Building innovation on the solid bedrock of PRS Core model design, the PRS Wood Library program now opens the floodgates for our resident guitar gurus to guide conception of unique wood combinations - created especially for the discerning player that insists on the best - but maybe "wants it a bit different, and not like the rest".
Here at Chuck Levin's, our experienced and intrepid guitar-slinger experts morph very quickly into creative guitartists (guitartisans?) who know well your Quest. Traveling far from this metropolitan area, we explore the depths of Paul's Vault, and enter the Wood Library. With lanterns held high, we proceed with a singular focus. We know what we want. Our otherwise solemn and introspective silence ends abruptly in astonished delight, as we uncover what are the choicest, most amply bonificent examples of every single specific wood and grain pattern we'd hoped to find, all of it superior in quality, and now available to our customers.
For example - the Custom 24 model comes stock with mahogany back, maple top, mahogany neck and a rosewood fingerboard. As we create our Wood Library Custom run we could swap that mahogany back for korina, or swamp ash, or maybe instead of swapping the Custom 24’s standard mahogany back, we'd choose to swap the mahogany neck for maple - or for rosewood, or anything else inside the Wood Library. Choice is good.
ALWAYS A PLEASURE
Throughout hand selection of woods, and the creative process, combining the Maple, Mahogany, Korina, Rosewood, Swamp Ash, Ebony and perhaps even a few woods that no one can ever pronounce correctly, we take enormous pleasure in offering a tastefully individualized group of PRS core models that we truly feel our customers can appreciate.
WHY DO I LIKE THIS ONE ?
This Wood Library model is set apart first by it's Brazilian rosewood fingerboard and ebony headstock overlays. The exceptionally comfortable, highly flamed (Artist Grade) maple neck is stained to match the front of the instrument. The hand selected maple top is gorgeously figured and stained an unusual and attractive custom color, which is solidly paired with back woods of nicely grained, lightweight swamp ash. The guitar aesthetic completes with the Black Smoke/Gold hybrid hardware package. Mmm.
The guitar is built with a singular focus to quality, and more - to convey a feel of remarkable permanance, of history now held in your hands. The guitar should feel immediately like home, and welcome you there each time you hold it. Does your guitar do that? And can your guitar really field everything you ask it to do?
COMFORTABLY ASYMMETRICAL NECK
Perfection isn't symmetrical. As you ascend, the McCarty 594's rear carve becomes ever slimmer toward the heel of the neck affording your hand the ease and speed right when and where you need it.
Key specifications contributing to a McCarty 594 model's tone and feel are:
A 24.594” scale length, just slightly longer than 24.5” and where the model gets its name.
58/15 LT pickups. LT, meaning low turns, which give the guitar a warm, clear tone.
2 volume and 2 tone controls positioned so players can roll off both volume knobs at the same time.
The added versatility of push/pull coil taps for each pickup for more tonal options
A Pattern Vintage neck carve, which shares the same width measurements as PRS’s Pattern neck but is slightly thicker front to back and features an asymmetrical carve with a little less meat on the treble side and a little more meat on the bass side of the neck.
Tweaked Phase III tuners have an added set screw that pulls the tuner’s gear and worm together while “locking” over the worm to prevent slipping, to promote tone transfer from the string directly into the guitar with as little energy as possible being detracted. The tuner functions identically to standard Phase III tuners for re-stringing.
"The 594 is the best new guitar I've played in years. It has a vintage heart and soul but without the technical limitations that usually come along with an old instrument. What good is an old guitar if you can't get all that feel out of the upper frets, or the intonation is off? To hear that old PAF sound but be able to articulate the notes in a way that only modern manufacturing could allow is so exciting." – John Mayer