Perry: It was at one of the Guitar Shows in Olympia back in the 90s. I fell in love with the guitars immediately.
PRS: What are your current go-to PRS models for touring and recording?
Perry: I mainly use a Custom 24 Floyd, I also use the SE variant of the Floyd. We have a few songs in the set that feature an acoustic guitar, so I use a P24 for those.
PRS: What would you say has been the most memorable gig you’ve had to date?
Perry: Our last gig was amazing. We sold out Alexandra Palace in London, 11,000 people, our biggest London show since 2017.
PRS: Do you have any pre-performance rituals, or perhaps a certain piece of gear that must be present at every gig or recording session?
Perry: All I need for any gig or recording session, is my Custom 24 Floyd and a Line 6 Helix. And a capo. And maybe an Ebow. I love my Ebow, I use it WAY too much!
PRS: The Elemental EP was great, is the band currently working on anything new?
Perry: We’ve been working on some new material in our studio, there will be some new material out very soon.
PRS: Your obviously very busy with Pendulum, do you have any spare time for any other projects?
Perry: When I’m not Pendulum-ing, I’m usually producing other artists. The latest being an Australian singer/songwriter called Liz Van Gretsch. I also produce music for TV and Adverts. I recently did the music for a Dolce & Gabbana campaign.
PRS: What artists have you been listening to in your down time lately?
Perry: I’ve been listening to a lot of Sleep Token and The 1975. Two highly contrasting bands, and both quite fantastic.
PRS: What advice would you give to aspiring guitarists?
Perry: It’s a cliché, but practice as much as possible and never turn down any gigs. The busier you are, the more experience you’ll get, and the more musicians you’ll meet. This is the best way to get ahead in the music industry.
Watch Peredur ap Gwynedd play “Watercolour” by Pendulum on the DW CE 24 Hardtail Limited Edition and the DW CE 24 “Floyd”:
https://www.prsguitarseurope.com/wp-content/uploads/2023/04/PENDULUM-ALLY-PALLY-3-scaled.jpg25601708SJhttps://www.prsguitarseurope.com/wp-content/uploads/2014/06/340-300x137.jpgSJ2023-04-11 18:55:522023-04-27 16:05:29FEATURED ARTIST – PEREDUR AP GWYNEDD
The new CE24 Satin Nitro Ltd continues to build on that bolt-on platform with a thin satin finish to enhance the vintage vibe while delivering a natural, smooth-playing feel.
The CE24 Satin combines a mahogany body and Maple top with a bolt-on maple neck – all finished with a thin layer of satin nitro. The mahogany body lends warmth to the snap and response that comes from bolt-on construction and the satin nitro finish provides an addictively playable neck and stunning resonance and clarity.
To further maximize the guitar’s inherent tone, the CE24 Satin features PRS 57/08 pickups, which Paul designed to have remarkable clarity as well as extended high and low end. The electronics consist of a volume and push/pull tone control with 3-way toggle switch for a total of six classic sounds.
Additional specifications include: 25” Scale, Pattern Thin maple neck with Ebony fingerboard and PRS bird inlays, natural back, PRE-designed locking tuners, and PRS-designed tremolo.
Designed with the gigging musician in mind, the CE24 Standard Satin provides sonic versatility, enviable style, and effortlessness playability. A Limited edition run for Europe & the UK with just 60 of each colour available in 2023. Check in with your local PRS dealer!
Guitar making is an art, and like all art forms, it has a rich history. One of the more important figures in that history is Ted McCarty. If you’re reading this blog post, you have probably heard the name McCarty from our model lineup. We introduced the first PRS McCarty in 1994 and have since honored Ted with many instrument designs. Now, our McCarty family of guitars spans from the SE Series to our Core instruments and represents our more vintage-appointed guitars. But why did Paul Reed Smith want to name a guitar “McCarty” in the first place? Keep reading to learn more about Ted McCarty and to hear Paul reflect on their special relationship.
Ted McCarty was a pioneer of the electric guitar and the musical instrument industry. He served as Vice President of the Gibson Guitar Corporation in 1949 and as President from 1950-1966. Paul first came across Ted’s name in the US Patent office in the early 1980’s. Here is how Paul tells the story:
Paul Reed Smith:“I first learned of Ted McCarty in the patent office. In those days, you didn’t look through the computer – you went into the office and collected big batches of patent documents, and you flipped through them like records in a record bin. So I was there looking for previous patents that related to my Compensated Nut patent in the “Electrical Musical Instruments” section, and I kept pulling out the patents I had seen on my bench in my repair shop. They mostly had two names on them: Leo Fender or Ted McCarty. And I was like, “who is Ted McCarty?” I knew who Leo Fender was, and the others were clearly Gibson-related patents: the Tune-O-Matic bridge patent, the Les Paul patent, and many others, that listed “Ted McCarty, Kalamazoo, Michigan” as the inventor. At the time, almost nobody knew his name, and nobody knew the Gibson straight bridge was internally at Gibson called the McCarty bridge. We’re talking about the early 1980’s. Anyway, I made copies of a bunch of patents on the copy machine and took them back with me.”
In addition to the Les Paul and Tune-O-Matic bridge, McCarty was also responsible for several other patents and innovations, including the humbucking pickup (with Seth Lover), Explorer, Flying V, SG, ES 335, and Firebird to name a few. Not a bad resume!
Fast forward to 1986 – year two of PRS Guitars…
Paul Reed Smith:“We were sitting in the beginning of PRS, and I remember it was cold because when we would open the door, we had to put our coats on because our desks were right next to the garage door. My desk was right next to Clay Evans (PRS Vice President of Sales at that time), and I said, “I’d like to talk to Ted McCarty.” Clay said, “Call him.” I said, “I can’t call him!” And Clay said, “Call him! What’s he gonna do? Not pick up the phone?” So, I called him up, and he did pick up the phone. I told him who I was and what I was doing. He was mildly interested, and I asked him if I could hire him as a consultant. He said, “No. I can’t fly.” So, I just said, “Can I visit you?” I went to visit him two times in Michigan, and I asked him everything. I drilled him! He had so much knowledge and good information for me.
“What kind of glue did he glue the frets in with? (Spoiler alert: It was fish glue. Paul tried it once, and it stunk! We never used it again). How did they glue the tops on? How did they glue the necks in? How did they level the fingerboards? How did they dry the fingerboards, the necks?
“I must have asked him everything, and at the end of the second day, he got really angry and I said, “What’s wrong, Ted?” And he said, “Nobody has asked me these questions in thirty years. It’s how I made my living, and nobody has been interested. You’re the first person to ask me. Everyone else asks how to get rich quick…do you know where I can find an old Les Paul, Flying V, Explorer? Nobody asked me how I made my living.” Quite frankly, he was pissed no one had called to ask him. After all these interviews and the subsequent week of interviews at his home in Maui, I knew everything he remembered.”
And in 1994, the first PRS McCarty model was introduced. Paul named the guitar after Ted McCarty because it embodied all the things Ted had confirmed for him about good guitar making.
Paul Reed Smith:“David Grissom came to us and said, “I want a guitar that sounds like Duane Allman Live at the Fillmore,” and we designed the McCarty. When I told David I wanted to name it the McCarty model, he generously agreed. He thought it was the right thing to do. We didn’t know the DGT was coming at that point, and I thought it was very gracious of David.”
Over the next decade, Paul and Ted would talk many times and make it a point to meet in person several times as well. Paul went to stay with him in Hawaii for five days after the initial two trips to Michigan (McCarty split his time between the two locations every year). Ted eventually visited the PRS Virginia Avenue shop in Annapolis, was PRS Guitars’ guest at the NAMM show in the 1990’s, and also made it to PRS Guitars current shop in Stevensville, Maryland in 1997 to contribute to a promotional video with Carlos Santana, Tim Mahoney, and several PRS employees.
Paul Reed Smith:“When he came to the shop on Virginia Avenue, I took him into the back with everyone, and I asked him about pickups. He said, “I told my engineer to make something to buck the hum.” We all starting howling – we were standing with the guy who named the humbucker! (Seth Lover was his engineer).
“He also came to a few tradeshows (the Dallas Vintage Guitar Show and Winter NAMM), and he roomed with me a few times. I would wheel him around the booths, and people would come out of the woodwork and kneel down to meet him. It was very moving. Before all this, Leo Fender and others would often come by our booth and pay their respects and tell me “You’re doing a good job. Don’t stop.” But, by now, Ted was with us – he was involved. We all adored him and believed he handed us the baton. He sat for dozens of interviews for the press at those shows over the years.”
In addition to guitar making, McCarty was also a touchstone for Paul on leading a manufacturing company. Before moving PRS across the Chesapeake Bay from Annapolis to Kent Island, Paul asked Ted for advice on how to move a factory.
Paul Reed Smith:“I asked him to give me advice on how to move a factory – he had done it 3 times! He told me, “You’re going to get pissed off. Keep your cool.” I thought he was going to tell me something about how to pack the machines and set them back up, but he was talking to me emotionally as a leader. Beyond business and guitars, he really became like a grandfather to me. I went to his 90th birthday party. I sang to him in the hospital when he was dying. I still talk with his daughter, Sue, and we have his signed agreement – it’s a contract in our safe – that PRS be his guitar maker. So here we are.”
Ted never played guitar, but he would interview all the artists every year in New York City and listen to what they wanted, and he would listen to the market to gauge the acceptance (or not). The Kalamazoo Gibson plant knew about how to dry wood, where to put the frets, how to design a bridge, etc.
Paul Reed Smith: “I ate everything Ted said like food because it was our history. Did he know his business? Oh my god, did he. Was he a good guitar maker? Brilliant. Did he know guitars? Absolutely. Was he the leader of the industry at the time? Yeah. For this company, the miracle was not that we got this grandfather – that was special to me personally – for the company, it was that he endorsed us as guitar makers. He said I am going to tell the world that I believe in the guitars and the people at PRS.
“Here was the magic of it. I made a deal with him. “You tell us everything, and I’ll make you not the forgotten man.” He said, “OK – it’s a deal.” And he kept his word, and we’ve kept ours.”
From everyone at PRS, thank you, Ted. You will never be forgotten.
https://www.prsguitarseurope.com/wp-content/uploads/2023/03/ted-mccarty-with-signatures.jpg19351920SJhttps://www.prsguitarseurope.com/wp-content/uploads/2014/06/340-300x137.jpgSJ2023-03-16 15:00:102023-03-09 18:01:16The Unforgotten Man: Ted McCarty and His Impact on Paul Reed Smith
The SE Hollowbody Standard Piezo features an all-mahogany body with hollow con- struction for a warm, resonant tone. Boasting 58/15 LT “S” pickups and an LR Baggs/PRS Piezo system, the SE Hollowbody Standard Piezo provides musicians with the versatility of wielding both acoustic and electric tones in one instrument. Additional appointments include a 22-fret wide fat neck, bone nut, and PRS adjustable Piezo stoptail bridge.
The instrument is designed with two discrete volume controls (magnetics and piezo) and output jacks (magnetics and mix/piezo). Players can plug into the “Mix/Piezo” jack and use the individual volume controls to blend the 58/15 “S” pickups with the piezo’s acoustic tones. Alternatively, players can plug into the jacks separately, so the guitar can run magnetic pickups into an amp and run the piezo through an acoustic amp or DI into the soundboard. When using the magnetic output jack in isolation, the piezo battery is bypassed completely, acting as a failsafe (in this scenario, the magnetic pickups still work even if the piezo battery has run out of juice).
The SE Hollowbody Standard Piezo is one guitar that can cover any gig in style.
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Sonzera [Portuguese]: from som (sound), meaning a cool and/or stunning sound (in the sense of music) – a kind of slang.
The Sonzera 20 is a moderately powered 20-watt combo amplifier with two independently controlled, footswitchable channels designed for maximum versatility. The clean channel delivers full, 3D tones reminiscent of American mid-1960’s amplifiers. The gain channel is related to the clean channel circuit-wise, so that it can be set up to act as a boosted clean channel or manipulated to make the channels sound like two completely different amps (the gain channel can be set from slight to very heavy distortion by simply using the drive and level controls). The bright switch on the gain channel has been carefully tailored to deliver familiar high-end snap and is particularly effective on the low strings, neck pickup settings, and with singlecoils, while the low-end response of the gain channel is full, tight, and clear.
Both channels on the Sonzera are designed to maximize note clarity and definition. The global presence control and the tone stacks allow players to dial in a variety of tones from bell-like chime to warmer, thicker tones. The Sonzera 20 Combo also features global spring reverb control that is designed to enhance notes without clouding them. The reverb can be turned on and off via the footswitch. The addition of a built-in effects loop allows players to use all their time-based effects with ease without negatively impacting the overall tone of the amp.
With robust construction, a wide range of tones, and steadfast controllability, the Sonzera 20 Combo is a solid gig- and studio- worthy amplifier.
“I didn’t just rubber stamp this. This guitar is something I have been very involved in and am really proud of. The SE Series is lightyears ahead of anything I could get my hands on when I started playing – it’s amazing how far the quality has come – and I am proud to be able to offer this guitar to more people.” – David Grissom
The PRS SE DGT (David Grissom Trem) brings David Grissom’s signature model to the SE Series for the first time. Based on the McCarty platform, the DGT model has been a constant favorite since its introduction in 2007, thanks to Grissom’s deep knowledge of vintage guitars and his painstaking attention to detail. Every feature on the SE DGT has been considered from the neck shape to the fret choice and dressing, from the colours to the pickups and electronics layout.
The SE DGT features vintage-voiced humbuckers paired with individual volume controls for each pickup and a push/pull master tone control that taps the humbuckers for sweet, single-coil inspired sounds. This layout puts a lot of control and versatility on tap so you can focus on playing and not the guitar. Additional appointments include a maple top, mahogany back, 22-fret, 25” scale length mahogany neck with rosewood fretboard, and bird or moon inlays (inlays are colour dependent).
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The SE Mark Holcomb model stands on its own in the PRS lineup and delivers addictive playability thanks to some unique specifications, including a 24-fret, 25.5” scale length wide thin satin maple neck with 20” radius ebony fretboard. Designed to work with modeling amps in mind, Holcomb’s Scarlet & Scourge pickups bring full tone with slightly less drive, offering more articulation than ever. Whether playing sophisticated chords or melodic leads, in a band or solo, you’ll hear every note. Other specifications include a quilted maple veneer, black chrome hardware, and a 3-way blade pickup switch with push/pull tone knob for coil splitting.
“My SE signature model is an incredibly special instrument, and one that has been the mainstay of my rig in the studio and onstage for the better part of a decade. Now outfitted with my brand new Seymour Duncan signature pickups, it sounds better than ever.” – Mark Holcomb, Periphery
The band Periphery has become a force to be reckoned with in the progressive metal scene thanks to their complex rhythms and soaring melodies. Guitarist Mark Holcomb helps achieve this full, lethal sound with his PRS guitars and signature Seymour Duncan “Scarlet & Scourge” pickups.
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The DW CE 24 Hardtail Limited Edition brings Dustie Waring’s signature specs to a trem-less guitar. Dustie Waring’s signature model starts with the PRS CE 24 bolt-on platform and includes a satin-finished maple neck, maple fretboard, a slightly modified Pattern Thin neck carve (Waring’s carve is slightly thinner front to back), and – unique to this limited edition – a hardtail bridge.
The pickups and electronics are also unique to Waring’s signature axe. The pickups are Waring’s signature Mojotone “DW Tomahawk Gen 2” pickups. Made with both ceramic and alnico magnets and a special winding technique, DW Tomahawks have plenty of out- put and big bottom end while remaining articulate and clear – a notable quality for high gain pickups. Paired with a volume and tone control and 5-way blade pickup selector, the DW CE 24 Hardtail is menacing, sophisticated, and addictive to play.
“Having a hardtail option of my signature model is incredibly important to me. This setup is something I use all the time, and PRS has once again knocked it out of the park with their attention to detail. Doesn’t hurt that these guitars just look amazing!” – Dustie Waring, Between the Buried & Me
The DW CE 24 Hardtail Limited Edition comes with satin black hardware and is available in six colour options, including Waring’s signature finish: Waring Burst. There is no limit to the number of DW CE 24 Hardtail guitars that will be made, but the order window is limited to January 10 – December 31, 2023. Contact your Authorized PRS Dealer to place your order.
The SE McCarty 594 is a versatile, vintage-inspired instrument that delivers both humbucking and single-coil tones in a reliable, roadworthy guitar. Thanks to its dual volume and push/pull tone controls, the SE McCarty 594 can seamlessly master humbucking and single coil sonic territories, so players can find all the tones they are looking for.
Its 58/15 LT “S” pickups were carefully designed to deliver warm, vintage-inspired tone with sweetness and clarity. The zinc two-piece bridge and vintage-style tuners anchor the SE McCarty 594 and stay true to its vintage promise, while the classic PRS body shape and bird inlays add a hint of modern style to this classic feature set. Other features include a bound 22-fret Pattern Vintage neck and slightly thicker back for sustain.
Designed to capture the heart of the McCarty family of instruments, the SE McCarty 594 is high-quality workhorse instrument.
SE McCarty 594 Singlecut
Classic Features, Modern Playability
With dual volume and push/pull tone controls, 3-way pickup selector on the upper bout, two-piece bridge, and vintage-style tuners, the SE McCarty 594 Singlecut is built with a classic feature set that will make players feel right at home. Its 58/15 LT “S” pickups were carefully designed to deliver warm, vintage-inspired tone with sweetness and clarity. Whether you are looking for rich, authentic humbucking tones or nuanced, sweet single coils, the SE McCarty 594 Singlecut can master both sonic territories with ease.
Other specifications include a bound 22-fret, 24.594” scale length Pattern Vintage neck and slightly thicker back for sustain.
Designed to capture the heart of the McCarty family of instruments, the SE McCarty 594 Singlecut is a high-quality workhorse instrument.
SE McCarty 594 Singlecut Standard
All-Mahogany Vintage Workhorse
The SE McCarty 594 Singlecut Standard brings an all-mahogany option to this versatile, vintage-inspired platform. Whether you are looking for rich, authentic humbucking tones or nuanced, sweet single coils, the SE McCarty 594 Singlecut Standard effortlessly masters both sonic territories thanks to its dual volume and push/pull tone controls. 58/15 LT “S” pickups were carefully designed to deliver warm, vintage-inspired tone with sweetness and clarity, and the all-mahogany body brings beautiful midrange and a subtle aesthetic.
The SE McCarty 594 Singlecut Standard is anchored by the zinc PRS two-piece bridge and vintage-style tuners. Other specifications include a bound 22-fret, 24.594” scale length Pattern Vintage neck and slightly thicker back for sustain.
Designed to capture the heart of the McCarty family of instruments, the SE McCarty 594 Singlecut Standard is a high-quality workhorse instrument you can play at home, in the studio, and on the stage.
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The Modern Eagle V is an innovative instrument that offers highly musical tones for both recording and playing live. Utilizing a hum/single/hum (five-coil) pickup layout and unique electronics configuration, the Modern Eagle V gives players a vast array of tones in one guitar. The 5-way blade switch selects the pickups in intuitive groupings: treble, treble and middle, middle, middle and bass, and bass. There is a single volume and a push/pull tone control that activates both humbuckers when engaged; this allows players to access all three pickups simultaneously. Finally, the mini toggles allow players to individually separate the humbucker coils, turning the outside pickups into true single coils. This electronics design puts a whole set of classic and new tones at your fingertips.
Additional appointments include a maple top and mahogany back, a 22 fret, 25” scale length, Pattern mahogany neck with rosewood fretboard, bone nut, and PRS patented Gen III tremolo.
“Modern Eagle models have always been built to stand up to history while celebrating tonewoods and the discovery of new tones. The Modern Eagle V is a sophisticated instrument not only in its craftsmanship but in its electronic and mechanical design,” said Paul Reed Smith. “We’ve refined the pickup tones and are pleased to now add it to the Core lineup.”
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