This is a guest post by Cailyn Lloyd.

PRS Custom 24 Review

As guitars go, the Custom 24 is virtually perfect. This guitar, introduced in 1985, is Paul Reed Smith’s signature guitar now available in a 30^th anniversary model that does not differ much from the original. The only problem with the Custom 24 is the price tag, which for most players represents a major investment or is simply out of reach. However, if you are serious about your craft, your tone, your sound, a guitar like the Custom 24 is an essential element of your gear line-up. If your budget is limited, the good news is that PRS has now made the Custom 24 available in their SE series. I haven’t played one but the reviews online are very positive and emphasize this is not a cheap Korean guitar and that no shortcuts have been taken in production.

The Custom 24 as the name implies is a 24 fret model spanning two full octaves (they also make a Custom 22). The neck comes in two shapes, pattern thin and pattern regular and the difference between the two is something you really must feel with the guitar in hand. (I really don’t know how people buy guitars online!) I play a pattern thin, which fits my hand size perfectly and is very conducive to faster play and shredding. For rough comparison, the pattern thin is narrower than a Les Paul but a shade thicker than a R-series Ibanez.

The Custom 24 comes with a choice of pickups, either the classic HFS bridge/Vintage bass pickups or the 59/09 pickups. There are single volume and tone controls and a five-way blade switch that allows the following configurations: bridge humbucker, bridge humbucker with neck singlecoil (in parallel), bridge and neck humbuckers, neck singlecoil with bridge singlecoil (in parallel), neck humbucker. I like all of the positions but gravitate often to the bridge humbucker for the hot fat tone the HFS pickup puts out. One of the great features of this guitar is the ability to dial the volume down a notch or two and still have the bite of full volume. On the other hand, I’ve seen some reviews that compare the neck singlecoil to a strat and while they sound similar, I wouldn’t call it a strat sound. For that tone, I have a maple neck strat! Just a note, the Custom 24s built prior to 2011 have a 5-way rotary switch not a blade switch–probably the only design flaw in the earlier models–I find it awkward to use on stage.

The guitar is fitted with a single piece bridge and whammy bar (with a simple handle that can be inserted or removed in seconds) that is very functional and unremarkable except that it works very well. The bridge is also fitted with multiple fine tuning elements to adjust string height and intonation.

Besides the stunning craftsmanship, there is another brilliant feature exclusive to Paul Reed Smith guitars and that is the “locking tuner” machine heads. Changing strings with these tuners is a two minute breeze, not ten minutes of tedium. You pull a string through the post, tighten the set screw and tune the guitar. Slippage is zero and the tuning is very stable once the strings have stretched. String breakage with this guitar is exceptionally low, even with rough live play.

Nothing is spared in wood, color, and finish–this guitar is beautiful to behold. Without fear of exaggeration, the Custom 24 is really the best factory-made guitar in the world, in looks, in sound, in playability. This has been my go-to guitar for ten years and I do not see that changing. Hope this PRS Custom 24 review is useful to you!

View the PRS Custom 24 on Musician’s Friend.

Today’s guitar review will be on the Nash S-68 HX that I recently acquired and I’ve had now for about a month. As a huge fan of Jimi Hendrix, it is only natural to want to play an upside down stratocaster for not only added mojo, but a unique sound due to the reverse headstock and pickups. I already own a lefty Fender MIJ ’68 reissue (read the review of that here) which I flipped upside down to play righty. So now I can definitely compare the two guitars which have very different price points; the Fender MIJ costing $600 used, and the Nash S-68HX at $2000 new.

First a note about the purchase of the Nash. I bought it from Prymaxe Vintage and found that their customer service was quite bad. I received the guitar without a whammy bar which it is supposed to come with. When I brought this up to Prymaxe, they basically said they didn’t have one for me, nor did they offer to get me one. I then emailed Nash directly and got a response right away from Bill Nash himself who sent me a whammy bar the same day. Now that is service. Thanks Bill! Now lets get to back to the review.

Fit and Finish

I must say, I was very impressed. A big reason I got the Nash over a Fender is because of the thin nitrocellulose finish. In my opinion, this allows the guitar to breathe and has more resonance and sustain, unlike many thick poly finishes found on Fender guitars. I also liked the look of the relic, which I’m not usually big on, but this one was a light relic and done tastefully. The neck feels really great as well and the back of it has the finish completely taken off. This results in a smoothness that makes it easy to go up and down the neck very quickly without any sticking. While the guitar has a slight bit of buzz, which is to be expected when getting a guitar shipped, the rest was flawless. Action nice and low, intonation spot on, lots of sustain, and all the good things you expect from guitar at this price point. I’ve played some custom shop Fenders and IMO the Nash is right up there with them. The only complaint I have is that using the whammy results in the strings going out of tune. In doing some research and speaking with another Nash owner, this is due to the tusk nut which I will promptly be changing to bone as soon as I can. All in all, the Nash in fit and finish is miles ahead of my MIJ strat.

Sound

Now for one for biggest factors… how does she sound? Very very sweet and beautiful. There is quite a lot of low end likely due to the strat being upside down, which is welcome since many strats can be thin sounding. In my opinion, sound is due to a few factors.. 1) how well it is in tune and intonated 2) the quality of wood, how its put together and finished, and 3) of course the pickups. So the wood quality, its build and the intonation are all incredible and meet my expectations. The pickups are excellent. They are Lollers and are the dirty blonde set. To my ear, they have a late ’50s/early ’60s sound which is what this set is going after. I was hoping the Nash would have a ’68 spec set of single coils to go in. Though not a big deal, I currently have Slider ’68 pickups in the MIJ strat which I plan on putting in the Nash. I also noticed that the tone controls are wired for the neck and bridge pickups, whereas most strats have the tone controls for the neck and middle pickup. I do enjoy this feature, though it it not true to a vintage spec strat. When it comes to the reverse headstock, the sound is definitely altered a bit. It still sounds like a strat, but a very unique one which has a more of a Jimi Hendrix kind of sound.

Conclusion

I am very happy with my Nash S-68 HX strat. It plays beautifully, always sounds good and just feels like a very quality instrument, unlike my Fender MIJ strat. If you are planning on buying a Fender Custom Shop, I would highly recommend to consider a Nash as they will not only save you some coin, but also give the custom shops a run for their money!

This is a guest post by Stephen Rose

The Gibson Firebird is an iconic guitar from a legendary manufacturer. First introduced in the 1960s, the Firebird’s shape and sleek lines were created by an automotive designer who Gibson hired to add to the already unique shapes like, the Flying V and the Explorer. Players such as Warren Haynes and Stephen Stills have been known to use a Firebird, but no one is more associated with the Firebird than Johnny Winter. Given the guitar’s rich history, I was excited for the opportunity to review the Gibson Elliot Easton “Tikibird” Firebird. I was also looking forward to playing a Firebird because it is one of the few guitars that I have not played before.

When I took the guitar out of the case, I knew I had made the right decision. The paint job is not one that I have seen on another guitar, and that alone is enough to make it stand out. The color, Gold Mist Poly, is really striking and stands out because it is a color not seen on any other guitar and I hope Gibson considers adding it to other models. Prior to getting this Firebird, my favorite color that Gibson offered was Pelham Blue, now I can add Gold Mist Poly to that list. Aside from this impressive color, the Firebird has some features that are specific to this instrument like: a Bigsby vibrato, ’57 Classic Humbuckers, Steinberger gearless tuners, and four tonal switches placed below the bridge humbucker.

All of these features work well with this guitar and instantly make it a go to instrument for the player who only has room for one guitar. The Bigsby works well with this guitar and there is also a Vibramate Spoiler string loader, which helps when changing strings. Anyone who has used a Bigsby and fuddled around with getting the ball end of the string to stay on the little peg knows what I mean. I like that this guitar comes with 2 Classic ’57 humbuckers instead of the mini humbuckers. Most of the Firebird models that Gibson offers come with the mini humbuckers, but I prefer the regular ’57 Classics. These pickups work well with this guitar and with the tone woods selected for this instrument.

One of the main highlights of this guitar are the four tonal switches. The first switch splits the coil of the neck pickup when in the neck position; the second splits the coil for the bridge pickup when in that position; the third switch engages the pickups to be reverse wound and in reverse polarity of each other when in the middle position; and the fourth, when engaged, routes the bridge pickup straight to the output jack. This is helpful when you need to switch to the bridge pickup and not worry about getting to the selector switch.

Looking at pictures of the Firebird prior to ordering, I was concerned with the switch placement, however the location of the switches does not interfere with strumming or playing. Another feature common to Firebirds, but new to me, was the Steinberger gearless tuners. I really liked these and they keep the guitar in tune very well, even when liberally using the Bigsby. For this demo I used my Mesa Boogie Mark V combo without any pedals. This guitar excelled in every different setting I tried on the amp, from a clean bright setting to an extreme crunch/distorted one.

Gibson offers a number of signature guitars with a wide range of features and appointments. Some are very artist specific, like Zakk Wylde’s famous Bullseye or Buzzsaw Les Pauls, while others are slightly less ostentatious like this model. Aside from a small Elliot Easton signature on the back of the headstock and the Tiki graphic on the pickguard there is nothing artist or band specific. I look for versatility and reliability when purchasing a guitar, and this Firebird fits those requirements and then some. For those with similar standards, you will not be disappointed with its features, playability, or tonal varieties. The Gibson Elliot Easton “Tikibird” Firebird is a limited edition guitar, so try and check one out while they’re still in production.

Check prices for the Gibson Elliot Easton “Tikibird” on Musician’s Friend

This is a guest post by Freddy Charles

For nearly 18 years I played Fender Stratocasters exclusively.  Obsessed with that signature bell-like Strat sound, I never really had any desire to change it up.  A few years back though, while recording my third album, I was looking for a guitar with humbuckers that could deliver that chunky dirty rhythm sound.  I assumed a Les Paul was the answer, but the guitar wasn’t a comfortable fit for me.  Enter PRS!  A friend loaned me a custom 24 to finish tracking, and I wound up being pleased with the results.  It was my first encounter with the instrument and it left a mark.  I went back to playing and recording with Strats until just recently.

The guitar I’m using now is a PRS 305, which is based on the 513 model, yet slightly modified.  The body, unlike other PRS guitars is carved alder with a maple neck.  It’s a single coil PRS with the same configuration as my trusty Fender, but with a completely unique sound.  I’d been searching for a guitar that could deliver those clean Fender tones, and have the versatility to offer thick rich sounds as well. The PRS 305 knocked me off my feet!  While the guitar is stocked with Paul’s signature single coil pickups, this is no Strat, and sounds like no other single coil guitar I’ve heard.  The pickups have a bite to them, and are ultra responsive to the pressure of the pick.  The tone is generally fatter than other singe coil guitars in all of the settings as well.  PRS keeps things simple by utilizing just one tone knob, and I for one really enjoy the simplicity. Out of the box the guitar is set-up with low action and equipped with PRS 0.10 gauge strings.

To experience the tonal possibilities of the 305, lets begin with the neck pickup.  When selected, you’ll be able to emulate some of those super clean signature coil sounds, but the attack and resonance are far superior.  You’ll get a more rich sounding tone, with more mid-range than a Strat.  The same goes when you split the neck and middle pickup- you get that fat Texas sound- perfect for any blues scenario, but with more pop and power.  The low end, unlike other single coil guitars is tremendous, and confirms why this is such a fantastic instrument.  You need not worry about those thin-sounding chords when the gain is cranked up either.  The bottom end delivers humbucking power, quite impressive for this type of pickup configuration.  As you continue to toggle the pick-up selector, flip it to the middle coils and crank up the overdrive.   The guitar growls-giving way to any hard rock music you may be playing.  In my opinion, the middle pickup  functions and sounds more like a humbucker rather than a single coil.  This setting is great for smooth leads or heavy riffing, and even when played clean has endless sustain and punchiness.

The final two settings, middle/bridge and bridge can also pull in those familiar single coil twangy sounds, but again different than what you would expect.  The overall warmth of the guitar is astounding even as you use the settings closer to the bridge.   These setting work well for funky chord phrases or chicken-picking licks.

As far as playability goes, it’s hard to beat a PRS.  The 305 has a slightly thicker neck than the Custom 22’s and 24’s, but it’s an easy transition for a Fender or Gibson player.  The maple fretboard is smooth and fast, you won’t have any issues running up and down the neck.  The body is the traditional beautifully carved PRS shape allowing for high register playing and chording with incredible ease.  It’ an extremely adaptable guitar as well- it doesn’t take more than a few minutes for you to get comfortable playing it for the first time.

If I had to sum it up in one word-versatile.  The ability to channel all of those tonal nuances makes the 305 a rare find.  I can’t think of any musical setting that the PRS 305 couldn’t handle.

This is a guest post by Stephen Rose

This year marks the 60^th anniversary of the Fender Stratocaster — an iconic instrument in not only shape but also sound. Countless recordings tell the tale of this classic guitar played only by the most discerning musicians. The Fender Stratocaster was released in 1954 offering players a solid contour body guitar with three single coil pickups. This innovation took the world by storm and generations of players are still looking for its classic and timeless tones.

Fender has released 3 models celebrating the 60^th anniversary Stratocaster: Classic Player, American Commemorative, and American Vintage. The Classic Player Strat comes in Desert Sand, has a soft V neck shape, gold anodized pickguard, gold hardware, a special engraved neckplate, and medallion on the back of the headstock. The American Commemorative and American Vintage series guitars are both U.S. made and have similar appointments to the Classic Player Strat. The American Commemorative Strat comes with a two color ash body, maple neck, modern C compound radius neck, specially designed 1954 pickups, gold hardware, pearloid tuning buttons, and the same neckplate and medallion as the Classic Player. The American Vintage series is the most accurate representation of a 1954 Strat you can buy without going through the Custom Shop. This guitar recreates the specs and even the paperwork of the instrument as if it were purchased in 1954. Fender will only be making 1,954 of these guitars, with the first 54 of these containing a special certificate and designation on the neckplate. The American Vintage Strat is far and away the crown jewel of the three 60^th anniversary guitars being offered. In keeping with the original design, I wish this guitar came standard with the 3-position switch instead of the traditional 5. The 3-position switch is included should the player want to make the swap.

In keeping with Fender’s motto to create a guitar, “as new and different as tomorrow,” they have released the Fender American Deluxe Plus Stratocaster. Fender is known for finding ways of balancing its tradition and history with innovation, and this new addition is the epitome of that way of thinking. The American Deluxe Plus comes in both SSS and HSS configurations offering the player the ability to use interchangeable “personality cards” to further add to the tonal options of this fine instrument.

There is a slot in the back of the guitar that can support one of three solder-less cards with plug and play capability. Standard is the standard configuration and pickup sound, Cutter cuts the bass and treble, and Splitter splits the humbucker sound of the pickups. This is a highly innovative design by Fender and comes with some updated colors new to the American Deluxe series: Mystic 3 color sunburst, Mystic Ice Blue, and Mystic Black. These guitar feature Noiseless pickups, a modern C compound radius neck, a wallet for the personality cards, and a maple or rosewood neck depending on the version.

Fender has found a way to capture its timeless tone and history with their anniversary models, while pushing the envelope of innovation with its American Deluxe Plus guitar. They have now opened the door to numerous tonal possibilities with the advent of the personality cards, which afford players the ability to save time and the hassle of soldering, while expanding their ever-changing tonal palette.

This is a guest post by Stephen Rose

The Gibson Frank Zappa Roxy SG is a faithful recreation of the guitar that Zappa played throughout the early 70’s, and most notably, the Roxy concerts in December of 1973. This guitar is equipped with some modifications that, while minor, do a great deal to enhance the playability and tone. The Roxy SG is comprised of a Grade A mahogany body and neck, pearloid dot inlays, a Maestro vibrola tailpiece, and two toggle switches for coil tap and out of phase options that adds to the tonality of the over-wound 57 classic pickups.

I demoed this guitar through a Fender Hot Rod Blues Jr. with a Tube Screamer clone and a Fender Mustang I to try out a variety of presets. First, through the Fender tube amp, this guitar sounded flawless and had an overall warmth and the classic Gibson tone that is expected and sought after. When I added some overdrive, I felt the guitar come into its own, especially with both toggles engaged and the pickup selector in the middle position. I have found that this is the sweet spot for the guitar in both clean and overdriven settings. The guitar stays in tune quite well when using the vibrola to accentuate notes. It really is not intended for dive bombs and you will find yourself retuning the guitar shortly after going bar crazy. Next I tried the guitar using the Fender Mustang to see how it held up through a number of different amp models and effects. I dialed in a scooped Mesa Boogie type setting and the guitar sounded great. The next setting I tried was a clean shimmery chorus sound and I very much enjoyed the sounds I was able to get while adjusting the toggles with both the bridge and neck pickups. The placement of the toggle switches do not interfere with playing and I never found myself turning them off or on by accident.

It is important to note that this guitar is easy to play. It has very low action and, along with the slim, unpainted neck, you will be flying up and down the fretboard. The only other guitar I have owned that had this sort of low action and fast neck was an Ibanez Jem. Fret buzz is always a concern when playing a guitar with low action, but luckily there was not any fret buzz to be concerned with and this one was set up very well out of the box.

If your amp setting is bass heavy, I would suggest dialing down the volume on the guitar in the neck position to avoid a loss of desired tone or an added muddiness to your sound. Every player will have their preferences when it comes to “their sound” and I have found that this guitar is versatile enough to be considered an addition for anyone looking to expand their arsenal with a well built guitar full of tonal variety. This guitar is limited to 400 pieces worldwide and, while they are still available, I do not expect that to last through the end of the year. It is already listed as Out of Production on Gibson’s website. As a bonus, a copy of Frank Zappa & the Mothers Roxy & Elsewhere CD is included with each instrument.