• Prs Serial Number Handwritten Signature Generator
• Handwritten Signature Generator

The Pinnacle of PRS Design. The PRS Custom 24 is an iconic staple of the Paul Reed Smith lineup for numerous reasons. Ever since it was originally introduced at the 1985 Winter NAMM show, its signature silhouette has captivated the hearts and imaginations of guitar players all over the world.

• Home / Electric Guitars Electric Guitars. Showing 1–16 of 184 results. PRS SC 245 Revolver Magazine Limited Edition 2008 Silver + OHSC 2,100.00 $ 1,645.00 $ Sale! King Lucille Signature 2012 Ebony Black + COA! Rare Headstock 4,000.00 $ 3,245.00 $ Sale! PRS Hollowbody Spruce 2005 Cherryburst + OHSC!
• I've just received an email from Gibson, in which they confirm that the guitar is legit and that i should have the serial number 'handwritten', and now they are asking me to ship back the guitar to their facilities in The Netherlands to have it done.
• EBay item number: 21. Seller assumes all responsibility for this listing. Serial Number: 7-124757. Paul Reed Smith's handwritten signature on the.

Few guitarists enjoy as much respect as Johnny Hiland, and if you´ve ever been lucky enough to see him in action you´ll know why. His perma-Stetson suggests a country twangster but, while Hiland has his super-Nashville chops down pat, he´ll suddenly rip into metal meltdown, Gatton-esque jazz, blues, you name it: he´ll play it.

He´s the archetypal stunt guitarist and makes it all look effortless. You won´t see him break sweat and if indeed he has an ego he leaves it well hidden. He´s certainly a world away from PRS´s other high profile signature artists, lacking the huge-selling credentials of Carlos Santana or the modern rock kudos of Mark Tremonti, Dave Navarro and new-for-2007 signature artist Chris Henderson of 3 Doors Down. But arguably Hiland´s signature model is the most interesting artist guitar that PRS has ever created and - for PRS fact-lovers - it is also the first-ever artist bolt-on model.

The JH is unique to the PRS line. The only current maple ‘boarded bolt-on is the Swamp Ash Special, but that´s a 22-fretter where the JH is a 24-fret guitar. Unlike the SAS it uses the typical PRS body recipe of one-piece mahogany back with carved maple top (the SAS uses ash). Its closest relative then is the CE Maple Top 24 (and it comes with a CE prefix to the serial number engraved on the neck plate) but you can´t get that with a maple ´board and, when you could back in the late eighties, it came with an alder body back.

But there´s plenty more uniqueness to this model: it´s the only PRS guitar to use a three-way Fender-style lever pickup selector, then there are its large black dot fretboard markers - just under 9mm in diameter below the 12th fret and closer to 7mm above - that come with a 513-style 12th fret bird inlay (there´s even a first fret dot - a tribute from Johnny to the late Danny Gatton). It has its own JH neck carve too, along with specially created JH Treble and Bass covered humbuckers. Even the ‘Johnny Hiland´ engraved truss rod cover is inlaid into the headstock to facilitate those behind-the-nut bends.

Yet such is the visual strength of the now-classic double-cutaway outline, headstock and dual humbucker/vibrato layout, not to mention the beautiful ‘fiddleback´ flamed maple 10 top, that it couldn´t be anything else but a PRS.

In use

PRS makes very, very good guitars. Opening the case, it´s as near-as-dammit in tune. The set-up is bang-on PRS specification. It doesn´t need tweaking or adjustment - so long as you use the supplied .009-.042 strings, of course - and it´s gig ready.

On a tactile level the main change here to the PRS blend is the neck. PRS describes the Johnny Hiland neck carve as, “a variation of a PRS wide-thin neck, incorporating aspects of a ‘C´-style neck from the first fret to the 12th fret”. In the hand the nitro, low gloss-finish neck feels like a slightly deeper wide-thin, even though it doesn´t feel that wide at all, perhaps due to the fuller profile.

Typically the edges are subtly rounded and the fretwork, from PRS´s standard gauge, is smooth and high enough for fast hammer-ons, pull-offs and bends. Typically PRS uses quarter-sawn timber for its necks. Fender bolt-on necks, and the majority of others, are slab-sawn and, aside from the theoretical additional stiffness of this selection, you´ll see the figuring and grain flecking on the back of the neck rather than the side as you would with a slab-sawn neck. It´s not highly figured but there´s subtle interest here.

On models like the Swamp Ash Special (and early CE maple necks) PRS uses abalone dots or optional birds for position markers and light coloured side dots that were nickel silver, until late 1999, when they changed to Delrin plastic. The problem is that these low-contrast dots can easily ‘disappear´ against the maple - usually onstage just before your big solo!

Also, until early 2005, PRS only used a single 12th fret side dot; thankfully they now use two. Hiland, who in USA terms is legally blind though he has partial sight, has at last made the company see (pardon the pun) some sense and use proper contrasting black dots. Ironic really, because even with Hiland´s restricted vision you get the sense he could play note perfect in the dark with a bag over his head.

As for the Hiland humbuckers, PRS tells us that the bridge-placed Treble pickup “is a cross between a clear McCarty Treble pickup and an over-wound ‘Country Style´ single-coil,” and that the neck-placed Bass humbucker “is a powerful and clear pickup with lively vintage characteristics.” The controls are placed in the same position as the Swamp Ash Special, slightly different to the usual PRS layout. The volume is in the normal PRS position but the tone and pickup selector are reversed, which takes a little adjustment if you play, for example, a Custom. The pull/push switch on the tone control splits just the Bass humbucker - not both humbuckers - voicing the neck-facing single coil.

Sounds

Firing up our trusty test amps and the JH had us scratching our heads. Here´s a guitar that you´d think should be Tele-tastic but the bridge pickup is cranking out one of the finest southern-fried rock tones we´ve ever heard. Mr Gibbons, eat that. The neck pickup seemed a little underpowered until we realised, by spec, that with the pull/push down it´s just the single-coil and you pull it up to voice the full coil - the reverse of PRS´s, and most others´, usual set-up.

Soon you realise that in this down ‘default´ position you have a great Texas-type rhythm tone with both pickups selected; turn the volume down and it gets more Fendery and the neck single-coil alone is superbly tuneful and bell-like.

In fact, switch your amplifier to a more country-style cleaner tone and you´d swear it´s a Fender guitar you´re hearing. But even in these cleaner settings the bridge pickup stamps its authority on the sound: it wants to scream but it doesn´t sound over bright. Turn down the volume a little and again a more hot-Tele tone, or P90-like voice, is revealed. It´s great for pinched harmonics and Buchanan-like squeals.

Turn the tone control down a little and a smoother, jazzier voice emerges; crank the amp back up and those Claptonesque ‘woman tones´ are in place or, with the tone turned back up, a more creamy, vocal PRS signature tone but with the added edge and texture of the maple bolt-on.

As one of the oldest and most widely recognized brands in music, Gibson has crafted some of the most cherished and valuable instruments of all time. Determining exactly when your Gibson specimen was made can have high stakes attached to it. A difference of only one year - sometimes even several months - can mean a four-figure difference in value.

Our hope is to make the dating process and, in turn, the valuation as easy, accurate and transparent as possible. You should be able to use this guide to determine the year of your instrument and then consult the Reverb Price Guide to find its value, all for free.

For many vintage instruments, determining the date of manufacture involves little more than running the serial number through a reference guide.

Prs Serial Number Handwritten Signature Generator

Whereas Martin guitars have been using a single, consistent numbering system since the 19th century, Gibson has used several different serial number formats since its inception in 1902, meaning that some formats and numbers overlap across decades. This makes it especially important to first identify the general era during which your instrument was made before pinning down the exact date of manufacture with a serial number.

If you know the backstory around when the instrument was purchased, this can provide some rough clues about its era. The most general physical piece of evidence on the instrument, however, is going to be the logo on the headstock.

1902 to Late-1920s

The original logo featured the words 'The Gibson' inlaid in pearl at a slant, with an almost hand-written cursive font. This is sometimes referred to as the slanted script logo.

Some earlier specimens from 1903 to 1907 did not slant the logo, or went without a logo entirely. Specimens built before 1902 had a star inlay or crescent in place of a logo.

Late-1920s to 1933

The script logo continues without the slant. Some flattop guitars of this era started to omit the word 'The' from the inlay.

1933 to 1947

By 1933 Gibson had dropped the 'The' from all of their logos while retaining the script 'Gibson.' The original thin script was replaced with a thicker font on higher-end models in the mid-’30s, and across the entire lineup by the end of the decade.

From 1943 to 1947, the logo was a thick golden script, known as the banner logo. Some models (LG-2, J-45, SJ, select L-50s) included an actual banner reading 'Only a Gibson Is Good Enough' in the middle of the headstock.

1947 to Present

The block logo debuted after WWII and remains the face of the company. There were minute changes to which letters were connected in the font between 1961 to 1981, but the main logo had the same look.

1968 to 1972

Gibson stopped dotting the i in their logo on some of their instruments. Most models get a dotted i again in 1972, with the rest following suit from 1981 onward.

Aside from the logos, each era of manufacturing included certain identifying traits such as the hardware (tuners, knobs, plates, etc.), the pickups, the type of finish, and the electronics inside that can give clues as to when an instrument was made. But not a final verdict.

Many older instruments may have reproduction or other non-original parts, including a non-original finish. This makes relying entirely on the physical features of a guitar potentially misleading.

The thickness of the headstock, however, is not as vulnerable to modification or replacement. Before mid-1950, most Gibson headstocks were thinner at the top when looked at from a side profile. After 1950, headstocks had uniform thickness.

Dating a Gibson by Factory Order Number (FON)

Gibson has historically used two different alpha-numerical formats to catalog its instruments: serial numbers and FONs (Factory Order Numbers). Instruments will generally have one or both of these numbers stamped or written either inside the body (generally the case on earlier models) or on the back of the headstock.

FONs were Gibson’s way of internally tracking batches of instruments throughout production. These will generally date an instrument earlier than the serial number, as they were typically applied in the early stages of assembly. Cnc control software for windows.

Some earlier lower-end models had no serial number at all, making the FON the sole numerical identifier in those cases. A FON usually consisted of a 3-, 4-, or 5-digit batch number followed by one or two other numbers in most cases.

1902 to 1945 FON Overview

From 1935 to 1942, the FON included a letter suffix. The consistency around this stopped during WWII and resumed in the early 1950s.

To complicate matters further, there was sometimes a second letter from 1938 to 1941 indicating the brand (G for Gibson, K for Kalamazoo, W for Recording King) and sometimes even a third letter indicating 'Electric' (the letter E). The year is indicated by the first letter in any series of letters for these years.

Handwritten Signature Generator

1935 to 1942 FON Letter Suffixes

Throughout the war and even for some time after, each year had its own quirks around FON batch numbers and letters

1942 to 1951 FON Info

From 1952 to 1961, a consistent letter code resumed, with the letter appearing before the batch number.

1952 to 1961 FON Letter Prefixes

Acoustics and Electric Archtops 1902-1961

1902-1947

Gibson’s earliest serialization system was more or less sequential, where each new instrument was assigned the next highest available number. Below is a table of the the highest known number for each production year.

1947-1961

When the original serial system reached 999,999 in 1947, Gibson started over with an ‘A’ prefix

Solid Body Electrics 1952-1961

Early Gibson solidbody electrics received a serial stamp on the back of the headstock, with the first number indicating the year of production. The serial number on this Les Paul Junior indicates that it was made in 1956.

1961-1969

Starting in 1961, Gibson implemented a new serialization system designed to cover its entire lineup. However, while the intent was to maintain a more organized catalog, this system in practice achieved the exact opposite.

Numbers from this era were flipped, reused, and in many cases can date an instrument to several non-sequential years. The general system was as follows, though with instruments from this era it’s important to consult key features to get a more accurate age approximation.

Fortunately, Gibson was making more changes to its instruments during the ‘60s and ‘70s than any other period, so dating these instruments by features alone is relatively clear-cut in most cases.

1970-1975

Despite being purchased by the Norlin corporation in 1970, Gibson maintained the same confusing 6-digit serial system through 1975, meaning instruments with the same serial number could be from either the ‘60s or the ‘70s.

Fortunately, there were two notable changes to the entire lineup that occurred during the transition that make differentiating ‘60s and ‘70s Gibsons straightforward.

The Volute: c. 1969-c.1981

In 1969 Gibson began carving volutes-- small bumps of additional wood where the neck transitions to the headstock-- to cut down on warranty repair work.

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'Made in USA' Stamp: 1970-current

Starting in 1970, ‘Made in USA’ was stamped on the headstock below the serial number.

The serial numbers from this period are generally as follows:

1975-1977

1977-Current

Starting in 1977, Gibson adopted the current date-based serial system which codes for the year and day of production. The first number of the sequence indicates the decade of production, followed by the three digit day of the year, and finally the year.

For example, the serial number 90237XXX corresponds to a production date of 1/23/97. The last three (or four as of 2005) digits signify the location of production and batch number, respectively, but this information isn’t necessary to accurately dating your instrument.

Working with a potentially very valuable old Gibson can be intimidating, particularly for someone who doesn’t have experience with vintage instruments.

If at any point you feel confused or just want a second set of eyes on your instrument, you can always chat live with a Reverb employee during normal business hours.

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