The PRS McCarty Archtop II with amber finish

Sweet Notes

Early Fall 1998

 

 

 

Page 11

 

By Jim Miller

 

 

 

level of the cassette a bit, many people chose the cassette as the better-sounding

 

 

 

Like most of you, I can sing a sad song these days. See, I didn’t get to

 

 

format (thinking it was the CD). Amazing, isn’t it?

Nashville for Summer NAMM. Oh I know, you’re thinking, “But Jim, you’re an

 

 

Okay, if it’s so tough to hear the difference between cassettes and CDs,

industry powerhouse! How could there be a NAMM Show without you?”

 

 

what’s the likelihood that listeners will hear the difference between, say, 16-bit

Okay, so you weren’t really thinking that, but it’s nice of you to humor

 

 

and 20-bit recordings?

 

me. Actually, the reason I couldn’t make it to NAMM was simple: I was running

 

 

Obviously, when the 16-bit,44.1kHz format was introduced in the late 1970s

behind in my work. Besides my regular duties with Sweet Notes, I had several

 

 

(has it really been that long?), those were the upper limits of our technology.

articles and reviews to complete for Electronic Musician, and I was putting

 

 

Still, I have lots of CDs that were recorded at the dawn of digital that sound

 

the finishing touches on samples for a new

 

 

 

 

fantastic. The reason is simple: The recording

Sweetwater CD ROM (if you’re nice,Daniel Fisher

 

 

 

 

engineers on these projects (and on analog

will tell you all about it soon).

 

 

 

 

recordings of the same vintage) were masters of

Fortunately, as you have probably already

 

 

 

 

getting the most out of their medium.

noticed, Sweetwater’s own David Stewart was

 

 

 

 

Now I’m no different than anyone else. Give me

there in Nashville and he put together this

 

 

 

 

the choice between 16-bit and 20-bit and I’ll take

issue’s most excellent overview of all that was

 

 

 

 

20-bit every time. Problem is, I still have a 16-bit

new at the show — and there was plenty; so

 

 

 

 

wallet (ouch!). And the hard truth is that I still

much, in fact, that I’ve had to give up much of

 

 

 

 

have not produced any recordings that have

my page so we can fit it all in. Of course, the more

 

 

 

 

absolutely tapped the upper limits of 16-bit’s

amazing new gear there is, the more we find we

 

 

 

 

potential. Another fact that should be apparent is

need,right? I can hardly believe the tools we have

 

 

 

 

that not all 16-bit recorders are created equal.

available to us these days.

 

 

 

 

 

Some sound better than others. The same, I’m

For my (brief) article this issue, I want to

 

 

 

 

sure, will be said for higher bit machines.

discuss a topic that’s on a lot of people’s minds

 

 

 

 

So what it boils down to is this: What’s your

lately, which is 16-bit vs. 20- and 24-bit

 

 

 

 

budget? Higher bit formats are the future, no one

technology. Hardly a day goes by that I don’t get

“Hey, my ADAT can beat up your ADAT!”

can argue with that. But neither can you argue

asked about this: Is 16-bit finished as a format?

with the fact that 16-bit will be with us for quite

 

 

 

 

Are we dinosaurs if we don’t step up to the higher resolution formats? It’s an

 

 

some time to come and sounds pretty awesome for 20-year old technology. Until

 

 

interesting question and one that certainly will not get definitively answered

 

 

my ship comes in (and damn it, I’m still waiting) I will try to make the best

for some time. But let me share some personal observations.

 

 

recordings possible using my present 16-bit machines. When the day comes

About six years ago, a major consumer stereo publication conducted

 

 

that the technology cannot handle what I am capable of producing, that’s the

exhaustive blind testing to determine whether CDs were actually superior to

 

 

day I will bite the bullet, call the bank and switch to the highest bit-rate I can

(of all things) cassettes. We all have an opinion on this subject, right? Well, I

 

 

afford. For most of us — maybe not you, but the majority of us — I think that

won’t keep you in suspense. With properly calibrated, high quality cassette

 

 

day is still a ways down the road.

machines running with Dolby C noise reduction, most of their panel could not

 

 

With that I’ll declare the subject open for discussion and thoughtful

— and I repeat, could not — consistently tell the difference between a cassette

 

 

responses (if any) will be addressed here next issue. Meanwhile, my new

and a CD. No, not even those with so-called “golden ears.” If they boosted the

 

 

philosophy is simple: Life’s short, make music.

 

 

 

 

 

 

 

PAUL REED SMITH: Guitars Without Compromise

— Continued from Page 1

the bridge and 1 3/4" at the rim with a carved spruce top, carved mahogany back and sides and the superb McCarty neck profile (nice and chunky, my favorite) with moon inlays. Also included are the newly designed McCarty Archtop pickups with sound that perfectly complements the look and feel of the instrument, a PRS stop tailpiece, 14-to-1 low

mass tuners with ebony buttons. You also get the standard McCarty electronics: one volume and tone control plus three-way selector switch.The McCarty Hollow Body II ($3600 list), has the same features as the Hollow body, but with a carved,figured maple top and back.

If you like your guitars slightly fatter (and I mean that in the best possible way!) there’s the McCarty Archtop ($3200 list), which has all the features of the Hollow Body, but is 4" deep at the bridge and 2 3/4" at the rim with carved spruce top. The McCarty Archtop II, ($3800 list) has the same features, but with a carved, highly figured maple top and back. Options include Bird inlays, adjustable stop tailpiece and rosewood headstock veneer.

At the top of the hollow body PRS line is the magnificent McCarty Archtop Artist ($10,000 list). It features a carved Artist grade,

highly figured maple top and back and carved mahogany sides, 4" deep at the bridge and 2 3/4" deep at the rim. Features include a Brazilian rosewood fingerboard, Abalone birds with gold outline, rosewood head stock veneer, wide fat neck carve, adjustable stop tailpiece, 14-

to-1 low mass tuners, ebony buttons and gold hardware. Whew! This is a serious guitar for serious guitarists!

Also new this year is the McCarty Soapbar, which is basically a McCarty with a solid mahogany body and special Seymour Duncan “soapbar” P-90s. Options include Abalone bird inlays, PRS tremolo and 14-to-1 low mass locking tuners. Though it’s not new, the Carlos Santana model ($8000 list) is now a special order. It includes a leather case, rippled Abalone purfling, Brazilian rosewood fret board, rosewood head stock

overlay and an optional stop tailpiece.

The Paul Reed Smith philosophy is simple: Make guitars that players just won’t be able to put down.The craftsmen at PRS build guitars with a passion that you might have thought was gone these days. But it’s not. And you’ll feel it the very first time you pick up one of these fantastic instrument.

Whether you’re searching for the perfect stage ax or that special once-in-a-lifetime investment, call your Sales Engineer right now and check out the current selection of Paul Reed Smiths in the Sweetwater Custom Select collection. I promise:You’ll have an instrument that will deliver the tone you’re searching for with looks to match! — Jim Miller

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