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PRS Reintroduces SC245 and Custom 22

PRS Reintroduces SC245 and Custom 22

The Paul Reed Smith SC245 is a vintage-inspired Singlecut perfect for more traditional single-cutaway players. The 24.5” scale length offers a loose, laid-back feel, but the guitar maintains a tight low end and snappy attack.

Stevensville, MD (January 8, 2012) – The Paul Reed Smith SC245 is a vintage-inspired Singlecut perfect for more traditional single-cutaway players. The 24.5” scale length offers a loose, laid-back feel, but the guitar maintains a tight low end and snappy attack. With 57/08 pickups delivering vintage humbucking tone and clear, detailed chords, and the electronics layout of two volume and tone controls, and a 3-way toggle switch on the upper bout, the SC245 is instantly comfortable for players who grew up using short-scale guitars.

Additional specifications include a carved maple top, mahogany back, mahogany “Pattern” neck, and rosewood fretboard. The PRS 2-piece bridge is the anchor of this guitar. Made of aluminum and brass, the bridge has added weight and mass, creating more contact points, which enhances the natural tone of the woods and helps create a more resonant instrument.

With a classic, resonant voice that is eminently recordable and gig ready, the SC245 won’t just take everything you’ve got and keep asking for more, it will do it with unforgettable sound and style.

Reintroduced for 2013, the Custom 22 is a classic workhorse with all the tones you’ve come to expect from your PRS and a distinctive, musical, warm midrange. Along with its standard features – maple top, mahogany back, mahogany or rosewood 25” scale length Pattern or Pattern Thin neck, and rosewood fretboard – the Custom 22 and 24 are now both offered with the choice of 57/08 pickups or HFS treble and Vintage bass pickups wired for a redesigned 5-way blade switch, which offers a unique dual humbucker option.

In the 1990’s, PRS Artists Mark Tremonti of Creed, Dave Navarro of Jane’s Addiction, Tim Mahoney of 311, Pete Loeffler of Chevelle, Paul Phillips of Puddle of Mudd, Marcos Curiel of POD, and Mike Einziger of Incubus all topped the charts and defined the sound of the era. HFS treble and Vintage bass pickups were there to help them by providing a balance of aggressive, musical, clear highs and strong midrange and bass. In 2008, PRS’s 57/08 pickups were introduced. These pickups were designed to capture a vintage ‘50’s humbucking tone and have become PRS’s most coveted vintage-inspired pickups.

This voicing option exemplifies the palette of tones available from PRS and allows musicians to better tailor their instrument to their desired sound.

For more information:
www.prsguitars.com

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Supro Montauk Mini Rocker Amp Demo

Supro Montauk Mini Rocker Amp Demo
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A 6L6 power section, tube-driven spring reverb, and a versatile array of line outs make this 1x10 combo an appealing and unique 15-watt alternative.

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Cosmodio Gravity Well Review

The two-in-one “sonic refractor” takes tremolo and wavefolding to radical new depths.

Pros: Huge range of usable sounds. Delicious distortion tones. Broadens your conception of what guitar can be.

Build quirks will turn some users off.

$279

Cosmodio Gravity Well
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4.5
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4.5

Know what a wavefolder does to your guitar signal? If you don’t, that’s okay. I didn’t either until I started messing around with the all-analog Cosmodio Instruments Gravity Well. It’s a dual-effect pedal with a tremolo and wavefolder, the latter more widely used in synthesis that , at a certain threshold, shifts or inverts the direction the wave is traveling—in essence, folding it upon itself. Used together here, they make up what Cosmodio calls a sonic refractor.

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Kemper Amps and Zilla Cabs Announce Collaboration

Kemper and Zilla announce the immediate availability of Zilla 2x12“ guitar cabs loaded with the acclaimed Kemper Kone speaker.

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Can Guitarists Hear a Nitro Finish?

The author in the spray booth.

Does the type of finish on an electric guitar—whether nitro, poly, or oil and wax—really affect its tone?

There’s an allure to the sound and feel of a great electric guitar. Many of us believe those instruments have something special that speaks not just to the ear but to the soul, where every note, every nuance feels personal. As much as we obsess over the pickups, wood, and hardware, there’s a subtler, more controversial character at play: the role of the finish. It’s the shimmering outer skin of the guitar, which some think exists solely for protection and aesthetics, and others insist has a role influencing the voice of the instrument. Builders pontificate about how their choice of finishing material may enhance tone by allowing the guitar to “breathe,” or resonate unfettered. They throw around terms like plasticizers, solids percentages, and “thin skin” to lend support to their claims. Are these people tripping? Say what you will, but I believe there is another truth behind the smoke.

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