Prs neck vs fender neck

Oh dear, oh dear.

How to choose a neck shape...

What on earth has happened here? Over the past couple of years there has been endless speculation on what the first unlimited collaboration between Paul Reed Smith and John Mayer would bring. PRS is rather late to this party although it has used some of that recipe on numerous occasions, culminating most recently in the and the DC3 - both relatively short-lived. The bass-side cutaway reaches into the body a little more too and the tip of the heel has a curved nose although no contouring like many choose to add.

Yes, the slab-sawn, spliced-head maple neck has a lightly toned gloss nitrocellulose finish, but the body uses a polyester base coat with acrylic urethane top coat.

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But, the essence of the finish is the same - just the formula continually changes. Similar to the scale, PRS primarily uses a mm inch fingerboard radius - flatter than original Fender, rounder than traditional Gibson. Not here. Like the scale, the radius reverts to vintage Fender: mm 7. Tuners use the same top lock as the standard PRS units but are given a vintage makeover with rather cheap looking Kluson-like ribbed backs and silver- coloured plastic buttons.

The stainless steel arm still push-fits with tension adjustment but sits slightly higher as it emerges from the block, has more of a right angle bend and is shorter in length by about half the length of its plastic tip.

Does Fretboard Radius Matter?

The pickups themselves all boast the same output with a DC resistance, measured at the output, of approximately 6. Controls follow Strat protocol, master volume with two tones: tone one works on neck and middle and tone two affects the bridge pickup - a well-used adaptation of vintage style.

But along with a 0. Sensibly, we also have the truss rod adjustment behind the nut. Action is pretty normal, a shade over 1. They seem to contribute to a slightly different note attack, a little snappier, woodier perhaps?

Yet the sustain is noticeably rich - the headstock and body feel alive and vibrant. Plugged in there are some gorgeous sounds: neck, neck and middle, middle and bridge all hit the spot immediately.

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A good Strat is exceptionally versatile. This is like a good Strat. The Silver Sky is visually, sonically, even in feel and hardware choice, the most Strat-like guitar ever produced by PRS. And your taste might be very different from ours.

You might want more kick from the bridge or a little more cut. By design the vibrato sits flat on the body with no upbend and a relatively stiff feel with more than enough down bend for most classic styles.Just take it bird by bird. That thoughtful, one-at-a-time approach is a fine recipe not just for daunting tasks, but for producing just about anything with quality and attention to detail.

Though the Maryland-based manufacturer is best known for high-end single- and double-cutaway guitars, the SE line has made PRS a serious mid-priced contender in the bass world. And although the Kestrel and Kingfisher are the first SE basses, for the last 15 years or so, there has always been a bass in the flagship line.

The latest is the refined, carved-top Gary Grainger Bass, whose ambitious design profile is evoked in the Kestrel and Kingfisher. Yet the SE basses take greater inspiration from the pantheon of electric bass classics. Both are named for birds known for swooping down on their prey.

The SE Kestrel and SE Kingfisher have a similar overall shape, with solid feeling, slab-like bodies tempered by smooth edges and bevels that ease upper-register access and keep plucking-hand forearms comfy.

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Both bodies have a slight offset slant that hints at the classic Jazz Bass silhouette, but are slightly wider across the body. The Kestrel looks darn sexy. The rosewood fingerboard is neatly trimmed with expertly applied white binding and black position dots. The Hipshot Transtone bridge on both instruments allows for throughbody or through-bridge stringing.

The Kingfisher played beautifully, with a sonic and tactile evenness across the strings and throughout the neck. At first the E string was a bit hotter than the others, but after a quick string-height adjustment with the smallest Allen wrench in the included kit, everything was copacetic.

With the extra-long fingerboard as well as the extra-wide footprint of humbucking pickups, a balance needed to be struck between providing ample room for slap-and-pop techniques and positioning the pickups for adequate sonic versatility. Whether the tradeoff here works for you depends upon your playing style and taste. I initially found the spacing between the front pickup and the end of the fingerboard to be a little snug for slap and pop, but I got used to it, and I loved the fingerstyle feel and sound at different playing positions.

The real versatility comes in varying your plucking position and technique. Plucking back by the bridge, the soloed back pickup offers a stout take on J-style bridge tone, but without the typical single-coil hum. Whether or not the fatter front pickup is engaged or soloed, the sound is always clear and cutting, never muddy or inarticulate, even with the tone knob rolled back. Like the Kingfisher, the SE Kestrel balanced well seated or strapped.

Its slim neck profile and fret range felt like familiar J-Bass territory, and the trad-style binding and bird inlays looked sharp. Having these visual motifs in my peripheral view was a surprising source of inspiration and good vibes. This was remedied in seconds, thanks again to that tiny allen wrench.

Playing back by the bridge with the front pickup soloed served up lean beef—fat and juicy, but still pretty good for you—while moving my plucking hand toward the neck pickup and beyond brought forth a bigger, rounder sound that stayed punchy and coherent, even with the tone knob down.

Guitar World. Please deactivate your ad blocker in order to see our subscription offer. Home Reviews. Our Verdict A pair of solid solidbodies - one sexy J-style groove machine and a classic spank plank. For Nice design touches, versatile vintage sounds.

Against Some easily solved setup issues. Two in the bush Though the Maryland-based manufacturer is best known for high-end single- and double-cutaway guitars, the SE line has made PRS a serious mid-priced contender in the bass world.

prs neck vs fender neck

Birds in the hand The Kingfisher played beautifully, with a sonic and tactile evenness across the strings and throughout the neck.Log in or Sign up. The Gear Page. During the first week of Augustwe'll be upgrading the software TGP runs on to the currently available up-to-date version. The software version is a significant upgrade, so there will be some downtime as we do the work under the hood. We've got a team of professionals, including the software development company assisting the process.

prs neck vs fender neck

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What neck would you compare to the PRS wide-fat? Sep 29, 1. Messages: I absolutely love the wide fat neck. I also own a Les Paul studio with a 50's neck and love it. I then played a Custom 24 with the pattern regular and loved it. I'm ideally looking for something with single coil pick ups because I want a different flavor of sound since I already have two guitars with humbuckers. Are there any Fender necks that compare? I played a Baja tele 50's neck and i thought it sounded great but not sure how I feel about the neck Any recommendations?

JPIndustrie likes this.Many guitarists have come to believe a myth about the difference between guitars with bolt-on necks and those with set necks.

Unraveling the Set-Neck Vs. Bolt-On Myth

When done right in both instances, these neck-construction approaches offer quite different sounds, as well as different maintenance considerations. While these two distinct design formats are used by a wide range of guitar manufacturers today, at the very midpoint of the previous century, they were distinguished as follows: Bolt-on neck guitars were made by Fender, and set-neck guitars were made by everyone else. Very generally speaking, a set neck transfers the resonance between neck and body more freely and immediately than does a bolt-on neck.

The result is usually heard as a little more warmth and fullness in the set-neck guitar, and a little more snap and twang in the bolt-on guitar. The main reasons for these basic tonal differences are that the lesser, slower transference of acoustic energy from the non-glued neck yields a little more pop and attack from the string - in essence, it decouples the strings from the body and neck - whereas the more thorough transference of energy through the various parts of the set-neck guitar yields a thicker, juicier voice.

On the other hand, the snap and pop of the bolt-on guitar emphasizes note definition, and a sharpness and firmness that contribute to a cutting tone.

The thickness and warmth builds just behind the initial perception of the note, by which time that sharp, twangy attack has already made its mark. Think of the classic Stratocaster neck-pickup tone. A lot of the efficiency—or lack of efficiency—of energy transference has to do with the quality of the neck joint on bolt-on guitars.

There are makers who believe a well-executed bolt-on neck can achieve the vibrational coupling, and therefore much of the resonance, of a set neck. Among the critical elements of this type of construction are an extremely tight neck-in-pocket fit, and, very often, the exclusion of any finish in the neck pocket itself. Players seeking round, fluid lead sounds; chunky, fat rhythm tones; or warm, woody jazz stylings tend to favor set-neck guitars—although there are certainly no universals of style and tone.

Just as there are differences in the virtues of the way different bolt-on neck joints are constructed, there is certainly more than just one standard of glued-neck joint design. Gibson has used a number of different types of glued-neck joints over the years.

What neck would you compare to the PRS wide-fat?

This design had a long extension—or tenon—at the end of the neck that sat tightly in the long neck pocket mortise into which it was glued. While no one debates the glory of an original Les Paul—or a great Gibson Custom Shop reproduction of the same—plenty of short-tenon Les Pauls sound fantastic.

Gibson uses other joints on different models, as well. Other makers of set-neck electrics use a dovetail joint, with a neck block that fans out into a pocket with angled sides. Poor neck angle? Pull the neck, slip a shim under it, and bolt it up again. Neck badly damaged in a fall?

Order a new one, and slap it back on yourself. You will receive a verification email shortly. GP logo Created with Sketch. Topics Set neck. Guitar Player Newsletter. Get the latest news, reviews and product advice straight to your inbox. There was a problem.The Fender Musical Instruments Corporation is the largest guitar manufacturer in the world.

The historic guitar giant currently makes countless instruments, from exquisite small-batch Custom Shop offerings to its Made in the USA, Japan, and Mexico lines, and, finally, to its entry-level brand, Squier. Squiers have traditionally been regarded as great starter options for any novice guitar or bass player.

It probably wouldn't be too far off to guess that at least half the experienced players reading this article have owned a Squier at some point in their lives, and for many in that group, it all began with a Squier starter pack that included a matching amp. While for decades, Squier's product catalog mostly consisted of basic low-end takes on core Fender models, their offerings have diversified in recent years to include dozens of unique models, including some that were traditionally only available from the Fender Custom Shop.

Today, that's exactly what we're going to explore. Like our recent Gibson vs. Epiphone piece, the goal of this article is to give an overview of the main differences between the two for those who are simply curious or for those looking to purchase one or the other. Across the board though, we highly recommend looking at used options when trying to find the best value on any Fender or Squier model.

You can look at used Fender and Squier guitars here. Below is a chart of some common price comparisons between new MIM Fenders and their Squier counterparts to give you an idea of the price spread. For our purposes we will be focusing on the standard Squier line, including the Vintage Modified and the Classic Vibe series. This range of prices makes for some hard choices about whether to save up for a more expensive stock instrument or pay a little less and use your excess budget for potential upgrades down the line.

Bottom Line: If buying new, Squiers will always be cheaper than comparable Fenders. However, savvy shoppers can often find deals on used Fenders that will fit any budget. Squier has also further defied convention by diversifying finish choices and now offering custom colors like burgundy mist, seafoam green, and Lake Placid blue.

Though these models are of a higher-quality than their Squier counterparts, some of them—like the Starcaster and custom set-neck Telecaster—are made in some of the same production areas as Squiers, like Indonesia, China, and Korea. To keep things simple, we'll include these newer models in the discussions of the Made in Mexico Standard line. Once exclusively Strats and Teles, the current Standard line includes fewer overall models than the Squier catalog, but with more variety within each model.

The Standard Strat, Teles, offsets, and basses come in a variety of pickup and bridge configurations, from the most s-inspired models to HSH models, with their flame maple tops and Floyd Rose trems.

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In previous years, the Standard line has included some diverse models, including limited runs with rare colors like shell pink, swirls and splatter paint, and other unique features. Bottom Line: Both brands offer a wide range of models, but more and more, Squier's lineup includes unique instruments that aren't available as Fenders.

Early Japanese Squiers were known for being made with quality woods, while later models became known for just the opposite after manufacturers started constructing cheaper models from plywood.

More of the recent, higher-end Squiers have had special runs of instruments made of pine, alder, and other woods. Many Squier models are made of basswood, agathis, poplar, and other cheap woods as well. While some players may discount basswood, many high-end Ibanez models are proudly made of basswood.

The body wood of a Squier can be hard to determine, as the finish is, in many cases, quite thick on these models. But overall, material is a matter of taste.Obviously Gibson wanted to hang on to as much of its legendary status as a maker of acoustic archtops as possible, and like its competitor Gretsch, came up with designs that navigated the line to various degrees between hollow and solid.

Basically an acoustic shell with a log inside it to which the neck and hardware were mounted, the ES seemingly had it all with its ability to offer a good amount of acoustic resonance while providing the enhanced sustain and feedback resistance that a solidbody excelled at. The ES opened the door to subsequent semi-hollow offerings from Epiphone, Fender, and other makers, and the concept of a split personality guitar has inspired and intrigued builders ever since.

We tested these guitars on gigs, rehearsals, and in our studios, using a variety of amplifiers that included a Dr. As such, this guitar is instantly familiar to anyone with even a remote awareness of the classics of electric guitar from the past plus years, yet closer examination reveals how ingeniously this scaling down has been achieved. It all looks elegantly understated in a natural finish, with ebony, cherry, and vintage sunburst also available. And, as a nifty bonus, you get individual coil splitting from the push-pull switching on each volume pot, which simply dumps one coil to give you half of each humbucker.

The ES Pro had a tasty setup right out of its optional hardshell case, with an easy action, good playability up and down the neck, and a lively, somewhat snappy acoustic tone. Plugged into a Dr. An impressive performer for an attractive price, the ES successfully captures the ES magic in a more compact format. Well put-together and impressively playable for its price.

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Leo Nocentelli of the Meters could occasionally be seen playing the funk out of the distinctive looking guitar, but, like the Jazzmaster, it remained lost in the wilderness for some time after its release. Things change, though, and the popularity of this idiosyncratic axe among younger, alternative musicians such as Jonny Greenwood of Radiohead, Sammy James Jr.

Fender has, however, made a few changes: the original three-bolt neck joint has been replaced with a more solid four-bolt variety, firmly anchoring the maple to a laminated maple body with a newly added alder center-block. The former string-through-body bridge has been updated to a pinned Adjusto-Matic with anchored tailpiece, and the f-holes now feature the same binding as the body.

Gone too is the master volume, which is too bad. I found the C-shaped neck quite comfortable. The 22 medium-jumbo frets and excellent setup allowed unfettered bends with a relatively low action — despite the traditional 9.

The semi-hollow design gives it plenty of acoustic ring, though the sound is not what you would describe as warm. Still, that is one thing that sets the Starcaster apart from other semi-hollows: the combination of a maple neck and maple body makes it significantly brighter than most instruments of its ilk, and less prone to muddying out, especially at high gain settings.

Rolling off the Tone of the neck-position Wide Range humbucker allowed a serviceable jazz sound, but where the Starcaster shone was the extra presence available in the neck position, which afforded blues bite, funk snap, and pop jangle rarely heard from a semi-hollow. The bridge pickup produced plenty of twang through a clean amp setting, while retaining enough girth to play well with overdrive and distortion.

Switching on both pickups revealed smoothly tapered Volume pots that let me achieve a wide variety of tones by merely adjusting the level of each pickup.

Semi-hollow guitars were invented to offer some of the acoustic properties of an archtop while reducing feedback issues. This makes them extremely versatile instruments that can work equally well for rock, country, funk, blues or jazz.

A great sounding semi-hollow with its own look and voice. In concert with the dulled patina on the nickel-plated hardware and pickup covers, the overall effect is one of a guitar that has been lightly used for a half century by a non-smoking player who never wore a belt.Different types of stringed instruments use certain types of woods and special methods for construction.

A familiarity with all types of instrument construction will allow you to determine what is most suitable for your needs or building techniques. The types of woods and methods of neck construction affect the instrument's tone and durability, as well as the neck's stiffness, mass, and shape. This information sheet reviews many of the methods of neck construction and neck woods.

Most instrument necks are made of mahogany or maple.

prs neck vs fender neck

The neck wood can be flatsawn or quartersawn, depending upon the dimension of the neck stock, the intended neck construction technique, instrument style, tradition, and personal preferences. Flatsawn necks generally flex more than quartersawn necks, but in some cases a quartersawn neck can be too stiff. If you're uncertain whether flatsawn or quartersawn is best for you, we recommend playing several instruments of the style you are looking to construct.

Make notes on the various aspects of the instrument's construction and get the necessary information from your notes. Most modern fretted instruments have some type of neck reinforcement or adjustable truss rod. Many vintage instruments didn't use neck reinforcement, but suffer from the consequences-warped or twisted necks, poor playing action, and no simple method for adjusting or fixing the problem.

It's highly recommended to use an adjustable truss rod. This will give you the greatest possible control over the neck, which is important for instrument set-up and counteracting changes in temperature or humidity. Truss rods come in various designs and shapes are better suited for a particular instrument than others. The two primary categories of truss rods are one way and two way adjustable.

A one-way truss rod will simply counteract string tension and pull the neck into a "back-bow. They help in instrument set-up, but there are instances where the adjustment range is inadequate. Two-way truss rods are a modern approach and are becoming common in instruments today. It helps allow you to adjust the neck into a back-bow or an up-bow, depending upon what is needed for the instrument's set-up.

If you choose not to use an adjustable truss rod, then some type of neck reinforcement or non-adjustable truss rod square steel tubecarbon fiber, laminated ebony, etc.