PRS factory tour - what to look for?

[countertext]

On little notice I'll find myself in Annapolis tomorrow, and PRS had one spot left on a factory tour. It's only 1.5hr, but I hope to see something interesting. Anyone done it before? Wondering if there's anything particular I should look out for.

[Artslap]

Unsupervised guitars.

Only kidding.

CP.

[cmatthes]

I've toured the Stevensville factory dozens of times over the last twenty years - just enjoy it!

If you get the chance, try to see the Private Stock area - it isn't always available during tours, but well worth it to see the incredible artistry from a few incredibly talented individuals.

[wproffitt]

Check out the wood library if they let you. I once changed my son's diaper in that room and the wood was AMAZING!

[countertext]

Dang, man, y'all didn't tell me no photos were allowed!

So all PRSs except the SE line really are made in one building in Maryland. I saw it for myself. I don't actually like PRS guitars that much - the necks have always felt too thin and the woods have always been too gaudy... plus the headstock silhouette is offputting.

That being said, holy crap! That joint was loaded with so much amazing wood I could hardly believe it! Hundreds and hundreds of flame and quilt maple tops, thousands of juicy mahogany blanks, two huge pallets of unbelievably buttery korina...

I got to see the wood library - it's part of an upper floor where graded blanks and tops are arranged so buyers can come and choose sets for limited runs. More killer korina up there! Interestingly, there was a very neatly stacked mountain of SE models in cardboard boxes next to it. All of them come to Maryland from "overseas" (the tour guide was evasive about the specific location, presumably China) for checks and setups. This was proven in a separate pile of guitars that had failed inspection for various reason, some (cosmetic fails) destined to be floor models and music school donations, and many more headed for the table saw.

The main floor was crowded. We were told that the roof over the paint shop area collapsed last winter, and repairs have just been completed, so many benches are not in preferred locations until they can rearrange. This means we saw the Private Stock folks at work (ridiculous inlays and such) and the acoustic area (idle at the moment, but lots of sweet rosewood and spruce). We didn't get to see the pickup shop, but we met Doug Sewell in the amp shop.

There were a hell of a lot of people working really hard on the guitars. Big cuts and shaping were being done in CNC machines, but there was way more hand work going on than I ever would have expected. They all seemed very focused and there were plenty of solid looking axes hanging around. I even tried a Vela model afterwards, and the neck felt better (thicker) than any other PRS I've ever played. I wouldn't be embarrassed to gig one.

If you're going to be near Annapolis on a Tuesday or Thursday, email them and arrange a tour. It is free and extremely interesting.

[Danley]

Also not PRS's biggest fan; not my sound/look/place/era, but I respect them and wouldn't kick one out just because.

Super cool tour, I'm really curious about what happens to the weeded out SE's, and what's wrong with them that causes them to get rejected... I remember that line being pretty quality so they do something worthwhile.

[Artslap]

I've got a Custom 22 and seriously it's the best overall guitar in terms of set-up/action/ergonomics/feel/geometry/proportion that I own.

I use it as a reference for everything I build. Not to copy, but to refer to.

Everyone should own at least one PRS.

CP.

[wproffitt]

You're right about the tour. Everyone seems pretty focused and most seem genuinely enthusiastic about their work. There are a lot of human hands touching those guitars during the process. Despite all the CNC, a lot of the processes still need to be learned by feel. They make a remarkably consistent product and I'd be proud to own a Mira or S2 standard 22 someday.

[RBJM]

I’m hoping they resume the tours soon. I have a CE24 (in solid black) and a Tremonti. Beautiful guitars and great action.

[Embenny]

I don't actually like PRS guitars that much - the necks have always felt too thin and the woods have always been too gaudy... plus the headstock silhouette is offputting.

I hear you on the headstock, but my S2 Vela had a delightfully full C shape neck, thicker than any of my Gibsons and any of my Fenders other than my baseball bat Tele.

Also had the best fretwork of any guitar I've owned. The neck was really the only thing I loved on that guitar. I got it in a big trade deal and eventually moved it on, but the one thing I can say about it is that the neck was absolutely phenomenal.

[OffYourFace]

I've never owned a PRS but I've always wanted to...

Interesting that you thought the necks were thin. It's been many years since I picked one up but I always thought their necks were based on late 50s Gibson Les Paul Juniors and Specials.

[sessylU]

I'd have asked to see the prototypes for the Silver Sky where they spitballed different design ideas and body shapes...

I've never liked PRS guitars because of the terrible music that was made with them when I was discovering guitar culture in my teens. But any that I've played I've begrudgingly loved.

[BoringPostcards]

I love the Vela model. I am not a fan of the music they’re associated with, but they make lovely guitars.
This thread was from 2016. Hell of a necropost that nobody noticed.

[Unicorn Warrior]

I have no shame to say that I absolutely love the look of some of the PRS guitars and would absolutely own one. Actually GAS for certain models all the time. Mostly because Noel Hogan from The Cranberries used them a lot.

[Embenny]

I love the Vela model. I am not a fan of the music they’re associated with, but they make lovely guitars.
This thread was from 2016. Hell of a necropost that nobody noticed.

Yeah, I totally missed the necropost.

Man, I had such a complicated relationship with my Vela. In so many ways, it seemed like I should love it. Offset, contoured, lightweight, chunky neck, amazing fretwork, medium scale length, and even came to me with killer pickups (a Creamery Firebird in the neck and Baby '71 WRHB in the bridge).

But I just couldn't bond with it. Maybe it was my PRS headstock allergy acting up. Or the fact that it was solid white, and I had too many boring black and white guitars already. Or maybe it was the weird looking brass bridge with too few saddles for my liking. It's probably just that it was redundant in my collection, since I already had medium-scale set neck guitars with Firebirds and humbuckers already that I was more sentimentality attached to.

I still look back fondly on it even though I rarely played it. I kept feeling like I should love it, since it was so "me" on paper, and played so nicely. But something just never sat right with me, and I never figured out exactly what it was.

But I can 100% see why someone would be over the moon in love with it. It's a very nicely designed and well-made guitar, and they go for absolutely stupid prices used, at least locally. They're easily on par with Fender's best US-made lines, but you can pick one up used for MIM Fender money. And mine was hands down superior to any MIM Fender I've ever played.

It was the type of middle-ground guitar that I would have killed for back when I could only afford to keep one or two guitars. If it had existed back when I bought my hardtail Jaguar HH Special as my second electric guitar, it would have been a superior choice in every way. I have diverse enough guitars now that I don't really need that kind of middle ground anymore. Tone wise and feel wise, I already had other guitars that did the same thing.

But man, that neck. It felt like a dream to play.