Designed for John Mayer’s work on Dead & Company's most recent tour, the PRS “Dead Spec” Silver Sky is a significantly modded Silver Sky that pays homage to Jerry Garcia.
“After playing the Silver Sky designed for the 2023 Dead & Company summer tour, I realized the guitar was special. It quickly became apparent this wasn’t just a tool for one particular job but could be extremely versatile in other players’ hands. I’m excited to hear the music that’s made on these guitars,” said John Mayer.
The foundation of the “Dead Spec” Silver Sky is a lightweight Swamp Ash body (rather than alder) finished in Moc Sand satin nitro that is thin and strikingly sinks into the ash wood grain. The bridge is a modified PRS patented Gen III Tremolo that has been screwed to the body, effectively rendering it a string-through hardtail bridge. Keeping the tremolo’s brass block in the equation adds a musical warmth to guitar. At the other end of the strings are a brass nut and string retainer bar, which also contribute to the guitar’s resonance and tone.
Notably, the Dead Spec Silver Sky’s jack plate has been swapped out for a brass-plate Alembic Blaster preamp. This preamp can be used as a straight boost but has an internal pot that allows players to add between 3 - 14 dB of gain to the guitar when turned on. This not only gives the Dead Spec Silver Sky added punch while maintaining definitive note separation, but it compensates for the capacitance that comes with long stage cables as well. The circuit is bypassed when in the off position.
“When I heard John wanted the tone of Garcia’s old guitar for this tour, I called him and said, ‘I think I can have a prototype to you in five days.’ It was that quick and painless of a conversation. So, we made this non-tremolo guitar with a lot of brass, which gave the guitar beautiful warm midrange, and the Alembic Blaster switch that cleared everything up and gave the guitar some courage. The first time I played it, I was smiling – I really like it,” said Paul Reed Smith. “The other thing I love about this guitar is that the finish sinks into the wood. It’s part of the guitar, so the guitar feels alive in your hands. That’s really cool.”
Paul Reed Smith Explains the "Dead Spec" Silver Sky | PRS Guitars
PRS Silver Sky "Dead Spec" Limited Electric Guitar
For more information, prsguitars.com. Only 1,000 “Dead Spec” Silver Sky Limited Edition instruments will be sold worldwide.
Reverend Billy Corgan Drop Z Signature Electric Guitar - Pearl White
The Reverend Billy Corgan Drop Z combines the aesthetic features of his Z-One signature model and a longer 24-fret, 26.25″ scale neck designed for drop tunings. The long scale neck provides appropriate string tension for down-tuning, so the tone is deep and full, yet still stays punchy and clear. The Alder solid body paired with Railhammer Billy Corgan Z-One Pickups delivers a heightened output and a velvety treble for a rich, weighty rock tone. The roasted Maple neck, fingerboard, and medium oval profile are comfortable to play, even with the slightly longer scale length.
Neil’s brother-in-law Billy’s Ovation, before Neil’s repairs.
Reader: Neil Crump
Hometown: Austin, Texas
Guitar: King of the Road
My brother-in-law passed away in March. He was a talented keyboardist and, in his heyday, played in bands that toured internationally. As a musician, he naturally had a guitar—a 1974 Ovation—and a “friend” put an unauthorized abstract paint job on it. That guitar had an extremely hard life: Its top was broken and the frets were completely worn out. As an aspiring luthier, I took the guitar to repair it then pass it on to his daughter. This proved to be a challenging task as I had never done anything more complicated than a basic setup before and I had few luthier tools.
A heat gun and thin spatula knife worked fine to remove the top and the bridge. I did my best to glue the new top halves together—but that left a visible seam, so I put a herringbone center strip over it (to match the purfling I would install later). I had no radius board, so I just clamped the pre-radiused braces I bought and was quite pleased that the new top did have a radius! Once I felt the bridge was sanded perfectly, I glued it down. I then replaced the plastic nut and saddle with bone. A hot soldering iron got the old frets out without damaging the fingerboard. (That said, next time I will clean those slots out better before installing new frets!)
“This proved to be a challenging task as I had never done anything more complicated than a basic setup before and I had few luthier tools.”
I was happy with my progress until I started routing the purfling channel. I had no workbench, and the concave Ovation body made things a bit awkward. While basically “bear hugging” the body with one arm and holding the router with the other, I heard a faint “pop.” The edge of an X-brace had come loose. I was able to squirt glue into the void with a syringe, but the concave guitar body made a brace jack useless (without fabricating a complicated caul). I removed the phono jack and jammed a pencil into the brace, keeping pressure on it with a rubber band. It worked!
Neil gave the Ovation a new lease on life with his extensive repairs, the end result of which can be seen here.
I also learned the importance of channel depth with purfling—I did lots of scraping to get everything flush. I am pleased with the finished product and my niece is so happy! I also put a new label inside the guitar body, with a dedication to her father on it.
Overall, there are multiple wins on this project. I gave tribute to my brother-in-law, made his daughter happy, and learned enough to build a guitar from scratch.
Two horns? It must be a Bison!
It makes me think about an old childhood friend who lived up the street from me. Jerry and his parents lived in an old house on their grandparents’ large plot of land. On one part of the land there was an old orchard filled with all types of fruit trees and pines, and I remember how we would climb to the top of the pines and just roll ourselves down the side, Revenant style! If you fell the right way, the branches would kind of gently let you down to the next, but if you hit it wrong and got in between the branches, you’d be wrecked. It’s like we enjoyed getting hurt, and, of course, when you’re young, you can snap right back. Ah, the days when pain really didn’t hurt. Now I wake up with injuries, for real.
“The action was way high and the fret ends were sharp. It was basically a painful affair.”
So why am I talking about my click-and-stick movie and stupid childhood escapades? Well, let’s get back to memories of my old friend Jerry. First, the house he lived in was so old that it had real wooden siding, but it hadn’t been painted in forever so the exterior took on a worn, faded, haunted house vibe. Second, his carpet was so tattered that it was being held together with duct tape. Lastly, I remember his dad had a cool, old electric guitar in the living room. His dad would let me play it sometimes, and I remember that it actually hurt to play! The action was way high and the fret ends were sharp. It was basically a painful affair. Not falling-out-of-a-tree painful, but as bad as it comes with guitars. It had the label “Conrad,” and young Frank didn’t realize that he’d be looking for that guitar again one day. I mean, it did have four pickups and lots of knobs and switches!
Made at the old Japanese Matsumoko factory in the ’60s, this Conrad Bison 1233 has four pickups and a 27" scale.
Years later, I would discover that his was a Conrad Bison guitar. The model came in a few different configurations, but the four-pickup design was designated as the 1233. Primarily featuring a lovely sunburst, these Bisons were made at the amazing old Matsumoku factory in Japan and were imported by the David Wexler Company that was based in Chicago. Matsumoku always had a good supply of aged wood, and many of the guitars made there are resonant and built well. The Bisons first appeared around 1966 and had a rather good run into the early ’70s.
Simple volume/tone knobs are paired with preset solo/rhythm switches that power alnico magnets. There’s an on/off switch for each pickup, and the sound really covers all the bases. Thumpy lows and crisp highs are all there. And, the pickups handle fuzz and distortion with ease. The Bisons also came in one- and two-pickup configurations with a normal scale, but the four-pickup ones have a longer, 27" scale, which is common for Matsumoku-made electrics.
So there it is: pain, survival, American frontier, Bison, haunted houses. It all sticks together like a duct-taped carpet. Click and stick, baby!