I STOPPED chasing vintage guitars. Here's WHY
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- Опубликовано: 4 окт 2024
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Vintage Guitars are kind of magical- no doubt about it.
But as tools of the trade, New guitars always seem to be my favorites.
Here I explain why... and I also feature a superb new Paul Reed Smith Guitar that is set up with 9 through 42 strings.
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I live near Paul and the factory. Met him and he asked me about the PRS guitars I had - was genuinely interested. "Is it bright enough for you, because I have a fix I can do at the plant". Before that, the wife and I went to the factory tour. We were by the front door and a guy asked if he could help us. It was him! Amazingly down-to-earth and really cares about the customer.
NASA shasaw... Like living room shmiving room.... I wish this guy lived near me. I have a bottom of the line Strat. I have a better Ibanz that broke with some little piece that holds the strings in. And the local shops aren't there anymore.
At age 62 I grew up with “vintage”. One word, nostalgia. Most of it (not all) was junk compared to what you could get off the shelf at random now for 1/10 the cost. Some of the old amps were great but were one trick ponies compared to what is offered today. We live in a golden age of gear. It wasn’t the gear folks, it was the talent that created the iconic sounds and riffs that we identify with the gear.
Glenn Beasley well said!
Agreed.
I agree wholeheartedly
Reality
I don’t say this much but I’m triggered wow lol. Also maybe but also wouldn’t you take a fender Strat from 62 over a 2022. Anyway I’ll say interesting point and we’ll put together but highly contentious
I can make any guitar sound like a 200$ guitar.
Ha ha ha!
😂😂 Me too. 👍🏻
Gold!
Man. Now THAT takes extraordinary ability...I think...
HA HA, and some people can make a $200 guitar sound like a million-dollar one because of their talent.
As a prs employee I loved this video and I appreciate your appreciation to our company
It's nice to be nice to the nice.
As an owner of a PRS guitar I love the guitar and appreciate the appreciation for Tim
I bet you appreciate that the guitar is all yellow, yellow as well Chris Martin :P
I like how even retrieving your pick is a musically-timed move. A move that is 'spot on' with the tempo... Your playing is so 'professional' and your talent so evident, that it's scary for someone like myself who made a living at it for many years.
Honestly, the more I learn about playing music, especially as I play more drums, the more I realize that it's way EASIER to do non-musical moves timed to the rhythm. Not saying it doesn't take practice, but it's done that way not for show or professionalism, it's simply more natural and easier to keep things going when you do it.
Beautiful playing, made even more enjoyable by the look of bliss on his face, eyes closed, as Tim disappears into his playing. Fantastic.
Great video Tim. I noticed you have this amazing ability to throw in a double stop at exactly the perfect moment every dang time!!!
How does he do it ? _I am assuming an intuitive sense and knowledge of harmony and chord structure_
He's been at it longer than you've been alive, Robert. And,
..HEY!!! Robert Baker, everybody! Been a year since your reply, but show a surgically rehabbing former, and hopefully soon again, aspiring guitar player, some love on one of your giveaways. I remain frustrated and disgruntled with my progress on knock-offs and imports, and domestically produced guitars are the K2 of the "PRS / Gibson" ascension range I'm afraid I'll not currently, or at any time in the near future for that matter, realistically be able to reach. I'll file it next to the McLaren Senna and Caribbean Isle estate in the "Dream Big or Stay Awake" section of my nocturnal emissions filing cabinet. Who knows? Maybe some wistful Autumn afternoon, once the morning mist has faded to reveal a soft October glow of ambers, pale oranges, and fiery reds, pouring forth from the leafy bouquets surrounding me, reaching out, beckoning my eyes for their undivided gaze, it will come to me. But for now; Falling into this prismatic spell of hues, I hear a note. A few notes,...a few notes more. A chord, now. A melody....I reach for my guitar, but it has gone. And I promised myself I wouldn't get poetic. Lol Oh,, well.
Fourths and flat fives
You ever hear Julian Lage's song Double Stops? The idea behind the song is that you won't miss an optimal double-stop if you always only stop on doubles!
I’m beginning to suspect he’s done this before,
;)
My instruments have simply turned vintage by virtue of me owning them for a long time. :-/
Leah Arrington - I’ve been asked a bunch about some of my 40+ year old guitars... ya, I bought them new and they just stayed 🤣
After 59 years, mine, too!
Ditto
That's what I came here to say. Find good new or new-isn instruments. Get old with them. Know how to make them happy. They will return the favor ten fold.
The threshold for “vintage” keeps moving on us....
One of my favorite bits about this whole shitty quarantine year was definitely finding this channel. Golden stuff
And let's not forget that the 60's artists played on brand new gear out of the factory.
numero 66, it's a point I've made in discussions over the years. The 50's sound of Buddy Holly, for instance, or the 60's sound of Jimi Hendrix, all on brand new guitars. It's funny when people think you need vintage instruments, with pickups that have mellowed somewhat, and huge price tags, to get that sound.
And if you were a professional musician you had a pro card.
Which meant you were invited to the music store for special after hour sales. Were you were given pick of the litter. 2 out of 10 guitars were better than the other eight, and they were all the same brand. When you bought a guitar you sent it out to a guitar tech.
Who would do updates, set ups, thrust rod adjustment, intonation and fretwork, and better tone and volume pots, and shielding.
Early electric guitars were cheesy.
Built for the masses at an affordable price. Also look at how far the level of the average guitar player has come. High school kids playing Jimmy Page and had Jimi Hendrix. That was considered mind-blowing genius level guitar playing in its day. I know 13 year old kids that can rip that stuff.
@@ericheine2414 I agree, I relearned Apache from the Shadows, a 1960 instrumental. It is incredibly simple. Today people would look down on you expecting a lot more complexity both musically and technically.
Exactly what I was going to say! All those "classic vintage" tones were played using BRAND NEW, factory fresh gear!
I'm a believer that, if you give Eric Clapton a Squier strat, he can make it sound just as good as any of the strats he currently plays. He may not like playing it but... so new or vintage just doesn't matter to me or lots of other people i'm sure.
At 10:43 I thought Tim said “Les Paul-ish player” but after listening again he said “less polished player”. The new TCI pickups sound (literally and figuratively) like they are game changers.
'I thought Tim said “Les Paul-ish player”'- Hahaha. Same.
I'm put off LPs by the owners, usually over weight middle aged and the way they call them a 'Less Pow', so your misheard line made me smile!
Beat me to it!!!!
I am a better player on my PRS S2 than I am on my 2019 60’s Les Paul Standard. $1,500 vs $2,500. I still love my Les Paul but it’s probably the last one I’ll ever buy. It’s all PRS now.
Strange that’s exactly how I feel about P oR S guitars ..the are disgustingly flash looking guitars for cork sniffing executive types and always have been.
That generic LP ripoff design ..those garish colour finishes ..yuck!!!
I love how happy he looks when he plays
Norm's gonna be pissed...
Good
good
If Paul isn't paying you, I hope he at least picks up the tab for dinner every time. He couldn't ask for a better ambassador!
Been using 9s since I started playing and never had the problem of breaking high e or b string so never switched to 10s. Just recently switched to 9-46 and thats the sweet spot of riff god and bend king.
9-46 I call them half9s half10s For the last 10 years It's what works best for me.
I disagree. I have 9's on my Strats and 10's on my Gibson (Les Paul, SG, Flying V and 335) and I have to say that nothing beats 10's for rhythm playing (except the Hendrix-Style of rhythm). Especially 80's and 90's Metal. No comparison with 9's. And when it's set up by a real pro (my guitar tech worked for Michael Angelo Batio) they can be bend like 9's. But it depends on the Guitar too. So, I prefer for everything 10's: Fat and TIGHT rhythm and great for fast alternative picking runs, etc. Only for Strats I use 9's because I play Funk and Blues with Strats. No Metal, Jazz or Hard Rock. But in the end: If it feels good for you, it is good for you! :)
Same here Fender type guitars 09-46.. Gibson needs 10' maybe 11 strings because less string tension.
Your licks are so tasteful...It's not just random notes running everywhere...It seems to me there's a reason behind why you play those notes...Really incredible player...
Once told PRS to shut the hell up. He walked into a music store I worked in, asked to speak to the owner. I said, sure. Can I tell him who's asking? He said, Paul Reed Smith. I replied, Shut the hell up! He said, No, it's really me. Then he handed me his guitar while he went to the restroom. It was his Dragon. No shit. True story! Nice guy. Great guitars. 😊
Did you shake his hand after he came out? 🤣
You're lucky he didn't tell you to go to hell. Lol.
So he had his Dragon guitar in his hand, out of the case, just totin' it around, when he walked in the door and up to you and asked to speak to the owner ?
Tim the best thing I can say to you is that I have been playing guitar over thirty years and have many many guitar heroes that I love to hear what they do. And like all guitar players you sometimes sit around and think “man I wish I could play like that guy” and I certainly do that a lot. But out of all the guitarists I love and wish I could emulate, you are on the short list of the ones I wish I could wake up one day and be able to have your skills, sense of tone and phrasing. You are a truly special musician!
@masque1313 Well said, agreed 💯%
And it doesn't matter which guitar he's playing.
I could listen to Tim all day long... Such tasteful playing, such awesome tone and always so knowledgeable. Damn it, I just need a prs now!!
Ahhh. A breath of sanity about vintage guitars.
He’s endorsed by them so very bias.
@Gordon Dugan Yeah sure, that's why he went out of his way to plug the guitar at the beginning of this video and the majority of it is him talking about and showing what a wonderful "friendship" he and PRS have.
I bought a PRS S2 standard about 1000 dollars and just love it, sooo much tone and with coil tap pots it gives me so much versatility
I own two PRS guitars. Great instruments but I rarely play them anymore since I got back into Gibsons last year. The PRS head stock is a superior design but I've owned lots of Gibson guitars over the years (four right now) and can honestly say I have never experienced tuning issues. As long as the nut is properly cut, polished and lubed mine have always stayed in tune.
The you sir are the Gibson ghost whisperer.
This is 100% true. Of course it’s a really old design, and there’s a bunch of more modern and Better projects nowadays, but Gibson’s have this thing… I don’t know. And my les Paul and 339 keep in tune really well.
As John Suhr likes to say "there were no magic trees" back in the day!
Tonerider AC2 PAF? I will keep in mind...
Sure..I guess Nitro helps though.
Well there were but now they’re practically legal so they lost their magic
Tyson Tone Labs pickups
@@stricknine8623 yes, you're right, lower down a bit they will ring more, and most all players are gonna use a overdrive pedal. Look Tim's got five of them. One problem others and myself face is; there's my guitar 2 feet away, and I'm watching videos.
The only reason why I play vintage guitars is because I bought them brand new some 35 years ago and now they are considered 'vintage'. Otherwise I wouldn't waste my money buying vintage guitars.
Here's my take: In my career, I managed to move to Los Angeles, make my way into the studios, and play on a couple hit records. My reason for leaving the Vintage World treadmill behind is more practical. Since I arrived after the hey day (the mid 80s), the session game was slowing down in Los Angeles. Me and my colleagues had to rely on road work primarily getting into the studios whenever we could. Shortly after moving to Los Angeles, I met Slash as Guns N Roses had just released their debut LP "Appetite for Destruction." He told me he toured with fake Les Pauls because the cost to insure his real Les Pauls was prohibitive versus his non-vintage instruments which was nil (after all they weren't well known yet). My vintage instruments never see the light of day on the road. I only use them in the studio. Additionally, getting married and having babies also can put the kibosh on spending thousands of dollars on exotic amps and guitars. Nowadays there are plenty of fantastic companies making inexpensive instruments like Eastwood, ESP, Samick, Schecter, Yamaha, and even Fender. Also, one would have to sift through a dozen vintage Stratocasters to find one special one. I bought 2 MIM reissue Strats that are brilliant for less than $650!! One is better than a 1966 Strat I've had since high school!! So there you have it. Modern instruments are engineered better, easier to service, and easy on the budget. Now I'd only buy a vintage guitar if it is something I've always wanted (and I've got the dough for it)!!!
Totally agree, Chris. So much bang for buck out there now, Fender MIMs, PRS SEs and fantastic stuff, amps and guitars available used for no money. You literally sound terrific and gig for well under $1000 with killer used gear.
👍. I’m new to the guitar game. Far as I can tell the vintages are good money investments. For me- I’m liking the PRS because I can pick a used one up for a deep discount. I have a 2017 PRS SE Korean made and it feels so natural in my hands compared to the vintage guitars I’ve tinkered with at the boutique stores. I don’t know how I feel about the new SE Indonesia but I’ve heard they are still great. I’m hold out through for a gold top 594 🤤🤤🤤
Another anecdote about vintage guitars and LA session work: Got to make a record in Sound City Studios a couple years back playing bass. They had a 62 Pbass in there, a 66 Jazz, etc etc. I was touring a MIM 50s style Pbass heavily, kept my nicer ones off the road (and PLANES!!). The engineer and producer both chose that relatively cheap bass for almost all the songs. It just sounded more right than the vintages for what we were doing. A MIM Pbass going into a historic Neve console, run through the most expensive tape machines available haha. Sounded great
This is why I'm still blown away by peoples reaction to the Silver Sky. A PRS quality strat for a grand less than his Fender signatures go for now with pickups that paul and john designed together meticulously for "that sound". And comes with various useful modernized upgrades...and people complain.
You're confusing a regular JM signature with a JM custom, for sure. A "regular" sig went for around $2000 new, and th acustom was much more.... I don't think it was as much as the "nebula" Silver Sky, though. The last thing I want s some kind of single coil that takes off the top end.
@@michaelcarey9359 Not confusing anything. Fender JM signatures go for around $3000-$4000 used. More than a new Silver Sky.
I played a silver sky and was not impressed but maybe because it was from guitar center lol
Maybe people complained because it just looks like an ugly strat (with that horrible headstock on it)? I don’t know why JM or Paul Smith did it ..it’s basically a strat with their names on the headstock. Maybe most people thought it was just a rip-off and blatant copy of a strat offering nothing new really just a load of hype ..?
Like...why bother buying a SS (terrible name too) instead of just buying a really good strat? Makes no sense. I guess that’s why it failed ..or at least I really hope it did! :D
I think its mostly survivor bias too of really great old guitars being kept and the bad ones thrown away. I have an incredible, 5 yrold mexican jazz bass, if you play it 50 years from now, you will think all jazz basses from 2010s were amazing
Great tones!. Not that we didn't know this already but this video reminded me what a great melodic player you are. !
Simply incredible how much color your melodic guitar solo play has. I never heard any boring part in any of your solos and whenever you play there is always something new and exciting and refreshing new tone sequences in it!! It is so much fun to steal from you whenever I can! Thanks Tim it is always a pleasure watching your videos!
That '65 vs. Silver Sky comparison was eye-opening.
Of course they were both done on a Tele!!!
I reflexively hit "like" as soon as I hear Tim's tasteful playing and positive, buttery voice
the clarity almost reminds me of a great mix of a LP and a tele happening at the same time.
When they test components from those "vintage" 60's & 70's era amps, the tolerances are HUGE. In some cases 20%. Be it a capacitor or resistor, there were audible differences between two amps off the same run. Line up two amps, one with signal path components 15% higher than spec, and the next amp 15% lower and you've got a big 30% difference. It's almost a different circuit at that point - at least by today's standard. The issue grows even stronger when you go between model years. Different cab woods, different joints, speakers, wiring, etc. Especially with Fender. Leo was notoriously "cheap" and bought the cheapest bulk materials he could find. This applied even to speakers. They made good stuff back then, but they also made crap. Nothing has changed in that department.
So the issue with most of the vintage gear is that you never know what you've got until you hear it. Modern manufacturing still has tolerances, naturally, but they are much smaller with today's advancements. You know what you're getting with new gear. Especially PRS, their QC and building processes are well implemented. I don't see Paul Smith sourcing the cheapest capacitors he can find. Today's consumer is much more educated, as well.
A friend of mine from college told me about when we were in college in Annapolis (St. John's '88) he worked at a woodworking shop. He and his boss used to go over to Paul's workshop and see what He was making. This was in the mid to late 80s.
I worked across the street from Paul in the 80s. I would occasionally go check out his original guitars. Then he custom made a body for my gibson s1 neck, i still play that guitar, in fact i just recorded a lead with it this morning! Badass bridge,one volume and a coil tap, nothing else.
The odd thing is if you buy a new guitar and don’t sell it, at some point in the future you’ll have a vintage guitar.
I've been everywhere w/string gauges over the last decade. I was playing Strats 85% of the time, with Fender Pure nickel 11-49's at standard tuning. I used to order sets because I changed them every week to week and a half, but every once in a while would break one and had nothing to change them with so I'd go to a shop and usually buy whatever they had, because they usually didn't have a lot; they may have Fender 11s but not a lot of pure nickel.
Every once in a while I'd accidentally find a 10 sets in there. At some point I had to change them and only had 10s, so I used them. It sucked because I had my Strat set with a floating tremolo, so I had to do a whole setup.
I found suddenly my fingers were flying across the neck, my bends and vibrato were so much better controlled and I just touched the string to the fret and it played. I decided to go to 10s, but after a couple weeks I started to miss the fat sound, so I figured I would try a hybrid set. There really weren't a lot to choose from in what I wanted, and I found that having heavy wound strings and thinner plain just felt...off. Then I found the Eric Johnson nickel rockers, they were perfect.
They had them more spread in tension; instead of heavy low E/A/D with light G/B/high E, they had heavy low E/A & G, with light D/B) high E. They had a much more even tension. I also liked that the low E and D were actually much heavier than normal 11 sets; the low E was a 52, they just had the best all around sound. Plus I find pure nickel strings have MUCH better tuning stability, it's not even close. Ib use locking tuners. Normally after putting on new strings, I have to stretch the strings over and over and over until they stop going flat, but the nickel strings; 3 times MAYBE a fourth time once every dozen string changes or so, and they stay in tune.
I was a snob until I had a chance to work on a c1+ Schecter. 24 Frets, through body with a Tone Pro bridge and a through body neck. Made in Korea. The quality you can get today for very little cash is impressive. I have 9’s on the one I purchased after I got that c1 finished.. It is a Hellraiser with EMGs. I think I liked the passive Duncan Designs better, but for half the cost of what I paid for this guitar I can change to coil split Duncan’s. Have not played any of the off shore PRS products but I would imagine they are good too. Paul’s US product has a lot of labor in it and you can expect your guitar to be set up really well out of the box, and also that it will have a finish that is hard to beat. However given the same documentation, and the same raw materials, a CNC produces the same parts anywhere on earth. It is a good thing for guitar players, you can start learning on something that I could only dream about in1967. The guy who had that C1+ treated like a POS, I guess because it was a cheap guitar, but from my perspective (old with a lot of expensive instruments) it was a gem. In general, I am playing the Schecter first.
After years of using my main guitar - a '91 SG standard - I played a recent model PRS SE that one of my band members bought from a local pawn shop for very little money. It made my SG feel and sound like a toy. My LP Custom came close but I was utterly blown away as to how good the PRS felt, sounded and played... and it was very addictive. I badgered him for months to sell it to me, but sadly for me, he loved it too much too!
I totally get that 😊 PRS is ahead of the guitar game and across all levels...
Which PRS was it? I'm jonesing on a Korean made PRS SE Singlecut in Antique white that I'm working on upgrading the bridge to a tonepros.
@@fordhammie It was a PRS SE and the same as you describe but in sunburst. Very good to play!
@@bryansimpson664 Nice... 😎 Excited to get my TP bridge to upgrade it immensely
Tom Pierce is my all time favorite player. Love his style and think he is simply a honorable talent. His style is timeless and perfect. Thank you Tim for being a leader in the guitar player field. 👍😃
I agree.. i absolutely love his style and flavor of his soloing! 👍
maybe you could spell his name correctly :)
Not quite "vintage", but I own a 1989 Ibanez RG570 from the Fujigen factory, and I haven't played a guitar before or since that plays like this Ibanez does. It's absolutely insane.
i owned several of those and hated them. i kept switching pickups and everytime i put the previous pickups into another guitar, they sounded better than in the rg.
I have a 1984 Fujigen Custom Shop made Roland G-707... These are highly overlooked. Freaking great guitar!
@@louiscyfer6944 : There are many RG models, then you have different grades. I gave a try to Gambale's personal Ibanez, you know, the orange one... She was freaking great... Then I tried the signature model in a guitar shop... Looked the same, but nowhere near as good.
With Ibz, the 200 first built of any model are from the Fujigen Custom Shop. If these are successful, then comes the mass production.
The Artfield Afd-40/45 and the Maxxas weren't selling well, and didn't went further than the initial batch... You'll be stunned if you ever give a try to these...
I couldn't agree more about PRS guitars. I've been playing for over 50 years, and have had countless guitars. I still have close to 30 guitars, some of which are acoustics and basses, but a few American Strats, and a couple of high end Gibsons. My favorite guitar by far is my Paul Reed Smith Custom 24. That's the guitar that inspired me to buy a Carr Mercury V, and together they have made me a better player. I also use .09's, but the sixth string varies from .042 up to .048. Love your content and your style. Thanks for sharing!
He is a great player. Any guitar in his hands will work IMO
That's a beautiful PRS you've got there, my oh my!! Sound great too, big clarity I love about PRS guitars.
I was fortunate enough to inherit my dads 1986 PRS Custom24 in August 2013, he had purchased it brand new from Chuck Levin's music house in mid January 1986, has the old school sweet switch and all that, # 6 0466 stamped on the back of headstock, it's truly such a fantastic guitar, after all these years of intense play it's still in fantastic shape & amazing playing/sounding, what an instrument of quality! Its definitely super dear to me
When I was getting back into guitar I went on looking at all the usual entry stuff, so squier, Epiphone etc. But very quickly discovered the PRS SE line. They were just so much better in the same price bracket. Whilst I have a couple of guitars now this experience sort of said go try the other stuff and so I have my SE 24 and also a G&L tribute, which again just felt better for the money than a fender.
One day I would love to go in and pick out a core instrument, but right now my SE really does feel and play great and I’m in no rush.
I agree with Tim, give me a new one every time. Even the lower cost one's are more than playable now.
I picked up a used PRS Santana SE from the 2000s and it's a terrific guitar. Nothing to apologize for.
I had a 65 SG special, and I really struggled with it. I really disliked Gibson's for a long time because of it. I now have newer Gibson's and they are my go to guitars now.
@@williamolsen20 never cared for the necks on SG guitars.
I gave up on the issues of vintage guitars.... i only own 1 vintage guitar now ... a 1976 Ibanez L6 copy.... sounds and plays incredible... with 9's of course ... lol
Very practical viewpoint and advice. 👍 Most people will have difficulties affording and acquiring a popular vintage guitar anyway. Nothing wrong with finding something newer and affordable, especially when considering how well-made many newer guitars are.
5:55 - gorgeous, gorgeous, GORGEOUS !!!
I have a lot of respect for how you manage to encase yourself inside a cocoon made of gear
He’s in the tone chamber
Those finger and that gear could make nearly any guitar sound good.
Ed Romans a couple years ago had a great article about how "rare", "collectable" guitars was like playing russian roulette nowadays as fakes are so well made.
That alone keeps me away from the search..........Tim is a gem.
Such smooth, accurate and tasteful playing. It's a joy to watch you play Tim! I've owned and played most classic models by the various manufacturers out there and I have to agree that PRS is among the very best.
He’s grabbing his pick when he switches between finger style and pick.
I'm a drummer but I love seeing and hearing how your world works. Helps me understand, relate and respect how well you do what you do. Your vids make me a better drummer! You're the best!
Drummers make excellent guitar players, good rhythm makes all the difference.
Next guitar will be a PRS , when I have the cash, and that Silver Sky is the real deal, it’s gotten great reviews from players like Brad Whitford , Tomo Fujito ( who actually taught John Mayer ), and many others, including Mr. Tim Pierce, thank you Tim for your humility and stellar playing , always enjoy your videos
The new Silver Sky's have some slight differences you can find videos about online.. Frets are a bit bigger & pickups are a touch different (but great).
If you haven't already got a Silver Sky, try a Fiore before you do. Overall a better and more versatile guitar IMO.
That 59 LP sounds amazing
Totally agree. The PRS wasn’t even close to as shredded/dirty/grungy/beautiful
@@herokillerinc I too prefer the LP but "wasn't even close" is silly, More to consider--he didn't play the exact same licks, the LP has uncovered pickups, who knows if the pickups are the same height, string gauges the same, etc. As currently setup, I prefer the LP too. Could be getting the PRS pickups closer could be an equalizer (among many other things--action, gauge, string age, etc).
59' LP ftw
Most Absolutely do !!
These people that say vintage is Bullshit, probably haven’t played many. I’ve played hundreds... I can tell ... I own a PRS 1996 Custom 24 and I can’t get used to it...
Agreed. The ‘59 had clarity and a fullness that the PRS lacks. The only way that PRS will ever mature and season, is if it features a genuine nitro lacquer finish. If it’s poly, well, never mind……hope you like that exact tone……for life.
It’ll never be Gibson or Fender. They and only they do that thing. But Paul Reed’s carved out its own place. It lives almost perfectly in between the strengths of both, its comfort making it a natural extension of yourself. I recently customized a PRS s2 22 with Grover tuners, bone nut, Seymour pickups, completely rewired & potted. Like a Strat, it really takes well to customization. Moby-Dick - she’s a whale of a guitar, and become my #1.
The LP was definitely warmer with a richer mid content. The PRS was very clear and articulate which I like as mainly a single coil player.
Those wrap over bridges are the bomb! They have a real directness, like a tele a little. My fav is the hollow 22. You rock!!! 👍🎸🎶😁🤘
what a joy to hear your playing Tim - I wondered who you were in the 80's when I saw your name on the Crowded House album notes.
Great vid Tim! I’m a drummer and I think I’m giving up chasing the vintage drums as well.
I just purchased my first PRS. I fell in love with the Custom 24 as soon as I picked it up.
enjoy! I've had mine since '92. Great guitars!
After owning a bunch of Squier and Fender, I got my first PRS that is wonderful, in seems made to my hands
Got two myself. They're great guitars.
I bought a new PRS DGT and love it. The larger neck, bigger frets, those tuning pegs, everything about it. Blows away any vintage guitar I have ever played.
In the past 2 decades i've got to play countless different guitars, ranging from a 70$ strat copy, to a 7000$ vintage LP. Let me tell you this...Vintage is far from x1000000 times better. Out of all vintage guitars i played, there was one that i really liked and it happend to be the least expensive one.
I think you make a really good point here Tim, everybody should be able to get the right tools, and i feel that today, more then ever, there's an abundance of affordable guitars that play and sound like a million bucks. The beauty about manufacturers like PRS is...quality control...i've never picked up a PRS that had any issues at all.Just like MAYBACH guitars *check them out if you can!* High end quality guitars at decent prices.Great video as usual!
Yes! Another fellow .009 - .042 lover! Tim, I share your feeling about vintage guitars, too. Don’t own a PRS yet but dearly hope to, one day! Thanks for another great video!
when I clicked on the video it was titled, "THIS could be the BEST PRS ever made." Now it's something else. 😃 I kept waiting for him to hone in on a particular PRS. My takeaway: they're all good!
Guess it wasn't viewed enough so he went to click bait titling. 😀😀
@@damham5689 🤣 Maybe, though I think the first one was more click bait for me. I suppose it depends what one is looking for. I was 100%, moments before I saw that, looking for new info on the PRS, so that title sucked me in. :)
I guess the best PRS is the one you have
I was listening to a video from the other room, and then this video came on and I thought to myself “that’s Tim Pierce playing”, and sure enough it was.
This should tell folks something. It’s not all about gear. It’s about becoming yourself, playing as yourself.
Once again, great video Tim.
Stay safe, stay healthy and keep enjoying life.
Starting at 5:35....that's some of the absolutely most melodic, beautiful playing I have ever heard. Truly. 60 seconds of the most musical, melodic guitar perfection. BRAVO TIM...sheeesh....
I'm a luthier. I had an old Ibanez neck kikin around the shop for years. Made a chambered strat body out of a bunch of scrap 2x6's lol. Loaded it with a paf repro in the neck, JB in the bridge. Tilted the neck back for a wrap around bridge. Tele style 2 pots with a three way make swells smooth as butter. Spray painted it flat black. A fun weekend, kind of a joke, project became my absolutely favourite (and lightest) guitar I have ever owned lol. Cheers Tim!
Tim I have to say this...hit up a few friends and put out your own solo album. No one has to sing...you can do that part with your guitar!
Such sweet and tasteful playing Tim! I love it when you let the notes hang a bit!
God Tim Pierce, that guitar sounds as awesome as it looks
I have to say the sonic thickness of the 59 is tasty , more noticing though was how the increased playability of the 594 changed how Tim played
Audiences don't care, or know about vintage guitars. The only people who care are the few players in the audience that even notice.
I don’t care about what the audience can tell. I play vintage , because I can tell...
I love your videos Tim, and in the last 12 months they've been invaluable as I've taken on loads more production work.
However one thing I love more than videos is your humility and love of playing.
The look on your face everytime you land a nice complex lick or run is priceless. It's a mixture of surprise that you landed it (which is weird and denotes your humility) and sheer enjoyment in playing it.
Thank you for your knowledge and example of how to approach playing, the business and life in general. 🙏
Tim your video has convinced me to get a PRS. However, I still maintain that the biggest influence on the sound of a guitar that is properly made and setup to play is 1st who's playing it, 2nd modifications to the signal after it leaves the guitar. So for me the whole vintage guitar chase is a non starter, but I still fall prey to wanting more guitars, which is also, in the end, vanity.
Your not alone.
..."which is also, in the end, one of the few happiness of our life."
Man what a great video! Great playing, as always, and the presentation - hearing the guitars back to back, in the track, playing the same licks - is better (for making a comparison) than I ever might have wished for.
I totally agree with your take on vintage vs modern guitars!!! I have the same thoughts on the subject.
You're absolutely right! I've always said that too, that PRS guitars play themselves .. So smooth and well built. I have a 2003 Custom 24, artist package w/ a 10 top, in Royal Blue. It's great!
Right on, I'm a strat guy too. Perhaps a Custom 22 ? ..since strats have 21 or 22 frets. I like the Custom 24 though because of 2 full octaves, ymmv. You really can't go wrong.. I don't think they make a bad guitar. Even the SE models are nice, and a helluva lot cheaper! Find a local music store that has them and try one out in person.. That's the best advice I could give. Good luck!
There's that "thing" in the thickness of mids with the Lester and 65 Strat that sounds noticably better to my ears. But yeah, all those guitars sound amazing in your hands!
I love my Gibson Les Paul de Luxe (1967?) lefthand got married in1978 as a christmas present. But my eyes look on PRS.....one of my favorite PRS players Orianthi....Tim makes a good sound with a PRS! Thank for listening. Neber see a lefthanded PRS.
I remember seeing Joe Bonamassa several tours ago and he was (I think) bringing out a different guitar on every song, something like twenty different guitars during the gig. I know a few of these were vintage, including a '59 Les Paul if memory serves. In a decent theater acoustic environment at concert volume, there was no distinct difference in tone quality. The guitars sounded different, but I didn't think the vintage guitars outshined his modern models. Obviously, there are many other variables including the player and as a listener, I can't quantify the effect of the "mojo" of holding and playing one of those vintage instruments, but that was a pretty stark example of how overhyped vintage instruments are, at least for me. I would much rather have several different sounding modern guitars and all the additional gear I could buy than pay the price for a vintage instrument.
Not die hard fan of JBonamassa but I saw him in a video explaining he does that for the joy of live playing most of his vintage guitars. That I can understand more than bringing half a dozen perfectly new guitars on tour while leaving say 300 always locked at home. I also agree with Tim here... As a studio player he is doing the right thing by getting the best tool, his inspiration comes more from experience and knowledge and less from any mojo irradiating from a guitar.
Amen to that. My collection is in constant flux. So And what I'm finding is that the extreme premium for vintage and "distressed" isn't reflected in tone and playability. As far as the true vintage--I'm simply not good enough to justify that kind of investment, and in any case, if I have to pay out-of-state college tuition rates for vintage guitars that are magic in Bonamassa's hands...well, I can guarantee you that I'm not going to have the same experience as Bonamassa. My collection is an ongoing experiment. I have a budget, a life, and a realistic appraisal of my ability. If you can justify 4-5-figure prices for guitars, God bless you. And I'm not arguing that you shouldn't have the guitar you dream about. You should. But my approach suits me.
Wow! The PRS Strat sounds so close it's actually a bit disturbing to see the "wrong" neck and headstock on a guitar producing that tone. Masterful as always!
Lol, Norm's vintage electric business is going to take a hit! Seriously, I have never understood the demand for vintage electric guitars (as opposed to acoustic instruments) other than from a historical perspective.
acoustic guitars don't stand up to time well
Definitely, they have historical value and they are collectors items. If you can afford one and want a vintage guitar, go for it. From what I could hear that 65 strat sounded better than the PRS, even though the tune is pushing the strat out of it's element in the amount of overdrive used. It doesn't happen in this video but I don't understand all the complaints about vintage gear. To each their own. If you buy a high end model of any of the modern brands, your wallet will no doubt take a massive hit too.
I think it's all subjective and up to the individuals taste and feel. I have a 1962 Strat that was father's and a mid 90s American standard Strat. Both sound great but to me the 62 Strat feels better to play and a sweeter woody tone. That said I also own an 2001 American standard telecaster that's my number one guitar.
I completely agree with you. I'm not a professional, but I've been playing for about 8 years. Over these years, I've always had Fender guitars and chased after them, even getting some higher-end models. A month ago, I got a PRS SE DGT, and it opened up a whole new world for me. I was shocked at how a guitar that costs less than €1000 could be so fantastic and of such high quality. It blew me away, and I never thought my ultimate guitar could be a PRS, but now I'm considering getting a CORE as my definitive guitar.
That Gibson 59 definitely sounds better. Bigger bottom end. The John Mayer sounded awesome.
I agree..Noticeably better
I do like the smaller fret wire, vintage radius, thin lacquer, aged wood, and build quality of the name-brand vintage guitars that I've played. Even better if there's already a few dings, so the player can dig in and feel like they're not playing a museum piece. Not that I own one or can afford one! I do have a Fullerton '57 AVRI Strat built by John Page in '82 that's approaching vintage, and it is definitely an amazing axe. The good thing is that cheaper guitars nowadays are much higher build quality than in days of yore, with precision machines and all -- I saw a video with George Gruhn pointing this out, comparing the guitar market today with a few decades ago. A few hardware and electronic upgrades can do wonders. Besides, we'll likely all be playing through amp-modeling in a few years anyway, which would have to impact the supply and demand of the guitar market as well. I love your channel, Tim -- you're an amazing guitarist, and I love how you look at guitars from the "tools, not jewels" mentality, and use them simply as different voices that pull the music out of you. Very cool stuff
Thanks Tim, I really enjoyed this video even though I'm going the opposite direction keeping all the my vintage guitars and becoming less interested in modern ones. I think the fact I'm becoming less interested in playing really fast and using lots of effects might have something to do with it. But you opened my eyes more, to how different gear suits different playing styles. In regard to comparing the SS to the vintage when I compared my mates SS to a 64 and a 63 strat I think the differences are less about how they compare sound wise when recorded and more to do with how they feel and sound when playing and how this inspires the player to produce music in different ways.
Had a PRS since 1989, Carlos summed it up when he said it is like driving a Ferrari. The action is so fast, it’s hard to keep up with. Always plugged it straight into old faithful, 1980 Mesa Boogie Mk11B, use no effects, sounds awesome , took old faithful to trade in on newer amps, but left with old faithful, still sounds better than anything else I’ve tried to date. If you want a great sound this combo is awesome, still love it after all these years. Good sound is hard to get, pedals can muddy up good sound. The difference between valves and transistors is like pinging a pure crystal wine glass and a beer glass. Ping versus clunk. Harmonics so pure they please the ear, not hurt it. But that said it is hard to get good replacement valves, many are microphonic, you need to plug replacement valves in, and gently ping them with the plastic end of a screwdriver to see if they make a rattling sound, if so, don’t use them.
594 is the next "Holy Grail".
Was not a PRS fan, but the 594 blew me away - never played a guitar that felt so "alive".
"What has been will be again, what has been done will be done again; there is nothing new under the sun."
The last few decades have truly been a "Golden Age" of musical instrument production.
I think this is great, as it puts quality instruments into the hands of the artists, who shape our understanding of and appreciation for music.
Imitation is, indeed, the sincerest form of flattery.
And all Masters start out as imitators.
'...PRS has never asked me to endorse his guitars... ' Don't worry Jimi LOL the idea didn't even cross my mind
The Silver Sky vs. Strat comparo was amazing. Great work.
Since the video ends mentioning a few “holy grail” amps, I’d love to see a similar video about vintage vs. modern amps. Tim has tons of killer old gear behind him. How do those stack up vs modern amps?
I can say this much, modern reissues of Fender's classics do not in any way come close to the originals. If you've ever played a vintage deluxe reverb next to a reissue it's no contest. The vintage wins. The reissues have way too much low end. I had the opportunity to put an all original 1964 Deluxe Reverb right next to a brand new 65 Deluxe Reverb Reissue and the differences were very apparent. They sound like 2 completely different amps (even the reverb). This led me down the path to my vintage 65 Pro Reverb. The tone is just divine.
Todd Northcutt In my opinion, the cost of new gear is just fucked, guitars and amps alike. I play nothing but vintage gear now, but not because I like ‘vintage’ stuff per se, but because I can get some crazy good quality for half the cost of the new version. Perfect example are the Marshall Super Leads, which are in the $2500 neighborhood new from Marshall, but vintage 70’s and 80’s examples frequently pop up for $1200-$1500, I actually managed to pick up my 1978 for just $750. Fenders amps are a very similar story, vintage 70’s amps often go for half of their new counterparts, and they’re hand wired! Even if you purchase a vintage amp that needs work, usually that work plus the cost of the amp still works out to be less than a new amp as long as you didn’t pay top dollar, and you’ll end up with an amp that not only sounds better, but will be an absolute workhorse for another 40 years
As for vintage amps, the reason some sound so good is that the cost of reproducing some of the components would be prohibitive, if you could get them at all. Many of the machines that made them are long gone, and the market is just too small to justify reincarnating them.
I've never really chased after vintage because of money, but years ago I bought a 2000 Gibson Les Paul '57 Reissue Gold Top that turned out to be the love of my life guitar. I fell on hardtimes due to illness last year and a friend offered to buy it from me and told me I could buy it back anytime. She even told me that she wasn't playing it in fear she would fall in love with it. I'm making arrangements to buy it back soon. That guitar is just too good to let go.
Amen! I own 23 guitars, most of which were acquired after retirement. None were manufactured before 2000, except my first "adult" guitar, a MIJ Squier Strat. I can't get myself to spring for a vintage guitar because I want reliable technology that doesn't require a lot of work. Plus, I prefer the cosmetics of a new guitar. Never understood "distressing." Why the hell would I pay more for a new guitar that looks like it was dragged behind a car?
I've also found that most high-end guitars, vintage or otherwise, aren't so much better that the cost differential is justified. My understanding is that some vintage guitars are absolute magic. But the variability is quite high due to old manufacturing techniques like hand-winding pickups. The magic and the non-magic vintage guitars both go for a sweat-inducing premium, but the chances you're getting magic are low.
I've also found that many premium priced guitars aren't THAT much better than good mid-priced guitars. Gibson vs. Epiphone is the perfect example. I bought a new Gibson LP and it was broke right out of the box---input jack didn't work. That was all I needed to give up on Gibson LPs. I can buy a high-end Epiphone, add new pickups, nut, and switch/pots, and end up with a better guitar at a fraction of the cost. So that's what I did, and continue to do. Dollar for dollar, I've found several "sweet spots" among various manufacturers' lines. The overseas factories (South Korea in particular) and Mexico (Fender) really deliver the goods. I'm all for buying American, but it's more important that I use my money wisely.
I'm sorry, but you're off the mark.
@@PaulSter Why do you think so?
@@spidgeb3292 hi. Yes I am happy to oblige.
Vintage guitars - As you correctly stated, there is nothing to suggest that old automatically means good. But, there are pieces that are truly spectacular. Why? Just the stars aligning. A coincidence mostly. But also imagine the drying time of the woods used (doesn't really happen with poly finishes that more or less 'seal' the woods). If they were good to begin with, they're even better with age - like fine scotch. Builders like PRS dry the wood and take their wood selection very seriously, especially with the Private Stock, but you pay dearly for it. Gibson does too, especially in the Custom Shop, but you pay dearly for them too. In both cases, they use good wood in their regular production guitars.
Relic? That's such an exhausting conversation. To each their own. I heard
an older pro say that he didn't have 40-50 years to age the guitar, he wanted that 'feel' now. I don't judge.
Overseas vs USA - my personal feeling is that US citizens should be willing to spend a few more dollars to support their own country. If you buy a Mexican Strat, then upgrade everything, the gap is pretty small. Resale puts one really upside down. Partscasters are even worse.
Epiphone vs Gibson - now we're talking about China (a horrid regime that doesn't deserve one of my dollars to support their treatment of their own) vs USA. I avoid MIC wherever I can. I'm embarrassed and ashamed to say that I bought 5 Epis from '21 to this year. The last one was a mistake on musicians friend's part (my 2nd Epi Les Paul Custom + 60s SG, Flying V, and a Lazarus Les Paul). I also added another Gibson Les Paul (and 2 Specials) to my Gibson collection. So, I feel pretty qualified to compare them. The China guitars just aren't even close. It's hard to describe in writing vs holding one, and then the other. There's a feel they lack. Gibson intended for this to be the case after all. The top-shelf Lazarus Les Paul? On paper (long-tenon one piece neck, USA Gibson Burstbuckers, CTS, etc.) it should kill. It doesn't. Mine is just flat and lifeless (actually, I had two of them, one of which was sent back immediately, but only after fixing the neck pickup, setting it up, and playing it). I was genuinely excited about getting the Lazarus, so there was no skepticism on my part when I got them. But they were the same. I call it wetwood. Cheap, heavy, inexpensive, and plentiful. It's no where near what Gibson uses (again, per design by Gibson). I even bought a Firefly Les Paul Custom. It got the full treatment, Seymours, and new guts, along with a pro setup. Same result. Improved, but still uninspiring.
On delivery, the setup on every single Epi was non-existant. Fret sprout or sharp fret ends on all but the Customs. Also, both Lazurus', amazingly, had the same problem that so many people mention, the neck pickup was not attached because they used too short a spring. I easily fixed it, but still, where's the QC that let so many (the majority?) leave the factory? I handled my own setups, but a novice can't do that.
To suggest that an Epi with upgrades is as good, or BETTER, as you said, than the equivalent Gibson, just isn't generally the case, unless you get incredibly lucky. Yes, you can definitely improve them, but it's like polishing a you know what.
In summary of the Les Pauls, that's 4 in total. Two Lazarus' and two Customs. The white Custom I just got has been the best of all of them (definitely better than either Lazurus which is crazy), but I don't play it. It looks good on the wall though. I'm a sucker for a white Les Paul Custom, so it's going to get some Seth Lovers, and a new bridge. I don't expect it to be as inspiring as my favorite Gibsons, but hopefully it will work out adequately.
I've been at this for 40+ years and have had at least 100 guitars come and go. I'm always trying to thin the herd. I'm at about 35 now, and hope to get down to around 20. All but the '58 Korina Flying V (wall art) and the aforementioned LP Custom are going.
I've got some really nice amps (including a Marshall JTM45 , Mesa, PRS, my old '68 Super Reverb, an amazing Egnater that's around 25 years old, as well as cabs from 1x8, and everything in between, up to my beloved 4x12 basketweave), and very nice pedals. I play loud, my bandmates do too. I have a Power Station to tame them, but I still like it loud. I soundproofed my studio (for my wife and neighbors!). When you play and record these Epiphones and other imports you can really hear the difference. It wasn't until I got them loud and in a band mix that I could hear the difference. My wife commented on it before I did (she has amazing ears). The feel of them is uninspiring to my hands and body; that resonance you feel in your gut and hands with a really good guitar.
For casual playing at home, through small amps at lower volumes, the inexpensive guitars can be very good, and are fine, and hey, they look great. If one is happy, I'm not here to say they are wrong and I am genuinely happy for them (as I am with friends of mine who love their Epiphones and Chinese Fender/Fender knock-offs).
Regarding MIJ, MIK, Indonesia, etc., they can be fantastic. I just got a MIK D'Angelico Brighton Deluxe last week. Absolutely amazing guitar with the best of the best components and materials. I love it. They're much more expensive than Epiphones, but they are legitimate pro-level guitars for sub $2000. Money better spent and not a Chinese product.
Regarding the Gibson you bought - A broken or defective 'input' (I think you meant to say 'output') jack, does not a bad guitar make. Like any other builder, they rely on 3rd party suppliers. Of course what happens in shipping is a wild card too. FWIW, all of my Gibsons have been perfect with only an SG that needed some neck adjustments from my tech. It's okay though, my retailer refunded me the difference.
Thanks for the discussion. I wish you many good times playing guitar. It keeps us young!
@@PaulSter Now that is what I call a thorough response! Thanks very much. You've given me a lot to think about. That said, unfortunately, I am going to be limited in what I spend on guitars, so for me Private Stock and Customs are off the table. I'm going to have to stick with the sub-$2000 range and get as much inspiration as I can from those.
@@spidgeb3292 so many fantastic guitars in the $1-2000 range! Good luck on your next purchase(s?). The hunt is really fun. I bought a used Gibson Les Paul Special DC Tribute off Reverb for under $1000. They sold for less new, but they're not making them anymore and the prices are rising on them. The seller bought it new and replaced the wraparound fixed saddle bridge with a Graphtech Resomax which are around $150. A very nice upgrade. Gibson p90s, light nitro finish on mahog body, all the makings of a great guitar, and it is. Man, I love that guitar. I never worry about it getting dinged, and it has tone for days. Leslie West? Perfection!
Have fun brother -
The Silversky is unbelievably similar sounding to the '65 Strat. Really enjoying your channel @Tim Pierce Guitar
They're the greatest mass production guitar ever designed! Period I've done the fender , Gibson dance . You never knew what you would get. Prs set up great out of the Box every time!
And they hold a tune and setup like no other guitar. PRS has all the variables optimized.
Thanks for a great video Tim, I’ve been playing guitar for 35-years and I completely agree regarding vintage instruments. I’ve been fortunate enough to play many vintage instruments and even own a few. Some have been fantastic (68 strat) but many have been awful. In fact my experience of playing vintage SG’s and Les Paul’s (including a fabled 59) put me off Gibson guitars for a long time and I didn’t pick up another Gibson for about 10 years. I actually no longer own any Fender or Gibson guitars, the best Les Paul I have is a 1983 Japanese Burny which out performs all of the vintage Gibson Les Paul’s I’ve played and the current Gibson vintage reissues and modern stock. My Strats including the pickups were made by two small independent luthiers at a fraction of the cost of the instruments they replicate including the fender reissues and they are better. I sold my last fender strat, which was a 59 re-issue a couple of years ago. The only vintage guitar I still own is a beautiful 1931 Martin 000-18 which was a wonderful gift from the wife of one of my pro guitar player / teacher friends after his death. Although this Martin sounds beautiful it needs a neck set and is difficult to play beyond the 7th fret.
One word of caution for anyone buying vintage guitars. There are lots of excellent fakes out there. My luthier friend who built most of my Strats and Tele’s has made some amazing replica’s over the years and started making relic guitars before Fender or Gibson. He now clearly marks these guitars in the pickup cavity so future buyers know they are replica’s. He started doing this after an early 62 Strat replica he built was (unknown to him at the time) sold on by the original buyer to a vintage guitar dealer as a genuine 62 and subsequently sold to a global rock superstar for a vintage price even after all of their people checked it out!
Impressive playing 👌🙌 wow seriously very melodic
Tim, I stopped chasing vintage guitars after I tried and bought a fantastic Duesenberg Fullerton CC. Greetings from Switzerland and many thanks for your videos. I always find something useful and interesting in each of them.
D''Addario produce a 9.5 to 44 gauge string set which i find is a happy medium and works great for me.
David Sullivan, I’ve discovered how much I love the new thin core GHS boomers.
The 10’s are still 10’s, but have the action and playability of 9.5s.
Best of both worlds.
@@sholland42 Hi, thanks for the info i will def check them out.
I just stumbled across Tim a few weeks ago. I haven't touched a guitar in over 40 years (I'm 69) and listening to him blew me away! I keep watching this video over and over just to hear him play!