot of the US line on medium term loan and compared to the best vintage examples they are still a big downgrade in my opinion, I think this is most obvious in p90's but also in humbuckers and the silver sky single coils. Sometimes I prefer the modern stuff in a band mix though, but by itself I prefer the sound of the vintage guitars and find them more inspiring to write songs. @@papa_pt
Mojo is also related to the feeling that people get when they hold the instrument they saw in the hands of their idols as a kid. But if music is about doing something interesting now - using what the world is like today, then this isn’t a problem. Jimi never played a PRS but if he was alive today, he probably would have.
I never thought about that part of it. Very good point.
Maybe that's why I've never understood the prs has no MOJO comment because all of my favorite artists growing up in the late 90's and early 00s played PRS
This is a good point but today it's a 38 year old company and many of our idols have been famously playing them for a long time now. I've heard this PRS has no mojo comment for years and I think a lot of it has to do with exactly what you said. However a lot of people saying it back in the day were playing Kramer, ESP, Jackson, Charvel, BCRich, etc and those were all new brands at the time too. I got a PRS in 1988 about 3 years after they started and kept it until 2006. It was a USA made CE 24 bolt on. It was the best guitar I ever played and sounded amazing. I regret selling it every day since 2006. LOL I think it had a lot more mojo than my Ibanez RG-550 that I sold to get it.
John Mayer might help. But before John, there werent many famous PRS players. Santana. John MCoughlin. Mark Tremonti. Chad Kroeger. Not the type of people that attracts guitar players these days. If anything, having Creed and Nickelback players probably put them off, even though Mark is a beast player. Ive said it before, get rid of the birds and more people would like them. Cheaper to make too. Leave the birds for custom.
@@ToneDeth.dgt gold top has no birds , don’t mind the birds but actually don’t want more birds either so have been happy about that to be honest and it is the best SE for me to date for sure
What an intelligent and comprehensive assessment of PRS guitars. While I’m primarily a Fender and Gibson guy, I never bought into the no mojo thing for PRS guitars. I have one PRS guitar and that is the original Zach Meyers signature guitar. The tone that comes out of that guitar is incredible. I will never part with it. In fact it’s my belief that one of the distinguishing characteristics of PRS guitars, besides their great build quality, is the clarity and tone of their pickups.
for a black guy its really not a bad video
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My first guitar search after seriously starting playing led me to buy a PRs se custom 24 08 early this year. I was watching all these videos about factories for Gibson, fender, and PRS. The PRS ones stood out. Specifically, because they gave credit to the international builders on the headstock, and they actually were showing off their foreign facilities in addition to their USA facilities.
For the price, quality control was incredible (except for a cracked/slightly burned binding that was next to the neck humbucker in a pretty hidden spot. I did get credit back from sweetwater for that, because it slipped through both PRS QC and Sweetwater). It was set up perfect out of the box. I only lowered the action, after putting in a set of 10s instead of 9s.
Beautiful blue quilted top, and the neck and body have Birds Eye and flame in it. Even with the neck/body being 3 pieces.
If you have the money and like the sound of PRS pickups, and a wide/thin neck I think it’s a great purchase. They even do all the SE demos on their youtube channel as well. The SE pickups are meant to be 'import equivalents' to the core/s2 models, and still have that signature PRS sound (i know its not for everyone, but I like that sound)
I would love to by the new quilted violet se custom 24, but they have the same pickups as my current one. All of those new models look amazing. I'll have to keep an eye out for holiday sales this year.
Honestly, my SE has the same quality as my Core. The SE has the second best top, second only to the Core. I own 6 guitars, and honestly, I prefer the sound of my SE 85/15s pickups over the 59/09 pickups in my core.
Given that Paul is notorious for obsessing over tiny details, this partnership seems like a match made in heaven!
The earliest example of the "mojo" misconception that I can think of is the PAF pickups.
The original Gibson PAF humbucker pickups were wound up in a machine that did not count the number of turns, so the operator had to eyeball it. This lead to each Les Paul having a slightly different character.
While this is touted by many as a source of "mojo" (mojo = uniqueness?), by modern manufacturing standards
it was simply an issue of quality control.
Plus PAFs had lower output and required turning up the amp for the same level out, that allowed greater gain character from the amp at the same relative volume.
I own a PRS SE custom 24 which is from a previous line up when they were still made in Korea. It has actual binding and a beautiful zebrawood top. It's the perfect guitar for me and there is just nothing wrong with it.
Especially for people like me, that don't live in a country with these huge guitar shops, PRS is just amazing, because I can order something with the specs/looks that I want and be sure that I will get a good instrument.
Finally someone said it. Mojo is the feeling that you found something special. PRS QC robs you of that quest and delivers consistent excellence.
Well said.
Problem is PRS makes the most boring sounding guitars I have ever played. There is a reason you see them with bands like Nickelback but not with legendary players because lets face it, no one beats the sound of a Fender or a Gibson. They are the sound of rock. PRS play great, feel great but just do not have "it" in my opinion they sound sterile.
Boring players make boring sounds.
8:31 as someone who has been doing the comparison thing since the 70's, I can say your mojo theory may be a bit flawed. I've been that guy who played hundreds of Teles, Strats, Les Pauls, ES-335's, SG's, Rickenbackers, etc.. to find "the one" in each batch; but not because the others sucked (although, when you pick up that many over nearly 50 years, there's bound to be a turd in the punchbowl along the way). The reason I would land on "the one" was because it fit ME best. The way I play, the way I pick, the fact that I'm short, my love of fatter necks and flatter fretboards, my ear for tone... And when it comes to PRS SE's, I can say that the experience, the hunt if you will, is just "Yeah, I'll take that one, I like the way the grains are on the top." That's because they are alike.
Nothing wrong with that, but there's no "this guitar is mine, there are many like it, but this one is mine." That's fine and is generally what we look for in most products, but the experience is like buying a new iPhone, a Dyson vacuum, or a McD burger (anywhere in the US). They will all be the same, and that's exactly what many people want, and some people want that in a guitar. Why get surprised that the neck is slightly slimmer or has a quirky tone in the pickups or something like that? You know that if you tried on at Guitar Center, you can buy one at Sweetwater, they will be nearly identical (weights do fluctuate, even if by a few ounces), and your experience should be the same. Just as there's a thrill opening that new pedal, iPhone, or Super Soaker 5000; there's a thrill with that new PRS SE.
I love the SE and S2 lines, and I've owned cores as well, and I even have a PRS birds tattoo. That said, my main guitar for years on stage was an American Standard Strat and recently for several years, a Les Paul Standard. I played a core PRS SC and CU 22 as well as a CE24 for a while in between. I've been to the factory and done the "Experience". I've met Paul and the team. I can say, unequivocally, that they make a fine product. I look at them like a BMW motorcycle. They are incredible feats of engineering, but it's the Harley Davidson that people deck out, customize, and turn into a work of art that reflects their persona. It might leave an oil stain wherever it goes, but it truly has but one owner who blings it out for the world to see.
I appreciate your insight thank you! I purposely said theory because i don’t think I have all the answers. And what I’m saying may be true for some in some cases but not true for others. Thanks for sharing!
The quality of the Indonesian crafted SE guitars is a tribute to.chief operating officer Jack Higginbotham and manufacturer CorTek.
My pov on the "no mojo" thing doesn't go along with the one guitar doesn't stand out in the brand, it's that PRS sound is so Hi-Fi and middle of the road trying to be so versatile in one guitar it really doesn't stand out,, I'm gonna go with bassist Joe Dart's Signature bass came out, a one knob one pick-up bass, people saying "that bass isn't versatile" Joe Dart responded by saying "you're not versatile" it's kinda something like a good stand out tone and signature tone instead of a middle of the road indistinct sounds like everything but not like anything tone would make a big difference in making the mojo happen
I love the PRS moon inlays. Probably my favorite inlays on any guitar under $1k.
I actually prefer them, wish they offered them on more models.
This has been my "mojo" argument for years. Fenders range in quality from 1-10 and 90% of their guitars are 5 and lower. But, because of their QC and the way they spec their materials, pretty much every PRS is an 8. There are still 10s to be sure and they're just as rare as a 10 by Gibson or Fender but it's much harder to tell the difference with a PRS because the spread is so much smaller.
I would say one influential brand on Paul that doesn't get recognized is Ibanez. I heard him mention owning one in his young life. The tri-Tone switching became the 24-08. The artstar headstock ala John Scofield model and its similarity to the original Santana Model to today's PRS headstock is rather uncanny. Even the double cutaway that had a maple cap, unlike the Gibson Jr, that's all mahogany was an Ibanez and Yamaha thing in the late 70s.
Great video and great series! And yes, if a PRS is missing its “mojo”, look no further than the player. Mojo comes from the soul, not the tool. By the way, I love and appreciate the self-deprecation. It makes you very relatable. Keep up the good work!
Yep ...... Carlos Santana comes to mind. I know of a guitarist that can play every note Carlos plays, but he comes across like a machine without a soul ....
Yessss, well-said! I think the mojo discussion highlights the differences between how people approach their guitar journey, especially these days. Sooo much time and focus is spent on gear and analysis of tone and sound, which is hugely important, but not more important that what's coming from your fingers.
I feel very picky here, but it just seems there are sooo many players, though very impressive, who are just replicating tones and licks that they've spent their time trying to emulate, and the "mojo" isn't there. It's not just about technique and feel, but the unteachable originality, which many people seem to fail to realize is not there.
One of the things that always drew me to PRS was how they strived for quality, but also playability. They focus on the guitar, not on the legacy, and I think that translates to the guitar player's individual journey. Innovation is at the heart of what they do, not constantly referencing what they used to do, or that this guitar looks like the one people loved 50 or 60 years ago.
@@geoffmckinnon6622 You hit the nail on the head! Just like with many vocalists, it’s rarely the technicality that makes the music. It’s the soul… the EMOTION. The tool can definitely contribute to that, but mojo comes from the soul, not the hardware.
Great video. I agree with you 100%. I own many guitars and so far the PRS has become my favorite. They are reliable, always sound great and when you know the QC is good you can play it without worrying about it. Keep up the great work.
The QC isnt really my idea of mojo. For me its how the thing inspires you. Hard to define and very personal. I pick up a lot of brands with excellent QC and mojo. PRS guitars are just too refined to appeal to me. I would never say they are bad, they are high quality, they just dont have a character that appeals to me. Every once in a while I see one.
@21:15 you're describing a tremonti pickup layout😂. Same reason I own two. I've played in fusion and big bands with that guitar and then went straight to metal/djent gigs. Such a perfect layout
Maybe the experiment isn’t over yet 👀
@andrefludd just don't go for the SE. I've never been able to jive with it. Probably because I love the cores too much. He'll maybe I should just make a video on it instead. Save you 4k
PRS are great! They feel great, they sound great and they look great. I think their finishes are some of the best looking. My main workhorse is a Tremonti SE. I typically choose it over my Les Paul.
I’ve got the opposite outlook. They’re just too pretty for me. Give me a beat up LP any day.
Best explanation of the "no mojo" theory I've heard!
12:42 totally agree, the brown brings out some of the upper mids and the burst fade helps curtail the the highs to bring out the chimey bright dull tone
If I was to put some new pick ups in a prs what would recommend? What you think is best.
I really enjoy the talking videos, I literally fiddle my sloppy blues licks while listening to people talking about guitar, it's the best.
I feel PRS guitars basically "get out of your way" - so if you have a style, you just want a guitar to get out of the way between you and your sound then they are really awesome... but I actually think my fenders and gibsons are more clunky or in your way... sometimes that's helpful for a certain style, but honestly I think PRS are just more ergonomic so they don't force you into a mojo position, they just get out of your way, less balanced, sticky necks, just slightly less curvy, etc. - . does a Strandberg have mojo, a Klein, etc. I just think the mojo thing is kind of mediocre player looking for something that helps them sound better but the PRS will more likely expose you... you'll sound like how you really sound... so it can help you find your sound, because it doesn't force you or limit tone.. that's my honest opinion. When I got my prs, I was able to explore how I was playing with more sensitivity.. but it was a transition.
I enjoyed your commentary about PRS and agree with alot of what you said. . I have a couple of comments
The Silver Sky: I had a 1982 Fender Stratocaster and when I compared it to the Silver Sky core, the differences were the following.
1. The Silver Sky was easier to bend the strings.
2. The heel area is more comfortable as the back joint is rounded and not square like the Fender.
3. Locking tuners which is helpful with a guitar with a tremolo on it.
4. No ice pick back pickup like the Fender.
5. The tone controls on the Silver Sky affected all pickups while the Fender only the middle and front pickup.
6. The pickups on the Silver Sky are very balanced and articulated. It reacts more to your touch, providing more dynamics.
7. Larger frets on the Silver Sky which helps secure your fingers in the right position .
I also compared the Silver Sky to the Professional II Stratocaster. It has a thinner sound over the Silver Sky, back pickup is brighter, no locking tuners, and it's heavier (more moisture in wood?) Than the Silver Sky. The pickups are not as balanced either.
On the PRS McCarty 594, vs Les Paul, the quality control is much better on the PRS. The headstock design helps the D and G strings stay in tune better than the Gibson. Pull switches on the 594 give a single coil sound. It has the option of double cut or single cut. But even the single cut version allows better access to the higher frets than the Les Paul. They also weigh less, are better balanced and with the brass material and wood having less moisture, the sustain on the PRS is longer. The tone is similar though the Les Paul offers a slightly thicker tone.
These are my reason why I prefer PRS over the other 2 brands.
Totally agree with your take on "mojo" after having shopped plenty of Squier/Fender/Gibson/Epiphone/etc. But! PRS occasionally makes a totally production-line guitar that will be different from others on the exact same line for whatever reason. For example, I have an older core model with a maple top, but unlike most others of the same model, mine happens to have a single-piece top. Also, I got it used and there's a couple chips on the finish, and to me those factors give it juuuust a tiny bit of extra mojo!
I found after buying 5 of these things, that the standard/custom 24's have a drastically different neck than the McCarty or 245. I actually hate the chunky necks, but those 24's are amazing.
Wonderful video! Thanks!
I have 3 Custom 24’s. I also have a Paul’s Guitar. The neck is much fatter on the PG.
Super interesting theory on the mojo thing! Never thought of that before but it's exactly what happens with vintage instruments. It's not that there was something magical about an old guitar being old, it's just that only the really good ones have survived, making it seem like ALL vintage 1962 Strat's were amazing, but I've heard from enough people that are in that world that they've played vintage Strats/LP's that are amazing, and vintage Strats/LP's that were absolutely terrible.
Something else I would add to the "mojo" thing is PRS makes a very pristine sounding guitar. There's a clarity and cleanliness to the tone that some people like and some people don't. I think in some people's mind imperfection is mojo, personality, character. I have played PRS long enough that I can tell when a guitar player is playing a PRS with his coils split, it has it's own sound, it's a thing. Whether that translates to having "mojo" is completely subjective.
A lot of it is bunk but vintage instruments are a bit different because of the way the wood sap crystalizes and becomes more stable and the pickups change as the magnets age.
Got a DGT SE and immediately put locking tuners on it. Fantastic guitar and I’m comparing it to my Artist DGT. Crazy what they did for less than a grand!
I really like the PRS guitars I own or have owned, my biggest complaint with PRS is that outside of the Holcomb you don't have a hardtail with a more modern hardtail bridge. That being said I like the Holcomb and it has specs I like (20" radius, hardtail etc).
I know it will never happen. but i would love to see a prs flying v style guitar. if I ever get rich enough to buy a private stock, i would try and twist their arm to make one XD
@@user-zi8hj5ne1z It could happen. At a big rock festival in 2018 or 19, I saw Mark Tremonti playing an Explorer shaped PRS. He only used it for one song and changed guitars. I whipped out my phone and took a picture of it. Been wondering when that guitar will come out. I think all that needs to happen to make a Flying V possible is one of Paul's big artists wanting one for their signature.
I think it's exactly that high quality control thing with Music Man too - their CNC process is so dialed in that you're not going to get crazy variance. A JP is a JP, a Luke is a Luke, etc, there aren't good and bad copies. In fact I remember even as far back as Eddie's signature model with them one of the chief goals was to make it so that if need be, he could go into a local shop in a city they were playing in, borrow a guitar for the show, and it'd be identical to his personal main one. I know I've heard Petrucci say similar things too.
Do you notice any of the screws along the pickup rings are stripped? Ive owned 4 SE's and currently own 2 and they've all had at least one screw holding in the pickup rings completely stripped. Not a problem for me since i keep mine stock, but could be annoying for people who accidentally break a pickup ring and need to replace it. That's my only QC issue.
Excellent take on the mojo topic. I appreciate the fact that I know what I'm getting from prs. I had to try multiple fenders of the same year to find one I liked.
I'd argue that the Holcomb should have tuners because metal guitarist tend to favor fresh string for their brighter tone. I'd want locking tuners if I'm changing strings on a shorter intervals.
It’s worth mentioning, I was at a PRS event a month ago where somebody asked him why certain guitars weren’t available in flatter radii and he answered, to paraphrase “just get the frets ground down to whatever radius you prefer, any luthier can do it for a couple hundred bucks”
A good luthier can work wonders. I even had my 60s rosewood tele turned into 12" radius with fat extra jumbo frets. Sacrilege sure, but a superior instrument far better than any factory Fender from the era. Turned out so well, I had the same guy restore the entire neck on my 58 Gretsch 6121 even beautiful wood binding and fresh lacquer superior to any Gibson at any price.
Great review and really appreciate the full explanation over general review plus you adding what you thoughts are specific to your tastes. I also love the brown in that Hollowbody Piezo II. Thanks for sharing your detailed input!
When I was a sophomore in college (this would have been fall of 1997), I went to World Music Supply in Des Plaines, IL and played something like 15 different Buffet R13 clarinets. And they all played and sounded at least a little different from one another. My professor suggested I play a minimum of 8-10 because it's a lifetime instrument. He said it's likely I'll own that clarinet and play it until I no longer play clarinet (which, spoiler, was about 2015; I still own it but I haven't played in years). And so yeah I get the concept of going into a store and trying a bunch. That one $2500 (at the time, more like $4k today) clarinet had a lot of magic.
But I also love exactly what you said about PRS, you don't need to pick up a bunch and try them all to find one that's great. Every one I've ever touched has been perfect; I can pick them out based on looks on Sweetwater's website and I'm good to go.
Great video! Can't tell you how long its been since I watched a 24 minute video all the way through.
Thanks for a great informative video. I’ve been looking at the PRS SE guitar range, wanting in my current mission to find the right humbucker guitar. I get a bit overwhelmed with the various models on offer so your PRS videos have been helping me get a clearer picture. Of course, I need to go to a shop and get a couple of them in my hands to really know if it’s gonna work for me (plus the Epiphone 1959 Les Paul is always lurking in the shadows, tempting me).
I have a strong feeling though that the DGT SE is gonna be a strong contender. I prefer the sunburst version rather than rather than the gold top and I know already that I’m gonna have to get the volume pots switched as I also prefer neck pickups. But maybe the unusual configuration could be something I could grow to like as I can imagine using the bridge pick up to blend in more brightness and attack to the core sound of the bridge pickup.
Oh yeah…. Mojo is subjective - end of story.
Great overview on PRS, thanks for taking the time! I have a couple of favourite guitars, 1968 Les Paul Custom from my 70s band days and a Roger Sadowsky NYC S Style HSH I bought in 1992 - this has been my studio Swiss Army Knife for 3 decades now. I had heard so much about PRS, pros and cons, and finally figured I should try some 'entry level' models and bought the SE Custom 24-08, which I really like. Not a fan of coil splits but at a pinch this one guitar can happily cover my needs if I were to play live - I can leave the above 2 and my Strat at home, basically. I am planning on buying a black Tremonti SE (on sale here in HK) because I have always wanted a LP with a whammy bar and the fact that it's black like my Gibson is cool - the neck is perfect! I will most likely put in either Monty's Bethnal Greens or Bare Knuckles PG Blues because I do want that Peter Green clean bluesy thing. Whatever. Final comment on PRS is that I LOVE the bridge / whammy bar set up - similar to my Sadowsky & Strat, in fact a bit of an improvement with the 'no screw' option. I have a couple of guitars with Bigsby & Duesenberg trems but I just find them clunky and 'un-subtle' so big vote for PRS on that score. Sorry to go on - I tend to get excited about guitars! Cheers. 😅
Can you make a video like this for the absolute beginner? I am looking at getting an SE model like the Swamp Ash special but I am not sure if this is the best option for me. SInce I have never played, I would be unable to know which thickness of neck would be best for a newbie like me. I love clean tones the most so does that mean I should think about the Piezo models? Also agree we need the gold frets! Those and the abalone inlays would look amazing......Thank you for any and all replies! :)
Mojo. It can't be scientifically measured. But art isn't science. Play what you like because any guitar can have mojo, for any random person that might happen to play it.
At 14:55 you explain exactly how I feel talking about guitars too 🤣 This was hyper interesting to hear you in depth take on PRS. Couldn't have been a better dude to do it. And I back your ideas fully too.
Superb wrap-up Dr. Fludd. Thank you for your studied, measured approach and careful, considered comments. Further, thank you for all the hard work and attendtion to detail that fully supports your well-crafted reviews.
I may have missed this somewhere. But how would you compare this to Rivolta quatity wise? Did you have a preference? I'm torn between the DGT and Combinata
there are a few companies -- prs in america and yamaha in japan who take a very modern approach to making guiitars. very computer driven. design, sound profiling ...the list goes on. some people think this is awesome and some people really don't like it and say that these brands have no mojo.
I agree with your thoughts on the "mojo" thing. PRS just makes a great product so they all have the "mojo" which prevents 1 from standing out.
I have a PRS American CE. I got it because it was less than the core, but it had a lot of the same parts. Now to find out that there's an SE CE, All I want to do was buy one and compare. The heel joint is the biggest difference. From what I see it's not quite the same. But knowing that it's PRS. There's always good quality with everything they do just about. That swamp ash special is really calling my name. I've always had a great experience with any PRS.
The S2 line is great bang for the buck if you're looking for an American-made instrument.
Vividly clear feedback on the SE line. A+ work doc.
I took a PRS SE Korina Singlecut w/moons,added PRS locking tuners,PRS wraparound adjustable bridge w/Brass studs. Schaller S-locks strap locks and put in Seymour Duncan Green Magic pickups (so it’s a PRS Greeny) and made it no tone,2 volumes so I can control the out of phase middle by having a neck volume.
Nice content Andre. Bang for the buck, I'd like your thoughts of the PRS against a Classic Vibe guitar. The CV seems to my ears to have "better" pickups. Your thoughts.
1:40 Fun fact, the scale measured by Paul was 24” and 19/32, which is 24.59375, so rounded up to 24.594 :)
My ideal PSR SE: fixed bridge. Compaund radios (12-16 or 10-16). Jumbo/MediumJumbo Stainless steel frets. Pickups - 245s. Satin back if the neck. Locking tuners. Price: 1200 EUR.
If you play a guitar long enough, it gets mojo........if you don't play a fender or a gibson, it does not have mojo either. That means...for me when you buy a new guitar in a shop, you have to create the mojo during the years using it :)
Mine have no mojo. All My Gibson's, Yamaha's, Fender's do. I like my Prs's, but a pickup change is mandatory. They do lack personality where my other stuff oozes personality and flavors. I like my prs's , feels good, plays well (but for the neck joint), sounds like... not so much. Thank God for Dimarzio, EMG and Seymour Duncan. I would off my Prs's (two USA and one import) if I couldn't change the pickups. Prs is great if you want to fight with the sound, change magnets, tweak pu heights and then ultimately change pickups.
I have a modest collection (I'm 71 and still play a lot) but I was looking for a guitar or two to use every day. Being a Santana freak, when I saw a mid 2000s Santana SE I had to have it. After adjusting the action to my taste it took months for me to warm up to it. I basically found that the pickups were way too loud when setup close to the strings. I'm used to my mid 60s ES-335 and the bit of sparkle they have. lowering the pickups into the body (a lot) made the thing come alive and gave me the mojo. Now it's my favorite instrument ! I have only played one other Santana SE and it's quite good but even its owner prefers mine. Quality control overall is outstanding!
I owned two PRS guitars, and while I loved their aesthetics, tones, and quality to price ratio of the SE models, but I disliked how the lower horn carve doesn't clear the last fret (and the round hollowed out area doesn't help much for upper frets access). For me, clearing the last fret is critical because it allows for the most comfortable upper frets access, without forcing you to angle your fretting hand awkwardly towards the pickups. There are some passages that simply can't be played efficiently if the lower horn carve doesn't clear the last fret. This is one of the reasons why I prefer Ibanez, as their guitars are designed with great upper frets access in mind. John Petrucci's signature Majesty models are a great example of awesome upper frets access.
I think you're kinda right about the mojo thing, but that's exactly what I want in a guitar - all my favourites are ones that I picked up in a store and felt like I had found something and would be foolish to let it go.
Top video, thank you! I agree 120% to your first „SE Modern Line“ Guitar suggestion. No Fretboard Binding! In solid sparkle red or blue an absolutely no- brainer!
I've always been a Strat/Tele only kind of player until I bought a PRS SE Custom 24/08 EV about two years ago. I was blown to be honest, great feeling, fabulous neck, and the floating trem is master. Plus, with the split funktion the splittet HBs actually sound SC like and You can play any kind of music with that beast
I recently bought an SE custom 24 from sweetwater. Within a few hours of playing it I noticed the input jack was loose. I tried tightening it, but the nut was cross threaded and wouldn't budge. I was in a rehearsal for a Christmas concert I was playing and the nut fell off right before a big solo. Fun times, maybe I just got a bad one, but as far as I can tell (my first PRS btw) the quality control is as good as a everyone seems to think. Also, the figure disappeared on half of the top from most viewing angles. I'm a wood worker and understand pretty well how figuring and chatoyance work, but a veneer top shouldn't be this drastically different from one half to the other. I'm returning this guitar today.
@15:40 unfortunately I think they've discontinued the 509 core model so i doubt we will see any stacked humbucker guitar from prs moving forward
Excellent thoughts and wrap-up for the series.
Am quite certain you will eventually get your signature PRS. Just a matter of time.
Great job, sir! Mahalos! 🤙🎸🎶
Andre, have you not tried the SE Tremonti?
I don’t disagree with what you’re saying about the QC at PRE vs Gibson, but I think there’s something special about finding a unique instrument (Gibson, fender) which you bond with. That’s part of the magic of playing guitar.
You NAILED the whole "PRS has no mojo" thing. Well done!
One of the best SE guitars PRS ever made is a 277 Semi-hollow baritone with P90 style pick-ups. It’s long been discontinued, but if you come across one, get it. It’s amazing to play with different styles from country, jazz and space-y stuff. But, it snarls and growls like the meanest junkyard dog if you want to play really heavy stuff too. It’s my go-to guitar when I’m needing some creative inspiration.
Also, I love Stainless Steel frets as well. I haven't seen you mention or review the 24 Floyd Rose model SE. I own one and love it. Did they discontinue it, or you just don't have one? I personally prefer 2 point floating bridges, and I'm curious why you prefer the 6?
Good review. Would love to see your take on G&L guitars
I have been looking for a 24 fret, Floyd guitar hat isn’t overly expensive for years. I picked up. PRS SE Custom 24 and was floored. For the price it’s unbeatable. I did change the pickups (for a set of Pariah medium output humbuckers) and put in a big brass block to make it more my thing but even stock it was amazing.
When people say a guitar doesn’t have Mojo I usually say ‘the mojo is up to you’
I agree with your statement. Its not that PRS guitars dont have mojo or soul. Its that they were built to be the perfectly "balanced" guitar. PRS is building off of the classics sure, plus adding some modern features and specs, but they are the perfect tool for the job and are great for recording. If you gig and cover many different genres then your set. I own a se 24-08 and it does everything you need tone wise with whatever amp you use and delivers. It checks all the boxes!
I have the new SE Swamp Ash Special. After playing it for a few days I can confirm it lives up to the high PRS level of qualify. I have an S2 Standard 24 and an SE McCarty 594 and is every bit as great as them while being a truly unique guitar.
That's good to hear. I'm eyeing one of those myself, probably the Vintage Sunburst. Knowing that all guitars are different, is yours heavy? At my age I always hope for the lightest I can find.
@@davidthomas5035 mine was 8 pounds 10 ounces on Sweetwater. Most were in the low 8 pound range at the time I ordered (mine was the heaviest at that time, but it had the most attractive grain).
One of the tuners on my new SE 594 was a bit sloppy, so I put the PRS locking tuners on it. It's a double cut vintage sunburst version,. it's a sweet guitar! Just picked up an SE Silver Sky with a Rosewood board & an SE Quit top Custom 24. The 24 is up there with the 594 quality & playability wise.
I love the fireside chats, would definitely enjoy more of them!
Great video, as always. One thing worth mentioning, SEs are on sale right now making them an even better value.
I played a bunch of Paul Reid Smith, and PRS guitars never loved them recently picked up a Santana used feels like butter. I love it, brought it home.
PRS just started a 20% of most sale on SEs (not the DGT though) after this video posted. Includes Sweetwater so use Dr Fludd's link to save if you're getting one. And nice video series on the SE line too, Andre.
Excellent video!!! On the evogold frets suggestion, PRS are doing their own development of parts, testing 10s of materials composition and alloys before mass production. Their frets on S2 and core are a harder nickel alloy to preserve great tone while being more durable than the usual. Then they file them flat to give you the feeling of played-in. It's defeating their values to go with 3rd party fret materials. The nuts as well. Proprietary material with brass infusion for the tone and harmonics. Again...only S2 and above line
What up Andre. The PRS I own are the USA CE 24 DW Floyd, CE24 semi hollow, limited run exclusive sweetwater CE24 and a old school custom 22. I absolutely prefer the moon inlays on my custom 22 over the others. I believe that the birds absolutely distract from the beauty of the body shapes and beautiful flames
Your video is well presented. Concise and straight to the point. You have a good knowledge of guitars in general, and you explain all the major points for the SE series in a fun and interesting way. Also, I enjoyed all of your SE series videos. All the best and good travels.
Great vid. I own several PRSs from the SEs to a Private Stock. I prefer non locking tuners - they add weight and IMHO are superfluous. I prefer the slightly rolled fingerboards of the S2 and core models. All quality control is exceptional but fretwork is superior in America. I would like to see PRS use short barrel knobs like the ones found on the Strandbergs instead of the slippier plastic. I would also like to see a headless, super-lightweight, Strandberg-like model. Thanks for the vid.
Knob change =$10 and 10 minutes 😂
I owned 3 SEs over the years and the quality was absolutely perfect on every guitar.
I kept a SE Custom Semihollow 22 (orange) which is in original state, I just added a coil-split with a push-pull pot.
Beautiful instrument, lightweight, very resonant, great sound.
Thank you for the review!
I just received my Gold Top DGT SE today!
Liked and Subbed!
Great take on the “MOJO” idea.
From my perspective and experience regarding PRS & trying several samples, not for expecting a different “MOJO” - but for cosmetic or aesthetic reasons. In looking for a recent single-cut , LP Type, went through about 1/2 dozen before I found 2 samples that stood out to me. Between the those 2, only 1 buyer was willing to work with me and thankfully, that SC top was really choice. So what I do see is that in the “SE” range, the cosmetic attraction is very limited so that would generate looking through several samples.
Watched 5 mins if this, never seen your UA-cam channel before and figured after 10 years of wanting one, now was the time to buy a PRS. Should be here soon after Thanksgiving
really great points on how QC has changed the buying process.
I love my S2 Custom 24. It's just a solid guitar. I did change the pickups on it, but otherwise there was little I needed to do to it. And I'm seriously eyeballing the new SE CE24's. (the GAS is real, haha!!)
Man your honesty is so refreshing.
Somehow I don't see Fender or Gibson offering you a signature model anytime soon. That's ok though you already have a signature UA-cam channel.
Great thoughts as always. See you tonight at Phil's
Excellent video, but the neck profiles should be explored when you’re looking for a PRS. Please explore the bolt and pickup types too…it’s true that they check a few of the same boxes but play a few and you’ll find virtue in the differences..
Bro, I am so proud of the way you say Piezo!! Spoken like an Italian ❤
Yoooooo, I play EVO 6100’s on all my guitars for the last 8 years and LOVE THEM! They are fire, polish out like glass and last Forever! Great call brother! Really enjoyed your take on everything. My favorite PRS is hands down the DGT. David’s a heck of a nice guy and enjoyed hearing him week after week at Antone’s and with Storyville while I lived and played full time in Austin