PRS Silver Sky Rosewood Electric Guitar – Venetian Blue

$3,709.99

Reach For The Sky

“It’s been a dream of mine for years to design a guitar that includes some of my favorite vintage specifications but with a modern spirit and aesthetic. After two years of study and refinement, the Silver Sky is my vision of what a reboot of the electric guitar should look and feel like.” – John Mayer

The PRS Silver Sky is an idealized version of a vintage single-coil guitar where every detail adds up and sets this guitar apart from the pack and the past. The result of a close collaboration between Grammy Award-winning musician John Mayer and Paul Reed Smith, the Silver Sky is based off of years of development. Incorporating Mayer and Smith’s favorite elements of 1963 and 1964 instruments with an eye toward modern references, the PRS Silver Sky delivers the warmth and familiarity of an old guitar with the finesse of a brand-new instrument.

Some of the more distinctive specifications include, the headstock shape, tuners, bridge, pickups, and neck and fretboard options. The headstock shape is based on PRS’s trademark design, but inverted both to accommodate Mayer’s playing style and also to keep a consistent length of string behind the nut, which makes staying in tune easier. The tuners are a traditional vintage-style, closed-back tuner, but with PRS’s locking design. The steel tremolo takes the patented PRS design and incorporates Gen III knife-edge screws. Setup flush to the body in the neutral position so that the tremolo bridge only goes down in pitch, the bridge’s increased contact with the body allows the guitar itself to be acoustically louder, which in turn improves the signal to noise ratio of the single-coil pickups. The 635JM single-coil pickups are very round and full, with a musical high end that is never “ice-picky” or brash.

The Silver Sky comes with the option of a rosewood or maple fretboard. The maple fretboard option comes with the original 635JM neck shape, while the rosewood fretboard option has been subtly modified in the shoulders to feel more “rounded” in your hand. Both neck shapes were designed by researching vintage instruments and Mayer test-driving guitars on stage to find what felt right. The fretboard radius on both options is 7.25”.

Other high-quality specifications include a bone nut, a molded metal jack plate (curved to make plugging and unplugging a guitar cable hassle-free), retooled knobs, and PRS’s double action truss rod (accessible from the front of the headstock for ease of use). PRS premium gig bag included.

SKU: J1A2--MJISJ_NJJJJ_-W_83 Categories: , , Tags: , , , , UPC: 825362169390

Description

Specifications

Body
Body Construction Solidbody
Body Wood Alder
Top Carve Flat Top
Neck
Number of Frets 22
Scale Length 25.5″
Neck Wood Maple
Neck Construction Scarfed
Truss Rod PRS Double-Acting
Neck Shape 635JM-R (Rosewood Fretboard)
Neck Depth at the 1/2 Fret 55/64″
Neck Depth at the 12 1/2 Fret 63/64″
Neck Width at the Nut 1 21/32″
Neck Width at the Body 2 15/64″
Fretboard Wood Rosewood
Fretboard Radius 7.25”
Fretboard Inlay Small Birds
Headstock Logo Signature, Decal
Neck/Body Assembly
Neck/Body Assembly Type Bolt-On
Finish
Finish Type High-Gloss Nitro
Hardware
Bridge PRS Steel Tremolo
Tuners Vintage-Style, Locking
Hardware Type Nickel
Nut Bone
Electronics
Treble Pickup 635JM
Middle Pickup 635JM
Bass Pickup 635JM
Controls One Volume and Two Tone Controls with a 5-Way Blade Pickup Switch
Additional Info
Strings PRS Signature 10-46
Tuning Standard (6 String): E, A, D, G, B, E
Case Premium Gig Bag

Controls

Infographic showing switching positions for Silver Sky Rosewood

Brand

PRS - Paul Reed Smith

Paul Reed Smith

This passion for quality affects not only the work habits of individuals but also the structure of the whole company. Paul Smith: “We’re not organized like other companies. Every PRS craftsperson is a self-contained quality control ‘department.’ They have a lot of authority over their work, and if a guitar falls short in any way, they don’t pass it on to the next stage, and they make that decision themselves. They hand guitars back and forth all the time, and they inspect everything over and over. It’s like an old European guild or a shop. There’s a constant ‘is this good enough?’ conversation out there on the factory floor. So the quality control begins at the workbench. It’s not something we overlay or tack on. It’s an integral, organic part of the process, beginning with design and materials selection and going through every single step in construction and testing.”

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