The World’s Best Guitar Company

40 Years. That is a long time for a company to be around, and nearly as long as I have been alive, but here we are 40 years later and Paul Reed Smith guitar company is bigger and better than ever before. In my opinion, and seemingly the opinion of many top performers who prefer them today, they are the best guitar company in existence today. Let me explain.

In the past PRS was only really known for their fantastic core models and the beautiful wood that was used in making their art gallery worthy guitars. These days they are known for so much more, but hey it’s called “core” so lets start there. In no mixed words, these guitars are simply works of art. Beautiful to a degree that no guitars were before them with the mostly incredible flamed, striped and quilted maple tops ever seen in a guitar. This sometimes put them in an odd position, they were expensive guitars that often sat on the wall of collectors who barely played them, yet as instruments they rivaled the best guitar available, money no object.

As time went on, the aesthetics were industry leading and most other brands started to follow suit offering guitars as beautiful as they sounded. At the same time, PRS perfected the craft of building guitars and their consistency was a thing to behold. Every guitar off the line was basically perfect with very little variation, earning them a title of… “boring”? It’s understandable at the time where you could walk into a guitar store, try 15 Stratocasters and find one that was significantly better (a “diamond in the rough”) which was an exciting event. PRS became the “boring” brand because while only 1 out of 15 Strats may have been a 9/10, every PRS was at least a 8.5/10 with most being pretty much faultless. Guitar players are a quirky bunch.

These days the core models are endorsed by the biggest names in the business and everyone knows them as some of the best money can buy. But what about those who can’t afford the dream worthy core line? In the last 10 years PRS has all but taken over the affordable market as well. Their SE and S2 lines give everyone a guitar in their budget, without compromising their gig-worthiness. Many artists enjoy their highly reliable, more affordable PRS guitars around the world giving them 90% of the core experience and tone at a fraction of the price. Not to mention their amps!

So what is the future for PRS? While historic companies like Fender and Gibson are stuck making the closest version to their vintage models, PRS is free to explore the future under the inventive eye of Paul Reed Smith himself. Every year they make small advances that push guitar tone and functionality forward while also improving consistency and overall experience. One of the few guitar companies where you can pretty much guaranty that the newest guitar they put out will be the “best” while having some of the best playing and sounding guitar made over the last 40 years, PRS is a brand that you can’t afford to miss and is personally the first brand I would check out when looking for a new guitar.

Check out my PRS 594 videos on YouTube here!

Can your cab really free your tone?

Can your cab really free your tone?

CAN YOUR CAB REALLY FREE YOUR TONE?

Guitar amplifiers fall into two categories, combo amps and head with cab amps. Both camps have their own pros and cons with space, portability and ease usually taking the top spots of each list, but should they? Once you have even one head and cabinet setup, and plugged another combo amp or other head into an existing cab you realize there is something even more important to consider. Tone. That magic word that all guitarists are on a never ending search for. Turns out the cabinet and speakers you plug into have way more to do with your amp’s tone and feel than you likely ever realized. So can your cab really free your tone? Yes, yes it can.

WHERE IT STARTED

My first realization came after I bought my first head and cab setup, a grail level amp, the Two-Rock Classic Reverb Signature V3. Huge cleans with tons of bottom end was the name of the game for me. like all things life changes and I decided I wanted something smaller and more versatile. Enter a Bloomfield Drive 40 watt combo amp and out goes the Classic Reverb. A second cascading stage to give more in amp gain, and a smaller footprint for if I ever moved (I was in a bit of a minimalism phase). The only problem? After some time I really missed the big deep cleans of the Classic Reverb.

Luckily (in hindsight) I sold the head separate from the cab as I got a change to plug the Bloomfield combo into the Two-Rock 2×12 cab. The difference was honestly staggering! Not only did the bass response of the 2×12 come back, but surprising some of the chime that I thought was inherently lost in the new amp too! This revelation lead me to run the combo into the cab pretty much all the time, and eventually I swapped the combo for the 100 watt head version of the Bloomfield Drive as it seemed silly to have a combo speaker that was never getting used and also gave back the 100 watt bass response that I adore.

ADDING SOME MORE

The next head and cabinet pair I purchased was another huge 100 watt beast, the Paul Reed Smith J-MOD 100. This time the cabinet was an even bigger closed back cab giving me something else to play with. When you need more bass out of an amp (rare, but happens as you will see soon), that is the cab to plug into. The cab matches to the John Mayer signature amp very well, giving it the signature bass response that John raves about in his demos. The closed back doesn’t fill the space with sound in the same way the Two-Rock cab does, but instead gives a quicker response to the speakers as the air behind helps bring them back to the ready position faster.

WHERE IT WENT WRONG, BUT THEN SAVED THE DAY

So far both amps sound great, but different into each cab, but what about an amp and cab that were meant for each other but just don’t do it for me? That’s just what happened when I picked up a Mesa Boogie Triple Crown 100 head and cab locally. The cab was compact by deep, giving a really percussive mid range that I could see working really well for high gain metal players, but make the amp sound quite nasal and honky in my opinion. As I got ready to sell the amp and cab I figured I’d give the amp one last try plugged into the PRS cab and I was blown away, almost literally. Gone was the honk and in it’s place was massive bass end with a more classic rock feel. That cab (and the Two-Rock one as well, which also sounds fantastic with the Boogie) saved that amp for me.

Mesa Boogie Recto Cab

After I had gotten rid of my original Classic Reverb, I plugged a lot of amps into that 2×12; 5-watt marshal clones, 20-watt hand-wired Marshalls, Kempers, and more. Compared to a number of other cabs I have had (Marshall hand-wired 2×12 for the 20 watt as well as some unbranded ones) it’s always sounded more open and balanced than the rest. Even in the world of IR’s and digital amps, do yourself a favor and get a great cab or two, it’s worth it. Next up for me, I’m thinking it’s time to try and 4×12 or 4×10 and see what that does to my tone.

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