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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*.
Hey, guess what? PRS is making a John Mayer signature guitar! I bet you’ve never seen or heard of that before?!?! \Sarcasm. Honestly, at this point, if you have been on any form of media at all, you’ll likely have had it plastered all over everything. Facebook, emails from dealers, Instagram, everywhere. It’s become a lightning rod of polarity in the guitar community, spawning countless memes joking about it, intense arguments with people loving it and people loathing it. It’s become more than a bit overboard with the sharing, so I thought I’d take a look at it from a different angle and attempt to address some of the common themes I see pop up in threads and my thoughts on it.
Fundamentally, John Mayer (and all musicians really) isn’t just a guitar player but is a brand unto himself. Due to his playing skills and his rapid rise to stardom, he became known for some of his personality traits years ago that were… less than favorable and its divided players ever since. He has an ego that precedes him, and that often shuts down so many people without looking any further. At the same time, it would be hard to not develop a bit of a complex gaining that much praise from legends like Eric Clapton and BB King and many others early on in his career. Regardless, his attitude, gear choices, lifestyle, playing ability and social media posting habits on top of bridging the gap between the blues and modern pop have made him a lightning rod for divisiveness. It seems there are three tiers of people when it comes to Mayer: 1) Super Fans – folks who dig what he does entirely, plain and simple. Generally speaking, the negative stuff is looked past because of his proficiency on the instrument. 2) People who dig his playing, but can’t stand pop music, or consider his playing a rehash of SRV, etc. or 3) People who just don’t like or care about him at all, or fervently dislike him based on some of the things listed above. Regardless of which tier a person falls into, every one seems more than happy to vent their points of view or completely defend their line in the sand. Enough about that though, let’s talk about the guitar.
John was a long-time Fender artist, and as a business person as well he was looking to expand his branding. You can find all sorts of articles guessing and theorizing his reason for departing Fender, but either way, they parted ways a few years ago. He then found his way to PRS and has actively been using that brand of gear since then. A Mayer signature amp was spawned out of the relationship, the Super Eagle collectible PRS, and now this signature guitar the “Silver Sky.” But at a base level, it’s just business. You have a person looking to expand their branding, one of the top companies in the world wasn’t able to accommodate his wishes for whatever reason (there are enough conspiracy theories on the internet to take up a good half of a day). His next option was to find one that could meet his expectations and standards of what he was aiming to do. For those that wonder why PRS would break their mold and go for a much straty-er guitar than ever before, you only have to look at the source. Just like mention Mayer as a brand, he’s a brand that MOVES PRODUCT. Generally speaking, if something has John Mayer’s name attached to it, then it will sell very well. Like him or not, John Mayer is a modern guitar hero for this generation.
When the initial demos first came out, two comments that stuck out upon the initial unveiling were “It’s just a strat with an ugly headstock.” And “Not trolling, but it sounds exactly like a Strat to me.” Well… that’s the point. When you are building a brand, you attempt to maintain consistency. In this case, John has been using Strats his whole career, and it’s synonymous with his tone and playing and his songs and what he loves as an artist. It’s instantly what he’s identified with as part of his signature sound, just like Brad Paisley with a Telecaster, BB King with Lucille, Angus Young with an SG, etc. It’s just what’s engrained as their iconic sound. Fundamentally there are a few key features that separate it from a Strat, such as the radius of the body, altered pickguard shape, proprietary hardware, different headstock that push it away from any legal issues, while staying close enough to the idea to keep with the folks who enjoy a bit of nostalgia. Another comment I saw was regarding “It’s way too expensive for a strat copy.” Well, taking a look at the Fender JM Strat, the cost isn’t that far off when including PRS’s lineage of quality and the design of the new Silver Sky is much more diverse visually than his Fender model was compared to SRV’s or other Fender artist guitars for instance. Is it redefining the wheel? Nope, not in the least bit. Is it relatable but a varied take on a classic that is spec’d to what John likes and uses? Yep.
The biggest thing I find interesting is that no one really cared about strat copies until Mayer had one built by a company not known for strats if you really think about it. If you look at all the companies who have made strat variants (some less different visually than the Silver Sky), PRS is by far not the first to do it, and not the most expensive version either. Suhr, G&L, Whitfill, Crook, Nash, Palir, Tom Anderson, Xotic, Don Grosh, Ibanez, Samick, RS Guitarworks, King Bee… there are many I’m missing out on naming, but you get the picture. None of them have ever truly caught too much flak for their S or T-style guitars that are as close to spec on some of Fender’s instruments as you can legally get. And as long as there’s nothing going on legally, then there’s nothing wrong with that. It’s no different than choosing what restaurant you want to get a cheeseburger or a salad from. It’s all a varied take on the initial idea, but with a personal twist on it.
Regarding most of the drama, I think it has a lot to do with John himself and public perception of him, and the overall fact that he went from one brand with a signature guitar and had the new company build one that was quite similar with the response that it was 2.5 years in the making. I’ve seen that quite a bit on internet forums and groups, saying that 2.5 years is a massive amount of wasted research and development time that PRS wasted on Mayer when he already had a former signature guitar as a reference point. However, considering that tastes change, and PRS was set on giving Mayer exactly what he wanted, and the time that’s invested in creating these parts with the changes. After alterations, they require John test them on the road for a while to confirm what he liked and didn’t like, and confirming they meet their QC specs, that’s not that long in the grand scheme of things. The 7.25” radius has been a massive contention for players discussing it on forums, subsequently saying that radius instantly turns them off. The idea behind it (for those who haven’t played a 7.25” radius) is that vintage guitars had a habit of fretting out on big bends. If you’re familiar with Mayer’s playing at all, you’ll know he bends pretty constantly, so if fretting out was an issue that’s likely something that had to be addressed by PRS to accommodate his playing style on that radius. I’m confident that in the end, if JM signs off on it, then it’s going to be as right as it can be. Early demos have found no issues with fretting out, but only time will tell as they show up in the wild and guitarists get their hands on them.
In the end, it all revolves around personal taste. Mayer fans will be overjoyed, and the first 500 preorders have been completely sold out with the next batch not coming until later this year, and even many of those are sold out. If you’re a strat purist, then this guitar likely won’t be anything worth hollering about, and that’s understandable… it’s hard to beat a classic. But as a fan of all things guitar, I can’t wait to try it. I own a Fender American Pro strat as well as a Suhr S-style, and can’t wait to compare it. Again, it’s all what tickles your fancy and spawns your creativity and stokes the fire on the urge to pick up the instrument and play. Knocking an instrument without having played it, or judging the company or the artist without knowing the backstory doesn’t do any good aside from fueling the drama via assumptions. So, to those who bought it, have fun and happy new guitar day! I hope it’s what you’re looking for and hits the spot. If those who aren’t into it, you’re not wrong either. A strat is a beautiful thing to behold, and there’s a reason it’s a classic and so highly copied. In the end, I just hope everyone will let people enjoy what they want to enjoy, and welcome the fact that you can say you were there when John Mayer and PRS divided the industry for a few weeks (until the next big thing occurs and we all forget about this).