PRS Silver Sky Hands-On Review Featured

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I’ve had the fortune of owning the Silver Sky from PRS for about a week now, tried it through several different amps and even played it out with my buddies this past weekend to get a feel for it. I figured there’s no time like the present to take a look at what I found that I like, what I’m not a huge fan of, and my overall impression of the instrument that has divided the gear community more than just about anything in recent memory. Keep in mind this is a personal view, may ramble on a bit but I’m trying to be thorough for anyone who is truly on the fence about these guitars.
I’ll start off with straight out of the box. I’m not one of the lucky ones that won the lottery and got a case with my Silver Sky (for any who aren’t aware, the first 500 shipped with a gig bag, the rest ship with a padded gig bag). First impressions are positive; it’s a solid gig bag with padding on the inside that keeps the guitar from moving all around. Decent pockets for all your stuff, and backpack shoulder straps for when you want to throw it on your back. It’s not overtly protective, but it was protective enough that the only thing in the box was a bit of light bubble wrap around the top and bottom of the bag and put in there to roll, and it survived the trip (but freaked me out upon first seeing it). Upon removing it from the gig bag, I immediately noticed how light it was (lighter than my American Pro strat). Upon initial views, the finish (I got the red, Horizon finish) was expertly done, no flaws, blems or quirky stuff anywhere on the guitar. I instantly noticed the slightly darker paint shade on the lower bout of the horn, which was subtle but kind of accentuates it to make it have a 3d quality. All of the edges were clean; no hair-line paint cracks around the neck (which admittedly my American Pro had out of the box).
Upon the first strum, it was already in tune. It made the trek from Texas to here in VA in relatively frigid weather and was ready to roll out the minute it landed. The neck has been a big talk of the guitar, talking about the 7.25” radius instantly turned a lot of players off. For me and my small hands, it was comfortable. The frets are smaller than the modern jumbo’s I’ve been playing for years, but it didn’t detract from the experience at all. They’re a bit taller than my friend’s ’64, but the thickness of the neck and overall feeling of playing it felt like playing an old friend. As to be expected with a guitar at that price, the attention to the frets was perfect. No sharp fret ends, everything was just smooth, all the way around. The rosewood used on the fretboard has some gorgeous figuring to it, and the birds are there but not as “in your face” as my old Custom 22 and other PRS’s are. Unplugged, it’s a relatively loud guitar compared to some of the others I’ve played. Chords ring out really well with plenty of sustain and bending feels great. Now, the dreaded question associated with the 7.25” radius is…does it fret out? The answer is 97% NO. The only time I experienced a single fret-out was on the high E string, playing way up around the 20-22nd fret. That’s ONLY on the high E string though, and I had to do well over a step and a half bend to get it to fret out. It also doesn’t do it on the other strings, but admittedly I’m personally not playing up that high very often, so it’s not a deal-breaker. The bridge itself is great, very sleek and stays in tune quite well even when bombing on the trem arm. I’ve always put my bridges down to the body on my strats since I was a teenager anyway, so that felt right at home. The tuners are solid and work very smoothly, and of course, the PRS locking option is just one of my favorites anyway out of ease of use.
All that stuff is well and good, but it only means but so much unless it sounds excellent. I only had about 5 minutes the first night, and it left me feeling a bit bewildered at how to describe the sound of the pickups. There was something different, but I couldn’t put my finger on it without spending more time with it. Now that I’ve played quite a bit on it, the easiest way I can describe the pickups are strat-like, but with rather hefty variations on some of the frequencies. Overall, I’d say that they’re not as warm and boomy as a strat is. The Silver Sky’s pickups are much…brighter isn’t the word I’m looking for. Present maybe? They have this air about them that is different from any strat I’ve owned. Overall there seems to be less compression on the low end, more presence, and much more percussive quality when reacting to picking dynamics. Generally, on a strat, I would be a neck, neck+middle, and bridge+ middle type person. I’m just fond of the 2, 4 and five positions and often overlook the bridge standalone and the middle standalone. The bridge on the SS is quite nice sounding, and I understand what JM meant when he said: “the lows have high end, and the highs have low end.” The bridge is quite warm, still single-coil but leaning ever slightly toward P90-ish in nature (especially with dirt). The middle was the most surprising for me of all the pickups because it feels like it has the best of both worlds so to speak. It’s got quite a bit of low-end, but there’s some quack and brightness that lets it cut without being like an ice-pick. I never played the middle before to its true extent, but it’s quickly becoming my favorite. You can definitely see John’s influences in each pickup setting. The neck pickup does the SRV-ish thing but doesn’t quite snarl like my strat does outright, but when you dig in with your pick, it really responds almost like hitting the amp with a boost (see my comment above about being very reliant on picking dynamics). The four position has the quack but is smooth and kind of sexy, with some low end that really blooms as you play. The middle is very much Jerry Garcia-ish, and you can definitely see the effect Jerry had on him playing with Dead and Company. Bridge + middle had that great classic sound but compared to my strat it seems to have a bit more mids that smooth but fatten out the overall sound of that position. 
While we’re talking tones, the Silver Sky works exceptionally well with most any pedal you use it with. Pairing it with a TS gives that fat and powerful tone you’d come to expect from its lineage, while still adding a bit of extra clarity to it. Utilizing a K-style OD makes your signal cut like a hot knife through butter and fills out the sound to the point where I could see myself only using a Klone if it came down to only choosing one form of dirt. In all honesty, it’s one of the first guitars in a very long time that I haven’t had the desire to use effects on much. I've instead been opting just to play clean or edge of breakup with a bit of spring reverb on for depth and just adjusting my playing style and pick attack to really bring out the nuances. Speaking of which, this guitar it’s overtly forgiving when it comes to playing. Being that it’s so touch-sensitive and all that, every nuance (good and bad) are amplified tenfold. For me, it was eye-opening because I would just play kind of sloppy on a strat with rakes and all that, and the Silver Sky made me take a look at my attack and adjust to clean my chops up a bit already. It’s undeniable that you can hear John’s tonal choices in each of the pickup positions and the reaction to the string attack, which are very much his trademark thing. Overall, it’s effortless to channel JM tones, but I also feel it’s easier to NOT sound like some of the classic strat players, and you have to almost channel their playing style more so than on say my American Pro to get those classic tones. Again, it’s going back to reinforce that it’s a very responsive guitar. You get what you put into it, nothing more, nothing less.
Getting into the nit-picky part of my review and some of the things I’m not as big of a fan of are based on the knobs and selector switch and the headstock. The sweep of the pots themselves is very nice and musical the whole way through, no issues there. The knobs themselves, unfortunately, feel very cheap and aren’t snug on the pot itself. They each wiggle just a bit on top of the pot, and despite trying to push down harder (thinking maybe they just weren’t on there good), but to no avail. They’re not majorly shaky, but there’s some wiggle movement going on, even if it’s relatively slight. It’s something I can overlook in the long-run. The pickup selector clicks much more securely into each of the five positions than any of my other strats do, but overall it also has this cheap, fisher-price toy kind of feel to it (same as the knobs). They might not be cheap at all, but just from the onset, they FEEL cheap. I have a couple of friends who have gotten theirs as well, and they said the same thing. Regarding the headstock, the shape is fine and I kind of dig that it’s unique and quirky. The truss rod cover and tuning handles are a matching dark grey plastic, which I also feel makes the look and feel a bit cheap aesthetically. I would have at least opted for black, or maybe even just a different shade of grey, but again I'm just being nit-picky now.
Overall verdict? It’s a very solid, well-engineered instrument that pays homage to the legacy of the strat, but then branches off and does its own thing. It admittedly plays more like a PRS than a strat, and the pickups and feel of the neck are just different enough to justify owning both a Silver Sky and a Fender Strat. Did it reinvent the wheel? Heck no. Was PRS aiming to? Not that Paul or John ever mentioned in any of their interviews. It’s another viable option for people who love S-style guitars, with PRS’s impeccable attention to detail on their finishing work. I am a fan of John’s, but despite it being a signature model it doesn’t feel pigeon-holed into just his tones. Other’s mileage may vary considerably, but I for one am glad to see PRS step into that world that so many other brands have been occupying for so long (with FAR less fuss than PRS got). Check one out if you get the chance, and you’ll see what I mean about it just being *different*. 
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