Suhr Custom Guitars

Suhr Custom Guitars
Suhr custom guitars are what put Suhr on the map. Many factors go into producing the 'state-of-the-art' Suhr instrument: Suhr’s selection of the choicest woods, countless hours of detailed programming for their CNC machines, hand finishing and buffing by highly-skilled and experienced craftsmen, and final play-testing by John himself, all contribute to the final result. Suhr controls every minute detail of how every guitar is built. No guitar leaves the Suhr factory until John feels that he loves it. Every guitar has to sound great, play like butter, and look stunning, for John to give the final 'approval-to-ship'. Suhr constantly strives to further improve the quality of their guitars. Some people may ask, "How do you improve on perfection?" Whether it's selecting a new finish lacquer, picking out the electronic components for a wiring-harness, offering new, improved fret-wire, or acquiring the necessary equipment to improve consistency and help their craftsmen, Suhr’s motto has been that 'it will be better today than yesterday'. It is this passionate spirit and relentless pursuit of improvement that you feel, hear and see in every one of Suhr’s guitars. No detail is too small for Suhr to overlook. Every guitar must meet their lofty standards, or 'it just doesn't ship'. The following are the models offered by Suhr, along with some of their (and our) thoughts, on their features and options: • Standard – The shape Suhr is best known for is a sleek 'take-off' of the Classic design.  The body is just slightly smaller, and has a sharper radius on the edges. It also features a contoured heel and side output-jack.  The cutaway 'horns' are slightly longer, in proportion to the rest of the body - but not at all 'pointy' - for as modern, yet tasteful, look. • Classic - This is the standard 'vintage' shape that we all know, with the addition of a contoured heel where the neck bolts on, for easy access to all the frets. The output jack is normally located on the instrument's side instead of the face (to get the cable out of the way of the vibrato-arm), but we also offer the 'face-jack' as an option, for those that want the vintage look. It features a 'blade-cut' tummy contour, and 'soft' edge-contours. It is also the shape used on the "Scott Henderson Model". • Classic T – Digitized from an original '52, Suhr offers this model with a three-saddle compensated Tele-style bridge, or any of our other bridges (like the Hardtail or 1055 vibrato). Suhr offers this with a hard 'vintage' edge and no body cuts, or with arm, tummy, and heel cuts, for the ultimate in comfort. This model can be ordered with a rear-routed control cavity, or a traditional pickguard and control plate. Double-binding the body is also an option. • Modern - A completely new shape designed by John Suhr, the Modern shape has a unique asymmetrical body that balances superbly with the extended 24-fret neck. Fast, sleek and sexy looking, the Modern shape will feel right at home to players who were weaned on the popular and innovative shapes that came into vogue in the 80's. The neck heel has been completely redesigned for easy access, but a lot of attention also went into maximum transfer of the strings vibrational energy between the body and the neck, producing a big, balanced and acoustically-brilliant tone. Let's not forget that there are many things that influence tone; the body and the neck wood are a strong part of your 'tonal equation', but they are not the 'whole story, by any means. John Suhr says: For years I played a solid Quilt-Maple Standard, with a Rosewood-'board neck and a Floyd. Bright, you think? Not really... The Floyd isn't very bright (it's sort-of neutral) and the rosewood warmed it up. I used a hot, dark bridge pickup. All this equaled a combo that was a killer 'shred' guitar and never got lost behind the keyboards. The only disadvantage was the price of the wood, and the fact it wasn't the lightest guitar in the world. Sometimes a guitar-tone will sound killer in your living room, but just not 'cut' properly with a band. Also, the bridge will make a huge difference in the tone, and in the tactile response.  Many have experienced what I have as well; you spend all day dialing in your tones at home or at your rehearsal space, and you think you have all your tones dialed in perfectly... The band comes in and the rehearsal or the gig starts... The first thing you do is run to your amp to turn up the treble, turn down the bass and turn down the effects...  Sound familiar? Neck Construction After many years of experience, John Suhr is convinced that nothing sounds better than a single, vintage-style truss rod. If the neck is made correctly there is no need for a "two-way rod". Suhr guarantees the necks for the lifetime of the original owner.  They offer plain-grain hard rock Maple, as well as the finest quality Birdseye Maple and museum grade Birdseye. The plain-grain is usually the most stable (at least in our opinion), although Birdseye sure does look good.  Their Birdseye is also eastern 'hard rock' and comes from the same source as their 'plain-grain'.  Their 1-piece plain-grain Maple neck feature a Pau Ferro skunk stripe and headstock plug. Suhr's standard fingerboard shape is a 10"-14" compound-radius, for the ultimate in clean bending with comfortable 'playability'. Optional radiuses are 16", 9"-12" compound and 7.25 - 8.5" compound (there will be an up-charge for this option, due to the extra sanding required on the severely-arched 'vintage' radius). The truss rod is accessed from the pick-guard end of the neck (with a special 1/8" Allen wrench), without removing the neck. All Suhr necks come to you with their frets leveled, using the (CNC) 'Plek' system - their 'Plek Pro' machine levels frets to a tolerance of .01mm (0.0004").  All their frets and fingerboards are dressed with the neck under tension, and the frets are re-crowned and polished for smooth bending. The corners of the fingerboard are 'broken-in', for a comfortable feel. All current Suhr models are 25.5" fret scale, and offer the Buzz Feiten Tuning System. Other scale lengths will be coming in the not-too-distant future. Neck Back Shapes Neck Shapes are all +/- .010" from stated spec – (the thickness of the high-E string) • Even C Extra Slim – This is a fairly new shape that Suhr introduced in late 2005 for those seeking a very fast and the slimmest shape possible without having a negative impact on tone or stability. It tapers from .770" to .850". • Even C Slim – This is a very 'friendly' even-taper, slim 'C' shape. The thickness runs from .800" at the first fret to .880" at the 13th fret. It is their most popular shape, and John's personal favorite. • Even C RB – This is the shape that Reb Beach specified for his custom guitars - it tapers from .800" to .850". • Even C Medium – Another popular shape, this shape is the same as the even C slim, but fatter: .840" to .920". • Even C Fat – For those who like a chunky yet comfortable neck shape, this shape is the ticket: .880" to .960". • Even C Huge - This shape is for players who like their necks big - really big!  Measuring a full 1.000" thick at both the 1st fret and the 13th (with an even taper), this shape, with its extra mass, produces a guitar with a big, bold and punchy tone. • 60's C Vintage Standard – This is another very popular shape, that feels classic: it starts out thin but tapers 'fatter' as you go up the neck. It starts out at 810" at the first fret, to a chunky .930" at the 13th fret. • 60's C Vintage Medium – This is the same as the 60's C Vintage Standard but slightly fatter - .830" to .950". • 50's Round – This shape replicates the fat, round shape of the late-50's. It starts out at .860" and tapers to .980" – big, but comfy. • 56 Soft Medium V – This is a popular shape for the player who wants that 50's vintage feel, but does not like the feel of the hard V. Taper is .840" to .920". • 56 Big V – To Suhr, this and the Medium V are the only comfortable V neck shapes - big from .880" to .980", it rolls in at the fingerboard and is a soft V that tapers to almost no V. Recommended for V neck fans. • D Shape – A D-shaped neck that has a more shoulder or meat on the edge of the neck; it is flatter on the back. It is also featured on the Scott Henderson Model. It is slim, with a taper of .800" to.880". • Modern Elliptical - A new shape for the 24-fret Modern, this shape can be viewed as a half of an ellipse. It is a 'fast' and sleek shape, yet has enough girth for you to really grab onto when playing chords, or when  you want to 'dig in' for wild string bends. The Modern Elliptical shape is available in three thicknesses: .780" to .830", .800" to .850" (the 'Guthrie Govan' size), and .820" to .870". Neck-Wood Configurations Maple – Suhr's Maple necks are 1-piece 'vintage style', with skunk stripe and headstock plug made out of Pau Ferro.  Maple has a unique tone: strong in the midrange, with a sweet, 'spanky' high end. Maple will cut through when you need it, and it is never muddy in the low-end. Maple is good for overdrive, with good harmonics. It's excellent on a Basswood back/ Quilt Maple bent-top Standard: very ballsy. Suhr puts a very light, satin ('wood-feeling') finish on maple, so it doesn't feel sticky. Maple with Pau Ferro Fret Board – Quarter-sawn Pau Ferro has the good properties of Ebony, but seems to be more reliable and stable. Pau Ferro is a tight grained hardwood, with excellent clarity and definition on the "chunk" tones when using gain, especially when teamed up with an alder body. In 'overdrive mode', it has a fatter low-end and more pronounced 'sparkle', when compared to an all-Maple neck. This combination is strong in the lower-mids and bass, with somewhat 'scooped' upper-mids. Maple with Indian Rosewood Fret Board – Sweet and warm, with some sparkle on the top end, Indian Rosewood is one of the most popular fingerboard woods. It is open grained, with colors ranging from brown-black to red-brown. Warm and fat, it is not too bright and not too dark - very 'neutral'.  It does, however, have more "sizzle" than one-piece Maple necks. Maple with African Rosewood Fret Board – African Rosewood is rich in color: red-brown, with interesting patterns to, sometimes, almost black. Malagasy Rosewood seems to have a wide frequency response - brilliant highs and punchy lows. It is tight-grained Rosewood similar to Brazilian Rosewood. This fingerboard wood works well with darker sounding body woods and humbucker settings. Exhibiting strong upper midrange and extra presence, it's 'slappy'. The African is very similar to Brazilian in color and tone. Suhr's in-stock species is actually a brown 'Madagascar'. Maple with Brazilian Rosewood Fret Board – Very limited in availability, Brazilian Rosewood has the characteristics of 'Indian' and 'Madagascar', rolled into one. It's not as bright as the 'Madagascar', but is more crisp than Indian. It is best not used on Ash, unless you like very bright 'highs', or you compensate in some other way (like using darker sounding pickups or bridge). Body Shapes It's worth mentioning that different body shapes do sound different - it could be due to the mass, or the shape. All things being equal (pickups, necks, bridge, etc.), the Classic T might be a little heavier guitar but has the punch to back it up. The Classic and Standard models are great sounding guitars as well, and do everything they are supposed to do, but the Classic T definitely has some serious punch. Body Chambering When chambering, Suhr removes some of the body's interior wood, using 6 tuned chambers.  What you lose is some weight (typically around 12 ounces), and a little of the instrument's edginess or 'hardness'. What you gain is sweetness and a warm low-end.  You can think of the chambering as being like adding a tube rectifier to your amp - it adds a little more compression and sounds a little 'woollier'.  It may not be ideal for the aggressive heavy metal 'shred' tone, but it works for everything else, from AC/DC to light jazz.  Suhr can chamber any wood-combination; they will also add an F-hole or 'Cat's Eye', at no charge. Body Wood Configurations Alder – Rich and full, Alder is strong in the lower-midrange. The most widely used wood in the 60's for '3-single-coil style' guitars, it is medium to light in weight, and takes well to sunbursts and some transparent colors. Swamp Ash – Popular in the 50's for electric guitars, this wood is 'alive' and lightweight - Swamp Ash just wants to vibrate. Bright and sweet at the same time, with excellent grain patterns; all transparent finishes look great on Swamp Ash.  A one-piece Maple neck is 'a natural' for Ash; Pau Ferro fingerboards also work well.  A Rosewood fingerboard on an Ash body will give too much 'sizzle' for many players: Suhr will only build this combination if you are positive that this is what you want. Basswood – Strong in the midrange, Basswood has a balanced tone and is lightweight. Light in color, with almost no grain patterns, Basswood is best suited for solid colors, or is excellent as a backing wood for a Maple top. All types of neck-wood combinations work on Basswood, but Indian would be on the woollier and warmer side. Mahogany – A popular wood used in set-neck guitars and acoustics, Mahogany is strong in the 'mid-mids' with a good high-midrange bark. Contrary to popular belief, Mahogany is not dark – just strong in the mids, which gives the aural illusion that it's compressed. A Mahogany body is best when mated with Mahogany neck. Basswood Back / Quilt or Flame Maple Top – Okay, this may be the Holy Grail of tone. The Basswood response is extended by a 3/16" Maple top, adding more clarity and 'grind' to the 'fatness' of the Basswood.   This combination is John's favorite! Usually, finishes will be opaque on the back, with transparent colors on the top – LP style. It's most excellent with a one-piece Maple neck. Ash Back / Quilt or Flame Maple Top – Auditioned with a Malagasy Bois de Rose fingerboard, John used to think that the Alder Body / Pau Ferro fingerboard was one of the best overdrive tones... The Ash back has that open 'ring', with good clarity. The Maple top seems to add another dimension – not harsh at all, but very 'alive' sounding in both clean and dirty modes.  It has a nice punch, with scooped mids.  A one-piece Maple neck is also a killer tone-choice with this combo. Visually, it's an excellent choice for using transparent colors, on both the back and the top. This combination makes for a light guitar, as well. Mahogany Back / Quilt or Flame Maple Top – This is another killer combination when mated with a Mahogany neck, with various species of Rosewood for the fingerboard.  A Maple top extends the range of Mahogany, with more brilliance and punchy lows. The Mahogany back and neck combination works well in the bolt-on design, and is highly recommended for those seeking a thick, woody tone.