Current gear revisited - 22-fret PRSi

Having spent a a bit of time to discuss the merits of the 24-fret PRSi in the last post, it's now time to turn focus to the 22-fretters in the collection. Generally speaking, the 22-fret PRSi have a more traditional tone (more "classic" sounding) and feel (thicker, stiffer necks) with the same top-notch craftsmanship, playability, etc. Even though they have a different vibe than the Custom 24's I've got, they've definitely seen their fair share of use in the studio & on the stage over the years.



Paul Reed Smith Singlecut - This was the first PRS I picked up that wasn't a Custom 24... It's a 2001 (pre-lawsuit :p -- like it matters) model in black sunburst with 10-top flame, bird inlays, and stock electronics. After seeing, hearing, and playing this one, I swore I'd never buy another Les Paul (and although that turned out to be a lie--I've since purchased and sold two LP's--I'm now back to just this Singlecut and am in the market for a Singlecut Satin Trem model). Wins the "heaviest guitar I own" award hands down; also wins the "most likely to sustain for days without being plugged into an amp" award. Nonetheless, it gets a lot of play time because it sounds amazing.



Paul Reed Smith McCarty Rosewood - This one's a 2001 model in natural finish with 10-top flame, bird inlays, and solid Indian Rosewood neck. Once again, everything is stock. While there's always a lot of buzz about the PRSi with the Brazilian Rosewood necks, this one is certainly no slouch... the rosewood brings an extra touch of "warmth & smoothness" to the tone, plus, the unfinished rosewood has a silky feel to it--it doesn't get quite as "gunky" as the finished necks. Classic crunch tone in the bridge position, smooth lead tone in the neck position, and surprisingly, with the coil-tap engaged and the gain dialed down on the amp, it becomes a respectable funk machine. This one's a must-have for studio work.



Paul Reed Smith McCarty Soapbar - This is a 1998 model in "none more black" finish (with natural binding) and bird inlays. It's also the most electronically-simple PRS I've got, with two soapbar pickups, volume & tone pots, and a 3-way switch (no 5-way or push-pull switches here!). Picked this up because I had been playing my then-fiance's (now wife's) Les Paul Pro (loaded with P90's) almost non-stop, but my back couldn't handle it--this has all the tone, better playability esp. on the high frets, and somewhat lighter weight. Like true single coils, hums like a mother around florescent lights and excessive amounts of electronics, but that's part of the charm, right? Still, it sounds pretty sweet... the soapbars have a thicker, warmer tone than traditional single coils, making it great for jazz and blues.



Paul Reed Smith Custom 22 semi-hollowbody - Finally, here's a somewhat uncommon model... It's a 2002 Custom 22 with a chambered body (no f-holes)--slightly thicker than a normal PRS Custom 22/24, slightly thinner than a McCarty. This one is finished in tobacco sunburst with 10-top flame, bird inlays, and ebony tuning keys. It had HFS/Vintage Bass pickups installed when I got it, which have since been swapped for the Dragon II's that were in one of my Custom 24's (now order has been restored in the universe). Also, the electronics have been re-configured like my Custom 24's. Really does sound like cross between a solidbody and hollowbody guitar... it's just a touch more hollow & woody sounding than the normal Custom's.

In addition to those four, I've also got a 2007 513 Mahogany (in vintage natural) and 2000 Custom 22 (in vintage yellow), both of which are recent additions that have been discussed in more detail here over the past couple months.

In the next episode... a discussion of the non-PRSi electrics I've got...

--B