At Heartbreaker Guitars, we pride ourselves on curating only the finest instruments that resonate with the soul of every musician. The Sheeran by Lowden Stadium Edition stands as a testament to our continuing commitment to quality and innovation.
Craftsmanship Beyond Compare
Step into the realm of unparalleled craftsmanship with the Sheeran by Lowden Stadium Edition. Each guitar is meticulously handcrafted by skilled artisans at the renowned Lowden Guitars workshop, made only in Downpatrick, Ireland where tradition seamlessly intertwines with innovation. The result? A masterpiece that transcends mere musical instrument status, becoming an extension of the artist's soul.
Sonic Brilliance
Prepare to be enraptured by the sublime tones emanating from the Stadium Edition. Built with the finest tonewoods, including Indian Rosewood back and sides, coupled with a premium Sitka spruce top, this guitar delivers a rich, resonant sound with exceptional clarity and projection. Other features include Maple and Rosewood binding, Sitka Spruce bracing, a dovetail neck joint, polyurethane lacquer finish, LR Baggs Element VTC pickup, Goto 510 tuners, Lowden 12 - 53 strings and a Hiscox Pro II Hard Case. Whether you're strumming gentle ballads or unleashing fiery solos, the Stadium Edition responds with unwavering precision, allowing your creativity to soar to new heights.
Unrivaled Comfort and Playability
Crafted with the performer in mind, the Stadium Edition boasts a sleek and ergonomic design that ensures optimal comfort during prolonged playing sessions. The Lowden 5 piece Mahogany and Rosewood neck profile offers a perfect blend of stability and playability, allowing for effortless fretboard navigation and fluid chord transitions. Whether you're performing on stage or unwinding in the studio, this guitar becomes an extension of your musical expression, empowering you to deliver your best performance yet.
Exquisite Aesthetics
Beauty meets functionality in the stunning aesthetics of the Stadium Edition. From the intricate, original signature from Ed Sheeran that you'll find on all 150 of these limited edition guitars, every detail exudes elegance and sophistication. The understated yet striking design is a testament to the harmonious marriage of form and function, ensuring that this guitar captivates both the eyes and ears of all who behold it.
Limited Edition Prestige
As a Limited Edition release, the Stadium Edition embodies exclusivity and prestige, making it a coveted addition to any discerning musician's collection. Each guitar is signed by both Ed Sheeran and George Lowden, further enhancing its collectible value and historical significance. With only a select number available worldwide, owning a Stadium Edition is not just a privilege—it's a statement of dedication to the art of music.
This new offering of guitars is built from premium materials previously reserved for the Lowden Guitars range. A hand-craved soundboard features a newly developed "Stadium Voicing" carve that ensures incredible projection and clarity while minimizing the risk of feedback.
Experience the Sheeran by Lowden Difference
In a world where mediocrity reigns supreme, the Sheeran by Lowden Stadium Edition stands as a beacon of excellence, redefining the boundaries of acoustic guitar craftsmanship. Whether you're a seasoned professional or an aspiring artist, this instrument invites you to embark on a sonic journey filled with passion, inspiration, and unparalleled musicality.
Join us at Heartbreaker Guitars as we celebrate the arrival of the Sheeran by Lowden Stadium Edition—a symphony of craftsmanship, innovation, and artistry that transcends the ordinary and elevates the extraordinary. Unleash your musical potential and experience the Sheeran by Lowden difference today. Quantities are limited and available for pre-order as of today (02/26/24). Check out our listing here: https://heartbreakerguitars.
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Nik Huber Guitars, a harmonious blend of artistry and precision, found its roots in 1996 under the skilled hands of master luthier Nik Huber. This revered establishment has emerged as a beacon of artisanal excellence, shaping the landscape of guitar craftsmanship.
Originating in the heart of Germany, Nik Huber Guitars has embarked on a remarkable journey, evolving into a boutique guitar manufacturer celebrated for its dedication to perfection. The workshop's legacy is marked by the creation of exceptional instruments, each born from a fusion of skill, passion, and an unwavering commitment to quality.
What sets Nik Huber Guitars apart is not just their origin, but the meticulous approach to craftsmanship that defines every piece emanating from their workshop. With a current output of approximately 75 guitars per month, each instrument is a masterpiece, meticulously sculpted to embody the pinnacle of attention to detail.
The hallmark of Nik Huber Guitars lies in their meticulous attention to detail, where every curve and contour is a manifestation of a deep understanding of both the instrument's history and the evolving needs of modern musicians. The fusion of traditional craftsmanship with cutting-edge design results in guitars that not only sound exceptional but also exhibit an aesthetic allure that captivates both players and collectors alike.
The extensive range offered by Nik Huber Guitars encompasses a diverse selection, ranging from classic models that pay homage to the rich heritage of guitar-making to bespoke, custom creations that push the boundaries of innovation. Each instrument is a unique expression, crafted with high-quality materials such as select woods and metals, ensuring not only sonic excellence but also durability and longevity.
Nik Huber Guitars continues to be at the forefront of the industry, with a commitment to evolving their designs, embracing new technologies, and fostering a community of passionate musicians.
Heartbreaker Guitars is thrilled to announce that we will soon be showcasing Nik Huber Guitars in our Las Vegas showroom. As a company dedicated to offering the finest instruments to our customers, we recognize the unparalleled craftsmanship and unique designs that Nik Huber Guitars bring to the table.
This is the Nik Huber Dolphin II Tigereye Burst, featured at NAMM in the winter of 2024. Master Grade Flamed Maple top with a beautiful Flamed Mahogany back. You can see this beauty HERE!
Visit Nik Huber Guitars' website at nikhuber-guitars.com to delve into the rich history and explore the exquisite lineup. Join us at Heartbreaker Guitars as we bring the artistry of Nik Huber Guitars to music enthusiasts in Las Vegas, adding a touch of German precision and passion to our curated collection.
]]>Reverend Guitars, under the visionary leadership of founder Joe Naylor since 1997, has significantly influenced the musical instrument industry. Renowned for seamlessly marrying tradition with innovation, the company has become a symbol of excellence in guitar craftsmanship. The global recognition garnered by Reverend Guitars is a testament to their commitment to unique designs and uncompromising quality. This recognition extends beyond the instruments themselves, encompassing the entire ethos of the brand. Reverend's dedication to pushing the boundaries of guitar design has resonated with musicians and enthusiasts worldwide.
What sets Reverend apart is not only their commitment to innovation but also the meticulous craftsmanship that goes into each instrument. The guitars are exclusively crafted at the Roberto-Venn School of Luthiery, an establishment known for its commitment to excellence in guitar making. This choice reflects Reverend's dedication to precision and attention to detail, ensuring that every instrument bearing the Reverend name meets the highest standards of quality. In essence, Reverend Guitars has etched its legacy by being a pioneer in the fusion of tradition and innovation, delivering instruments that are not just tools for musicians but works of art that inspire creativity.
Reverend Guitars takes pride in its extensive and versatile product line, addressing the unique needs of musicians across diverse genres. The company's commitment to catering to a wide range of musical preferences sets it apart in the competitive market.
Tailored to Your Taste: Reverend Guitars offers a tailored experience for musicians, ensuring that whether you are a rock enthusiast, blues virtuoso, or jazz aficionado, there's a Reverend guitar designed to complement your specific musical preferences.
Innovative Design: Reverend instruments boast innovative designs that go beyond traditional guitar models. The company is known for pushing boundaries in guitar aesthetics and functionality, providing players with instruments that stand out both visually and sonically.
High-Quality Materials: Using high-quality materials is a hallmark of Reverend's commitment to craftsmanship. From the choice of woods to the selection of hardware, Reverend ensures that each component contributes to the overall quality and performance of their guitars.
Meticulous Attention to Tone: Reverend Guitars places a strong emphasis on achieving the perfect tone. The meticulous attention to detail in the construction process ensures that each instrument produces a distinctive and exceptional sound, meeting the discerning standards of professional musicians.
Heartbreaker Guitars is thrilled to announce that we will soon be carrying Reverend Guitars in our Las Vegas showroom. Renowned for our commitment to providing musicians with exceptional instruments, Heartbreaker Guitars aligns seamlessly with Reverend's ethos of quality and innovation.
Stay tuned for the arrival of Reverend Guitars at Heartbreaker Guitars – where musical passion meets unparalleled craftsmanship!
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Another special guitar from Paul Reed Smith is headed to Heartbreaker Guitars! Based around the immensely popular Silver Sky series, John Mayer and PRS have put their collective energy together to produce a new spin on the Silver Sky, inspired by Mayer’s tenure with the supergroup Dead & Company. These guitars are meant to reflect Mayer’s preferred build as well as Jerry Garcia’s quintessential guitar tones that made the Grateful Dead so distinct. Only 1,000 of these special “Dead Spec” Silver Sky models will be produced, and players can expect the playing experience to be reminiscent of the rest of the Silver Sky line, with some added benefits that make this one of next year’s most desirable.
Typically built with a solid Alder body, the “Dead Spec” models trade out the Alder in favor of Swamp Ash with a Satin Nitro Moc Sand finish. The Maple neck is PRS’ 635 JM-R with a radius of 71⁄4”, a 1 21/32” nut width, and a Rosewood fingerboard adorned with the signature PRS Bird inlays. The standard steel tremolo bridge has been traded out for a new Gen III surface-mounted hardtail bridge, adding some extra depth and definition to the instrument, along with a brass nut and retainer bar at the other end. As the cherry on top, these “Dead Spec” models are equipped with a brass plate Alembic Blaster preamp, which can be used as a boost function, or to simply drive some more power and energy into the player’s neutral tone. An internal pot allows for the gain to be manipulated between 3-14 dB at the player’s preference.
When it comes to S-Style SSS guitars, the Silver Sky has proven itself a formidable successor and ode to famous guitars of previous generations, delivering those crisp, vintage tones associated with the late 60’s and early 70’s. These “Dead Spec” models look to be a fantastic next step for these instruments, giving us a few added bonuses on top of a tried and true formula.
Don’t miss out on your chance to pre-order one of the Paul Reed Smith “Dead Spec” Silver Sky models!
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https://heartbreakerguitars.com/collections/breedlove-guitars
Over the past few decades, Breedlove Guitars has established itself as the premier builder of Myrtlewood guitars, and they continuously come up with new and striking finishes for their US-made Oregon Series. This new Stormy Night finish captures the exotic grain of Myrtlewood in a particularly beautiful way, rendering a set of instruments that look as formidable as they sound.
As Breedlove describes, the Stormy Night finish blends shades of blue, black and grey, meant to evoke the captivating night skies of Arizona in the midst of a desert lightning storm.
As part of the Oregon Series, these guitars are available in the Concerto, Concert, Concertina and Companion sizes. Built and voiced by hand, constructed with premium Oregon Myrtlewood, bearing a new and unique finish that could only come from Breedlove, the Stormy Night Oregon Series guitars are visually striking with a versatile, professional acoustic tone. Check them out today!
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The Eastman sound, in many ways, seeks to refine and improve upon the various techniques of guitar building that have developed throughout time. After a number of years crafting only orchestral string instruments, CEO Qian Ni made his foray into the guitar world with a selection of archtop guitars and mandolins in the early 2000’s, moving on to steel string flattops later in the decade, eventually releasing Eastman’s first thinline and solid body electric guitars between 2012 and 2016. The entirety of Eastman’s product line is held together by a unifying thread: each guitar is fully handmade. While the debate rages on concerning the quality of mass-produced guitars versus their handmade counterparts, there is no denying that handmade guitars are given the opportunity to undergo a much more thorough, conscious process of assessment, allowing for more time and care in the assembly and giving the guitar a unique voice. We spoke to Eastman specialist Steve Bernstein about the current state of instrument construction and how Eastman’s philosophy hearkens back to a previous era of guitar building, taking influence from 1930’s-era designs and recontextualizing them for the modern landscape of guitar players. “In a day and age where everything is so automated and so many guitars seem to be exactly the same as others, it’s refreshing that there is a company like Eastman that still has an old world approach to how we build things. Even when the time comes that everyone else will be using the latest A.I. technology, we’ll still be in our workshop with a hammer and a nail.” As Mr. Bernstein explains it, Eastman’s primary motivation lies in the idea of continuously improving upon their existing products while keeping them at a reasonable price, a message that seems to be fully realized by patrons and ambassadors alike. From the PCH1 all the way to the AC922CE, guitarists seem to be unanimous in their praise of the instruments, as well as the partial disbelief that an instrument of such quality could be so affordable. That said, let’s take a look at some of the Eastman models we have in stock here at Heartbreaker.
The AC622CE
The AC models from Eastman are built in the Grand Auditorium shape with a cutaway. The 622 sports a solid European Spruce top over a solid Flamed Maple back and sides, and the examples of Flamed Maple used on these guitars are consistently gorgeous. Complemented by a Maple neck, Ebony fingerboard and bridge and figured Maple binding, this guitar has undeniable style. This guitar is also laden with premium inclusions such as a Maple arm bevel, a 1½” sound port on the side for self-monitoring, Gotoh SG301 tuners, a striking Abalone maple leaf inlay on the fretboard and headstock and an LR Baggs Element EAS VTC pickup. At a price of only $1,969, the AC622CE is the perfect guitar for those looking to acquire a premium instrument without breaking the bank.
The E8OM-TC
Eastman’s Orchestra Models are incredibly focused, with a very direct, midrange oriented tone. Featuring a classic combination of solid Thermo-Cured / torrefied Sitka Spruce over solid Indian Rosewood, the E8’s tone has an unmistakably warm overlay across its tonal range, while delivering a growly punch to the mids that renders an incredibly responsive sound overall. The aesthetics of the guitar are modest yet perfectly suited for the vibe of the instrument. Featuring a Mahogany neck, an Ebony fingerboard and bridge, a pearl dot fingerboard inlay and Pingwell V93N machine heads, the E8 stands up beautifully against any other OM.
SB59
Designed in a familiar shape, the SB59 is available in three distinct finishes: Redburst, Goldburst and Sunburst. This solid body electric, rigged up with two Seymour Duncan ‘59 humbuckers, yields a powerful tone fit for any genre, conceived as a callback to solid body electrics of the late 50’s and early 60’s. Whether it is being run through a clean or distorted channel, this guitar produces a wonderfully rich, expansive tone with heaps of sustain and clarity and with its slightly-less than 1¾” nut width (1.68” at the nut), the playability and traversal up and down the neck is notable. With solid Flamed Maple atop a Mahogany body, a one piece Mahogany neck, an Ebony fingerboard, Gotoh SD90 machine heads, and Pearl Crown fretboard inlays, the SB59 has proven itself a formidable addition to Eastman’s line of solid body electrics.
T486
Available in the Classic, Red, and Goldburst finishes, the T486 is a versatile thinline semi-hollow electric guitar with a dual humbucker configuration that produces a dark, broad tone. With a Seymour Duncan Jazz pickup at the neck and a Seymour Duncan ‘59 at the bridge, the T486 flourishes in any playing style, from Jazz to Blues to Hard Rock. The body, beautifully constructed with a Flamed Maple laminate, sits comfortably in the player’s arms and the fast neck allows for quick movement between the low and high register. Due to its semi-hollowbody construction, the T486 creates a noticeably resonant sound replete with a responsive attack and long sustain. Its quality of design is further realized by the Maple neck, Ebony fingerboard, 1.72” width at the nut, Pingwell RM1239-NV machine heads, and its Pearl Split Parallelogram fingerboard inlays, rendering an instrument with indisputable elegance in its looks and its tone.
Check out our current stock of Eastman Guitars today, and be on the lookout for more arriving soon at Heartbreaker Guitars!
]]>For those familiar with the standard versions of the Model 1, these instruments will be generally familiar in terms of their playability and technical aspects. Each of the ten pieces comes equipped with Turner’s full electronics package. This includes the rotatable Turner Hot Humbucker paired with the LR Baggs Piezo Bridge, a Parametric EQ with sweep control and a 12dB boost / cut function, a coil split function and a blending knob to seamlessly switch between the magnetic and piezo pickups.
As for how these Heartbreaker Featherweights differ from their standard counterparts, the Featherweight Model 1’s are notable for their decidedly more vibrant, responsive attack, mainly due to the employment of a Cedar core. While the Model 1’s standard Mahogany core generally provides a bit of a more robust, midrange oriented tone, the Featherweight’s Cedar core gives the instrument a more resonant, acoustic tone with plenty of accentuation in the top end. Additionally, the instrument weighs in at about 5.5lbs, a little over 2lbs lighter than the standard Model 1. Each of these ten Featherweights is capped, front and back, with either Ziricote or Maple, in either Satin or Gloss finish. All of these Featherweights come with a one-piece Mahogany neck, a Royal Blackwood fingerboard, and the Planet Waves Auto-Trim Locking Tuners. A select few of these instruments will also be given a special Sunburst finish. Needless to say, each of the ten Heartbreaker Featherweights will have its own unique character and design and serve as a reflection of our gratitude and appreciation for the influence, innovation and benevolence of Mr. Turner throughout his life.
The Heartbreaker Featherweights are a perfect encapsulation of all of Rick Turner’s cutting-edge ideas and building philosophies, and we are proud to finally present them to the world.
Thank you for everything, Rick. We truly miss you.
In 2022, Heartbreaker Guitars will begin carrying models from Breedlove Guitars, as well as Bedell Guitars. Both companies are immensely accomplished, bring beautiful products to market and possess a high level of commitment to the quality of their build, the high-grade materials utilized and how their guitars represent their respective companies as a whole. Breedlove and Bedell’s guitars embody the passion that we have for finely crafted guitars that aim to push the boundaries of what an acoustic instrument can be and the consistent pursuit of the ultimate tone. As we begin a relationship with these fine companies, we would like to give you some background information and history on how Breedlove and Bedell got to the point that they are at today.
Based in Bend, Oregon, Breedlove Guitars was established in 1990 by former Taylor Guitar luthiers Larry Breedlove and Steve Henderson. Due to the market for custom acoustic guitars reaching a new height of interest at that time, the two decided that it was a perfect time to begin bringing their visionary designs to life. Aiming to advance the current scope of what acoustic guitars were capable of, they hyper-focused on their build quality, employing high-grade tops, a signature asymmetrical headstock design, winged bridges, bridge trusses and other premium components that all came together to create a unique line of custom, high end fingerstyle instruments. When Larry’s brother Kim Breedlove, a master luthier, joined the team and began to broaden the range of design, sonic capacity and the fine-tuning of certain assembly practices, the company was brought into a completely different realm. Noteworthy for their employment and popularization of Oregon Myrtlewood as a tonewood, they soon began to develop their unique space in the acoustic guitar community. Myrtlewood, as described by Breedlove on their website, “combines the best elements of Rosewood, Mahogany and Maple; rich bass, warm mid-range and clear, bright trebles.” As of 2022, Breedlove offers four distinct body styles that each have their own unique voice and can be used in the context of a multitude of genres and applications. From largest to smallest: The Concerto, with a 25 ½” scale and a 16”lower bout; The Concert, with a 25 ½” scale and a 15” lower bout; The Concertina, with a 25” scale length and a 14 ¾” lower bout; and The Companion, a travel-sized guitar with a 23 ½” scale length and a 13.53” lower bout. With a keen sensibility for the use of sustainable materials, Breedlove refuses to use clear-cut woods in their guitars, only employing sustainably sourced tonewoods. Breedlove also boasts a fine array of notable artists who stand behind their products; Lisa Loeb, Ed Roland of Collective Soul, Jim James of My Morning Jacket, and Jeff Pilson of Foreigner all stand behind Breedlove as quality products.
Along with Breedlove, Bedell Guitars will also be joining the lineup here at Heartbreaker. Bedell Guitars was founded by Tom Bedell in 1964, after his enthusiasm and passion with the state of guitar building and providing talented instrumentalists with quality products had piqued. However, Bedell decided to turn his attention to other ventures and business opportunities, eventually relaunching Bedell Guitars in proper form in 2011 after acquiring Breedlove Guitars in 2010. The company has a strong set of principles when it comes to the specifications of their design, build process, the quality of their materials and tonewoods and their environmental impact. They refuse to use wood from clear-cut trees and their materials are sourced in ethical ways. In their own words, “The Bedell Custom Shop is home to the world’s largest collection of fully documented, legally transferable Brazilian rosewood among its broad assortment of premium tonewoods… each, hand voiced and Sound Optimized to deliver custom builder sound and tonal balance. From the individually shaped and fit pre-war dovetail neck joints to hand chiseled X-brace tonebars, every dreadnought, orchestra and parlor is truly handcrafted to achieve superior bench builder sound.”
These two companies hold themselves to incredibly high standards and have been bringing high quality, unique products to market. We are very proud to begin a relationship with these fine guitar companies and look forward to what they will be introducing in the future!
As of March of 2022, our new guitars have started to arrive! Check out these incredible, brand new Jeff Bridges Organic Signature Concert Copper E models! Featuring all-solid tonewoods, a torrefied European Spruce top and African Mahogany body, these guitars are striking in person. The unique "All in this together" inlay in the African Ebony fingerboard finishes off the beautiful look of these two brand new guitars from Breedlove. Check 'em out!
Keep an eye on the Heartbreaker Guitars website for brand new models from Breedlove and Bedell Guitars!
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the collaboration.
Grammy award winning artist, John Mayer, already having an accomplished career, was scheduled to join former members of the Grateful Dead as a member of a new group called Dead and Company. Instead of searching for the perfect instrument, Mayer sought after creating his guitar from scratch – one that would be exactly what he needed for the new gig. Having recently parting ways with Fender, John was put in touch with Paul Reed Smith. “I’m not talkin’ shit. I never talk shit,” Mayer says. “It’s just musical chairs. You don’t know who to call. [With PRS] I get to call the guy who’s name is on the guitar and we get to build stuff together. That’s too cool. That’s something I appreciate, and that’s something that anybody picking up this guitar or any guitar in the future should appreciate, because it opens up a direct connection between the artists and the guy who designs the guitars.”
This Masters collaboration first yielded the now famous Super Eagle (and Super Eagle II). The guitar had a unique 25.375” scale length, a first for PRS Guitars. Also particular to the model were specially wound 58/15 Treble and Bass pickups, 3 individual coil-tap mini switches and a built-in JCF preamp with treble boost. The design turned heads, to put it mildly, and has already become a collector’s item around the electric guitar world.
inspiration and turmoil
John Mayer has made it public for some time now that his instrument of choice for as long as most can remember is the 1964 Stratocaster. With a price tag seen exceeding $20,000 at times, the classic sound John has made his own is unobtainable for the masses. This would be the inspiration for both Paul Reed Smith and Mayer; to not only recreate that iconic sound and familiar body shape, but to also take a classic guitar and both update and modernize it, all while retaining the intimacy guitar players across the globe already have for the traditional Stratocaster. “It’s been a dream of mine for years to design a guitar that includes some of my favorite vintage specifications but with a modern spirit and aesthetic,” says Mayer. “After two years of study and refinement, the Silver Sky is my vision of what a reboot of the electric guitar should look and feel like.”
When word got leaked to the public that Mayer was not only tampering with an iconic design, but doing so with Paul Reed Smith, the internet blew up. With only headlines and rumors to go on, the keyboard warriors drew their virtual guns and aimed to kill. The idea of recreating the Strat, modifying a legend, tampering with perfection – Before the Silver Sky had even entered it’s third trimester, the congregation had it marked as an outcast. While Paul and John weren’t expecting such a swift and disappointing return, neither were slow to provide the missing information for those so hasty to condemn.
It’s understood that copying the design of an existing product and then calling it your own is a practice that’s rarely healthy for any situation. However, it’s common knowledge that the Stratocaster is not only the most replicated electric guitar body style in the world, it’s also considered generic, by a legal stand point, and while replicating it may have some moral boundaries, on paper, any company has the right to create their own Strat. In a 40-minute live stream, Mayer explained a lot about the guitar to put his audience at ease, and to be honest, he did an incredible job.
“This has a lot to do with taking what my favorite ’64 Strat is. Taking the overall sensibility and tone of that guitar and giving it to people so that it becomes not something that's impossible to get for most people. I just love the idea of bringing it down to a place of accessibility for people. And I think to a certain extent, that’s really happened. Paul is a scientist as much as he is an artist… Again, this guitar is based off the Strat. I think if people understood that I'm admitting that - yes, I have played a Strat for such a long time in my career that it didn't make sense to me personally to look down and see a different shape, and I don't think other people would want to see a different shape…So here's the three places that you have to stick in between. You want to remain classic to a design that's almost synonymous with electric guitar. You want to innovate in a certain way so that you see something new. And you also want to respect the language of design that PRS guitars have. So, everything has to balance - this is all a game of balance. It's two years because of balance.”
two years
As with any note-worthy partnership, when word finds its way to the public that something exciting is on the horizon, people want to know when, when, when! An interview between Paul Reed Smith himself and Rene Martinez, long time guitar tech for John Mayer, provided a few answers to these questions during an interview in March of 2018. Several components of the guitar, which we’ll attack again here momentarily, took more than a few days to perfect. It’s said that more than 50 redraws were made of the headstock alone, with good reason. One of the first “whys” that came from critics is in reference to the non-traditional headstock shape, layout and orientation. Both perfectionists when it comes to their instruments, the end goal for Smith and Mayer was flawless intonation. To help achieve this, the decision was made to use a 3 and 3 configuration as opposed to an inline 6 for the tuners. The first few drafts sent to Mayer, while appealing, missed a mark for two reasons, and it was a bit of a ‘Eureka’ moment when John discovered what was wrong. The traditional Strat, which again, they did not want to remove the familiarity of, has a sense of balance where the flares of the body mirror the heavy and light sides of the headstock; they’re opposite. The initial proposed headstock for the Silver Sky didn’t accomplish that. Mayer photoshopped a later version of the headstock and flipped it, making the famous “scoop” of the PRS headstock now mirror the “scoop” of the body. It immediately gave the guitar a balanced, finished look and also contributed to the intonation efforts. In the final configuration, the strings now were equal angle and distance. In addition, Fender’s straight neck in comparison, is one of the major “fixes” the Silver Sky accomplishes. The precise angle of the headstock gives an equal angle to the nut for every string, eliminating the need for string trees, another improvement upon the traditional design.
The next thing that took a significant amount of time to tackle was the pickups. John’s request was to create a pickup that fell somewhere between a ‘63 and ‘64 sound and style. Let’s pause here a moment. This is a point where some may be inclined to turn up their nose, stop reading or get back to work. I personally understand the appeal of the cracks behind a classic vinyl track. At 15 years old, I remember wondering why anyone would choose a record over a CD when the quality is not comparable. How could I be hearing snaps and pops over this sorry excuse for stereo, while my Father sits cross-legged in his recliner, holding the sleeve to the Rumors album with his eyes closed only hearing the simple brilliance of Mick’s clean and precise finishing touches to a brilliant Dreams track? The answer is in the question. No matter how perfect the ‘new’ and the ‘better’ get, they’ll never replace the classics. We will always have the ‘57 Chevy. Now we have the 2020 Camaro. We will always have Grandma’s cast iron pan. Now we have a 6 quart crockpot. And we will most definitely always have the Fender Stratocaster. What we now have, is a new guitar, inspired by something that was and is great, and the result is the Silver Sky.
The pickups, yes, might have been the heart of a classic, but just like the static of a 45, those inside the classic Strat have their limitations. What the team wanted to eliminate was any inconsistencies between all five strings on all 3 pickups. This may sound like an easy task for a duo as experienced and established as Paul Reed Smith and John Mayer, along with their respective support staff, but this is an accomplishment that Fender had not attained, whether attempted or not. “There’s this long list on the internet of all the things you do to make these pickups,” Paul tells during an interview. “You use this kind of magnet, you do this kind of length, you do this kinda wire, this kinda coating, these kinda turns, this is how you pot it – It’s a big ‘ol list! Two of em… are dead wrong. But that took a long time to figure out.” And that’s as much as he’ll tell. Reviews are consistent across the board that the pickups are not just an improvement, but flawless.
retooled
In nearly every video after March of 2018, you’ll likely hear Paul Reed Smith say the word “retooled” a dozen times, often back to back. The continuing list of elements of this guitar that have been improved upon is extensive. We’ve spoken about the headstock and pickups, but the neck itself was another battleground in the PRS vs. the internet scuffle. For decades, many have steered clear of the 7 ¼ inch neck radius in Stratocaster style guitars with the belief that the size is limiting. News of the sizing left a plethora of negative feedback with users claiming the guitar had failed before it had even been released, that they’d narrowed their audience by giving the Silver Sky a neck that no player wants, and, at the top of the comments, that the guitar would not be suitable for solos, and that a company like PRS Guitars should very well know better. Paul’s response? He played a few licks himself, which sounded incredible. He’s no Mark Knopfler, but can play well enough to prove the radius isn’t an issue. Who IS Mark Knopfler, however, is Mark Knopfler. A select few guitar enthusiasts as well as a handful of music fans may have an ever-so-faint memory of a song called Sultans of Swing. Knopfler’s instrument during that iconic solo? You guessed it: 7 ¼ inch radius Stratocaster. I’ll spare you more examples, as one that bold is quite enough. But the straw that broke the camel’s back for the radius reviews is one that is not possible to argue with. The Silver Sky is not a “new standard” guitar. Nor is it an improved upon version of an existing PRS model guitar. This is the first of it’s kind, and created from the preferences of one man and one man only. The idea that John Mayer may have overlooked the neck radius being incompatible for his players is, to put it bluntly, dumb. Like every other piece of this guitar, the on-hand reviews quickly muffled the negative feedback and left many pleasantly surprised.
specs
Other items that have been retooled include the frets, pick guard and scoop shape. The body contour on the back side, the volume and tone knobs as well as the jack plate all went through numerous versions before landing on the version you see now. In 2 years, there wasn’t a part of this guitar that was left alone. Let’s take a closer look at the specs on what you’ll find on a 2019/2020 PRS Silver Sky John Mayer Signature Guitar.
The Silver Sky currently boasts an alder body, which many electric guitar aficionados are familiar with, both physically and sonically. Light weight and easily acquired from the West coast of the United States, red alder is a closed-pore wood, brighter than most other hardwoods, and supports sustain and attack incredibly. Alder is not known for its aesthetics, but more its versatility with its audible contributions.
The neck is made of the bight-toned maple, moderately weighted in comparison to other options, atop of which originally rested a rosewood fretboard, but now offers models with a maple fretboard as well. The rosewood option will have the traditional solid, inlaid birds that PRS fans know very well. The maple neck has a bit of an inverted appearance, with only the outlines of the birds being along the frets.
Sitting on the retooled pick guard are three, custom wound, single-coil pickups with master volume and two tone controls. The pickups have been appropriately named 635s, which stands for 63.5 – a split between the inspirational ‘63 and ‘64 designs. In Mayer’s promotional videos, he is always excited to share how improved the knobs are in both their feel and functionality. Where before rotating a tone knob may yield little to no response without making half a turn, the new Silver Sky knobs are audibly distinguishable between the slightest adjustments. Finishing touches include a bone nut, steel tremelo, vintage style, locking tuners and a special edition plate on the reverse side.
The new SE Silver Sky
Those familiar with the existing Silver Sky model will have to look beyond first impressions to find the significant changes with this new SE model. The SE Silver Sky has a poplar body, bolt-on maple neck, and rosewood fretboard with PRS trademark bird inlays. The 22-fret, 25.5” scale length neck features the original 635JM carve and 8.5” fretboard radius, which will make the SE Silver Sky feel familiar and comfortable. The SE Silver Sky is available in four colors: Dragon Fruit, Stone Blue, Moon White and Ever Green.
There will always be criticism when a name as large and well-known as Paul Reed Smith adds a new line of "budget-friendly" versions of an already existing product, but this move is just as good for the public as it is for the company. PRS has created an instrument that can compete with what many call the best of all time, and to now offer a version available to a much wider audience is simply great.
final thoughts
For any holding any doubts as to the sound, feel, or existence of this guitar, I encourage all to simply sit and play the thing for just a few minutes time. The immediate comfort and familiarity the PRS Silver Sky brings is not by chance, it’s by design. Through the efforts of Paul Reed Smith and the great John Mayer, PRS Guitars has created the Silver Sky and if you’ve got room for one more, I’d suggest everyone get at least one for their collection. I’ve tried to find a negative review online to balance the scales, and have come up empty. Some think it’s perfect, and some just think it’s great. I’d say we’re looking at a guitar that will be around for generations.
Heartbreaker is proud to carry PRS Guitars and try to keep a variety of Silver Sky models in stock, as quickly as they move. The SE Silver Sky guitars are available for pre-order starting today, January 11th 2022!
You can visit our Paul Reed Smith Collection page here, or skip ahead to each individual pre-order SE Silver Sky link below:
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Over the past couple of years, Rick Turner, as a company, has been designing and releasing stunning and unique special edition sets with unique appointments, premium-grade wood, and an incredible variety in appearance. Those who are familiar with our store may recognize the previous special edition sets and models that we have carried from Rick Turner, including the Legends in Lutherie collaboration between Rick Turner and Santa Cruz Guitar Company founder, Richard Hoover, the Icon Series, or the Redwood Series. Following that collaboration, Rick Turner Guitars announced that they were going to be commissioning a 10-set run of distinctive, incredibly special guitars that would come in pairs; one Model 1, and one Renaissance, both made of matching cuts of California Curly Redwood. Today, I am going to discuss many of the observable elements of Rick Turner’s fine flagship guitars and will also be giving a brief backstory of the California Series guitars, how they came to be, and why you will want to purchase one of these sets for yourself! In discussing the functionality of Rick Turner’s guitars, it only feels proper that we begin with the most recognizable: the Model 1.
The Model 1 is an absolute powerhouse of a guitar, in both its functionality and its visual design. Described as the “electric guitar for the acoustic guitarist”, the Model 1 taps into a part of the sonic range that many other electric guitars do not. Constructed with a genuine Mahogany body, this guitar produces an incredibly balanced tone with a bit of a spike in the upper mid-range to boost the responsiveness for fingerstyle players. The Model 1’s, though consistent in their quality, have quite a bit of variation when it comes to the added specifications of each guitar. A full list of upgrades can be tacked onto any Model 1, and anyone custom ordering their own guitar can choose to completely make this guitar their own. From gloss to satin finish, simple electronics to a complex selection of additions, fully bound to not bound at all, and a 5-piece laminated Maple/Purpleheart neck to a simple solid Mahogany, these guitars are as customizable as they can get, and truly offer a wonderful selection of options for those who would like an instrument that will perfectly represent themselves as a musician. Moving on to the electronics of the Model 1, we are going to look at each optional component that can be added on. From my perspective, the most useful of all is an optional piezo pickup and control knob, which can be used to balance the volume between the magnetic and piezo to create a lovely hybrid sound. For fingerstyle players and flat pickers alike, many of us have seen the value of equipping guitars with a piezo, due to its ability to immediately add a separate layer of tonality, as well as adding a bit of extra “bite” to the overall sound of the guitar. Additionally, having a guitar equipped with a piezo alleviates the need to bring both an acoustic and an electric to a rehearsal or performance, as the Model 1’s excellent piezo sounds nigh-indistinguishable from a genuine acoustic. Moving on, the Model 1 is also offered with the option of a full Parametric EQ system, which truly puts the guitar’s tone in your hands. Alongside the standard volume and tone knobs, you will find two supplementary knobs and an on-off toggle switch for the Parametric EQ. One knob is used for the sweep control, which essentially acts as a cutoff knob for the guitar, to select whether you would like the EQ cut or boosted. The other knob acts as a 12dB boost/cut, which gives the player greater control over their volume as their tone grows more powerful and requires more restraint. The entire PEQ acting together, in conjunction with the added piezo pickup, can save you several slots on your pedalboard, as this guitar is equipped with the functionality to properly manipulate its own tone in several distinct ways. Also, every Model 1 comes equipped with the recognizable RT “Hot Humbucker”, which can be rotated to target different parts of the tonal spectrum, and to strengthen the lows or highs of the guitar. And last, but certainly not least, the tone control is equipped with a push/pull feature that allows the player to switch to a more intimate single-coil sound. The main word used to describe the Model 1 is “versatility”, due to the amount that it can do, the diverse range of tones that it can produce, and the eclectic scope of players who seem to find their tone with this guitar. Though there is quite a bit to say about the Model 1, let’s switch gears and examine Rick Turner’s other flagship guitar: The Renaissance.
The standard Rick Turner Renaissance model is a sleek, beautifully designed stage acoustic. This guitar is referred to as a “stage acoustic” due to its lack of a sound hole, and for generally being at its most effective when plugged in. The standard Renaissance guitars are built in a thin line- style body with a Western Red Cedar block in the center intended to reduce feedback. As far as their building techniques, these guitars are constructed similarly to genuine acoustics, with beautiful examples of wood and braced top and back plates. While its construction and added elements are not quite as complex as the Model 1, the Renaissance is designed for simplicity and efficacy, merely featuring a volume knob and a tone knob. Every Renaissance is equipped with the D-TAR Wavelength pickup system, an 18-volt pre-amp, and Rick Turner’s signature Timberline piezo pickup system. In addition to the standard Steel Renaissance model, Rick Turner additionally offers the RS6 Deuce, RN6 and RS12; a Renaissance with an added humbucker, a nylon string, and a 12 string, respectively. These models are incredibly well-made, and each version possesses different tonal characteristics that set them apart from each other. Now that we have generally covered what the Model 1 and Renaissance do individually, we can move on to talking about the incredibly unique California Series guitars, sold in pairs of Model 1’s and Renaissances.
The California Series guitars were born out of Rick Turner’s innate pride in his California residency, though he was raised on the East Coast. When he first came to California, he was incredibly inspired by the scene of musicians and luthiers in the area and found a significant amount of enlightenment and inspiration from the area, as well as the people that he was becoming connected with. Out of this admiration for his adopted homeland, Rick felt it appropriate that he create a line of guitars in honor. Each California Series set comes with a Model 1 (with the full electronics package), as well as a Renaissance steel string. The sets are made with beautiful examples of curly California Redwood that match each other, as well as California Black Acacia appointments across the Model 1, and each set looks absolutely striking! Additionally, each set is a bit different from the last. Some of them possess a more classically brown-tinted “wood” look, while others boast a striking faded dark purple finish. Some come in gloss, others come in satin, and they all look incredible. Each guitar also comes with a California bear inlay at the 7th fret, once again reinforcing the impact that the state has had on Mr. Turner! The best part of the deal: you can purchase both of these guitars for $8,850, an incredible bargain! With this pair of amazing guitars in your arsenal, your tone will be simply formidable on both the electric and acoustic fronts!
The Rick Turner California Series guitars are only available for purchase through Heartbreaker Guitars!
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This exceptional model has arrived with a twin! The first of the hollowbodies is the Charcoal Cherry Sunburst, and the second, an equally stunning Orange Tiger finish. These two PRS guitars feature a piezo switch giving them the broadest of ranges for those looking for a guitar able to blues, rock, jazz - just about every genre you'd need. Accenting both double cutaway Flamed Maple bodies is a beautiful Rosewood fretboard, mahogany (pattern carve) neck, phase III locking tuners, 22 frets, PRS adjustable piezo stoptail bridge, 58/15 LT TCI treble and bass pickups all in a PRS hard case.
In the late 1990s, the first editions of the hollowbody were released to the public. Even though their body was based on that of the already famous McCarty 594, this second edition hollowbody from Paul Reed Smith has an entirely unique tone in comparison to its kin. Side by side, both models have intonation and tone you'd expect from any PRS, but there are distinct differences, specifically in the mids and highs when comparing these guitars. Add in the versatility of the piezo and the incredible 10-top, and these two Hollowbody II models from PRS are hard to beat.
This instant classic was created with the help of guitarist, composer, producer and instructor Mark Lettieri. The middle and bass pickups are this models claim to fame, with the model-specific Fiore-S Single Coil pickups. These pickups were carefully designed to cater to the player, being able to amplify even the slightest touch. The Fiore-H Humbucker pickup was Lettieri's request for enough versatility to accomplish both a smooth top end, but a powerful punch for high gain playing. These three pickups in combination with the 5-way switch gives the player a seemingly endless list of options when it comes to tone.
Two of these Fiores have arrived here at Heartbreaker. The first is the PRS Fiore in Sugar Moon and the second is the PRS Fiore in Black Iris. Both of these feature Swamp Ash bodies, Maple necks and fingerboards, vintage style tuners, nickel hardware, 2-point steel tremelo bridge, traditional PRS bird inlays and a beautiful "Fiore" flower logo truss rod cover.
When the Silver Sky was envisioned, the idea was never to replace a classic, but to improve upon it. The partnership between Paul Reed Smith and John Mayer made this idea a quick reality. This latest PRS Silver Sky with Moc Sand finish is just one of many that continue to make their way through our showroom here at Heartbreaker Guitars. Spending over 2 years in production, the duo created an instrument that many say has perfected the electric guitar. Much time was spent on headstock shape, tuners, bridge and pickups, to mention just a few. Mayer chose to invert the traditional PRS headstock shape to cater to his need for perfect intonation. The vintage tuners are traditional style, but PRS closed back locking tuners. The changes to the design go on in more detail inside our listing.
This specific Moc Sand model is made with a satin finish and looks incredible in combination with the color of both the body and maple neck. We see a wide variety of colors of the Silver Sky pass through Heartbreaker, and are accepting pre-orders of the limited edition PRS Silver Sky in Roxy Pink as seen in some recent performances from Mayer himself.
This beautiful hollowbody guitar is beyond gorgeous in person. The combination of hybrid hardware and this incredible finish make this PRS McCarty 594 Hollowbody II in Fire Red Smokewrap Burst an absolute pleasure to look at. Inside this work of art, the story only gets better.
The hollowbody construction gives this model a fantastic warmth and woody tone, known across the PRS Hollowbody lineup. The traditional 58/15 LT pickups have now gone through the TCI (tuned capacitance and inductance) process, giving them even more clarity than before.
A flamed maple top wood, pattern vintage carve mahogany neck, rosewood fingerboard with traditional bird inlays, 24.594" scale length, hybrid hardware, vintage style tuners, PRS two piece bridge, 22 frets, and PRS hard case make this McCarty the complete package for Paul Reed Smith player.
Heartbreaker Guitars is receiving new stock from PRS weekly so make sure to check our new inventory regularly! If you'd like to be the first to know about upcoming deals and discounts and get access to Member Exclusive deals, become a Heartbreaker VIP! Click here to Join - It's easy and it's free!
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In the 1970’s, a young Matt McPherson was inspired by a performance he had seen on the Johnny Carson show of a performer from Japan doing a Johnny Cash cover. This gentleman had constructed his own guitar, and this would prove to be a key moment in Matt McPherson’s life. Years later, after he had already begun to make a substantial impact in the field of designing archery bows—compound bows in particular—he came to the realization that these bows he was so well-acquainted with were, in essence, stringed instruments. A great deal of the mechanics behind creating stable bows focus on the vibration of the tool, and to what extent it will impact the optimization. The process of making bows shoot in an untroubled and smooth manner involves the dampening of vibration, the exact reverse process to expanding the tonal quality of a stringed instrument. His ultimate thought process led him to the belief that if he fully understood the process behind dampening sound, he should also have a competent understanding of how to increase that vibration, leading him to begin developing the now-recognizable McPherson guitar models. While we are touching on the mechanical aspect, there are a few noteworthy elements of the McPherson build that have come to define the company, from both a visual and utilitarian perspective. These would be the Offset Soundhole, the Cantilevered Neck, and the Carbon Fiber Neck Reinforcement. From Mr. McPherson’s perspective, moving the soundhole away from the middle of the soundboard and further up on the side of the guitar was a very deliberate decision. Putting a hole in the middle of your top wood drastically shortens the soundboard and restricts the amount of space that is available for air to be pushed through. With a longer soundboard—in addition to the neck, cantilevered off of the top wood—the guitar is allowed to resonate much more freely, leading to a substantial increase in sustain, clarity, and an overall refinement and equalization of the guitar’s tone. While speaking of the neck, the guitar is further improved through its usage of carbon fiber to reinforce the neck, and to use as the truss rod. They believe that they have created a neck so stable that it does not need to be adjusted, and that their specific set parameters for the neck are the optimal specifications for these guitars. Taking all of this into consideration, let’s take a step further, and go through a selection of McPherson’s Wood Acoustics.
In looking at McPherson’s selection of their wooden acoustics, one can immediately notice a level of quality simply by the design of the guitars. These models are beautifully crafted, commonly contain beautiful examples of high-grade wood, and come with a variety of appointments that allow for distinction between these models. Whether you are playing a combination of Bearclaw Sitka over Granadillo, Red Spruce over Pau Rosa, Engelmann Spruce over Madagascar Rosewood, or the classic Sitka Spruce over Indian Rosewood, these guitars all possess incredible tonality and clarity, while boasting a distinct sound from one another due to the wood. In McPherson’s wooden acoustic series, they are differentiated by two distinct body styles: The MG, and the Camrielle. The MG is described by its jumbo, dreadnought-style body that is meant to accentuate the lower, resonant part of the tonal spectrum. Alternatively, the Camrielle is a more compact body style that focuses on responsiveness, expression, and adaptability of playing styles. Between these two models, there is an incredibly wide sonic variety that is made possible by the building style. Although the difference in body style allows for a good deal of sonic variance, the reliability and tonal consistency of these instruments is blatant to players and spectators alike. Their equalization is unparalleled and offers just the right amount of each sect of the scope of the tonality. They produce deep, rich lows, responsive, tempered highs, and a mid-range that leaves the high and low end unimpeded, instead broadening the resonance of the guitar by adding just the correct amount of low-mid and high-mid range. For flatpicking or strumming, these guitars remain sonically consistent, and have been able to stand up to any music or playing style. The theme of consistency and reliability is all too apt to describe McPherson’s other main line of guitars, in their Carbon Fiber Series.
“A guitar made almost entirely of carbon fiber? Why?” is a question that we at Heartbreaker get quite frequently in relation to McPherson’s other most-recognizable line. However, this question never seems to need an answer, considering that every time that same customer picks up and plays a McPherson Carbon Fiber, their question of “Why?” is immediately answered. These models are tried and tested by luthiers and players alike, and they all come away with an incredibly positive experience. While these guitars are made (almost entirely) of carbon fiber, their sound is nigh-indistinguishable from that of a wooden guitar, and the experience of playing them feels remarkably similar. They are highly durable, resistant, and incredibly stable. Common guitar issues are brought on by humidity, elevation, heat, cold, rain, and the typical movement and reshaping of wood. These carbon fiber guitars experience none of those issues, and are ready to face any sort of climate conditions that you can put it in. Currently, there are two different lines of Carbon Fiber guitars that McPherson produces: the Sable line, and the Touring line. The Sables are based on the Camrielle body shape and are equally as tonally consistent as their wooden counterparts. The Touring models are a ¾-size body, intended to be a much more high-end version of a travel guitar, and possess a tone that drastically defies their size. With both the Sables and the Tourings, you have a selection of customizable components to make the guitars unique. For their top finish styles, you can choose between their Original Pattern finish, Honeycomb finish, or Basketweave finish. Additionally, you choose the color of your hardware—from Satin Pearl, Gold, or Black Gunmetal. With the Touring models, as a special accent, they have included a series of colors that travel along the body binding, as well as along the outer edge of the soundhole. Among others, offered colors are Red, Orange, Blue, Green, Yellow, Pink, and Black. Finally, the Carbon Fiber models are also noteworthy for their signature Blackout Edition models, which are characterized by the Black binding, nut, bridge, and hardware, for a sleek and uniform look. Best of all, the Blackout Touring models are only available at Heartbreaker Guitars! Check out our latest video on these incredible Blackout Editions!
From my perception, there are two different types of guitar companies, both equally valid in aspiration and concept. The first, is those who seek to create a wide range of eclectic models that are vastly differentiated from one another by any observable aspect, leading to a wider market reach, and attempting to create products for a more broad group of players, taking account of those who may not identify with their primary products. On the other hand, you have the companies—like McPherson—who place the quality of their product in the execution. McPherson Guitars have a storied history, one that came out of a very well-reasoned theory about vibration, and the way that sound moves. Though McPherson’s guitar models are currently restricted to four unique lines, they have very clearly addressed that their mission is in consistency of quality. Additionally, variation comes in the form of the unique woods that they employ, as well as the many aesthetic appointments that come along with these guitars. McPherson is a company that understands the value of their flagship, which takes shape in the form of their principles of design. Their priority seems to always come back around to further-developing the scope of a guitar’s tonality and taking the sound into a place that may previously have been thought not-easily achievable. In the modern day, where so many aspects of art and utilitarianism seem to be recycled from previous eras, McPherson is taking their creative energy, and attempting to create something entirely unique. As a player and guitar enthusiast myself, I find this to be an extremely admirable quality for a company to have, and we fully look forward to seeing what beautiful products McPherson brings to us in the future.
Click here to browse our incredible selection of McPherson Guitars!
]]>Furch’s Red Series is characterized by its employment of premium, master-grade materials, as well as its excellent detail in construction, in addition to its unique aesthetic appointments. It is offered in a Grand Auditorium body style, typically with a cutaway, but is available with a no-cutaway option. The Grand Auditorium body style seems to be Furch’s flagship design; though their other models are equally consistent in tone and playability, Grand Auditorium seems to offer the best vehicle to present Furch’s unique voicing process of the top and back woods, as well as their selection of wood and assembly process. The Red Series is rigged out with a full-pore high-gloss finish, as well as added decorative appointments. These appointments include an annular sound hole rosette, an abalone binding along the body and fingerboard, and for their Deluxe model, a duo bevel. Top woods utilized in the Red Series are Sitka Spruce and Alpine Spruce, while the back woods are Indian Rosewood and Cocobolo, depending on the model. The available models in the Red Series are the Master’s Choice, the Pure SR, the SR, the Deluxe SR, the Pure LC, the LC, and the Deluxe LC, all offering a selection of varying premium appointments. If Furch were to have a top-tier area of their selection, I would say it is the Red Series. The level of detail that is put into the construction in order to benefit the tonal consistency and the playability is excellent, and all feels very purposeful and intended in its design.
Following the Red Series, we have the Orange Series. The Orange guitars are equipped with AAA wood, and are available in the Orchestra Model body shape. The Orchestra Model shape seems to be an attempt to capture a more resonant tonality, accentuating the high and low mids, giving a more expansive, dynamic array of the mid range as a whole. As with the Red Series, they are employed with a full-pore high-gloss finish, and decorative appointments that differ from the Red Series. The Orange guitars possess a pearl fingerboard inlay, a binding across the body and the fingerboard, as well as a Redheart purfling and sound hole rosette. The only available top wood is Sitka Spruce, while the optional back woods are Indian Rosewood and Black Walnut. There are three different Orange models that each offer a unique selection of appointments and available wood combinations: the Master’s Choice, the SR, and the SW. Though the Orange Series is considered a step down from the Red Series, it is still its own unique instrument that produces alternative tones to the Reds, while developing its own unique identity as a product line, while continuing to employ Furch’s expected tonal consistency.
Coming next in Furch’s colour spectrum, we have the Rainbow Series, which we will address at the end of this installation. Following the Rainbow guitars, there is the Yellow Series. This series, like the Red models, are built in a Grand Auditorium cutaway body style, with a full-pore high-gloss finish. Its decorative appointments include a double-ring rosette with an abalone inlay, as well as an “Eclipse” style fretboard inlay. This is the first instance of a “Plus” model being included in a series, with the “Plus” moniker signifying a more high-quality selection of options for the guitar. For example, while the available top woods for the Yellow series are Sitka Spruce and Western Red Cedar, and the common available back wood is Indian Rosewood, the Yellow Plus model offers a back and side wood of Padauk, along with an exotic Koa binding. The selection of available models in the Yellow Series are the Master’s Choice, the CR, the SR, the CP Plus, and the SP Plus. Additionally, the Yellow Series is significant for its 12 String models, which are highly acclaimed, and possess incredibly consistent tonality and operability.
Coming after the Yellow Series, we have the Green Series, which are built in a Dreadnought body style, with Furch’s recognizable full-pore high-gloss finish, as well as Furch’s signature Composite Neck Reinforcement System (CNR). For the Green Series, there is an aesthetic option to add a Sunburst tint on the top plate. With the dreadnought body, this guitar captures the more deep, resonant tones of the lower-mid and low ranges, while still possessing a tempered, responsive high end, benefiting the tonality of the guitar as a whole. The lows are stronger and more defined, creating a playing experience that will assist in dominating the bulk of the sonic space of the room. Sitka Spruce is its only available top wood, while available back woods are Indian Rosewood and African Mahogany. The offered models in the Green Series are the Master’s Choice, the SM, and the SR.
To change things up a bit, approaching the bottom of the list, we have the Blue Series. The Blue Series differs from many of the other models in Furch’s colour spectrum in terms of its construction and approach to sound. However, it is a great testament to Furch’s overall quality, considering how far down the list it is, and how well-built and clearly defined in its own right it is. The Blue guitars are built with solid-wood construction, with a semi-matte open pore finish, giving the guitar a much different aesthetic than many of the other models. The soundboard, however, is coated with a full-pore high-gloss finish. It includes appointments of a Walnut rosette and artificial tortoise binding. Available top woods are Western Red Cedar, African Mahogany, and Sitka Spruce, while back wood options are African Mahogany and Black Walnut. Like the Yellow Series, the Blue Series is available in a “Plus” model, that is its own unique take on the Blue models. The selection of available models are the Master’s Choice, the Master’s Choice Plus, the CM, the CM Plus, the MM, the SW, and the SW Plus.
Getting closer to the bottom of the list, we have the Indigo Series. The Indigo Series guitars are equipped with a semi-solid build, and a natural open-pore finish, with a proprietary voicing process of the top and back woods. With an arched back, there is no needed internal reinforcement, which allows for more resonance and more dynamic sonic qualities. As with the aforementioned Yellow and Blue models, the Indigo series offers a “Plus” model, which has a full-pore high-gloss coated soundboard. All of the Indigo models are equipped with a Western Red Cedar top and a Layered Mahogany back and sides. Available models are the Master’s Choice, the Deluxe CY, the CY, and the CY Plus.
Coming last on the list, the Violet Series guitars are the most affordable on the list of Furch’s colour spectrum. The design on these guitars is very simple, leaving only two optional models in this series, both equipped with the same top and back wood: Sitka Spruce over Layered Mahogany. They are semi-solid guitars, built in a Dreadnought body shape, with a natural open-pore finish, as well as Furch’s Composite Neck Reinforcement System. Though they are considered “bottom-tier” in relation to Furch’s monetary organization of these models, the Violet guitars produce lush, resonant tones that further cement Furch’s ability to maintain consistent tonality across the different models. Affordable and built with quality, the Violet Series guitars are a perfect example of Furch’s attention to detail, and control of quality.
As promised, the Rainbow Series guitars represent the sect of Furch where they specialize in customization, offering a bevy of woods, appointments, and general qualities. They undergo the same voicing process that is given to the Red Deluxe models, and are built on the same level of quality.
At Heartbreaker Guitars, from our perspective, we view a company’s methods as a crucial point of the representation of what they bring to the market. Companies that are typically in-tune with their level of ethics, responsibility, and optimization of workflow are often the companies that see a high level of loyalty with customers. Customers find admiration in a company’s approach, and develop a connection with them that steps outside of whether or not they simply appreciate the quality of their products. Through Furch’s system of organizing their different models, and being able to assign a series of characteristics to a selection of guitars simply by designating a colour to them, I see a level of organization that provides a crucial element to the qualification of Furch’s overall measurement of quality. They are an excellent company, and we are proud to be an authorized Furch dealer!
Click here to browse our phenomenal selection of Furch Guitars!
Heard about the Furch Edition 40? Click here to read about this limited edition run of just 40 guitars celebrating 40 years in business and 100,000 guitars made!
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Founded in 2010, Relish Guitars quickly became a company to watch as they steadily began a release of their product line that screamed of research and innovation directed toward the instrument’s mechanical quality, aesthetic, and materials. Their main inspiration behind creating such a unique new design came from a frustration with a perceived lack of transformation and modernization of guitar body styles in the decades before. Additionally, the notion of utilizing alternative materials and a completely distinctive construction of the body would be inspired by a pursuit of more sustain, more clarity, and the ability to produce noteworthy undertones in order to yield a more fully-balanced tonal spectrum. Within the eleven years the Relish team has been active in the market, they have introduced the mainstream guitar community to a plethora of new design elements that seek to, among other things, improve playability, minimize needed gear, offer more options for tonal flexibility, and increase the durability and renewability of the instrument. As I discuss the different models offered by Relish, I will be highlighting the specific appointments of each one. Additionally, I will be recommending applications for these guitars, and pertinent scenarios in which they may be best used. We will begin with the company’s flagship product, the Jane.
The Relish Jane (akin to every other model) exists in two forms—its original form, and its modern form. While different, both are composed of the same main build, and are mostly differentiated by added appointments and enhanced technological function. All models of the Jane are hollowbody, with no soundhole. The top and back are made of a moulded wood veneer, while the bracing and core of the guitar are shaped out of aluminum. The aluminum core, as explained by Relish, is intended to retain more sustain, as well as having a sharper attack, while creating a tone that audibly differs from a solid-body wood guitar. When it comes to the neck, Relish has created something truly revolutionary, as well as useful. They have developed a system of cutting the headstock and neck out of the same piece of bent wood and bolting the neck directly into the aluminum frame. This design, and the utilization of bent wood, renders the maple neck nigh unbreakable. Speaking from personal experience, I have witnessed many people stepping (even jumping) on the neck in order to test its durability, all attempts leaving the neck undamaged and without fractures. For the fingerboard material, the builders have decided on the use of dark strand woven bamboo. As they explain it, bamboo is a widely renewable eco-friendly material, while possessing an extreme resistance to changes in humidity and temperature, making it an undemanding experience for the owner in regards to upkeep.
When it comes to the electronics, the modern Jane comes equipped with an entirely new system for guitarists to design their tone. The signature Relish pickup system is comprised of swappable pickups that are held in place with strong magnets, making it simple to remove a pair of pickups, and to replace them with different ones, all in a matter of seconds. Though they primarily come equipped with the in-house-made Relish Bucker XV’s, they offer a variety of signature pickup models, as well as some from your favourite pickup companies, including Seymour Duncan and Bare Knuckle. To control the operation of the pickups, the Jane is appointed with a seventeen-way touch pickup switch which additionally allows the player to tap and untap the coils at their leisure, leading to further possibilities in development of tone. For the final ingredient, the designers at Relish have installed a Graph Tech GHOST Piezo pickup with a Stereo Out signal, which can be controlled by its third knob (the other two controlling the volume and tone, respectively). This piezo pickup, in combination with the tone of the aluminum and the hollowbody construction, has the capability to produce lush, full-sounding acoustic tones. From the wide tonal spectrum it captures, to the unique undertones it creates, the Jane can easily be a sonic replacement for the average acoustic. With all of these features, the Jane is a formidable opponent to many mainstream electrics, as well as many mainstream stage acoustics, due to its unique approach to both tones.
Up next, we have the Mary and the Mary One models. Both are designed with a similar aluminum core design to the Jane, but designed for a less-hollowbodied, more traditional electric guitar structure. Additionally, both are made with Relish’s signature “sandwich” style construction. Two high-pressure veneers surround the aluminum core, while the back plate is attached with a set of strong magnets, leaving the inside contents available for manipulation. While the Mary is primarily made with high-pressure veneers, the Mary One comes with a combination of the veneer, as well as appointments of maple on the top.
For electronics, both models are equipped with the same pickup-swapping tech that the Jane comes with, with both featuring a three-way toggle switch (as opposed to the touch pickup system), as well as the same Graph Tech piezo addition. For the piezo on these models, both Marys are given an added control to switch between the magnetic pickups, the piezo pickup, or a hybrid of the two. On the Mary models, the tone control acts as a push-pull coil split, something not featured on the Mary One. Both versions of the Mary have proven themselves to be incredibly diverse in tone, allowing the player to experiment within their chosen genre as well as easing functionality. These Mary models stand right up next to the Jane when it comes to operation.
Of the main core models from Relish, these are the last and most recent. Designed in Switzerland and assembled in Indonesia, the Trinity models are a more simplified electric guitar, while still featuring some of Relish’s unique design elements. With a solid basswood body, a quartersawn Canadian maple neck, and a Laurel fretboard, the Trinity differs in many of the materials that comprise the Mary and the Jane. Its main differentiating feature is the addition of Relish’s signature pickup swapping design. This Trinity was designed to be a more affordable, more conventionally-built electric guitar, while the addition of the swappable pickups is the upper-hand that still allows the player to expand and diversify their tone, even with more limited controls.
When it comes to the application of the added technology that Relish have implemented into their guitars, many are still approaching these models like normal electric guitars. However, they were built with artistic diversity in mind, and empowering the player with the ability to go beyond the limitations of what a guitar can be used for. Speaking from personal experience, my Relish models have served me particularly well in the context of using a loop station. I lay down an initial acoustic guitar line (on the piezo pickup), add a percussive kick/snare imitation, then switch the guitar to the magnetic pickup to add accents, play leads, and allow for more flexibility than if I were to just be looping with an acoustic. Rather than bringing both an acoustic and an electric, you now only need one Relish. The swappable pickups can allow the player to access perfect tones of metal, jazz, and everything in between; all with one guitar. The possibilities are endless, and exploration is key in developing artistry and design in this world. New technology is provided to us, we take that technology and synthesize it with our own artistic tendencies, and we begin to employ the technology in ways that the conceivers and builders could never have imagined. At Heartbreaker Guitars, we largely support and respect any company that seeks to push the boundaries of the norm, as well as creating a system for artists to expand their creativity, and to change the idea of what one musician and one guitar can do.
Check out the Relish Guitars tab on our website to find one for yourself today!
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Signature models from respected guitar companies are generally very special guitars. Signature models have history, they have precise specifications and they suggest a level of respect between guitarist and luthier. Here at Heartbreaker Guitars, we are proud to carry a wide selection of incredibly unique guitars, and we are very excited for the arrival of the new Santa Cruz Happy Traum Signature Model HT/13. This guitar is the product of a long history between Santa Cruz Guitar Company founder, Richard Hoover, and American Folk guitarist, Happy Traum.
For those of you who may be unfamiliar, Happy Traum is an influential Folk guitarist who came to prominence during the Woodstock musical movement in the 1960’s. An accomplished fingerstyle guitarist, he frequently collaborated with several other musicians—Bob Dylan included—and is credited as a featured musician on over 20 different releases. Additionally, he was a titular member of the duo Happy and Artie Traum whose first eponymous album was said by the New York Times to be "one of the best records in any field of pop music." Richard Hoover cites Traum as a fundamental influence on his playing style, his approach to lutherie, as well as many general philosophies of his life. A friendship struck between the two of them and these two great minds came together with the notion of creating an incredibly special Santa Cruz guitar constructed to compliment the essence of Traum’s playing style. Traum, being an admirer of Santa Cruz guitars—his original model of choice being an H/13 with an Adirondack top over Cocobolo back and sides—saw fit to have his signature model based around the H/13, with excellent hand-selected wood to give this model a personality all its own. There is no mistake in saying that this project has been a long time coming, for both Happy Traum as well as Richard Hoover. Finally, their masterwork is complete, and they are becoming available.
To give a quick rundown of some of the specifications, the HT/13 model comes equipped with an Old-Growth Redwood top over a Honduran Mahogany body with a vibrant Ivoroid binding. In addition, a tortoise pickguard and the Abalone purfling and rosette, which contrast beautifully with the deep, red tone of the top wood. On the fingerboard, Happy Traum’s signature is included at the 18th fret. The nut width is a 1 ¾”, while the scale length is 25 ⅜”. The top wood is furnished with a custom finish, the body wood with buffed Tobacco finish, and the neck with a matte Tobacco finish. The construction is meant to produce a complex array of overtones, generating a clear, bright tone without sacrificing the low end. Designed as a fingerstyle guitar, a broad tonal spectrum was one of the necessary components of this guitar for the luthiers.
Speaking personally, from my experience as a life long fingerstyle guitarist, I find the tone of the HT/13 to be quite exceptional. There is an amazing sense of responsiveness with this guitar, making it easy to create a percussive, resonant sound when playing fingerstyle. There are many guitars that are definitely not well-suited for finger-pickers, usually due to too much mid-range, a flat low end, or a dry high end. Additionally, many guitars will choose to sacrifice one for the other, and while possessing a range of clear and deep lows, fall short when it comes to producing the necessary frequencies to allow the high end to breakthrough, and produce an equal output to the lows. The HT/13 seems to cover the entire tonal spectrum, even retaining its sonic integrity when using alternate or open tunings. The 13-fret design and neck profile feel like you have an adequate amount of space and comfort to move around the neck at whatever pace you need, and the body design feels pleasant and comfortable to hold. I have found that with many expertly crafted guitars, you can tell that the body design was constructed not just with tone in mind, but how well it would fit into the hands of the player, and how well it would feel when picking it up and playing. The HT/13 was definitely an incredibly well-planned out model, feeling meticulous and deliberate in its every aspect. Though there will always be a small group who incorrectly insist that skill sets and adherence to standards of quality are relative, Santa Cruz Guitar Company have substantially proven the notion that if you put every degree of effort and personal perseverance into something, beginning with a well-formed idea, leading to an unimpaired execution, you can wind up with an end product that is mechanically well-constructed, aesthetically pleasing, and one that meets standards and criteria of objective quality associated with the medium.
From time to time at Heartbreaker Guitars we are treated with the opportunity to handle incredibly storied instruments that are born out of an innate sense of creativity, craftsmanship, and passion. These types of instruments are a reminder to the guitar community—and the artistic community at large—that the creation of art is often benefited by the creation of other art in a vastly different field. Through Happy Traum’s influence as a musician, Richard Hoover’s passion for music, his excellent artisanship and creativity, something entirely unique was conceived out of the collaboration of these two fields. Lutherie—while being philosophically utilitarian in its essence—is an art of its own kind. The incredible amount of hours spent researching the wood, finding the correct pieces to craft into models, how everything is going to fit together, and exactly what level of resonance, brightness, and clearness would be able to be achieved through the model’s assembly. With Happy Traum’s lasting influence on the guitar community, as well as Richard Hoover’s well-established credibility as one of the great working luthiers of the modern day, this guitar is the well-deserved result of many tireless years of musical creation, passion for fine instruments, and a meeting of the minds that changed lives, principles, perspectives on art, and—utmost—the greater guitar community.
With all of that said, we at Heartbreaker Guitars are incredibly proud to be a certified dealer of the Santa Cruz Guitar Company, and are incredibly thrilled to have this guitar in our shop. We pride ourselves on being able to offer the finest guitars on the market to our customers, and we believe that this is one incredibly special guitar. From the intent behind it, to its masterful construction, along with its exceptionally beautiful and versatile range of tones, this is definitely one model that you will want to seek out, at least to play it just once.
The Happy Traum Signature HT/13 from Santa Cruz Guitar Company is now available on the Heartbreaker Guitars website.
]]>Since January of 2020, the world has seen many vast changes in the way that we interact with one another. From personal relationships, to business partnerships, to acting as consumers; we have all had to come up with unique methods to continue functioning, and to keep our social and professional lives moving forward. With live performance, industry expos, and typical collaboration all having been halted by restrictions and lockdowns, the music industry has definitely felt quite a bit of the setback that we are all experiencing due to the past year. When it was announced that last year’s NAMM show would be cancelled, the organizers found it imperative that the event continue on in some manner. With the rise, ease-of-access, and integrability of live-streaming platforms and services, it was relatively simple for them to create an internet-based virtual event intended to create some level of replacement for the event itself. Following the announcement of NAMM’s virtual event, many articles and industry reporters commented that this may become a far more common occurrence in the music community, and that music merchandise companies may be likely to create their own virtual events in order to grow their online presence, as well as to showcase their latest lines of products without having to bear the expense of a fully organized physical event.
In that spirit, Paul Reed Smith Guitars have announced their Experience PRS 2021 virtual event for July 8th, where viewers will have access to exclusive artist clinics, informational sessions with Paul Reed Smith himself, a look at the PRS production floor, and a glimpse into what the company will be offering in the near future.
Though there will always be a faction of traditionalists who swear off virtual events—and claim that any technology-based experience will not be as valid or worthwhile as a tangible one—PRS, and other companies following suit are taking a much needed step for the industry. While there is a certain truth behind the sentiment that these events will not be the same as a live physical event, the goal behind these virtual expos is not to be the same, but to be something new and different. It is imperative—now more than ever—that we allow accessibility to these types of informational exhibitions, and for some, it may be difficult to find themselves at the NAMM show or any of its international counterparts. When you factor in airfare, hotels, transportation, meals, and other various expenses, a trip to an out-of-state trade show can become quite a costly endeavour. On top of that, there is always the possibility of not being able to receive a badge, or ending up at the expo on a particularly crowded day, which is found to be quite troublesome by many instrument enthusiasts who are simply looking for additional information and insight on their product of interest.
Of course, these live trade shows are extremely beneficial to the industry, and can be a great opportunity for outreach, networking, and marketing your brand. However, one can definitely see how certain extenuating factors could dissuade someone from wanting to attend. Therein lies the demand that music companies are swiftly seeking to create a reply to. With these virtual events, they are fully intended to be an open invitation to examine the company’s ethics, the functionality of the business, how they choose to cater to their specific clientele, and the rigorous elements of production that they go through in order to bring these products to market. For those who find the concept of making their way to a physical exhibition troublesome, these new virtual experiences very well may be the solution, and will broaden the client base of these companies that choose to go through with putting on an online show. Many companies have been approaching this new format, and are seeing quite a successful run with their virtual exhibitions. Among others, CD Baby’s Virtual DIY Conference, the Silicon Valley Music Production Summit, and several Worship Music conferences have all made the decision to switch many of their conventions to a digital format. While there will always be a dropoff in interest—due to those who strictly attend exhibitions for the tactile experience—these events seem to be performing well, with new audiences seeking the opportunity to gain information about the companies that create these products we patronize.
If I was to boil the benefits of these virtual events down to a short list of concepts, they would be accessibility and inclusivity, the opportunity to examine a company’s ethics and philosophies, and how they seek to find a counterbalance between their desires of innovation and the specifications and custom options that their customer base seems to be clamouring for.
When it comes to PRS, the description of their live event states that they will be showcasing several elements of the company; from factory floor segments, to artist clinics, along with new guitar updates and discoveries walked through by Mr. Paul Reed Smith himself. Additionally, there will be an included live-chat, for the purposes of retaining a community feel with those who are taking part in the exhibition. Though the company is very aware that this virtual experience will not be the same as a typical Experience PRS event, they are aiming to make it extremely informational, accessible, inclusive to the viewing audience, and a worthwhile way for guitar enthusiasts and PRS patrons to spend their time.
Ethics are an important aspect of any company, and PRS is assuredly demonstrating the content of their creed through the operation of this live event. Through working with PRS for a number of years, we have ascertained that there is a certain level of morale and principled school of thought that exists within their company. From their mission statement—”Guitar building is an ongoing process of discovery. We are devoted to the guitar's rich heritage while committed to new technologies that will enrich our products with uncompromised tone, playability and beauty”—to the ways in which their different departments conduct business with one another, PRS has proven itself to be a company of outstanding operational excellence, as well as showing itself to be one of the great forward-thinking companies in the modern industry of musical innovation.
The amount of time and preparation that it takes to properly construct any level of showcase experience definitely varies. However, in the luthier community, these events are seen as an opportunity to publicly brandish their projects of passion that they have poured so much creative energy into. As with any form of artist, regardless of whether they consider their artistic creations to be personal or public, there is always a sense of satisfaction and pride in displaying something that you have designed to be optimal, mechanically sound, and aesthetically pleasing in the context of its intended application. In that spirit, guitar companies like PRS strive to make their events a spectacle with an air of excitement—in whatever form their exhibition may be taking place.
In short, the landscape of the current music industry has shifted, and will continue shifting as technology progresses, attention spans shorten, and new avenues are taken in order to reach goals in a more optimal manner. I suppose that anyone can make a judgement on whether these progressions show themselves to be a net positive, or a net negative. However, exhibitions and conventions being made more accessible seems as if it would be a practical approach to broadening the client base of many of these companies. The opportunity to be seen is—above all else—the most invaluable thing that a new company can obtain. Your products may be fantastic, you may be one of the most notably meritorious operations working in the modern day, and you may be completely driven towards your goals. Be that as it may, none of these factors will have the opportunity to matter in the long-term if you do not have the opportunity to be seen. A more close-knit, more tightly organized online experience—while obviously not being a “better” alternative to the typical format of live, in-person exhibitions—can greatly benefit one’s ability to conduct a closer examination of their company of choice, and to feel as though they can put their trust in the company and their product line. Transparency and understanding are extremely important factors in the relationship between business and client, and the more work that can be done in order to create discernibility of a company’s operations, the better. So, from what I can see, these types of virtual experiences may be a mainstay in the industry, being used as an alternative and separate type of event in order to accompany their more mainstream physical counterparts. For some, it may be the most-desired outcome; for others, it may be a completely unnecessary step. Regardless, this is the state of the industry that we currently exist in, and it is imperative that we make the most of the opportunities that have been presented to us.
The Experience PRS Virtual Event will be streamed live on the Paul Reed Smith YouTube channel on July 8, 2021 at 7pm EST.
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As a proud dealer of Lowden Guitars, we at Heartbreaker Guitars are incredibly excited to make this announcement. In celebration of founder George Lowden’s approaching 70th birthday in July 2021, the Lowden company is releasing a limited seventy-piece run of custom “Birthday” guitars.
The selection of guitars will be a multitudinous array of 35 Series, 50 Series, and Special Edition Signature models, all equipped with a carefully-chosen selection of unique components that will allow these limited guitars to stand out and be easily identifiable. For these models, the woods and specifications will be meticulously hand-selected by George Lowden, successively numbered, with an assortment of official provenance documentation, and an internal label personally signed by Mr. Lowden. When it comes to the uniqueness of the design, every model will come appointed with a decorative LXX fretboard inlay, as well as a Soundbox Bevel—excluding the WL and Signature Models.
Out of this limited line of guitars, Heartbreaker is ecstatic to announce that we will be carrying three guitars from this line. The first—the Alex De Grassi Signature Model ($8,495), the second—an F-50 with Sitka Spruce over Ziricote ($10,500), and the third—an S35J Nylon Jazz Model with Brazilian Rosewood ($16,845). These guitars are the culmination and celebration of George Lowden’s near fifty-year body of work, and are intended to be astoundingly mechanically well-built, aesthetically unique, and worthy of commemorating such an event in the life of this legendary luthier.
Keep a close eye on the Heartbreaker Guitars website to check out these guitars when they arrive next week, and we would like to wish a very Happy early-70th Birthday to George Lowden!
]]>"I don’t like new guitars, but out of the box this is absolutely perfect. All the stuff on a new guitar that I always have to try to fix, is already done here. Out of the box. Thank you, Paul." – Joe Walsh
This special edition features a bound, 24.594 inch scale length, 22-fret, Singlecut 594 base. With a pair of 58/15 LT + Pickups, volume and push/pull tone controls and an upper bout 3-way toggle pickup switch, the McCarty 594 is a fantastic beginning for a limited edition, signature guitar. The Joe Walsh Limited Edition adds a Brazilian Rosewood fretboard with stainless steel frets, adding to the already brilliant “playability and soulful, vintage tone.” The PRS 58/15 LT + Pickups are known for their vintage character while providing exceptional clarity and a focused midrange. The McCarty 594 makes quick work of providing precise humbucking tones just as effortless as it can pump out refined, single-coil voices.
A final touch from both of the legends responsible for this great, new addition to the PRS special edition collection, an actual hand written Paul Reed Smith signature on the front of the headstock, and Joe Walsh’s signature on the backplate of each guitar made.
From the PRS Guitars website: “Joe’s endorsement of the McCarty 594 Singlecut Joe Walsh Limited Edition means the world to me. We work very hard to keep pushing the guitar-making craft forward without losing sight of its rich history. The McCarty models have always embodied that, and to have a player like Joe Walsh say we’ve nailed it is heartwarming,” said Paul Reed Smith.
Only 200 of these Joe Walsh Limited Edition PRS McCarty 594 Singlecuts will be made, and as we approach June of 2021, they’re already very hard to find.
]]>Rick Turner has been building guitars for an astounding 50 years. How does he stay interested and further develop his passion for fine guitars and basses? He keeps it fresh! Always looking for new and exciting ideas, Rick over the years has built 10 different limited edition guitars. Whether it's the Limited Edition Lindsey Buckingham 40th Anniversary or the heralded Icon Series Model 1’s, Rick is always coming up with new and exciting ideas to enhance the Model 1 and the Renaissance line of guitars.
So, what's different about the all new California Series being released April 2021? Well for starters, you’ll get two guitars, not one. That's right, Rick is combining his two most popular instruments: the Model 1 and the Renaissance RS6 Stage Acoustic. These guitars will be sold as a twin set of collector's instruments.
"I have a couple of favorite things about the series," Turner tells us. "First, our use of California and fairly local woods -- the Curly Redwood and the Black Acacia. I moved to Pt. Reyes Station in Marin County with my very pregnant wife, Amber, in June of 1968. I moved from Topanga Canyon in LA up to Santa Cruz in 1997. Three things really [provided my inspiration to move to Santa Cruz]. One, Jessica and my dear friend Martin Simpson lived here. Two, Richard Hoover had encouraged me to consider Santa Cruz. And three, I love being near an ocean...and forests!"
“It’s been a dream to work with Lowden to create not just a signature guitar but a range of world class guitars. These guitars are made in Ireland with beautiful wood and there’s nothing else like them.” - Ed Sheeran
The first models of guitars built for Ed Sheeran were not created from collaboration. Gary Lightbody of the band Snow Patrol, friends with Sheeran, has always enjoyed playing Lowden Guitars, and when Ed caught wind of their quality and sound, he told Gary he wouldn't mind having one of his own. Instead of running it up the chain, Lightbody handed over his own Lowden, an authentic Bushmills from 2012. This guitar became the tool used to accompany Ed in writing 5 songs for his 'X' album.
Seeing the immediate bond Sheeran took to the guitar, Gary put in a request with George Lowden to create a special guitar, smaller in frame, that Ed could use. George not only came through, but ended up creating the Wee Lowden based on the specs. Sparking a friendship, Ed and George partnered up and took the Wee Lowden a step further, fine tuning it into several models as the new Sheeran, by Lowden.
The guitars have had a fantastic reaction from the public and many places have a hard time keeping them on the shelf. Two Series make up the Sheeran line, first being the S. With S standing for 'small', these models "deliver a surprisingly deep voice despite their size. Beyond a choice of solid wood tops, the S series features a selection of woods, a cutaway, and soundbox bevel." The S model is currently available in 2 different wood choices, and 2 different styles. The S01 and S02 are both full body guitars, the first with Cedar over Walnut and the second, new for 2021, Sitka Spruce over Indian Rosewood. The S03 and S04 match the first two models, but are cutaway versions of the same guitars. The S03, a cutaway version featuring Cedar over Indian Rosewood, and the S04, a cutaway with Sitka Spruce over Figured Walnut.
The other series of Sheeran Guitars are the W Series. "Based on the Lowden WL (Wee Lowden) body size as originally designed for Ed Sheeran, the W Series models offer a compact feel without compromising in tone over larger guitars." The 4 models of the W Series exactly match the S models. The W01 being Cedar over Walnut, W02 with Sitka Spruce over Indian Rosewood (again, new to 2021). The W03 is the cutaway version of the Cedar over Rosewood model, and last but not least, the W04 being a cutaway version of the Sitka Spruce over Figured Walnut.
To see the brand new Indian Rosewood additions to the 2021 Sheeran by Lowden lineup, or to see our entire Sheeran inventory, CLICK HERE! If there's a Sheeran Model or any Lowden Guitar that you're searching for and don't see currently in stock, click the chat icon to the right or give us a call and we'll happily guide you to the model you're looking for!
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22 Frets | Hum-Narrowfield-Hum Pickup Configuration | PRS Patented Tremolo, Gen III
From PRSGuitars.com: The PRS Special Semi-Hollow offers players a versatile hum/ “single”/hum configuration with two PRS 58/15 LT humbuckers and a PRS Narrowfield middle pickup. PRS Narrowfield pickups deliver the bite of a single coil, so they cut through the mix with plenty of clarity and punch – without the hum. Paired with a 5-Way blade switch and two mini-toggles that tap the 58/15 LT humbuckers, this guitar can handle myriad sounds and styles (with twelve pickup combinations in total). Roll back the tone control for added growl, turn it up for some shimmer, and have fun exploring this versatile tonal palette.
Additional specifications include a maple top, mahogany back, 22-fret 25” scale length mahogany neck, rosewood fretboard, Phase III tuners, and PRS Gen III patented tremolo. The volume levels between the humbucking and single-coil settings remain very even, and the semi-hollow body with single f-hole provides a welcome airiness and depth to the guitar’s tone.
New 2021 colors: Cobalt Blue, Eriza Verde, Purple Iris
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22 Frets | Narrowfield-Narrowfield-Hum Pickup Configuration | PRS Patented Tremolo, Gen III
From PRSGuitars.com: The PRS Studio model is a modern take on a traditional single-single-hum guitar. With PRS’s proprietary Narrowfield pickups in the middle and bass positions and a 58/15 LT humbucking bridge pickup, the PRS Studio offers punchy singlecoils, vintage scooped tones, and the chunky kick of a bridge humbucker screaming in one instrument.
This whole new scope of sounds (that are only possible with a three-pickup guitar) are easily accessible in the Studio model thanks to the push/pull tone control and 5-way blade switch. With seven combinations in all, the PRS Studio covers classic tones but maintains a unique voice making it a perfect “desert island” guitar.
New 2021 colors: Cobalt Blue, Eriza Verde, Purple Iris
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85/15 Pickups | Eight Pickup Combinations | PRS Patented Tremolo, Gen III
From PRSGuitars.com: The Custom 24 is the quintessential PRS guitar: the iconic guitar that started it all back in 1985. The Custom 24-08 keeps all of the same foundational specifications as the original Custom – maple top, mahogany back and neck, 24 frets, 25” scale length, the PRS patented Gen III tremolo, and dual 85/15 pickups – but adds a new level of versatility with its simple switching system.
Featuring mini-toggle coil tap switches, the Custom 24-08 has eight different pickup settings that provide an array of humbucking and singlecoil tones. For classic PRS playability, reliability, and tone with ultimate flexibility, check out the Custom 24-08.
New 2021 colors: Cobalt Blue, Eriza Verde, Purple Iris
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25.5” Scale Length | Swamp Ash Body | Single-Single-Hum Pickup Configuration
From PRSGuitars.com: “All guitarists have a sound in their head – a sound that evolves and grows as they progress, discovering all of the beautiful idiosyncrasies that define their individual voice. To facilitate this process, players need a vibrant, dynamic guitar that becomes a free space in which their personality can unfold. PRS and I designed Fiore (Italian for ‘flower’) to be this guitar.” – Mark Lettieri
The PRS Fiore model continues PRS Guitars’ journey into the bolt-on, single-coil guitar world. Developed with guitarist, composer, producer, and instructor Mark Lettieri, the PRS Fiore offers a modern aesthetic, effortless playability, and an addictive and sophisticated tonal canvas.
The newly-designed PRS Fiore pickups were carefully voiced by Lettieri and PRS to allow players a platform to explore and find their voice. The Fiore-S single coil offers exceptional malleability in tone. Capable of capturing all the articulation found in everything from whisper-quiet melodies to full on funk and rock explosivity, this pickup reacts to each players unique approach.
The Fiore-H humbucker fulfills Lettieri’s desire for extensive versatility in the bridge position: enough power and punch for high-gain lead tones, but with a smooth top end that allows the pickup to be played clean, even with the volume knob wide open. Both the Fiore-S and -H work seamlessly together, producing balance, clarity, and that elusive ‘bloom’ in all five positions.
But the tone exploration doesn’t stop there. The Fiore model features a 5-way blade switch with traditional wiring (bridge/bridge + middle/middle/middle
+ neck/neck). The Fiore also features a single volume and two push/pull tone controls, which further adds to this guitar’s tone-shaping abilities.
Lettieri brought several personal design choices to this model, including a custom truss rod cover drawn by his very own mom. Other appointments include a Swamp Ash body, 22 fret maple neck with maple fretboard, and 25.5” scale length for classic look and feel.
New 2021 colors: Amaryllis, Sugar Moon, Black Iris
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1,000 Pieces Worldwide | Maple Fretboard and Neck | Lunar Ice “Flip-Flop” Finish
From PRSGuitars.com: The PRS Silver Sky is an idealized version of a vintage single-coil guitar where every detail adds up and sets this guitar apart from the pack and the past. The result of a close collaboration between Grammy Award-winning musician John Mayer and Paul Reed Smith, the Silver Sky is based off of years of development. Incorporating Mayer and Smith’s favorite elements of 1963 and 1964 instruments with an eye toward modern references, the PRS Silver Sky delivers the warmth and familiarity of an old guitar with the finesse of a brand-new instrument.
This limited-edition Silver Sky is outfitted with a unique polychromatic finish that accentuates the lines of the Silver Sky’s body in opalescent splendor. From shades of green, pink, blue, purple, and more, this “flip-flop” finish reflects hue and light differently at different angles, giving the guitar a dynamic look that is both delicate and powerful.
Some of the Silver Sky’s other unique features include the headstock shape, tuners, bridge, pickups, and neck and fretboard options. The headstock shape is based on PRS’s trademark design, but inverted both to accommodate Mayer’s playing style and also to keep a consistent length of string behind the nut, which makes staying in tune easier. The tuners are a traditional vintage-style, closed-back tuner, but with PRS’s locking design. The steel tremolo takes the patented PRS design and incorporates Gen III knife-edge screws. Setup flush to the body in the neutral position so that the tremolo bridge only goes down in pitch, the bridge’s increased contact with the body allows the guitar itself to be acoustically louder, which in turn improves the signal to noise ratio of the single-coil pickups. The 635JM single-coil pickups are very round and full, with a musical high end that is never “ice-picky” or brash.
This Silver Sky Limited Edition comes with a maple fretboard. Other high-quality specifications include a bone nut, a molded metal jack plate (curved to make plugging and unplugging a guitar cable hassle-free), retooled knobs, and PRS’s double action truss rod (accessible from the front of the headstock for ease of use). PRS premium gig bag included.
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Shallow Violin Carve | Eight Pickup Combinations | PRS Patented Tremolo
From PRSGuitars.com: The Custom 24 is the quintessential PRS guitar: the iconic guitar that started it all back in 1985. The Custom 24-08 keeps all the foundational specs of the instrument, while taking the Custom platform to new sonic territories. Like the Core Series instrument, the SE Custom 24-08 features two mini-toggle coil tap switches that individually split the humbuckers into true single coils for a total of eight pickups configurations. Classic design elements include a maple top, mahogany back, rosewood fretboard, 24 frets, 25” scale length, bird inlays, signature headstock logo, and PRS patented tremolo.
New 2021 color: Eriza Verde
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Shallow Violin Carve | PRS Patented Tremolo | Push/Pull Coil-Tap Tone Control
From PRSGuitars.com: The SE Custom 24 is a modern classic with roadworthy durability, addictive playability, and wide array of tones, making it a perfect workhorse guitar. Played by internationally touring artists, gigging musicians, and aspiring players, the SE Custom 24 features a maple top with shallow violin carve, mahogany back, wide thin maple neck, rosewood fretboard with bird inlays, and the PRS patented molded tremolo bridge. Its versatile sounds come from the 85/15 “S” pickups paired with a volume, push/pull tone control, and 3-way blade pickup selector.
The SE Custom 24 brings “The One That Started It All” to the high-quality, more affordable SE Series.
New 2021 colors: Black Gold Burst, Bonnie Pink, Faded Blue Burst
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Figured Maple Veneer on Top & Headstock | Satin Finish on Neck | Volume & Tone for Each Pickup
From PRSGuitars.com: The SE Zach Myers is packed with features that will satisfy even the most demanding musicians. Featuring a chambered mahogany body with maple cap, flame maple veneer, and single f-hole, the SE Zach Myers provides smooth mid-range tones with a natural, resonant internal reverb. The resonance of the semi-hollow body paired with the smooth feel of the satin finish neck will make an immediate impression in your hands. Additional appointments to the PRS SE Zach Myers signature model include a 22-fret, 24.5” scale length neck, PRS adjustable stoptail bridge, vintage-style tuners, and PRS-designed 245 “S” pickups paired with two volume and two tone controls and a 3-way toggle pickup switch. These pickups bring high-end clarity, low-end power, and an overall aggressive punch that maintains a certain sweetness.
Zach Myers, lead guitarist of the multi-platinum rock band Shinedown, picked up a PRS Custom 22 at the age of fifteen and announced his first SE signature model in 2010. As a guitarist who has rocked PRS on stage and teched for several PRS bands, Myers has an intimate understanding of how a guitar should feel and what the build quality should be. Those details have again created an eye-popping player’s guitar that can take a beating.
“When I was younger, I always wanted a “Private Stock” guitar, but I couldn’t afford one. When I told Paul the SE Zach Myers reminded me of that, he laughed, but also slightly agreed. The goal of the PRS SE Zach Myers has always been to make a guitar that stood out in the long line of amazing, affordable guitars that is the SE Series. The appointments we selected for this guitar, I feel, make it one of the best guitars you buy on the market right now – no matter the price point...even though this guitar is priced for everyone to afford. I hope players of all styles and levels enjoy it.” – Zach Myers
New 2021 color: Myers Blue
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34” Scale Length & 24 Frets | Neck Through Body Design | Figured Maple Veneer
From PRSGuitars.com The SE Kingfisher has a modern signature sound that will grab your attention. Dual humbucking pickups give sparkling top end with a high midrange growl to give the Kingfisher a personality that will cut through the mix while holding down the band with its sweet warm fundamental tone.
Designed in PRS’s Maryland shop, the Kingfisher’s offset Swamp Ash body and neck- through construction provide sustain and evenly balanced tone, while the figured maple veneer adds a touch of class. The 24 fret maple/walnut neck allows unlimited possibilities for your creativity and sonic palette, and the 34” scale length makes this an instantly comfortable bass for players old and new. Kingfisher (4B ‘H’) pickups are deep, thick-sounding humbuckers with plenty of top end clarity and punch. These modern pickups have a distinct old-school tonal character that delivers that huge “clacky” tone missing from some modern basses.
New 2021 color: Faded Blue Wraparound Burst
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It’s fairly public knowledge that Theodore “Ted” McCarty mentored Paul Reed Smith for a number of years. Ted, being the president of Gibson Guitars during the 50’s and 60’s, had more than an influence on the design of their models. To Paul, Ted held the keys to a vault of information that was begging to be opened and shared.
“My initial reason for talking with Ted was simple,” Smith explains. “I wanted to know what happened with Gibson in the 50’s. I wanted to know how they glued the tops on. I wanted to know how they wound the pickups, what kind of glues they used for the fretwire. I wanted to know all of it. I wanted him to come and consult to our company, our young PRS Guitars. I remember Clay Evans, who was the president at the time, says, “Just call him.” So I call him! He says, “I can’t, I’m blind. You have to come to me.” I was gonna hire him to consult for us, so I went up and interviewed him for a day. Went up and interviewed him another time. The third time he got really angry, and I said, “What’s wrong, Ted?” and he says, “Nobody’s asked me these questions in twenty years, and you wanna know how we glue the frets in, you wanna know how we made the bodies, you wanna know how we did all this stuff, and everybody that’s talking to me just wants to get rich quick.” For him, he says, “This is the way I make my living, and somebody is actually interested in the way I make my living.” And I think he was upset that a certain company hadn’t asked him how he did it.”
PRS Guitars isn’t just in competition with other new guitar manufacturers. One of their biggest competitors is the endless and constantly growing market of vintage guitars. Paul’s vision was to create an instrument that satisfied the need of the vintage guitar sound, while having none of the trouble that notoriously comes with buying a vintage guitar. “Unofficially,” Smith was after recreating his own version of the ’59 Les Paul. While the custom 24 was a happy medium between a Fender and Gibson, the McCarty 594 was an effort to appease the ardent Gibson patrons.
Starting with Ted’s acclaimed specs, Paul Reed Smith began the process he’s now famous for. From top to bottom, the McCarty 594 has been fine tuned to modernize a classic while paying due respects to its origin. The tuning pegs were given some “very special tweaks” so the guitar could freely ring. They decided to use a “super dried bone nut”. The neck was one of the more important features for Smith. He decided on a new, asymmetrical, “vintage carve” pattern which fits just in between a pattern regular and pattern thin neck shape. As for the scale length, this took some time for Smith to find the sweet spot he was looking for. Whether there’s a significant difference between the traditional scale length and the magical 25.594 inch scale length, we may never know, but we do know the end result of months of adjusting resulted in an incredible instrument.
For the novice player, the change in the neck joint might be quickly noticed. The thicker neck joint on the traditional Les Paul can be a little more difficult to wrap around, giving the nod to the modified 594 which has a much more carved-out feel.
Another seemingly minor change is to the headstock. Using the traditional horned headstock again gives a small win to Paul Reed Smith by bypassing the awkward sharp angle the strings make as they cross the nut.
I’ll save you time and say what’s likely on just about everyone’s mind: “If these were problems with the Les Paul, wouldn’t Gibson have fixed them?” The answer, is no. The Gibson was an absolute God of its time, and remains an incredible guitar. For many, the fact that Gibson was able to create such an amazing instrument with the tools they had available, the technology of the time, the pickups, the electronics, the materials, etc., these all contribute to what an amazing guitar it is. Smith has made it clear he never aims to take the Les Paul off the market, nor does he likely believe he could. What he does confess, is to using its strengths as building blocks to build his own version of the great guitar using modern materials, modern techniques to and give tribute to the man who taught him many tricks of the trade. Over the life of the Les Paul, Gibson has kept many aspects of their design the same, and while players respect the intention, the door was open for Paul to take a shot at showing the world what ‘New and Improved’ can do.
The body of the PRS McCarty 594 is made from Carved Figured Maple with Mahogany as the back wood. Mahogany also makes up the pattern vintage neck, having a depth of 28.5/32”. The fretboard widens from 1 11/16” to 2 1/4” from the nut to body and is made of Rosewood with Faux Bone Binding. Traditional bird inlays are found on every stock model. Hardware include the PRS two-piece bridge, vintage style tuners and nickel hardware. Both the treble and bass pickup are 58/15 LT pickups, connected to two volume and two push/pull tone control knobs, as well as a 3-way toggle switch on the upper bout.
For those looking for even more from their McCarty 594, we always make sure to keep a few upgraded models in stock. In no particular order, take a look at some of these incredible guitars!
(PRS McCarty 594 Dark Cherry Burst 10 Top Pattern Vintage Hybrid Package 2020)
(PRS McCarty 594 Single Cut Aquamarine Pattern Vintage)
( PRS McCarty 594 Grey Black 10 Top Pattern Vintage Hybrid Package 2020 )
( PRS McCarty 594 Single Cut Trampas Green Smoke Burst Pattern Vintage Carve )
( PRS McCarty 594 McCarty Sunburst Artist Package Pattern Vintage Carve )
Our Paul Reed Smith inventory is updated weekly with new arrivals so be sure and check frequently for new arrivals!
]]>Jean Larrivee, known across the industry as a master luthier, has added a new line of guitars as we reach the end of 2020. This is the Larrivee Guitars Baker-T Electric Guitar.
From the Larrivee website:
The Larrivée Baker-T is our ultra-high-end tele-style electric that is precision made in America for any player that demands the finest. The Baker-T employs only the highest quality parts and materials available. Exactly what you would expect from any guitar built under the Larrivée brand. With features like our fast-playing "Slim C" neck profile and “Super-Satin” hand-rubbed satin-finish neck, you'll enjoy hours of effortless and comfortable playing. The custom Seymour Duncan "Baker-T" and Broadcaster pickups deliver that classic warm tele lead tone with all the extra punch and twang you want. The Baker-T 2020 is a fully loaded, fully serviceable electric that will inspire any player to take it to the next level.
Other features include medium jumbo frets, "Duncan" forearm cut, comfortable belly cut, and rounded neck shoulders to ease "behind the nut string bends". You can also personalize your Baker-T with one of several cap wood options available such as spalted Maple, Hawaiian Koa, African Black Limba, East Indian Rosewood, and custom.
BODY:
• Cap wood: Various Species at Customer Request
• Main Body: Light Weight Swamp Ash (Fraxinus Americana)
• Traced from 1953 Blackguard
NECK/FRETBOARD DETAILS:
• Single piece Flamed Maple Neck (Acer saccharum)
• Fast Playing “Slim-C” Neck
• 25.5" Scale Length
• First Fret 0.825” - 12th Fret 0.875”
• 1 & 11/16 Nut Width
• CNC Machined Compound Radius. 9.5” Radius at the nut, 14” Radius at the 20th Fret
• Dual Action Truss Rod w/ Spoke Nut Adjustment at Body
• Indian Rosewood Fretboard w/MOP Dots
• High-Density Bone Nut
NECK JOINT:
• Traditional 1950’s Deep Pocket Bolt-On.
• Stainless Steel Threaded Neck Inserts / Stainless Steel Neck Screws
• Neck Angle Machined into Neck Pocket/Heel for Perfect Saddle Height
FINISH:
• Hand sprayed Ultra-High Sheen Gloss Pure Acrylic Body
• “Super-Satin” Hand Rubbed Satin Finish Neck
HARDWARE:
• Gotoh SDS 510 Nickel Tuners w/ CARD system
• Callaham Stainless Steel Model “T” Bridge Enhanced Vintage 3-Barrel Compensated Saddles
• Callaham Stainless Steel String Ferrules
• Callaham Stainless Steel Old Style Round String Tree with Polished String Slots to Reduce Friction.
• Callaham Custom Made Satin Finish “Extra Thick” Stainless Steel Neck Plate
• Callaham Custom Made Satin Finish “Shifted Volume” Control Plate
• Schaller Satin Finish Speed Knobs
PICKUPS & ELECTRICAL:
• Bridge Pickup: Seymour Duncan Custom Shop “Real Broadcaster” Bridge Pickup. Custom Hand Wound by 25+ Year Veteran Maricela Juarez (MJ)
• Neck Pickup: Seymour Duncan Custom Shop “Larrivée Baker-T” Neck Pickup. Alnico 5 Sand Cast Magnets, Chrome Plated Brass Cover, Double Lacquer Dipped (before and after winding) and Vacuum Wax Potted. DC Resistance ~7.8K Ohms. *Optional Duncan SM1 Mini bucker available at no additional cost.
• CRL 3-Way Switch w/ Top Hat Switch Tip
• Volume Pot: Bourns “Low-Drag” 250 Audio Taper Pot
• Tone Pot: Bourns “Low-Drag” 300k Linear Taper Pot.
• Capacitor: 0.047uf Vintage Paper-In-Oil Capacitor.
MISCELLANEOUS:
• D’addario XL110 Strings
• Hard Shell Case
To see Heartbreaker Guitars entire Larrivee Electric inventory, Click Here!
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Furch Guitars’ creator and founder, Frantisek Furch, spent his daytime hours as a metalworker in the socialist Czechoslovakia during the 1970s. His free time, however, was spent as an aspiring musician. No matter the depth of his passion, the country’s restrictions at the time regarding the importing of products, such as high quality instruments, and similar restrictions on the ability to even manufacture such products inside the country, left Frantisek without a path to pursue his avocation. In 1981, Furch decided the authorities would take a back seat to not only his drive to compose, but the demand for quality instruments to begin making their way into the hands of local Czech musicians.
Through the 1980s, Frantisek’s one-man, garage-based venture produced nearly 100 instruments, from composite roundback guitars to mandolins. Before reaching the end of the decade, Furch had made a name for himself and while witnessing the collapse of communism in his country, his instruments survived the movement and moved their way to being the preferred choice of many of the country’s top performers. In 1990, Furch made it official and moved his lonely operation out of his residence and into a commercial space.
With Frantisek and a single employee, the early 90’s production was minimal and sales were conducted inside Czechoslovakia. In just two years time, Furch outgrew the 20 square meter workshop and moved production into much larger mill complex. After some unconventional additions to the lineup and seeing player preferences steer away from the steadfast roundback design, Furch used their new space to cater to the change in demand and in 1993 performed their first major restructuring. Solid wood guitars were introduced in three basic body shapes – dreadnought, small jumbo and super jumbo. A few years and a few specialty models later, Furch was once again faced with the need to expand. Interest was growing in Furch’s products outside the country and in the company had grown to over 25 employees. In 1999, Furch Guitars announced the opening of their first brand-name store and once again revamped their lineup with the introduction of the millennium series of guitars, bring a much needed modernization to their design. Along side a “Vintage Series” line of guitars, which pushed to maintain their traditional design, both models ran strong from 2000 until recently.
In 2003, Furch expanded their rented mill space and purchased their entire building. The expansion would be one of their biggest progresssions to date, allowing for the addition of new departments and a plethora of production assets. With a new Research and Development team, the company devised new design techniques and technical solutions resulting in the introduction of a both a new bracing pattern and top plate design. Along with these advancements came Frantisek’s son, Petr Furch, who joined company management and brought with him his knowledge of CNC technology. Petr has since taken over the R&D Division and has overseen a number of advancements for their new product line, including an innovative composite neck design, a unique UV finish application technology and a new lightweight bracing pattern.
In 2018, Furch Guitars performed their most recent optimization to their inventory and replaced their Millennium instruments with seven new color model lines – Red, orange, yellow, green, blue, indigo and violet – representing the different levels of technological development within the company. To even further their long list of variety, Furch delivered to the public the new Rainbow Series, a custom guitar building system, sporting as many as 160 different features to choose from for players to “create a truly unique instrument.”
From the Furch Guitars website: “With more than 60 employees, Furch Guitars is today headed by Petr Furch who continues to lead the company on a path of designing and producing top-class instruments. The company produces some 8,000 top-quality instruments annually which sells on five continents with an extended three-year warranty. As a technology leader in the manufacture of premium-quality guitars and basses, Furch Guitars is committed to the continuous introduction of new designs and construction features, the use of state-of-the-art robotic technologies, and the implementation of the outcome of proprietary research and development with a view to further improving the acoustic qualities of its instruments. The high quality of Furch guitars is best evidenced by references from topnotch musicians, such as Al di Meola, Suzanne Vega, Per Gessle, Glen Hansard, Calum Graham, Zdenek Bina, Frantisek Cerny, and David Koller.”
For an outfit as determined as Heartbreaker Guitars here in Las Vegas, Nevada, it’s a quick task ranking Furch among the top contenders for Best in Show.
One of the biggest talking points of the Furch lineup is hidden inside the neck. The Furch CNR System. Short for Composite Neck Reinforcement, this revolutionary component gives maximum stability to the guitars, in turn giving their instruments incredible intonation. This CNR system is adjustable, and due to its incredible rigidity, it needs no reinforcements, thus lessening unnecessary added weight to the guitar. You’ll find the Furch CNR System neck joint design is every Furch guitar with the serial number 68,294 or higher.
Another product of the R&D team is the variety of finishes you’ll find on the different models and areas of Furch guitars. While the primary purpose of a guitar’s finish is to enhance it’s appearance, the finish is also known to have a considerable effect on not just the guitar’s resistance to the elements, but also the tonal qualities of the instrument as well. Some guitars are offered with an Open-Pore Finish which is the topic of quite the discussion among players and critics. While some believe this is a fancy way of describing a way for a company to save money by applying less protection, the quick response is that the thin layer of lacquer is far more effective than an oil conditioner and allows your choice of tone woods to exercise their natural ability much more freely without their pores filled. For a close to natural look with some added protection, this may be your choice of finish. Other options include a Full-Pore High-Gloss Finish which, for Furch, uses a UV coating formula and because of the meticulous buffing process offers up to a 95% light reflection factor. The final two finishes, the Full-Pore Vintage Hand-Brushed and Full-Pore Smooth-Slide Satin Finish both feature the same UV coating as the higher gloss finish, but are hand buffed to achieve a more vintage, aged look.
Another point of pride for Furch Guitars is their unique voicing process. Each soundboard, each individual guitar, is individually tuned using a special voicing process allows the tonewoods to function at their highest ability. The result is the consistent review of fantastic overtones, incredible harmonics and rich, dynamic sound across the tonal spectrum.
We ordered a long list from Furch and have waited for some time to get our first look at many of these guitars. We recently got several shipments and to say we’re impressed would be quite the understatement. Let us show you some of what we’ve got in stock!
First up is the Yellow Series GC-CR Master's Choice.
This versatile guitar is pleasant to look at, but sounds even more impressive. Mike does a great job demoing this guitar in the video above, showing off its Cedar top, Indian Rosewood back and sides, ebony fingerboard, Venetian cutaway and Mahogany neck. Take a listen to the clarity and sustain during the demo and you'll be quick to agree this guitar is high caliber.
Next on the list is a special guitar. This is the limited edition Furch GC Green Series USA Anniversary guitar. With only 10 having been produced, we are fortunate to have 3 of them in stock! Each display a beautiful sunburst Sitka Spruce top, highly figured Mahogany back and sides, Venetian cutaway, Mahogany neck and more. Is there more? Indeed there is. This may be one of our best guitar demos to date, as Mike Romano from the Heartbreaker lounge decided to turn his talent to 10 in this absolutely fantastic cover. Do yourself a favor and take a listen at how well this guitar can sing when a competent player is behind the wheel.
If that doesn't add Furch to your list, we're not sure what will! One more? Well, okay - only because you asked. This next one holds a special place in our heart. This is the Furch Red Deluxe SR with Master Grade Sitka Spruce over a fantastic Master Grade Indian Rosewood. This incredible creation has an amazing list appointments. Center stage you'll find an eye-catching annular rosette complimented by Koa binding and an elegant abalone purfling around the entire guitar. The Rosewood fingerboard houses inlaid Roman numerals, but the real show stopper we've saved for last. Look at these double bevels.
They're simply striking. This guitar is loaded with features and the only thing that can stand up to its incredible appearance is its flawless performance. Not just this model, but nearly every Furch guitar in our inventory has a voice that's been finely tuned to its components.
Heartbreaker Guitars in Las Vegas, NV is a proud dealer of Furch Guitars.
]]>Occasionally a company sets itself apart from its competition by offering exemplary customer service, an extraordinary attention to detail or a new and unique product. Owning an Italian made guitar from Paoletti Guitars will land you all of these experiences and then some. We’re going to give you an up close and personal look at some of Paoletti’s latest innovations and let you listen in on our interview with their General Manager along the way.
While we’d love to have the element of surprise, you’ve likely already seen some of what Paoletti has to offer. From our inventory alone their resume is already quite impressive, but a few minutes into their website and you’ll see their collection is not just amazing; it’s fantastic. Their story starts back in 2005 in the city of Montemurlo, Italy, just 30km or so from Florence.
We had the pleasure of sitting with Filippo Martini, General Manager and Key Account Manager for Paoletti Guitars. “The company started… with just a man: Mr. Paoletti and the natural evolution of his guitar luthier and amplifer tech activities,” Mr. Martini tells us. “All began with a gift from his Father. One day, Paoletti Senior gave a guitar to Fabrizio. Each day he was more and more fascinated about the soul of the instrument and less interested in the simple playing the guitar. He was curious about the connection of all the parts on the guitar, how the neck is related to the body, and how each string vibrates at the different frequencies, and so on. He started to work on a guitar from ground zero, creating one from his hands to understand all the small pieces necessary in composing the instrument. As an electric technician, he was able to look at all the pieces inside the guitar and quickly gained interest as to what was happening, what could be developed, and was soon creating his own. He started with hand wound pickups, then to the pots, and from there, it’s history.”
While the first models that displayed the Paoletti name were mere replicas, the sight of a modern day Paoletti is an entirely new experience. I asked Filippo if he could tell us more about the Wine Series. “This series has been (and is still today) an innovation – the use of wood that nobody in the world had ever used on musical instruments. The first time I came across this idea, I was with Mr. Maurizio Solieri, the main Italian guitarist of Vasco Rossi. He suggested that I test the sound of Chestnut wood on his own Paoletti… It was hard to start making musicians interested about this rare wood, and the first years were not easy. Many challenges were in front of Fabrizio.”
To hear that the introduction of a Chestnut body was a struggle is no surprise. In our current decade, it’s incredibly easy to get almost an immediate reaction to new ideas as musicians and their voices have taken to the internet. The idea of Chestnut being used as not just a veneer, but as the solid body of a guitar has mixed reviews, to put it modestly. A common thought is that Chestnut is only appropriate for aesthetics and not as a tone wood for electric guitars. Just as frequent is the opinion that Chestnut doesn’t maintain it’s tonal qualities and will change over time. What may be a surprise to hear is that these opinions…are likely facts. Harvested Chestnut would result in some of these issues, undoubtedly. However, with the family-reserved Chestnut having aged for over a century, this wood has had ample time to dry, to flex, to bend…to mature.
“[The first] custom-made, Chestnut guitar … the result was amazing! I started to recover all the barrels that my Grandfather had left to my family. I’m talking about 130 to 150 year old Chestnut wood taken from abandoned wine barrels out of Tuscany, well-known as “Leonardo da Vinci Land.” Each guitar has a story to tell and the basic idea here was to let this wood, with all of its marks and characteristics and signs of time, tell that story.”
It didn’t take long for these stories to catch the attention of some big names in the industry. Paoletti was fortunate to cross paths with the living legend, Richie Sambora while in Amsterdam. After giving a guitar to Sambora’s crew of technicians, love was found and Richie quickly escorted the Paoletti to it’s debut “rock star” live show. An incredible day for the Paoletti team, to say the least. Check out the video! https://youtu.be/fM1CC1-pBR4
More recently, Paoletti has made headlines with another world famous name. Filippo tells us about their first introduction to the Guns N’ Roses great. “The first time we connected with Richard Fortus was 3 years ago. We met him at the NAMM show and after sharing some thoughts about how a custom guitar for him could turn out, he was determined to add an aged Chestnut guitar to his rig. The first guitar we created for his rig was black, and the second for his rig was white. Every bit of the guitar is completely as Richard requested, from the custom pickups to the electronics, and a bit of a ‘secret custom circuit’ I am sure he revealed a little something about during the great clinic at Heartbreaker Guitars. Also, stay tuned 2021 – there’s more on the way!”
Take a look at this guitar! These are the white and black versions of the Paoletti Richard Fortus Signature Custom Guitars. Both guitars begin with the solid Chestnut body, are faced with crocodile themed Italian leather tops, shotgun shell knobs, custom hand-wound pickups and beautiful custom brass across the guitar. Attached is a beautifully caramel-roasted, Curly Maple neck imported from Canada. You’ll have to take our word for it that the pictures only get you half way through experiencing how unique and fascinating these guitars are.
It’s no mystery how Paoletti catches the eye of such talented artists. They’ve proven over the years, even to masters of their craft, that their products are unmatched due to their combination of creativity and quality. These guitars may look stage-ready out of the box, but they’re not just for the big show. Paoletti is a custom guitar outfit and with the number of options they have available, they’re perfect for anyone between the professional musician all the way down to the entry level player. “You can customize our guitars in many aspects, starting from the neck woods that can be changed to have the sound you are looking for. You can customize the color of the guitar with more than 200 available colors. Also, the pickup configuration. All these aspects, without any additional charges at all. We offer the opportunity to have custom names or logos engraved on the guitar. A logo can be placed in the fret markers as well. One of our latest custom creations is the Western Maryland guitar, which is available exclusively at Heartbreaker Guitars in Vegas!” We couldn’t have said it better ourselves.
Custom guitar orders are said to typically take 4 to 6 weeks to complete from start to finish. After seeing the many incredible designs and layouts Paoletti has produced over the years, we asked who they brought in to assist with the incredible designs. “No one created these for us,” Martini says with a smile. “Mr. Paoletti does that. He is a really important figure here. He is close to us every single day, following the creation of EVERY Paoletti, ensuring the care taken from the wood cut to the painting, all the way to the setup. He supervises and works with the guys regularly. He designs all the inlays and customizations for our instruments. When our clients call, I coordinate the request, first do a sketch with Mr. Paoletti, and then we are ready to do a “test on the field.” Mr. Paoletti does that ON the guitars.”
It’s impossible to not emphasize what a treat that is, to have the man who’s name is on the guitar still insist on being a part of every design, every guitar that carries his name. This is just one of many reasons to expect to see Paoletti remain a name among the greats of the electric guitar world. We asked Filippo what impression they expect their guitar to make upon a player who experiences a Paoletti for the first time. “A musician, most of the time, is completely impressed by the Chestnut’s sustain. After a couple of minutes of playing, they end in playing just a note, impressing themselves with how long the sustain is, grabbing the headstock with a hand a playing just a note. It is unbelievable how long it lasts! If you stop at HBG, try that and feel the frequency vibrating trough a Paoletti! What makes them like that is all the components and study put into the properties of our woods and handmade pickups. Also, creating everything inside, from the OEM parts like bridges, pickguards and so on. It helps to identify any issue with an item and adjust it right away having all the parts in harmony between each other.”
Paoletti Guitars are, without a doubt, unlike any other. They have proven themselves in the showroom, and they have proven themselves on the stage. If you’d like a one of kind experience with an electric guitar in its own class, we insist you make your way to the shop and test drive one for yourself. Our collection is ever-growing and some of the models you see in stock today may be the last of their kind. Come take look and a listen.
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size
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tone woods
accessories
making it your own
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