The Paul Reed Smith Story

Does anyone know the reason that PRS left Gibson? Aside from having a concept that he wanted all of the profits from, why did he leave? I'm just having one of those moments that I need an answer to a stupid question. :roll:

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TSJ, I'm no expert, and I haven't hit Google, but it must be very frustrating working at Gibson + Fender unless you're a bean-counter.

From a technical POV, there are things "not quite perfect" with both makes' best-known products. Yet, they sell by the bucketload and (TBF to both manufs) they've had their fingers burnt releasing a radical improvement/change.

Can't blame Gibson or Fender for corporately squatting on a new design. PRS works better as a stand-alone brand anyway, whereas a "New LP for the 90s" from Gibson might've been a no-sales disaster. The PRS attracts a different customer.

You could ask Ed Roman his op, but see other threads here :wink:

Bass, surely you are not suggesting that the SG has in some way an imperfection?? i thought not..... :lol:

They did a new LP for the 90's, it was called a BluesHawk, anyone remember them? i never did play one, the spec looked good though, quite nice on the eye too, people just want classic Gibsons.
I think that most of the guitar manufacturers know that the key to their future is to get young respected guitarists to endorse the 'newer' models, the newer models are mostly purchased by younger players, and in years to come those models will go on to become the classics, as far as i can remember, the i never did see anyone play a Blueshawk, i saw a few pictures of older guitarists posing with them, but none actualy played them.
I personaly dont like the PRS ideology, Wasp might say that Brazilian rosewood on the fingerboard enhances guitar tone over its sister Indian rosewood, but i think it's just eliteism, alot of what PRS does goes on the presentation, and i suppose im just not into that.
But saying that, i can recognise that they do sound great, ive played a good few, and i can hear real good guitar tone when i play it, great feel too, but way too expensive.

Bass, surely you are not suggesting that the SG has in some way an imperfection?? i thought not..... :lol:

Would I? :lol: . Funnelly nuff, for all that we only play one string at a time (mostly), and don't register much above 1kHz, bass makers are quite innovative. Very few guitars match them for features, and very few guitarists buy them. Like you say, the Strat/Tele and the LP/SG are different approaches to classics that people recognize and home in on.

I can understand why a PRS (or anyone else) might go further than a bolt-on or a set-in. Thru-neck, mortice+tenon; and then the electronics (active pups or just eq). Even the 'classic' bridges aren't that great. Mustard mitt, all that "grade 10 walkoahogany top" stuff is rubbish window dressing. My current player is a bird's-eye-koa top thing, but I'd have taken a boggo sunburst like a shot given the choice.

I tend not to go for the guitars for looks, I realy don't like the look of the SG, it looks too evil/metal for me, but the tone is pure rock, its the guitar i play most, i tend to go for the standard colours rather than colours that please my eye, the sparkly blue Les Paul might have look nifty 10 years ago, but its looking a bit naff now.
As long as it plays and feels good then thats good enough for me, i certainly wouldnt pay premium ££ for 10 tops and exotic woods and Custom inlays, but i can understand people who go for that, and some of those PRS guitars look like works of art, which to me is just what they shouldnt be, how many times do you see a PRS 10 top private collection down your local being played and thrashed about with? and dont talk to me about insurance..... mines coming up next month, i have 11 guitars to insure, and 3 amps. the renewal notice doesnt look nice. :x

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