PRS Guitars has announced the SE NF3 guitar, featuring the company’s Narrowfield pickups for the first time.
The heart of this guitar is the trio of PRS Narrowfield pickups. The Narrowfield DD (Deep Dish) “S” pickups are made with taller bobbins to fit more winds and extra metal pieces in between the magnets for a more focused, powerful tone.
The SE NF3 | Demo | PRS Guitars
“We started the development of the NF3 “S” pickup with the NF 53, so it has been an ongoing project for a while. What has amazed us all, is the way we are furthering the art of “reverse engineering” our own concepts and achieving success in tone inside of the SE Series,” said Jack Higginbotham, PRS Guitars COO. “Beyond the pickups, this guitar harkens back almost 35 years to our original EG, which I was deeply involved in. The neck and the neck body assembly were born of the SE Silver Sky originally and refined with the SE CE and Swamp Ash Special. So, in a way, it is a brand new guitar that is built on ideas spanning decades and reaching to the very cutting edge of our current engineering and design philosophies.”
Bev Fowler, PRS Guitars Director of Artist and Community Relations also commented, “We recently took the PRS SE NF3 down to our Nashville Artist Showroom with the PRS DGT 15 amplifier – what a pairing! Artists were raving about the NF3’s versatility, and we watched as they down-tuned, played slide, and got great clean blues tone all out of the same guitar. It was an inspiring day for everyone.”
The PRS SE NF3 also features a poplar body, 22-fret bolt-on maple neck, and the choice of either a rosewood or maple fretboard. Anchored with PRS’s patented tremolo, this guitar can bend and flutter with ease.
For more information, please visit prsguitars.com.
PRS SE NF 3 Electric Guitar - Metallic Orange with Rosewood Fingerboard
SE NF3 RW FB, Met OrgThe Man in Black returns with the unreleased Songwriter album. John Carter Cash tells us the story.
“The Man Comes Around” is a much-played song from the final album Johnny Cash recorded before his death in 2003, American IV: The Man Comes Around. Now, the Man in Black himself has come around again, as the voice and soul of an album he initially cut in 1993, titled Songwriter. It hits the street on June 28.
For fans who know Cash only through his much-loved American Recordings series, this is a very different artist—healthy, vital, his signature baritone booming, his acoustic playing lively, percussive, and focused. This is the muscular Johnny Cash heard on his career-defining recordings, from his early Sun Records sides like “Cry! Cry! Cry!” and “Folsom Prison Blues” to “Ring of Fire” and “Sunday Mornin’ Comin’ Down” to later, less familiar hits like “The Baron” and “That Old Wheel.” In short, classic Cash—the performer who became an international icon and remains one even 21 years after his death.
I recently visited the Cash Cabin recording studio—a log cabin on the Cash family property in Hendersonville, Tennessee, that was originally built as a sanctuary where Johnny wrote songs and poetry—with PG’s video team of Chris Kies and Perry Bean to talk about Songwriter with John Carter Cash, the son of Johnny and June Carter Cash.
In addition to getting the lowdown on Songwriter from John Carter Cash, he showed us some of the iconic guitars—including original Johnny Cash lead guitarist Luther Perkin’s 1953 Fender Esquire and a Martin that was favored by the Man himself—that dwell at the busy private studio. Check out this visit.
In the first installment of his new PG column, master guitar builder Paul Reed Smith explores the truth and mythologies about the wood our instruments are made of, and why the neck and body of your guitar is also its sonic soul.
Understanding that a landslide in a presidential election is 55 percent in one direction, I do not believe that what follows will get anywhere near 100-percent agreement. But, let’s go through the debate again. I don’t really use the term "tonewood." Because the internet uses the word, the word is used, but at PRS we just talk about wood, its beauty, and its ability to ring.
By definition, I guess tonewood is a wood used on musical instruments that helps give the instrument a “good tone.” Certain woods are classified as tonewoods and some are not. For me, the species is less relevant than the qualities of the wood. Those qualities are: length of time the wood rings when you hit it, the amount of water remaining in the wood after it is dried, the resins in the wood being crystallized/not gooey, the ability to have strength as necessary (i.e., a fretboard needs to be resistant to sweating, whereas back wood doesn’t), its ability to not warp over time, and its aesthetic appeal. A magic guitar can be made of many different types of wood, but those woods need to have certain qualities and need to be handled correctly throughout the manufacturing process. So to me, woods matter.
“Tonewood,” it follows, is not about making a “better-sounding” guitar. It is about making guitars that sound different and musical because of the woods chosen in the build.
When I started making guitars, I could trust the research of the guitar-making masters that came before me and use the woods they had decided on, or I could experiment with all the available woods. My decision was to trust what the masters had used because I didn’t have the time to experiment. Over the last 15 years, we have been able to experiment with woods that are not considered vintage tonewoods. I’ll give you an example. Vintage guitar fretboards are typically made of rosewood, ebony, or maple. There are several species within those wood types that work, but generally, the ones that were used were Brazilian rosewood, East Indian rosewood, African ebony, and sugar maple. The guitar I am currently playing has a ziricote fretboard and a chaltecoco neck. Chaltecoco is used for fence posts in Guatemala, and somehow that has given it a low-class reputation on the internet. To me, it makes fantastic electric guitar necks: It is strong, straight, and rings for a long time once dried. I used that guitar last night, and I’ll use it tonight. It’s got a beautiful sound.
“While the tonal differences in electric guitars start acoustically, they carry through when the guitar is plugged in.”
I also had a guitar with the exact same specs but a mahogany neck—same pickups, same parts—and both guitars sound different. The mahogany-neck guitar has a different kind of midrange, which I really like. I gave the instrument to Al Di Meola the other day, and he loved it. It was very musical in its tone. I’ll also add that while the tonal differences in electric guitars start acoustically, they carry through when the guitar is plugged in. Pickups are microphones, amplifying the acoustic tone of the guitar. In addition, pickups have a frequency response, a harmonic content, an attack and sustain characteristic, and an amplitude all their own.
To me, if wood doesn’t matter, then logically it follows that the material the bridge is made of doesn’t matter and the material the nut is made of doesn’t matter. What I believe, because of scores of experiences, is that if we make two identical guitars out of different woods, the guitars will sound different from each other. Then, if we exchange all the parts from guitar A and guitar B—the tuning pegs, nut, electronics, bridge—they would sound almost the same as they did, and still different from each other.
Let me tell a story. Once, I was at the Guitar Summit show in Frankfurt, and I took two Cremona violin makers who were at the show to my wood supplier to pick out curly maple back wood. They both picked about 35 backs out of what was in my friend’s booth. When they were done, the supplier looked at me with his jaw dropped, and said, “Oh my god.” I said, “What?” He said, “Look—all the backs they picked have the same number on them.” I said, “What does that mean?” He said, “The ones they picked all came from the same tree!” What they had been doing when they went through the pieces of wood was not to look at the curl, but to tap on them to find out how long they rang and whether they had a good note. They picked the backs that had the longest ring time. I learned something that day.
Bottom line, to throw away one of the main ingredients for making instruments because the internet says “it doesn’t make any difference” is, to me, like saying dead strings, rubber bridges, soft finishes, and wet woods make no difference. With all due respect, I don’t buy it.
PG contributor Tom Butwin showcases Doubleday Guitars from Austin, Texas. Founded by Walker Doubleday, the company specializes in highly customizable, hand-built guitars with a strong emphasis on craftsmanship. From the J-style Thrasher to the custom Broadwing, each guitar is designed to your specifications. Learn about their unique finishes, neck and body integration, and the blend of vintage and modern elements.
Shop Doubleday Guitars: https://www.doubledayguitars.com.
The accomplished songwriter demonstrates his visual approach to songwriting while creating a barroom ballad.
Ever wondered how songwriters capture scenery and stories so vivid that they seem to jump out of the song and into real life? Cary Brothers can offer some insight. In addition to releasing three full-length solo albums, the Los Angeles-based musician’s songs have been featured in dozens of film and TV productions, including Grey’s Anatomy, ER, Scrubs, One Tree Hill, Smallville, 90210, Garden State, and more.
Brothers moved to Los Angeles to work in film, but eventually turned to focus on writing music. His experiences in Hollywood gave Brothers a keen visual sense in music—and a deep appreciation for how sounds and visuals can augment one another. This time out on Before Your Very Ears, Brothers joins hosts Sean Watkins and Peter Harper to talk about how to balance the desires of both our eyes and ears while arranging tunes.
The end result is a deliciously striking last-call serenade. It starts with a Pogues-esque keys motif, then blossoms into a Waits-meets-Springsteen, back-of-the-bar heartbreaker. The details get filled in as the writing session goes on—the local watering hole with its broken jukebox and laissez-faire doorman—and before long, the cinematic, lonesome ballad takes shape.