PRS McCarty 594 Wood Library Korina back/neck Maple 10 top Trampas Fade 254340

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Weighing in at just 8.2lbs this lightweight McCarty 594 in Trampas Fade is a delight. Every note just sings, The grain of the Korina on the back is so deep that you can see into the guitar. Kermit once said that it ain't easy being green, he just never met this PRS.

Guitar Store exclusive PRS Wood Library run WL1167.

In late November of 2017 Sean and I took a trip back to the factory to pick out woods and design a few runs of guitars. After having such a great couple of Wood Library runs of 594 come in during 2017 we decided to build another set of ten. This time we chose to get a run made for ourselves. We dug around the maple tops Paul had stashed and chose 10 from west coast Big Leaf trees as we were starting to feel a little homesick. These should have been classified as "Artist" tops but they were marked as 10 tops. This was Sean's first time back to the factory so he was asking me a bunch of questions. "What was your first Wood Library run you had PRS make for The Guitar Store?" It was that sweet Korina DGT run from 2013. Still my favorite. So we went after some of that design. Found the lightest Korina back and neck blanks to match with dark Ebony for the fretboard and veneer that all tied in to those tops. Hybrid hardware, Green Ripple and Paua bird inlays shipped to you in a black paisley PRS hardshell case. These guitars will be bring out some clarity in the mids when compared to the standard 594. I think you will like them. 

Trampas Fade (because Trampas Ferree is a master and his fade stain rocks)

Please reach out and ask me any questions you may have about these guitars.

James Schultz- The Guitar Store

The McCarty 594 is a vintage-inspired instrument that is at once incredibly familiar and effortlessly playable. Whether you are looking for rich, authentic, vintage humbucking tones or nuanced, sweet singlecoil sounds, the McCarty 594 can seamlessly master both sonic territories thanks to the 58/15 LT pickups and push/pull coil taps on the tone controls. The electronics layout, a few key specifications, and PRS craftsmanship combine in the McCarty 594 to create an instrument that plays in tune, is intonated the entire length of the neck, and feels like a guitar that you’ve been playing forever.

A few key specifications that contribute to the McCarty 594’s tone and feel are:

  • A 24.594” scale length, just slightly longer than 24.5” and where the model gets its name.
  • 58/15 LT pickups. LT, meaning low turns, which give the guitar a warm, clear tone.
  • 2 volume and 2 tone controls positioned so players can roll off both volume knobs at the same time.
  • The added versatility of push/pull coil taps for each pickup for more tonal options
  • A new Pattern Vintage neck carve, which shares the same width measurements as PRS’s Pattern neck but is slightly thicker front to back and features an asymmetrical carve with a little less meat on the treble side and a little more meat on the bass side of the neck.
  • Tweaked Phase III tuners have an added set screw that pulls the tuner’s gear and worm together (while “locking” over the worm to prevent slipping) to promote tone transfer from the string directly into the guitar with as little energy as possible being detracted. (The tuner functions identically to standard Phase III tuners for re-stringing. Set screws must NOT be adjusted outside of the PRS factory. Making any adjustments to this feature may cause the tuner to stop functioning properly.)

"The 594 is the best new guitar I've played in years. It has a vintage heart and soul but without the technical limitations that usually come along with an old instrument. What good is an old guitar if you can't get all that feel out of the upper frets, or the intonation is off? To hear that old PAF sound but be able to articulate the notes in a way that only modern manufacturing could allow is so exciting." – John Mayer

"I think a lot of people know PRS as a company that is looking to history, innovating, and improving all at the same time. The McCarty 594 is a great example of that culture. I believe it to be a great musical instrument… quality, playability and tone. It is also, as the ad says, subtly very different. When we were developing the 594, we examined everything: the scale length, the tuners, the bridge materials, the nut material, the pickups, the neck shape...... every piece of this instrument was designed to be exactly what we thought it needed to be to add up to the best instrument we could make. The final guitar, in my experience, is more than the sum of its parts. My hope is it is a source of joy and real musicality for everyone who picks one up. So far, it seems to be doing its job in that regard" – Paul Reed Smith

Finish: Trampas Fade
Top Wood: Flame maple 10 top
Back Wood: Korina
Number of Frets: 22
Scale Length: 24.594"
Neck Wood: Korina
Fretboard Wood: Ebony with Binding
Fretboard Inlays: Green Ripple Outline Paua Center Birds
Neck Shape: Pattern Vintage
Truss Rod Cover: "McCarty 594"
Bridge: PRS 2-Piece Stoptail
Tuners: PRS Phase III Locking Tuners
Hardware Type: Hybrid
Treble Pickup: 58/15 LT Treble
Bass Pickup: 58/15 LT Bass
Controls: Two Volume and Two Push/Pull Tone Controls with 3-Way Toggle Pickup Switch on Upper Bout
Weight: 8.2lbs
Case: Black Paisley Hardshell

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  • 5
    Review of PRS McCarty 594 (Serial# 254340)

    Posted by Steve White on Mar 7th 2019

    This is a magical, beautiful, compelling guitar, and I feel very fortunate to own it. That's the short review; if you're interested in the longer story, then please read on.

    Caveat: I'm not, by any means, a good (nor a particularly knowledgeable) guitarist; despite having owned and tried to learn to play guitars most of my life. But I am passionate about music (I play piano better than guitar), singing, composing, and musical instruments. And I'm writing this review only 24 hours after picking up the guitar.


    I'm going to keep comparing the 594 to my other electric guitars, just so that I have some frame of reference. I have a 2001 Yamaha SG2000, a 1987 Japanese-made Fender Stratocaster, and a new Brian May Guitars Special (not the Super: the less expensive Special). The 594 is the one I prefer to play, so in that sense it's the most usable (playable).

    It's a lot lighter than the SG2000; a bit lighter than the Strat; and a bit heavier than the Special. In other words, it's just right. It feels great standing or sitting. On the lap, I either let the strap keep it at the right height, or I use a classical footstool. The action height is higher than I'd prefer (the actions on the SG and the Strat are appreciably lower), so I'll probably take it to be set up (although, trusting anyone with that makes me nervous). But it's easy to play. The neck feels thick, but it feels right. And the picking hand feels natural resting on or close to the bridge.


    There's some overlap between quality and appearance (see below), because the design and build quality of the 594 are so phenomenal that you just have to keep staring at it. The locking tuners are such a great idea, and that's just one example of Smith's design principal of getting the guitar out of the way of the string so that it can sing and sustain. The quality and grain of the tonewood, the satisfying action of pushing/pulling the tone knobs, the cupid's bow curve of the top (that you have to keep stroking), are just a few other examples of the design/build quality of this guitar.


    The tone was the main reason that I just wanted to keep playing the 594 (rather than switch to another guitar). Experimenting with the pots, switches, pickups, amp settings, booster settings, was infinitely absorbing. I played through the "Rock" channel of a THD UniValve (15W boutique tube amp) into a small Orange cabinet. The guitar is touch-sensitive by default through that amp. Low-ish settings, and you can strum/pick gently for clear and clean sounds, and strike more aggressively for crunchy breakup. A treble booster (Scott's Crispy Cream), again set low-ish, accelerates the point at which breakup occurs. High settings (with or without the booster) get you into much heavier, screamier, territory.

    The SG2000 is a good comparison with the 594, since they both have the same configuration and controls. The SG2000 has hotter pickups; the 594's are lower-turn. So, as expected, for a given amp setting, the 594 volume can be dialed appreciably higher than the SG2000 to get a given amount of overdrive. But, instead of doing that, you just set the guitar to about 7, set the amp/booster to taste, and then use the guitar volume (and your playing) to dial distortion in and out.

    I've always been impressed with the way the SG2000 retains its wonderful vocal timbre even at high levels of overdrive. But the 594 is in another league in that respect. Its voice is compelling, commanding, articulate, and beautiful.


    I've loved and admired and gawked at my guitars before. But the 594 supplies a level of esthetic rush, and awe, that the others don't. There are so many individually impressive factors in the design, quality, and appearance of the 594 that together you get a kind of combinatorial explosion from them. It's an emotional response; an affectionate response.

    This guitar was stained by Trampas Ferree, in Trampas Green, and it's lovely with a kind of watercolor feel to the finish in places across the top. Initially, I thought I wanted a McCarty Sunburst. But I actually much prefer something more unusual, such as this green. It's a work of art; they all are.