As a guitarist deeply rooted in the Parker Fly world since 1994, my quest for the perfect instrument has been a long and winding road. While I appreciate the allure of classic guitars like Strats and Les Pauls, my personal ergonomics always lead me back to the unparalleled playability of the Parker Fly. However, the buzz around Strandberg guitars, with their modern design, lightweight construction, and ergonomic features, was too strong to ignore. Driven by the possibility of discovering a new number one, I decided to invest in a higher-end Strandberg model, taking advantage of Guitar Center’s return policy as a safety net.
Upon unboxing the Strandberg, the initial impressions were overwhelmingly positive. It lived up to the hype: incredibly light, remarkably ergonomic, and undeniably beautiful in its own modern aesthetic. The tuning stability was immediately impressive, and the fanned frets, a feature I was eager to experience, proved to be surprisingly comfortable and intuitive.
After spending several hours exploring the Strandberg, acclimating to its unique neck profile (which, admittedly, took a brief 20-30 minute adjustment period), I made a crucial comparison. Picking up my trusty Parker Fly felt like reuniting with an old friend, a seamless and familiar experience that highlighted the nuances of my preference.
This wasn’t to say the Strandberg was lacking; far from it. It’s an exceptional instrument, and for guitarists transitioning from traditional guitars like Les Pauls or Teles, it would likely feel like a revelation. However, coming directly from the refined experience of a Parker Fly, the Strandberg, while impressive, fell just short of displacing my long-standing favorite.
Delving deeper into the specifics, a couple of factors contributed to this outcome. Firstly, the zero fret design, while intended to enhance open string tone, resulted in a string height that felt slightly too high for my liking, particularly in the area where a traditional headstock would be. Secondly, I missed the familiar contour of a deeper body carve under my strumming arm. The Strandberg’s edge, while comfortable for many, occasionally felt a bit less forgiving against my forearm compared to the Fly’s sculpted body.
Conversely, the Strandberg’s tremolo system was a standout feature. It operated with exceptional smoothness and precision, offering a level of control and responsiveness that was truly commendable. The intonation was also flawlessly set up, further demonstrating the instrument’s high build quality.
Despite its lightweight construction being a major selling point, the Strandberg, at times, felt like it lacked a certain “density” or resonance that I associate with my ideal guitar feel. This is a subjective observation, a subtle nuance in feel rather than a quantifiable flaw, and something I’ve noticed in other lightweight guitars as well.
In conclusion, my foray into the world of Strandberg guitars was a positive and eye-opening experience. The Strandberg is undoubtedly a high-quality, innovative instrument with numerous merits. While it didn’t ultimately dethrone my Parker Fly as my personal top choice, this was a very close call, a near “love at first sight” experience. Perhaps, another Strandberg model or a different time might yield a different result. For now, my Parker Fly remains my faithful companion, but my appreciation for Strandberg guitars is firmly established.
