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Yes, I was very fortunate to meet and converse with Paul when he was scouting for suppliers, early Feb of '86, IIRC. I had read about him in Guitar Player Magazine, and to meet the man himself was my Brush With Greatness, as Letterman used to say.* We spent a very enjoyable afternoon talking guitars and determining what exactly he needed in Red Maple. Paul told me they occasionally produced seconds, which he sensed would fit my peon's wages better, and I promptly asked to be put on the list. When I told Mrs.k of my day, she said, "No way - order the best." So I phoned Paul - he had put his number on the back of my boss' s business card with the instructions, "Call anytime" and I did. Still keep that card in my desk.** Anyhoo, Little Egypt left the factory on July 11, 1986, and I haven't been the same since!
Originally Posted by Bluedawg
* My previous pinnacle was selecting the quarter- and rift-sawn White Oak for the Jimmy Carter Presidential Library, for which I was forbidden to tell anyone, to prevent vandalism to the wood.
**Actually, he called me periodically to let me know he hadn't seen anything "nice enough" for my guitar. Finally, I said, "I'll send you some from my private stock" and shipped him some boards I has bought a couple years earlier. At the factory they were able to book-match the top for Little Egypt, possibly the first time that was done on a production guitar. It came from a mill not twenty miles from my house, meaning the instrument has wood from South, Central, and North America -Brazilian Rosewood, Honduran Mahogany, and Pennsylvanian Red Maple, practically from my back yard. Pretty cool, I think.
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07-21-2022 09:54 AM
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McLaughlin playing Monk on a PRS...not exactly a straight-ahead tone, but hey...
(tune starts at 0:56)
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Funny you should mention this, just the other day I plugged an arch top into my '67 Marshall JTM45- wow, what great jazz tones! I was totally surprised. Originally Posted by citizenk74
As far as jazz tones go I interpret that to mean clean and warm.
(snip)
Amps were a '72 Marshall Plexi and a '64 Fender Vobroverb, both of which, surprisingly, supply the clean tones of "The Blues Place" where the guitar is my '64 ES-345TDSTV, which was recorded in stereo. I forget which side is which, it's just rich.
It's all for free, so check it out, if you've got the time and inclination.
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PRS tend to be flexible. However, I do end up swapping out the PUs, to dial in more of a certain tone. I own four (different types), and each one of them is really nice. I think that PRS have a really great sound when you get past the 12fret. My guess is that it has to do with the fret width. I know that PRS used to have the in-between a Gib and Fender fret width. I am not sure if they are still doing that on all their guitars. When I was mostly playing a PRS, jumping back and forth from Gib to Fender felt easier then if I had only been playing either a Gib or Fender.
(I have a JTM45 (bluesbreaker 2x12). I have not played it in 6+ years. If I remember right it has some clean headroom and the goldbacks are rich and warm. I think it is kinda of a fenderish sounding marshall. I was not trying to get jazz tones, so I was jumping and pushing it. I still consider it my favorite marshall).
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The JTM45 is based on the tweed Fender Bassman, I believe, subbing British Parts (tubes, etc) as needed. Marshall was selling them at the time, and getting killed on shipping, so he cut out the middle man. The rest is history. Or so I heard. Originally Posted by st.bede
Loves me some Mullard EL-34s!
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My experience, as well Originally Posted by JSanta
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Old school marshals are pretty clean?
As a teenage indie rocker i used to gig through an original Plexi that I’d, ahem, borrowed. I could not get the bloody thing to distort so I used a £25 distortion pedal.
Sounded bloody great.
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Valves, old chap. Originally Posted by citizenk74
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On the cheap, I’ve got a PRS Zach Meyers. Great semi hollow sustain, 24.5” neck (you read that right). Ice pick humbuggers that I should really swap or tame.
Fat neck which is fine by me.
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Super impressed with your woods! Originally Posted by citizenk74
Yes, I was very fortunate to meet and converse with Paul when he was scouting for suppliers, early Feb of '86, IIRC. I had read about him in Guitar Player Magazine, and to meet the man himself was my Brush With Greatness, as Letterman used to say.* We spent a very enjoyable afternoon talking guitars and determining what exactly he needed in Red Maple. Paul told me they occasionally produced seconds, which he sensed would fit my peon's wages better, and I promptly asked to be put on the list. When I told Mrs.k of my day, she said, "No way - order the best." So I phoned Paul - he had put his number on the back of my boss' s business card with the instructions, "Call anytime" and I did. Still keep that card in my desk.** Anyhoo, Little Egypt left the factory on July 11, 1986, and I haven't been the same since!
* My previous pinnacle was selecting the quarter- and rift-sawn White Oak for the Jimmy Carter Presidential Library, for which I was forbidden to tell anyone, to prevent vandalism to the wood.
**Actually, he called me periodically to let me know he hadn't seen anything "nice enough" for my guitar. Finally, I said, "I'll send you some from my private stock" and shipped him some boards I has bought a couple years earlier. At the factory they were able to book-match the top for Little Egypt, possibly the first time that was done on a production guitar. It came from a mill not twenty miles from my house, meaning the instrument has wood from South, Central, and North America -Brazilian Rosewood, Honduran Mahogany, and Pennsylvanian Red Maple, practically from my back yard. Pretty cool, I think.
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I really liked Mr Rossignol’s playing, spent a good few hours looking for more on him and the brand of the keyboard. I think this was before Whisper Not was brought up in here for improv. Never found the keyboard or more on Rossignol, but on the plus I can almost do an acceptable improv on Whisper Not - for me a giant step forward! Originally Posted by Flat
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Me, too! I consider the instrument to be my Excalibur, though it was not flung at me by some moistened bint, nevertheless its origin story is remarkable. Originally Posted by Eck
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Hey loved your wood story Cit!
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This video features a PRS that holds its own in the hands of Eugene Pao. This PRS hollowbody is certainly not one of the inexpensive import versions, but it probably gives an impression of the line and is a nice comparison to the other fabulous guitars played by Taylor and Wakenius.
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I'm (Genelex) KT66 guy myself! Originally Posted by citizenk74
The JTM45 is based on the tweed Fender Bassman, I believe, subbing British Parts (tubes, etc) as needed. Marshall was selling them at the time, and getting killed on shipping, so he cut out the middle man. The rest is history. Or so I heard.
Loves me some Mullard EL-34s!
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... I own a US hollowbody II. Here are my experiences.
When I was playing more blues type stuff, It felt really good. As I moved more towards jazz, I started to adjust the strings a little closer to the neck. My hollowbody II is as low as it can go and it is feels awkward now. The string are still too high for me when I am doing fast legato single note stuff.
Could I focus more on a little slower playing and harder attack, sure ... but, I do not want to at this moment. I just grab a different guitar.
What I have decided to eventually do, is replace the hollowbody bridge (that is large due to included piezo PU), with just thier normal bridge. I think that would do the trick.
I have not done it because PRS bridges are expensive (compared to a typical bridge), and I have other guitars. In other words, it is a little effort, and I am busy.
I bring this up because the official PRS specs on string hight, has always seemed a tad high for me. On the other three PRS that I own, I have them drop down below the spec height. I also think on the other three, I have them as low as they can go... if not as low, super close to that limit.
I also had a chance to play a JA-15. It seemed to overall have the precisely the same feel as my HBII, except for the width. I thought I would have loved that guitar, but I really disliked it. The extra width just makes it seem clunky to me. It feels like an after the fact design. That is a super subjective experience, but I feel like other guitars with a similar width as the JA-15, feel and play more comfortably.
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Nice! My preference goes to Martin Taylor. I like his tone and what he plays most. But that's just my preference. The others are great too. Originally Posted by Chazmo
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I’m pretty sure playing jazz on a PRS will void the warranty
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I had found this. PRS solo sounds nicer but with a band probably Gibson cuts through better.
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Jazz has been out of warranty since the 50s Originally Posted by Jonathan0996
I’m pretty sure playing jazz on a PRS will void the warranty
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I had a Hollowbody II for a little while. Wonderful guitar with a great tone, comfortable playability and weights next to nothing.
The only problem I had was that both the guitar's back and my belly are arched (convex) which made it bounce around when playing standing up.
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It wasn’t an SE, but Mark Kleinhaut got a gorgeous sound on his early CDs with a PRS Hollowbody. I have had a PRS Hollowbody for 20+ years and I heartily recommend it, along with Mark’s wonderful CDs.
Albums | Mark Kleinhaut
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For 1000 $ you have this one:
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Well, there is John McLaughlin who you might have heard of. Jimmy Herri g, too, although he's nit a jazzer so much as a jamband scene dude. Helluva player, though. Originally Posted by Jazz_175
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I didn't know Mark Kleinhaut. I visited his website and listened to some of his music. Great guitarist and musician. Originally Posted by Jonathan0996
Thanks, it's been a pleasant discovery.
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