A few years ago I picked up a PRS SE EG that look like it had been sitting at the pawn shop for a couple years.

25-in scale length, set neck, side mounted jack, PRS style pivot trem, and most importantly a master volume and master tone that isn’t mounted directly next to the bridge.

I’ll be damned if it doesn’t solve every nitpick I have about fender strats. And the proof is in the pudding. I have guitars that cost 10 times as much but I find myself almost always reaching for the EG. It’s a brilliant instrument and something that’s definitely worth looking into if you’re looking for a strat with more modern ergonomics over the standard stratocaster.

Just wanted to chime in since it seems like a few people miss that you put THIRTEENS on it.

Adjusting the claw in the back is what you do when you go from 9s to 10s. We’ve all had to do it which is why that was the advice you were given.

13s coming from 9s or 10s is EXTREME. I don’t have the tension chart in front of me but that is a ton more tension Even at D standard.

Here’s your fix; you need more springs. I didn’t see a picture but I would guess your guitar (like most other trem equipped guitars) only has three springs. For most tunings and string combinations three springs are sufficient.

You are not most string combinations. You need five springs, that’ll address your immediate concern.

However, I reckon you have a couple more issues whether you’ve noticed or not. Depending on how your nut is cut you can generally get away with going up a gauge in strings without too much issue. If your bridge is pulling up that much you’ve definitely gone up more than one string gauge. You’re definitely going to need that nut cut for 13s if you even want a shot at intonation or tuning stability.

I’m sure it’s also in major need of a truss rod adjustment.

Your best bet is to take it to a tech and have it set up. Especially now that you’ve fiddled with the bridge posts. This is the only way to ensure everything is adjusted correctly for the new string gauge. As general rule of thumb you can safely change strings up or down a gauge without too much consideration. Any more than that and the guitar is going to need a complete setup.

For what it’s worth, once setup your guitar should play fine with 13s. I don’t think you have any cause for concern in regards to the guitar being able to “handle” it.

However, adding a couple springs will solve your most immediate concern.

I think we’re arguing semantics here. You are absolutely correct, there is no such thing as perfect intonation on an even temperament guitar (check out true temperament necks theyre trip).

However I will outright disagree with you that the lightning bolt is “just as good” as an adjustable bridge. It is certainly possible to have one with perfect intonation at the 12th fret across all six strings but it is absolutely not the norm. So you have to compromise and split the difference on a few strings.

Frankly, I like the looks of a lightning bolt wrap around over an adjustable one all day. But an adjustable saddle bridge is going to outperform it in achieving best possible intonation every time.

Beautifully put. Toss a GFS humbucker in there with a coil split on a push pull pot and some of their Wilkinson tuners. Parts done!

Just to echo what you said, I wouldn’t even bother adding a pickup. You’d have to route a cavity for the pickup and the switch, Make a back plate, And then connect the cavities. Way too much work for very little payoff! And this is assuming he has the skill set to do it without borking it. High risk low reward

As someone that’s mained a Gibson Les Paul for like 10 years now, I got the opportunity to play a PRS single cut and I’m really close to pulling the trigger on one.

Wonderful and thoughtful instruments. The PRS single cuts seem to address every quibble I have about Gibson LPs. Definitely worth looking into if you’re not familiar!

I feel it’s worth clarifying that you cannot file one fret like this. You will need to lower all the frets in unison hence the sharpie. I figure you probably meant that I just wanted to clarify before somebody files down a single fret and wonders why they can’t produce the correct note in that position anymore.

Based on the inlay and the sides of the fretboard I’m assuming you’re referring to the finish. Unlike rosewood (or similar) boards, most maple boards have a thin finish that absolutely wears through over time. Generally the only way to fix this is to refinish the neck and, due to the nature of a finished fretboard, usually this entails a re-fret.

To my knowledge, the only way to prevent this from happening is to not play it. It’s just a natural by-product of playing a finished board.

In the long term, More of the finish will wear off. Eventually you’ll even get some dark spots. It’s a look.

Overall this is nothing I would be concerned about and certainly not justification for a refin. However, if you’re the type of person that absolutely can’t stand The look of an instrument that shows play wear (I understand), then I would strongly suggest you consider avoiding maple fretboards in the future as you’re going to be constantly fighting this battle assuming you actually play it.

Frankly, it’s a lot of tinkering. However, my “ah ha” moment happened when I started paying with the cabinet IRs. While not a surefire way to make things sound “good” it can be a definitely be responsible for why your sound sucks.