For those just discovering the innovative world of Parker Guitars, understanding the nuances between different models across the years can seem daunting. A recommended starting point, as suggested by the Fly Clone Project, is to delve into the official Parker Guitars catalogs to observe the evolution of models and features. However, for a more streamlined overview, this article provides a concise history of Parker Guitars, focusing on the iconic Parker Fly Guitar. This narrative is meticulously compiled from official catalogs, direct conversations and interviews with Ken Parker himself, key individuals who contributed to Parker Guitars from 1993 to 2015, and valuable insights shared by members of the Parker Guitars online community. Our aim at guitarplayers.net is to preserve and celebrate the rich history of these exceptional instruments and the dedicated people behind their creation.
This information has been carefully gathered and cross-verified through official Parker Guitars documents, firsthand observations, precise measurements, and personal accounts from those intimately involved in their production. As no single definitive written history of Parker Guitars exists, this article serves as a living document, continually updated to refine and enrich the story of these remarkable guitars. We encourage readers to contribute additions or corrections to ensure the accuracy and completeness of this historical record.
The Parker Fly Guitar Legacy: A Quick Overview
Ken Parker, the visionary behind the Parker Fly guitar, personally designed and oversaw the production of all Fly, NiteFly, and Fly Bass (FB-4/FB-5) models from 1993 to 2004 at the original Wilmington, Massachusetts facility. A significant milestone occurred in 2003 with the introduction of a “refined” Fly design, marking the most substantial alteration to the Fly throughout its entire production run. During this period, Ken also managed the production of the more accessible P-Series guitars (2001-2004), which were manufactured by Cort Guitars in Seoul, South Korea, under Parker’s specifications.
All subsequent Parker Guitar models developed after 2004 were conceived and produced under the ownership of U.S. Music Corp (2004-2015) in Mundelein, Illinois, or through import arrangements. These later models included the PM and extended P Series instruments, the Mojo Singlecut, the DF/PDF/Maxxfly series, and the entire line of Parker acoustic instruments. Parker Guitars officially ceased operations in 2015, marking the end of an era for this innovative brand.
Origins of the Fly: Ken Parker’s Vision Takes Flight
Parker Guitars officially entered the market in 1993, but the journey of the Parker Fly guitar began much earlier in the 1980s at Ken Parker’s workshop in Seymour, CT. It was during this period that Ken Parker’s path intersected with Larry Fishman, a pioneer in piezo pickup technology. Ken showcased a bass guitar he was developing to Larry, who recognized the potential of integrating his piezo system. This initial collaboration laid the groundwork for the Fly’s unique sonic capabilities.
Over the ensuing years, the groundbreaking instrument and the intellectual property that defined the Fly guitar attracted interest from several major companies, including Fender and, later, Line 6, who explored potential acquisitions of Parker Guitars. Ultimately, Parker Guitars became a subsidiary of Korg USA, paving the way for its official market launch in 1993 and the beginning of its commercial journey.
The First Decade of Parker Fly: The Ken Parker Years (1993-2004)
The period from 1993 to June 2004 is often referred to as the “Ken Parker years” at Parker Guitars. 2004 marked a transitional phase as manufacturing operations shifted from Wilmington, MA, to Mundelein, IL. Ken Parker’s direct involvement during this era was comprehensive; he designed the Fly (all models), the NiteFly, and the Fly Bass, and actively participated in every facet of the company’s operations.
Ken Parker’s departure from Parker Guitars occurred in September 2003, coinciding with the sale of the company to U.S. Music Corp, officially announced in March 2004. Despite the change in ownership, Parker Guitars maintained its operations in Wilmington, MA, until 2004. A significant development during this period was the opening of the Parker Guitars Custom Shop on January 1, 2003, established to cater to the growing demand for personalized Parker guitars. The Fly Mojo (released July 9, 2003) and the Fly Bass (FB-4/5 and Mojo Bass) were the final instruments produced under Ken Parker’s direct supervision. Even after 2004, Parker Guitars continued to produce the Fly and NiteFly models that Ken had originated, albeit with certain modifications that will be discussed later.
Following his departure, Ken Parker returned to his passion for crafting archtop guitars. He briefly collaborated with former Parker Guitars team members, including Linda Scherer and Jed Kriegel, to establish his workshop in New City, where he began creating his new line of archtop guitars. Ken Parker Archtops officially emerged in 2006, marking a new chapter in his distinguished career.
The U.S. Music Corp Era: Transition and Evolution (2004-2015)
The acquisition of Parker Guitars by U.S. Music Corp led to the relocation of factory operations from Wilmington, Massachusetts, to Mundelein, Illinois. Gil Vasquez assumed the role of production manager for Parker Guitars from September 2003 to 2006 under U.S. Music Corp. Terry Atkins, who succeeded Gil as production manager from 2006 until the company’s closure in 2015, noted that during the initial transition phase (2003-2005), many guitars sold were still manufactured in Wilmington and only completed in Mundelein as the new Illinois facility was being set up.
This transitional period also saw the introduction of new Parker models, such as the PM-10/20 in 2004. These models represented a departure from the Fly and NiteFly construction, omitting carbon fiber and employing different manufacturing processes and components. This marked a diversification of the Parker Guitars product line under U.S. Music Corp.
“Pre-Refined Flys” vs. “Refined Flys”: Understanding the Terminology
U.S. Music Corp officially designated the Fly guitars produced under their ownership as “Refined” Flys, retroactively terming the earlier models “Pre-Refined” Flys. The “refinements” alluded to were modifications implemented to the original Fly design. The “Refined” Fly Deluxe and Classic models were officially unveiled on July 9, 2003, coinciding with Parker Guitars’ 10th anniversary and the Summer NAMM show, marketed as the “New & Improved” Fly. While this date marks the official launch, reports suggest that some Fly guitars manufactured prior to this date already incorporated some of these “refined” features, indicating a gradual evolution rather than an abrupt change.
Under Terry Atkins’ leadership, Parker Guitars sustained and expanded its operations for another 12 years. The company continued to produce existing models and introduced new instruments like the Mojo Singlecut, a range of Parker acoustic guitars, and the DragonFly/MaxxFly series. These new models, while aesthetically different, aimed to capture the original innovative spirit of Parker Guitars in fresh and compelling ways. During this era, Parker Guitars also launched an official online forum, fostering a global community for Parker players to connect and share their experiences.
Acquisition by Jam Industries and the End of an Era (2009-2015)
Jam Industries acquired U.S. Music Corp, and consequently Parker Guitars, in mid-2009. Further modifications were made to the existing Parker guitar lineup, and new models were introduced, as detailed in subsequent Parker catalogs. Ultimately, Parker Guitars closed its U.S. manufacturing center in 2015. The official website and online forum remained active until September 2019, serving as resources for Parker enthusiasts even after production ceased. Unfortunately, due to security and maintenance issues, the entire forum database was lost. Jam Industries itself was acquired by DCC in 2018, placing the Parker Guitars trademark under the ownership hierarchy of DCC > Jam > USM > Parker Guitars.
Fly Guitar Evolution: Key Changes Through the Years
The following section summarizes the evolutionary changes implemented in the Parker Fly guitar throughout its production history, compiled from discussions within the now-offline official Parker Guitars forum and expert accounts.
It’s important to note Ken Parker’s candid statement: “we were making $10,000 guitars and trying to sell them for $3000.” Terry Atkins echoed this sentiment. Therefore, the “refinements” introduced should be understood within the context of efforts to streamline the manufacturing process, reduce costs, and broaden the Fly’s market appeal.
Frets: Original Fly guitars featured smaller stainless steel frets, with the exception of the “Stealth” model (Hardtail), which had jumbo frets similar to the NiteFly. Around 2008, USM transitioned to using jumbo frets across all Fly models. A known issue with some Flys produced around 2008 was fret un-glueing and, in some cases, fretboard delamination, which USM addressed with a fret repair guide. Misuse of solvents or cleaners on the fretboard, contrary to manual warnings, sometimes exacerbated fret issues. Ken Parker also highlighted that retailers sometimes separated guitars from their cases and manuals, depriving owners of crucial maintenance information.
Neck Profile: While officially stated to be consistent, Fly neck profiles exhibit some variation across production years. The earliest redwood-neck Fly Deluxe models from 1993, personally overseen by Ken Parker, had notably thin neck profiles. Instances of composite fingerboard/fret issues led to a production workaround where, instead of replacing the fingerboard, a new one was layered on top, resulting in a thicker neck profile. This historical anomaly explains the ongoing question among used Parker Fly buyers regarding neck thickness variations.
Fingerboard Radius: The fingerboard radius was originally a conical 10-13” shape until approximately 2011, after which it became a constant 14” radius.
Headstock: The redesigned headstock introduced by USM was met with mixed reactions from Fly enthusiasts. While it allowed for the use of standard guitar stands, some viewed it negatively as it deviated from the original Fly design philosophy of a lightweight and resonant instrument by adding mass. Many Fly players had already found effective hanging solutions for the original headstock design.
Upper Horn: The upper horn design of the Fly wasn’t universally ergonomic, with player comfort depending on guitar position (strap height, sitting/standing) and body size. The MaxxFly horn design, while a departure from the original aesthetic, aimed to address ergonomic concerns for players who found the Fly’s upper horn problematic.
Body Thickness: Post-Ken Parker era (after 2003), Fly body thicknesses became less consistent, with some bodies reported to be thicker than others.
Exposed Tension Wheel: The decision to conceal the truss rod tension wheel within the body was another point of contention among players. Some found the exposed wheel convenient for live adjustments, while others considered it primarily a setup tool, less critical for on-the-fly tweaks.
Step Stop Latch: Removing the latch on the step stop was generally seen as a downgrade, requiring a tool for adjustments that could previously be done quickly, even during performance. However, some players noted that the latch could sometimes inadvertently flip up or down if it brushed against the player’s body.
Saddles: The switch to Graphtech saddles was considered tonally comparable to the original saddles. However, the departure from stainless steel to potentially rust-prone materials was viewed negatively. The original Fly saddles with screw contact points were generally preferred over the dog-bone saddles, which had balls that could detach. Here is a detailed post on Fly saddle variations.
Piezo System: While not inherently noisy, the Graphtech piezo preamp system had a lower signal-to-noise ratio compared to the Fishman preamps used in earlier Flys. This could be compounded when using original Fishman piezo elements with non-Graphtech saddles. However, the Graphtech system offered greater modularity, simplifying MIDI integration. Some players preferred the stacked tone controls and control layout of the pre-refined Flys, produced before Ken Parker’s exit.
Signal Path: Some Fly players modified their guitars to remove the piezo preamp from the magnetic pickup signal path to achieve a cleaner tone. This modification was more complex on early Flys due to their flexible tape connectors compared to later point-to-point wiring. The rationale was that the active buffer in the preamp could color the magnetic pickup tone undesirably. Battery dependence was also a concern for some, contributing to the misconception that Fly magnetic pickups were active, when they are actually passive pickups running through an active buffer.
Switches: The original Tocos switches used in Flys up to around 2003 were remarkably durable. Switches used by USM reportedly had a higher failure rate, even within a few years of use. Some owners of 2008+ Flys reported piezo signal bleed into the magnetic pickup signal, even when the piezo was off, often attributed to a combination of switch quality, the Graphtech preamp (specifically its wiring configuration), and resolved by addressing these components.
Pickups: Pickup swapping is a frequently discussed topic among non-Fly players, who often misunderstand that their preferred pickups might sound different in a Fly guitar. DiMarzio, and to some extent Seymour Duncan (with minor modifications), would wind pickups to fit Fly guitars. Furthermore, the tone of the stock DiMarzio pickups could be significantly adjusted simply by altering pickup height, as detailed in the Parker Fly manual. Pickup mounting rings on later Fly models were generally unpopular among forum members, and their appeal to potential new Fly owners is uncertain. Here is a post detailing Fly pickup options.
Knobs: The dome knobs introduced for electronics on 2003+ Flys added noticeable weight compared to the original rubber knobs, contradicting the Fly’s lightweight design philosophy.
Bridge: Balancing the Fly’s floating bridge is a unique skill unfamiliar to many guitarists. The manual lacked clear instructions, but forum members extensively discussed best practices. In some Flys, fixed bridge mode didn’t fully engage the stepstop, causing the bridge to float in both modes. This was usually due to spring/tension issues or setup problems. Rarely, bridge posts leaned forward, a problem USM addressed in the mid-2000s with internal retaining rings. Many misdiagnoses of bridge issues on the forum were ultimately resolved by addressing spring tension or basic setup. The manual describes three bridge modes (fixed, balanced (floating), and bend-down only), though fixed and bend-down only are mechanically similar but functionally distinct. The vibrato arm bushing was originally stainless steel, used with a hex arm. In 2003+, a plastic bushing and round arm were substituted. Many users reported cracking the plastic bushing with normal use. Here’s a post on the Fly vibrato bridge “float”.
Nut: In 1993, Parker used a mold with nut slots to create nuts from a delrin-like material, quickly transitioning to milled Corian nuts. The Fly Nylon retained Corian nuts throughout its production. By 1993-1994, Ken Parker partnered with Graphtech for injection-molded graphite-type nuts. Around 2010, USM started using Gibson-style nuts on the Fly. Ken Parker developed a machine in the mid-90s to precisely cut six nut slots simultaneously, optimized for 9-gauge strings. For 10-gauge strings, at least the G string slot should be widened. Many forum users resolved “return to zero” issues with their floating bridges by widening nut slots to prevent string binding. Here is a post about Fly nut variations.
Truss System: The original Fly design used a robust .078” diameter truss rod with a nut at the headstock side. Around 2011, the Fly transitioned to a dual-action truss rod with the nut positioned centrally in the headstock.
This comprehensive overview of the Parker Fly guitar’s history and evolution aims to provide guitar players with a deeper understanding and appreciation for this innovative and often misunderstood instrument. For further exploration, consult the original Parker Guitars catalogs and online resources dedicated to the Parker Fly.
