• Modern: Balanced asymmetrical body, 24 fret, elliptical neck, and innovative heel. 1-piece neck not available on Modern.
  • 7-String Modern: 7-string model available with Floyd floating tremolo bridge or hardtail.
  • Classic: The standard vintage shape with contoured heel.
  • Standard: The shape Suhr is best known for, down-sized body, sharper edges, and contoured heel.
  • Classic T: Digitized from an original '52.
  • Classic TS: T body optimized for S accoutrements (S bridge and S pickups).
Base Model Info
more info
Modern
Modern Setneck
Modern 7 String
Standard
Classic
Classic T
Classic TS
  • Flat Top: Typical default option for Standard and Classic bodies.
  • Carve Top: Deluxe version of the Custom Standard with the 3/4" thick figured Maple top "LP".
  • Archtop: Custom Standard with tuned top laid on a chambered body like hollow or semi-hollow body "ES".
Body Shape and Interior Info
more info
Flat Top
Carve Top (Standard or Modern)
Arch Top Standard
  • Alder: Rich, full, beefy midrange and lows. Loved by blues and rock players.
  • Basswood: Fat, balanced smooth tone, great with maple top. Loved by shredders of 80s.
  • Swamp Ash: Bright, sweet, resonant, alive, lightweight.
  • Mahogany: Strong mid-mids with good high-mid bark, best mated with Mahogany neck.
  • Korina: Similar to mahogany, with sweeter midrange, more responsive.
  • Koa: Highs present, but compressed, slightly subtle or dampened in attack.
Body Wood Info
more info
Alder
Basswood
Swamp Ash
Mahogany
1-Piece Swamp Ash
1-Piece Alder
White Limba (aka Korina)
Koa
Chambering (You must add top)
This option is disabled for Carve or Arch Top.
The effect of the top wood on the body tone for a solid body guitar is not nearly as significant as a hollow body, but adding a top can significantly change the tone. When the body is heavily routed or chambered, the top is more active, and the lamination of the top on the body also changes the way it vibrates. Maple top is by far the most popular top for solid body electric. Basswood body with maple top usually produces the most balanced tone. Maple adds snap to the low mids of a mahogany body.
Top options (Flat Top) Info
none
Plain Maple 3/16 inch
Flame Maple 3/16 inch
Quilted Maple 3/16 inch
Flame Maple 3/16 inch One Piece
Quilted Maple 3/16 inch One Piece
Spalted Maple 3/16 inch
Curly Koa 3/16 inch
This option is disabled for Flat Top.
The carve top adds thickness and contour to the top, so the effect of the tone of the top for carve top can be more significant than with the flat top. When the body is heavily routed or chambered, the top is more active, and the lamination of the top on the body also changes the way it vibrates. Maple top is by far the most popular top for solid body electric. Basswood body with maple top usually produces the most balanced tone. Maple adds snap to the low mids of a mahogany body.
Top options (Carve Top) Info
Flame Maple 3/4 inch
Quilt Maple 3/4 inch
Quilt Maple 1-piece 3/4 inch
The Suhr truss rod design features major advances on the vintage designs. The adjustment is accessed at the headstock (for 2-piece necks) and at the heel end (for 1-piece necks) using a special 1/8" Allen wrench and without removing the neck. NOTE: 1-piece neck means the neck back and fingerboard are the SAME piece of wood, never cut. The truss rod is installed from a rear route on the 1-piece neck, so a "skunk stripe" is added to fill the route. Otherwise, the neck is always a 2-piece neck where the truss rod is installed under the fingerboard which is a separated piece of wood (maple, rosewood, pau ferro, ebony, etc.). The 2-piece neck is a little more modern and tends to introduce less issues.
  • Maple: 1-piece with skunk stripe of Pau Ferro. Strong mids, spanky high, not muddy, great with maple on basswood.
  • Maple: Suhr currently uses quartersawn wood for maple necks.
  • African (Madagascar) Rosewood: Wide frequency response, brilliant highs and punchy lows, similar to Brazilian.
  • Mahogany: Absorbs vibration a little more than Maple, slightly compresses attack and highs.
  • Korina: Similar to mahogany, with sweeter midrange, more responsive.
  • Pau Ferro: Pronounced in the upper mids. Good clarity on "chunk" tones, and when teamed with alder body.

Neck Wood Info
more info
Maple (quartersawn)
Maple (quartersawn) 1-piece
Roasted Maple (quartersawn) ($150)
Mahogany
Korina (Limba White or Black) $200
Certified River Recovered Old Growth Maple ($300)
Pau Ferro ($200)
Roasted 3A Birdseye Maple neck ($550)
Roasted 5A (Museum Grade) Birdseye Maple neck ($850)
  • No Tint: Raw maple is normally very light in color, but it darkens to amber as it ages, especially with lacquer finish. The default for Standard Model is No Tint.
  • Tint: The default Suhr neck is tint for Classic. This is a nice light amber.
  • Extra Vintage Tint: For an older vintage amber look, choose this.
Neck Tint Info
No Tint
Tint
Extra Vintage Tint
  • Maple: Bright and dense, highly reflective, higher overtones, tight, almost filtered bass.
  • Pau Ferro: Between Rosewood and Ebony, snappier attack than rosewood, good sustain, warmer than Ebony.
  • Indian Rosewood: Sweet and warm with sparkle on the top end, warm and fat, very neutral.
  • African (Brown Madagascar) Rosewood: Strong upper mids, extra presence, slappy, similar to Brazilian.
  • Brazilian Rosewood: Suhr no longer offer Brazilian Rosewood, but here is the description for comparison. Less brights than Madagascar, more crisp than Indian. Way bright with Ash.

    The corners of the fingerboard are broken-in or rolled for a comfortable feel. Extra roll is offered.
Fingerboard Wood Info
Maple
Indian Rosewood
African Rosewood
Ebony
Cocobolo
Pau Ferro
Scalloped Fingerboard ($600)
Rolled Fingerboard Edges
The Modern neck is an elliptical shape, i.e., the cross-section can be viewed as a half of an ellipse to allow for fast fretting and still comfortable chording and hold on the neck. It is a fast and sleek shape yet has enough girth for you to really grab onto when you want to dig in for wild string bends or playing chords. The Modern Elliptical shape is available in three thicknesses. Modern Neck Info
Modern Elliptical .780 inch to .830 inch
Modern GG Elliptical .800" to .850"
Modern Elliptical .820" to .870"
The "shape" or "carve" is a description of the cross-section of the neck. Some guitar necks have a rounded back with a "U" or "C" shape, some have a sharper "V" shape, and some have a flattened back or "D" shape. The critical dimenension of the shape, the thickness, is measured from the top of the fingerboard to the crest of the curve on the back. Suhr offers a wide range of neck shapes for the Standard or Classic models. The shape and size of the back of the guitar neck will change the feel of the guitar and how comfortable it is for different players and styles. Most necks are thinner at the headstock and thicker at the base where it meets the body, which is called the "taper" of the neck. General Neck Info
  • Even C Slim This is a very friendly even taper slim C shape. The thickness runs .800" at the first fret to .880" at the 13th fret. It is our most popular shape and John's personal favorite.
  • Even C Extra Slim This is a fairly new shape that we 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 RB This is the shape that Reb Beach specified for his custom guitars that tapers from .800" to .850".
  • Even C Medium Another popular shape, this shape is the same as the even C slim but fatter, from .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 the extra mass provides a big bold and punch tone to the guitar.
  • 60's C Vintage Standard This is another very popular shape that feels classic that 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 A new shape introduced in January of 2006, this shape replicates the fat round shape of the late-50's. It starts out from .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 don't like the feel of the hard V. Taper is .840" to .920".
  • 56 Big V To us, 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 shape. It is also featured on our Scott Henderson Model. It is slim with a taper of .800" to.880".
Descriptions of Standard Neck Shapes
Even Taper C Extra Slim - .770 (1st fret) to .850 (13th fret)
Even Taper C Slim - .800 (1st fret) to .880 (13th fret)
Even Taper C Medium - .840 (1st fret) to .920 (13th fret)
Even Taper C Fat - .880 (1st fret) to .960 (13th fret)
Even Taper C Huge - 1.000 (1st fret) to 1.000 (13th fret)
60s C Standard - .810 (1st fret) to .930 (13th fret)
60's C Medium - .830 (1st fret) to .950 (13th fret)
50's Round - .860 (1st fret) to .980 (13th fret)
56 Soft Medium V - .840 (1st fret) to .920 (13th fret)
56 Big V - .880 (1st fret) to .980 (13th fret)
D Shape - .800 (1st fret) to .880 (13th fret)
Even C RB - .800 (1st fret) to .850 (13th fret)
The radius of the fret board changes the feel when forming chords, bends, and notes. The smaller the radius, the more curvature of the fretboard from side to side. Classical guitars, for example, tend to have very "flat" boards, and violins and other string orchestra instruments tend to have very small radius, or very curved fingerboards. Flat fingerboards tend to be good for fast fretting while smaller radius feel better for big chords. Small radius can cause problems with big bends high on the neck, so that led to the development of the "compoud" radius which changes from small to larger as you move up the neck. Compoud radius provides two measurements, at the nut and at the last fret or heel of the neck. The radius changes evenly from nut to heel. Optimal radius depends on individual physiology, expectation, style, and preference. Suhr offers custom radius within these values for a slight charge. Standard radius options:
  • 10-14" compound
  • 9-12" compound
  • 7.25-8.5" compound
  • 16" NON-compound
Radius Info
7.5-9.5 inch Compound
9-12 inch Compound
10-14 inch Compound
16 inch Non-compound
Custom radius ($50)
1.650" is the standard nut width usually associated with Fender necks. The wider 1.687" nut is commonly assocated with Gibson necks. The wide nut is available on any bolt-on Suhr neck, but it is not an option on the Setnecks. Nut Width Info
1.650 inch (1 and 5/8 inch)
1.687 inch (1 and 11/16 inch)
Suhr's Plek Pro machine levels frets to a tolerance of .01mm (0.0004"). All Suhr frets and fingerboards are dressed with the neck under tension and the frets are re-crowned and polished for smooth bending.
For comparison, Gibson approximate sizes:
  • 6130 = .036" (h) X .106" (w) "medium jumbo"
  • 6150 = .046" (h) X .103" (w) "jumbo"
Frets Info
Nickel Heavy - 0.051 Height x 0.108 Width
Nickel Medium - 0.055 Height x 0.090 Width
Nickel Jumbo - 0.057 Height x 0.110 Width
6230 Vintage
Stainless Steel Heavy - 0.051 Height x 0.108 Width
Stainless Steel Medium - 0.055 Height x 0.090 Width
Stainless Steel Jumbo - 0.057 Height x 0.110 Width
Locking tuners lock eliminate the need to wrap the string around the post of the tuner, and, in so doing, reduce the total length of string and reduce the opportunity for the string to stretch out of tune. Suhr now offers their proprietary locking tuners. Different tuners models have different size, weight, and gear ratios. Suhr also offers vintage look tuners, and they will install other tuners supplied by customers as longs as they fit the same hole size. Tuning machine Info
Suhr Locking Tuners
Hipshot Standard Non-Locking Tuners
Gotoh Kluson Vintage-style Tuners
Gotoh Schaller-type with round buttons
The default pickup switch is a "Super-Switch" 4-pole, 5-way toggle that allows for optimal wiring flexibility. Suhr humbuckers have a center tap, and the wiring typically splits the humbucker pickups in the expected position.

Humbuckers naming follows a general pattern:
First letter is either "S" for single row of adjustable poles, or "D" for Double rows, which smooths the highs slightly.
Third letter tells the relative output level:
  • "V" = Vintage (PAF): SSV or DSV
  • "H" = Hot: SSH or DSH
  • "Aldrich" = Hottest
  • "+" = Extra (hotter): SSV+ or DSV+, SSH+ or DSH+
Single Coils:
  • "ML" = Michael Landau
  • "V60" = 60s Strat
  • "V54" = 50's Strat
  • "LP" = Low Peak (sweeter top end)
  • "S90" = P90 style
  • "Classic T" = Tele
Pickup Info
John Suhr Pickups
Suhr Pickups
EMG Pickups
EMG Neck + Bridge ($200)
Neck Pickup
Color

Middle Pickup
Color

Bridge Pickup
Color
In addition to standard pickup wiring with the 4-pole, 5-way switch, Suhr offers a number of additional wiring options, including push-pull pots to split pickup coils, or the push-button "Blower" switch which allows you to go to a full-on bridge humbucker with a simple push of the button. Electronics Info
Push/Pull Pot Options
No Push/Pull Option
Push/Pull Pot for Coil splitting ($50)
Blend Pot - Classic Only($50)
Push/Pull for other wiring option ($50)
Midrange Options
No Midrange Option
Passive Midrange with Push/Push Pot (Mid-cut) ($50)
Active Midrange Boost Preamp with Knob and Bypass Switch ($400)
Midboost (Presence) Control for EMG Pickups ($400)

Other Electronic Options
Silent Single-Coil System (SSC II) ($350)
Volume, Tone, Blend - Classic only ($100)
Blower switch - for turning bridge HB full-on and bypassing all internal circuitry ($200)

Hardware includes the visible metal components: Bridge, Tuning machines, and Strap buttons. The knobs, nut, and pickup covers are selected seperately. Chroms is the usual color. Gold and black are less common and add cost. Hardware Color Info
Chrome
Gold ($300)
Black ($300)
The Gotoh floating tremolo bridges are considered the best option for stability and quality. The 2-post is a more modern design and more stable, but the 6 screw design is available for a more vintage vibe. Hardtail is available, and the Classic "ash tray" tele bridge is the usual for the T models, but it only works with the T bridge pickup. If you want a humbucker on a Classic T model with fixed bridge, you need a Hardtail bridge. Suhr no longer offers the Tremol-No option, but it can be easily installed after-factory. This allows changing modes between full floating, "dive" only, and fully fixed bridge with a quick adjustment of thumb screws in the rear. The Recess option allows for more range especially when pulling up on the floating tremolo bridge. Bridge Info
Gotoh 510TS-FE1 2-post, Solid Saddles, Steel Block, Push-in arm with stud lock
Gotoh 510TS-SF1 2-post, Bent Saddles, Steel Block, Push-in arm with stud lock
Gotoh 510TS-SF2 6-screw, Bent Saddles, Steel Block, Push-in arm with stud lock
3 Saddle Vintage T
Hardtail
Gotoh Floyd Double-Locking Tremolo System (Recessed or Non-recessed)

Recess option for Tremolo Bridges (no charge)
Pickguards cover up figured tops, but they can add a lot of character. Pearloid, Tortoise Shell, and Aged Green add a little cost, but they look great. Parchment is the color of a very aged white pickguard, which is a great choice for a vintage look. The Shorty pickguard is an option for the Classic T model, but it's not currently listed here. Just let us know of other requests. Pickguard Info
No Pickguard
White Pearl
Tortoise Shell
Aged Green
Bacolite ($300)
Gloss Black 3-Ply
White 3-Ply
Black Satin Single-Ply
Parchment 3-Ply
White Single-Ply
Real binding adds considerable time and cost to the build. Binding looks fantastic, but it can be expensive and take much longer, especially when it is top of the body, bottom of the body, and on the neck. "Scraped" binding is not a real binding, rather, it is where the color on the top is removed to show the natural color wood edge of the top. Scraped binding is standard on a figured top, but it can look great on a non-figured top. A natural back with no scraped binding on a colored top can look very nice too. Binding Info
none
Scraped Binding on Figured Tops
Scraped Binding on Non-figured Tops ($200)
Scraped Binding on Metallic Colors ($200)
Top-bound - no contours (Classic T, Carve Top, Arch Top) ($300)
Top-bound - with contours (Standard) ($500)
Double-bound - no contours ($600)
Full-binding on the Neck & Body (Not Listed)
The standard fret marker is the "clay" dots used on the vintage Fenders. These are solid color black or white. Suhr is not currently offering any custom fret markers, but there are some great standard options now. Inlay requires a great deal of hand work, so it is time-consuming. Fret Markers Info
Traditional "Clay" Face & Side Dots
No Face & Side Dots
Mother of Pearl Face & Side Dots on Neck ($100)
Abalone Face & Side Dots on Neck ($100)
Offset Block Markers Inlay ($200)

Double-Oval Inlay at 12th Fret ($300)
Signature and/or text laser etched on the neckplate ($50)
Suhr offers 3 styles of headstock. The "Hybrid" headstock has a lower step which can be colored different than the top of the headstock. The larger ML headstock adds a little mass to the headstock. Headstock Info
Suhr normal Headstock
ML "Landau" Headstock
Hybrid Step Headstock
The stock headstock includes the Suhr logo decal which is gold in the middle with black edges. The logo can be laser etched with Silver or Gold fill, or inlay with Abalone or Mother of Pearl. It can also be an inlay with solid color black by request. Headstock Inlay Info
Decal logo
Laser Etched Headstock Logo (Silver) ($50)
Laser Etched Headstock Logo (Gold) ($50)
Mother of Pearl Suhr Logo includes gloss headstock ($200)
Abalone Suhr Logo includes gloss headstock ($200)

Signature laser etched in headstock ($50)
Stock headstock finish is a satin finish over the natural wood of the neck. The headstock can be painted solid (opaque) color to match the body, or black works with most any color. Suhr also offers a veneer that matches the body top wood, either figured or non-figured wood with matching color. Some trans colors do not work on some woods, such as mahogany. Headstock Finish Info
No Headstock Option (default Decal logo, Satin finish)
Gloss Headstock (included with inlay Logo) ($100)
Match Painted Headstock or Black Headstock, Gloss ($100)
Match Figured Headstock with Color ($400)
Color Match and Gloss Whole Neck ($300)
Gloss Whole (back) Neck with RW or other fingerboard ($150)
Gloss whole Neck - One-piece Maple and Mahogany neck with Color ($300)
Suhr offers a fantastic and wide variety of colors, including Trans (transparent), Opaque (Solid colors), and Specialty colors. They also offer color-matching if you supply a photo of the desired color. Colors and photos are very tricky, so there is no guarantee Suhr can match the color in your mind. Their stock color offerings are spectacular. Metallic finish adds some cost. Finish Info
Solids, Metallics, and Trans
Specialty: Drips, Novas, and Sparkles ($400)

Thin Skin Finish (Polyurethane clear coat) on standard colors
Antique Finish (Nitro finish with relic aging) ($200)
Case: G and G Form fitted to body shape, center pocket ($180)
Notes: