Are pre-factory Paul Reed Smith guitars really better?
Let's dispel a myth
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A duplicarver
PRS is a great brand, projected into the future not anchored to the past but constantly striving for perfection. But are pre-factory PRS guitars really better?
I have often read on the forums about pre-factory PRS, long heel and short heel, Brazilian rosewood, etc. I have played many Paul Reed Smiths, new and used and with small nuances, I have liked them all, regardless of the year of production. I came to the conclusion that the latest generation ones are by no means inferior to the older PRS guitars. Although it is true that some have much nicer tops than others.
Initially, I too was fascinated by the history of pre-factory PRSs. However, there is no 'pre' concept for PRSs like there is for pre-CBS Fenders, whose quality is unquestionable. Actually, in the case of the Paul Reed Smiths, there was only a move from a smaller factory, on Virginia Ave in Annapolis, to a larger one in Stevensville, Maryland. In the first one, the so-called pre-factory, not very precise machines called duplicarvers were used, which needed more sanding. In the second factory, the current one, CNC routers are used which allow extreme precision and better machining of the top, by computer. I don't think this would lead to any deterioration in the quality of the PRS, quite the contrary... So it is not really correct to say that these 'pre-factories' are hand-built. In fact, if we really have to define a watershed in PRS history, the real pre-factories were produced before 1986, when a young Paul personally built the very first Custom 24 models.
I have often read on the forums about pre-factory PRS, long heel and short heel, Brazilian rosewood, etc. I have played many Paul Reed Smiths, new and used and with small nuances, I have liked them all, regardless of the year of production. I came to the conclusion that the latest generation ones are by no means inferior to the older PRS guitars. Although it is true that some have much nicer tops than others.
Initially, I too was fascinated by the history of pre-factory PRSs. However, there is no 'pre' concept for PRSs like there is for pre-CBS Fenders, whose quality is unquestionable. Actually, in the case of the Paul Reed Smiths, there was only a move from a smaller factory, on Virginia Ave in Annapolis, to a larger one in Stevensville, Maryland. In the first one, the so-called pre-factory, not very precise machines called duplicarvers were used, which needed more sanding. In the second factory, the current one, CNC routers are used which allow extreme precision and better machining of the top, by computer. I don't think this would lead to any deterioration in the quality of the PRS, quite the contrary... So it is not really correct to say that these 'pre-factories' are hand-built. In fact, if we really have to define a watershed in PRS history, the real pre-factories were produced before 1986, when a young Paul personally built the very first Custom 24 models.
The long heel of modern PRS guitars creates no problem in reaching the last frets, instead it is useful in strengthening the neck graft regardless of the wood used and does not indicate deterioration in wood selection.
The bridge on the old PRSs seems to be the famous one-piece bridge, currently replaced by the two-piece bridge, therefore losing sustain. However, the current one is an efficient bridge with exaggerated sustain. One of the best bridges around.
The tuning machines have been improved over the years.
The fret markers on the old PRS were a true work of art. Unfortunately, mother-of-pearl only remains on special models nowadays, but in any case, looking at the inlays (most often in abalone) on Paul Reed Smith fretboards is always a delight to behold.
With the exception of a few special models, the wood used on the keyboards is no longer the famous Brazilian rosewood. Also because its sale is banned and because of the protection of the Amazon Rainforest put in place by CITES. This is by far one of the most valuable woods for fingerboard construction, especially if our reference point is the sounds of the 1960s. But are we sure that we perceive the different nuances in a modern guitar like the PRS that is most often played with high-gain distortion?
It is true that in older guitars the wood, more 'seasoned', vibrates 'better'. But a current Paul Reed Smith is a great guitar, not at all inferior to what are called 'pre-factory' guitars, so there's no need to get into a lot of mental turmoil over which vintage sounds better and which is not worth buying, etc…
The bridge on the old PRSs seems to be the famous one-piece bridge, currently replaced by the two-piece bridge, therefore losing sustain. However, the current one is an efficient bridge with exaggerated sustain. One of the best bridges around.
The tuning machines have been improved over the years.
The fret markers on the old PRS were a true work of art. Unfortunately, mother-of-pearl only remains on special models nowadays, but in any case, looking at the inlays (most often in abalone) on Paul Reed Smith fretboards is always a delight to behold.
With the exception of a few special models, the wood used on the keyboards is no longer the famous Brazilian rosewood. Also because its sale is banned and because of the protection of the Amazon Rainforest put in place by CITES. This is by far one of the most valuable woods for fingerboard construction, especially if our reference point is the sounds of the 1960s. But are we sure that we perceive the different nuances in a modern guitar like the PRS that is most often played with high-gain distortion?
It is true that in older guitars the wood, more 'seasoned', vibrates 'better'. But a current Paul Reed Smith is a great guitar, not at all inferior to what are called 'pre-factory' guitars, so there's no need to get into a lot of mental turmoil over which vintage sounds better and which is not worth buying, etc…
Antonio Calvosa
