What Pickups Does The Paul Reed Smith 408 Come With Stock?

I was digging through my old PRS catalogs the other day and got into a nerdy spiral about pickups — the PRS 408s are a fun bit of history. Those pickups were originally produced in-house by Paul Reed Smith's operation in the U.S. They were a PRS-branded design conceived by Paul and his team and built at the Maryland shop during the period when PRS made most of their own magnetic hardware. Over time PRS shifted some production and sourcing — SE and some later versions of PRS pickups were made overseas or with outside partners — so people sometimes get mixed up and think a company like Seymour Duncan or another well-known maker built the 408s. But if you’re talking about the original 408 pickups that shipped with U.S.-made PRS instruments, they were PRS-made, reflecting the company's hands-on approach at the time. That little provenance nugget makes them feel more grounded, at least to me.

Okay, let me nerd out for a bit here — the quick core fact is that S2 Mira guitars come with PRS-designed S2 pickups, which are PRS’s own humbucking designs made specifically for the S2 line. Those pickups have a balanced, slightly vintage-leaning voicing compared to some of the modern-hot PRS pickups; they aim to sit nicely between clarity and warmth, so the Mira retains that glassy PRS top-end but with enough midrange to cut through a mix. That said, there’s a catch I’ve learned from digging through forums and staring at guitar photos late into the night: PRS has tweaked the pickup spec across different runs and finishes. Some early S2 Mirаs shipped with covered S2 humbuckers, while other runs used the open-coil versions. There are also limited or special-run variations where PRS swapped in slightly different S2-voiced sets. So if you’re eyeballing a used Mira or trying to ID one, don’t be shocked if the pickup covers, pole-piece style, or even the winding labels look different from one example to another. If you want to be sure about the exact model in a particular Mira, the most reliable routes are: check the PRS product spec page or archived spec sheets for the model year, ask the seller/dealer for photos of the pickup underside or any factory paperwork, or contact PRS with the guitar’s serial number. Physically, you can also remove the pickup ring and look for maker stamps or stickers on the pickup baseplate — PRS usually marks their S2 pickups, but some covering styles hide those marks. For players who care about tone, the S2 set is a great starting point; if you want something brighter or beefier, swapping to an 85/15 or a 57/08-style set is a common, tone-first upgrade. Personally, I love the way the S2 humbuckers respond with light touch and dynamic playing — they’re not screamingly hot, but they polish chords beautifully and sing when you push them. If you’re buying, a quick photo of the pickups and the seller’s confirmation can save a lot of guesswork, and if you already own one, try out a few amp settings before reaching for the soldering iron — sometimes the stock S2s surprise you in the best way.

Whenever I look at the PRS 408 lineup I end up geeking out over the wood choices more than the finish—there’s a clear PRS signature in the combos they use. Most of the regular-production 408s tend to pair a mahogany body with a carved maple top, and that maple can be plain, flamed, or quilted depending on the run. The mahogany gives the low end warmth and sustain, while the maple top adds attack and clarity, which is exactly why PRS loves that pairing. For fingerboards you’ll usually see rosewood, ebony, or pau ferro across different models, and neck woods are commonly mahogany or maple. On some limited editions and private-stock pieces PRS has experimented with alder, swamp ash, walnut, or even korina tops—those are less common but show up if you’re hunting a specific year or shop model. If you’re trying to predict tone: think warm and rounded from the mahogany core, with spank and articulation from the maple top, and then the fingerboard wood fine-tunes the bite and feel. I always tell friends to play a few examples in person—woods matter, but so does setup and pickups, and the 408 family really rewards close listening.

Okay, diving straight in — if you’re trying to figure out the resale value of a Paul Reed Smith 408 right now, I’d judge it mostly by condition, year, and finish rather than a single magic number. In my experience browsing Reverb and eBay and chatting with folks on guitar forums, a typical Core/standard 408 in nice, played-but-well-kept condition tends to land in the roughly $1,200–$3,500 range in the US market. Mint examples with original case and paperwork, rare figured tops, or limited-run finishes can push toward the high end of that band or slightly beyond. Conversely, heavily worn, modified, or older models with fretwear or electronics issues often sell for much less — sometimes down near the $800–$1,200 area. If you’ve got a Private Stock, artist-signature, or an especially rare finish on your 408, expect collectors to pay a premium; those can easily jump into the $4k+ territory depending on provenance. My go-to tips: search completed listings on Reverb/eBay for your exact model and finish, note sale prices (not just asking prices), and factor in buyer fees and shipping when deciding your own price. Photograph everything, list specs plainly, and you’ll get a much better result than a vague guess — I learned that the hard way with a previous guitar flip.

I remember when I got my first PRS S2. The model I bought, an S2 Standard 24, did come with a nice gig bag. It wasn't the fanciest case out there, but it did the job for taking it to gigs and practice sessions. The bag had decent padding and a sturdy zipper, which gave me peace of mind when transporting it. From what I've seen, most PRS S2 models include a gig bag, but it's always good to double-check with the retailer or PRS website before buying, especially if you're eyeing a specific model or limited edition.

Honestly, the first thing that hooks me about the Paul Reed Smith 408 for rock is how effortlessly it sits between crunchy rhythm and singing lead. On stage I like guitars that don’t fight me: the 408’s construction gives a solid, sustaining foundation so when I crank gain the chords stay tight and the leads bloom without getting woolly. The pickup voicing tends toward clarity in the midrange so power chords cut through a drum-heavy mix, while single-note lines still sparkle. Playability matters too — the neck shape and balanced weight let me move across the fretboard fast during long sets, which makes playing riffs from classic rock to modern alt much less tiring. The switching layout feels intuitive when I need quick tonal changes between verses and solos. All this makes it a favorite when I want one guitar that can cover diverse rock styles without constant setup tweaks — I can dial it in, plug into my amp or pedalboard, and it behaves. It’s the kind of guitar that keeps me smiling during both practice and live nights, and that reliability makes me reach for it first.

Paul Reed Smith guitars are often hailed for their incredible craftsmanship and unique tonal quality. From my experience chatting with fellow musicians online, a constant theme emerges: players are amazed at how comfortable these instruments feel in their hands. The neck profiles are often described as ‘delightful,’ which is such a key factor when you’re holding onto a guitar for hours on end. The aesthetic appeal is another hot topic—many rave about their stunning finishes and figured woods. I particularly love how each guitar looks like a piece of art, and that matters when you’re showcasing your sound on stage. Not only do opinions converge on their beauty, but the sound is also a massive focal point. Users frequently comment on the versatility of PRS guitars—whether playing rock, jazz, or blues, they seem to cut through the mix beautifully. I remember one passionate thread where someone compared it to having multiple guitars rolled into one. The pickups are lauded for being articulate, capturing nuances that other guitars might miss, and that’s crucial for someone like me who loves layering sounds when recording. It’s interesting how generously players share their personalized settings for various genres, forming a vibrant community around this brand. On a slightly different note, while the quality is universally acknowledged, some users express concern over the price point. There’s a sentiment that after you step into higher-end models, it feels like quite an investment. But the overarching sentiment remains positive; players understand that quality comes with a price, and after a long-term investment, many who initially hesitated end up declaring it worth every penny. PRS has earned loyal followers, and I can completely understand why, as I’ve seen countless players rave about their experience, often inspiring newbies to make the jump. It’s the kind of stuff that makes you feel connected to a greater guitar community, and honestly, it makes you want to share your own journey with the brand too.

Honestly, the first time I put a set of ears on both guitars back-to-back I was struck by how differently they inhabit the same musical space. The Paul Reed Smith 408 felt like a more modern, punch-forward instrument to me — thicker low end, a bit more grind when you push the amp, and a focused attack that sits nicely in a mix. Notes feel compressed in a pleasing way, so high-gain chords chime without getting woolly. By contrast, the 'Custom 24' sounded airier and more balanced: sweeter mids, bell-like harmonics on clean tones, and more open high end. Sustain on the 'Custom 24' sings in a way that encourages melodic leads and nuanced dynamics. If you like heavy rhythms, palm-muted chugging, or a guitar that tightens up with distortion, the 408 leans toward that modern, aggressive vibe. If you prefer shimmering cleans, singing lead lines, or something super versatile for blues, rock, and everything in between, the 'Custom 24' will reward you. Play both through your amp and through a pedal chain — the 408 reacts brilliantly to pedals that tighten and saturate, while the 'Custom 24' shines with gentle overdrive and reverb. For me, choosing between them usually comes down to what songs I want to play that night.

the Paul Reed Smith S2 series is one of my favorites because of its versatility and craftsmanship. The S2 can definitely be customized, though not as extensively as PRS's Core models. You can swap out pickups, change the tuning machines, or even refinish the body if you're adventurous. The stock S2 pickups are great, but upgrading to something like '57/08' or '85/15' pickups can give it a whole new tonal character. I’ve seen players add custom pickguards or replace the knobs for a personal touch. The neck shape is comfortable, but some sand it down for a smoother feel. The bridge is solid, but swapping it for a MannMade or similar can improve tuning stability. Just remember, modifications might affect resale value, so think carefully before diving in.

The review of Paul Reed Smith guitars is truly a love letter to craftsmanship. Each sentence spills over with admiration, delving deep into the intricate details that make these instruments stand out. Right from the moment you see one, it’s like you’re transported to a workshop where passion meets precision. The wood selection is meticulously done; the review highlights how PRS uses high-quality materials that not only look beautiful but also enhance the sound. For instance, the mahogany bodies paired with carefully chosen tops create a resonance that many musicians swear by, transforming every note into a vocal masterpiece. Reading about the artistry involved in making the fretboards is equally enthralling. The review goes into detail about the inlays, where each piece is crafted with a level of care that’s comparable to fine jewelry. This isn’t just about aesthetics—these little touches affect playability and feel, making it personal for the player. And then there’s the finish—ah, that glossy shine that catches the light just right! The reviewer mentions how each guitar is painstakingly finished to enhance its wood grain, which not only looks great but preserves the wood's integrity. Moreover, the review also doesn’t shy away from mentioning the innovative technology that PRS integrates into their models. This forward-thinking approach keeps the company ahead of its competitors, allowing guitarists to find everything they need without compromising on quality or sound. All in all, it beautifully encapsulates the symphony of craftsmanship that goes into every PRS guitar, making you feel an immense respect for the builders and a desire to hold these creations in your hands. Life is too short for mediocre instruments, and this review truly emphasizes that. It’s more than a product pitch; it’s a celebration of music and the artistry needed to create instruments that can communicate emotions like no other. On a simpler note, what really stands out to me in the review is the way the author connects to the reader’s feelings about the instruments. They share anecdotes and experiences, subtly inviting you to reminisce about your own musical journeys. You can almost hear a soft, melodic tune in the background, right? It makes you want to seize a guitar and create something beautiful.