 See the video review of the Paul Reed Smith Tonare Grand
Paul Reed Smith has carved out a place as a well-respected maker of electric guitars prized for their playability, tone, and spectacular woods and finishes. After years of industry rumors, PRS's foray into the world of acoustic guitars was formally unveiled at the January 2009 NAMM show, where endorsers such as Tony McManus and Ricky Skaggs were on hand to demonstrate the company's entries into the high end of the acoustic guitar market. Working with luthier Steve Fischer, who joined Smith after a stint at McPherson Guitars, PRS has begun its acoustic saga with two models (both of which can be extensively customized, if desired): the Angelus Cutaway (see New Gear 2009), and the Tonare Grand, a final prototype of which we received for review.
Dressed to Kill
With its 16-inch rounded body shape, dramatic Celtic cross fretboard inlay, wide cocobolo and abalone rosette, and abalone purfling (standard models have simpler inlay and wooden binding) our Tonare Grand was a spectacular-looking instrument. The cocobolo used for the guitar's back and sides has a deep, reddish color, while the red spruce top (another custom option) is tight grained, with a bit of typical streaking. The most dramatic-looking wood—some outrageously figured cocobolo—was saved for the bridge, fretboard, and headstock. Our review model was well constructed, with only a few minor cosmetic issues—quite possibly due to being a prototype—including some visible glue inside the guitar and some barely visible bleed from the cocobolo portion of the rosette into the top finish.
It is evident from the details that PRS has set out to create a top-class instrument in both performance and appearance. A bone nut and compensated saddle are standard, as are the ebony bridge pins. Each of the seven Celtic cross inlay patterns on the fretboard (which are part of the custom option package) is slightly different, and the 12th fret is distinguished with a wider inlay than the others. The side fret markers—tiny hollow circles made of silver—are quite understated compared to the rest of the guitar and may even be a bit too subtle for low-light situations. The classy open-back gold tuners—hand-machined by Keith Robson in the UK exclusively for PRS—operate smoothly and solidly.
The Peruvian mahogany neck is reinforced with carbon fiber and is attached to the body with a traditional dovetail joint. The neck felt exceptionally stable and handled tuning changes without movement. PRS believes that it can control the neck relief during the guitar's construction and chose not to include an adjustable truss rod. While this is undoubtedly structurally sound, some players may miss the ability to adjust the neck relief to their personal preference and playing style. Our review model combines a 111/16-inch nut width with 21/8-inch string spacing at the saddle, but a 13/4-inch nut and 23/16-inch saddle spacing is available as an option at no additional charge. The neck profile is rounded and comfortable, reminding me of the feel of an electric guitar, especially as I moved up the neck.
A look inside the guitar reveals a somewhat unusual bracing pattern that Smith says was inspired by an exceptional-sounding Antonio de Torres classical guitar. The top bracing pairs an X-pattern with four very thin, tapered fan braces, which run from the bridge plate to the endblock, taking the place of the horizontal tone bars usually found in an X-braced guitar. This produces a very flexible top. The substantial back braces follow a fairly standard ladder pattern but are made from mahogany, rather than the more commonly used spruce.
Midrange Flatpicking Power
In spite of its flamboyant cosmetic details, the Tonare Grand's strongest point is its distinctive tone, which is bold and robust with an impressive amount of power, especially in the lower midrange. You can feel as well as hear the meaty impact of the lower strings. Even with its strong bass and midrange response, I would describe the guitar as balanced; the lows support the high end instead of overwhelming it.
The Tonare Grand really came alive when played with a flatpick and thrives on a strong attack. I'm primarily a fingerstyle player, but this instrument quickly had me brushing up on my flatpicking technique as I was reveling in its sound. The guitar handled melody lines, flatpicking, and hard rhythm playing equally well, always conveying a sense of underlying power and creating a strong, punchy sound with no hint of breaking up when driven hard. Although PRS describes the guitar as a flatpicking instrument, I was also impressed when playing fingerstyle; the guitar sounded particularly nice on accompaniment-style chord progressions over a strong bass. Its deep yet clear voice also worked very well with Celtic pieces in lowered alternate tunings like D A D G A D and C G D G C D.
With its hefty tone and substantial headroom, the Tonare Grand excels as a rhythm guitar and should please aggressive strummers. The instrument's volume, especially when emphasizing the strong lower midrange, easily overpowered my personal small-jumbo guitars. When compared to traditional dreadnoughts, the Tonare Grand was competitive in tone and volume, while offering a distinctly different voice—strong and gutsy in the lower range—but without the extreme bottom end associated with a stereotypical flatpicking guitar.
The Wrap
The Tonare Grand is no wallflower, nor is it a copy of anything. With its rounded body shape and big sound, the instrument offers the feel of a small-jumbo with a sound that can compete with a well-balanced dreadnought. The Tonare Grand should appeal to singers looking for more powerful accompaniment as well as flatpickers who aren't bound to a traditional appearance and sound. Fingerstyle players will want to check out the sister model, the Angelus, but will also be pleased by the Tonare Grand, especially with its wider neck option. At this price point, PRS is competing with many world-class guitars, but the Tonare Grand is worthy of serious consideration if you are looking for a high-end instrument.
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