short note from my side (will post later a bigger story).
don't forget that the korina PRS has a slimmer body than a warmoth LP with maple top! don't forget that the maple cap adds a lot of lows (yeah really, it does!) and a lot of tightness to your tone. more so than having a thin korina body
a longer scale will give some more 'twang', more bloom, more springyness to your tone.
a korina/rosewood neck will have a lot of lows, lower mids, and might tend to get a bit pushy and mushy. wenge/ebony will give you some tightness, articulation, and the wenge itself has some great, great mids. its got some chunk for chords, but the chords are clear and open at the same time. for your solo's, your tone will have so much livelylness, the notes will rock and flow.
ok, you guys wanted a list of what I have? here goes.
korina/maple top,
rosewood neck and board, trem, PATB2 bridge, stagmag neck. tight overall, mids jump out, highs are smooth, like santana. the lows are there, not punchy or pushing.
mahogany/maple top,
RW neck, trem, bill lawrence L500 R, L and XL set. tight! crunchy, highs are piercing and biting (80ies style), mids crunch like crazy and are pushed out of the amp. lows are tight, but not emphesised. like a 'supertele'.
mahogany/maple, wenge neck, ebony board. fullshred/distortion neck hybrid in bridge, distortion neck/jb hybrid in neck. howling mids, yet pushed in a pleasant way, singing highs, bit honky and woody. lows are tight and pumping. its very, very slash-like for my taste.
mahogany/maple, padouk/ebony neck. jb/jazz. supertight, crunchy in the bridge. the highs are piercing though a bit rounded (bit smoother than the bill lawrences). the jazz is a bit hollow and boxy and woody. the mids are pushing and crunchy and tight. the lows are tight but not really present.
mahogany/maple, zebrano/ebony, distortion bridge, jazz neck. bit warmer than above, smoother, not as gritty. lots of power, cleans up nicely. mids are less pushy, highs are less piercing, more lows, overall just as tight.
mahogany/maple, cocobolo/braz. RW, 59/custom hybrids. classic rock tone, like zz top. bit pushy, but not too much. the mids are a bit crunchy, but not really that much, the highs are friendly, the lows are slightly flabby, as it should be in 'vintage toned' instruments. it gets tighter with the more gain you use, ofcourse. the highs are piercing and snappy, almost twangy.
walnut/koa,
ziricote neck, ebony board, jb/jazz HYBRID pickups, with extra coil for the bridge pickup, with alnico8 bar magnets. like a kick in the stomach. it goes and goes and goes, no stopping it. every note oozes 'tone', it never stops. the lows are supertight and punchy, the mids are crunchy if I want them to, or smooth if I want them to (depending on my picking, on this guitar its more extreme than on the guitars listed above). the highs are piercing, the lows are tight and absolutely present. the overall tone is snappy, agressive, midheavy.
walnut/walnut,
bubinga/ebony. fullshred/distortion hybrid set, alnico8 in neck, thick ceramic in bridge. this guitar feels and sounds like an 80ies superstrat. uppermids are strongly represented, the lows are tight but only present because there's so much wood, the highs are piercing and biting. tonecontrols are very much needed. coiltap doesn't sound that great, parallel settings are better, cause split will sound a bit thin, where parallel gives you a bit more power and roundness. great for early aerosmith-stuff!
mahogany/koa,
purpleheart/ebony, fullshred/distortion hybrid, alnico5 in neck, thick ceramic in bridge. the total opposite of the walnut/walnut, every way; warm body vs bright body. bright neck vs warm neck. the lows are so strongly represented, the emphasize is on the lower mids. the highs are smooth and sweet, the mids and upper mids are like a chainsaw (best way to describe it I think). they're there, but not strong, but strong enough to cut through. this is my 'winger' (reb beech) guitar!
purpleheart/rosewood,
canary/ebony, 1 piece top, 2 piece backcustom made set (with some secrets of my own, which I'm not willing to share). sweet tones, with great balance. this guitar has perhaps the best balance of mid high and low of any guitar I have. depending on picking you can boost the EQ on the place of your choosing. its a great slate for your tone, you can do whatever you want with it, but the strongest, easiest produced eq-band is in the uppermids.
padouk/wenge (both 1 piece!)
padouk/ebony, dean baker act bridge, wizard novatron mid, dean hands without shadows (michaelangelo batio) neck. is the sibling of the one above. same deal. but here the attention goes to the LOWER mids! the highs are a bit tighter, the lows are more pronounced, the mids and upper mids are crunchier, where its sibling has a sweeter, softer mid and uppermid range.
mahogany/maple (1 piece, both),
purpleheart neck, schenker set. difficult guitar. Don't like it, yet, because its too piercing, too bright, not enough lows, not enough power, not enough lower mids, too much brightness and too much crunch. Most likely due to the brass nut! the nut will be changed for bone. Having 011 strings helps a lot, though.
mahogany/maple (1 piece, both),
wenge neck, ebony board, dean mountain of tone bridge, dean dimetime neck. classic rock 'n roll, with an edge. its got some kind of honky-ness to the mids, crunchy bite to the upper mids, great piercing highs, but not cutting it too much. the lows are tight and powerfull, but not overwhelming. The nut here is again its bottleneck. Will be changed for bone to smooth out the tones in general.
the necks which are put in bold are the fatter necks (all 1 inch, some 1 11/16'' nuts, some 1 3/4''). the others are all standard thin.
thats what I have now. I have had more, but they're sold. I also had more korina, but, sold
I only have this for now. I'm not really satisfied with the tones of the 1 piece flamed maple and the 1 piece quilt maple topped guitars, but thats most likely due to the nut, as I've said earlier. I have to say, though, that the wenge neck (which is on the quilt top) used to be on the flame top, and at that time, the guitar had a great, awesome, kickass tone (with other pickups, too), but the color demanded a purple neck
so the purpleheart neck went on. Purpleheart is so damn bright... thats what convinced me that necks are maybe more important than bodies. you can see it in the descriptions. thick necks equal thick(er) tones than thinner necks. thinner necks have more crunch, more bit, more attack.
