P R S G U I T A R S

ACOUSTIC GEAR GUIDE

Years ago, I got my hands on an extraordinary-sounding Torres nylon-string acoustic. The moment it was first
played for me, I couldn’t breathe. It was very special – the best sounding musical instrument I’d ever heard. What
I now refer to as “a rocket.” It had a really loud, beautiful, strong voice with more bass than it should have for its
size. The volume and bass were counterintuitive. My friend Larry Thomas then loaned it to me, and we studied it
and x-rayed it. The question we had was “what was Torres thinking” not “how did he brace it” because I believed
there was no way it could have been an accident. His theory, as far as I can best describe, was that he was building
a speaker cabinet, not a double-diaphragmed instrument. In other words, the top was the speaker, and the sides
and back were the cabinet. In most acoustic guitars, the back is one of the vibrating surfaces, but he had it locked
up. It makes sense to me because the only energy driving the guitar is the energy of your hand hitting the string,
so if you want the instrument really loud in front of the guitar, all the converted energy from your hand has to be
coming out of the top not the back.

PRS steel-string acoustics are built on this theory. The back and sides of the guitar are strongly braced to lock
them down. The top is thin with a hybrid X/Classical bracing pattern, both of which allow the top to vibrate more
freely. The X-brace on the acoustic guitar was originally invented to keep a steel string top from lifting up. It is an
important part of the bracing. The fan bracing on a classical acoustic is so the top vibrates like a speaker without
the top arching up badly over time. This build philosophy allows these guitars to project boldly and gives PRS
acoustics their signature sound.

We have always thought of electric guitars as acoustic guitars first, so designing and building acoustic instruments
feels like a natural progression to us. We give all the same attention to detail to these instruments and apply the
same guitar-making skills – whether it be wood-drying, neck-making, or fret-dressing. Thank you for your trust. We
hope this guide helps you find the PRS acoustic that is best for you.
N A MING GUIDE / FE ATURES & B ENEFITS

PRS -VOICED FISHM A N

EBON Y B RIDG E
SONITONE PICKUP
PRS DOUB LE- AC TION
SOLID TOP WOODS
TRUSS ROD

PRS H Y B RID
“X” / CL A SS IC A L B ONE NUT & S A DDLE
B R ACING
A NG ELUS MODEL S TON A RE MODEL S
Angelus models are named after the Latin word for “angel” and have responsive highs, crisply-defined Tonare models are named after the Latin word for “thunder” and offer substantial volume and midrange and beefy low
lows, and sweet midrange. The cutaway body shape provides access to higher frets. Though well-suited end with balanced highs. Wonderful for all-around strumming, these guitars also lend themselves well to flatpickers
for fingerstyle players, these models are versatile enough for myriad musical styles. and nuanced players. Tonare models come in two body sizes: “OOO” and Parlor.

SE A 4 0 E SE A 50 E SE A 6 0 E SE T 4 0 E SE P 2 0 E SE P 2 0
BODY TYPE: ANGELUS CUTAWAY BODY TYPE: ANGELUS CUTAWAY BODY TYPE: ANGELUS CUTAWAY BODY TYPE: TONARE GRANDE BODY TYPE: TONARE PARLOR BODY TYPE: TONARE PARLOR
TOP WOOD: SOLID SITKA SPRUCE TOP WOOD: SOLID SITKA SPRUCE TOP WOOD: SOLID SITKA SPRUCE TOP WOOD: SOLID SITKA SPRUCE TOP WOOD: SOLID MAHOGANY TOP WOOD: SOLID MAHOGANY
SIDE/BACK: OVANGKOL SIDE/BACK: FLAMED MAPLE SIDE/BACK: ZIRICOTE SIDE/BACK: OVANGKOL SIDE/BACK: MAHOGANY SIDE/BACK: MAHOGANY
BRACING: PRS HYBRID “X” CLASSICAL BRACING: PRS HYBRID “X” CLASSICAL BRACING: PRS HYBRID “X” CLASSICAL BRACING: PRS HYBRID “X” CLASSICAL BRACING: PRS HYBRID “X” CLASSICAL BRACING: PRS HYBRID “X” CLASSICAL
NECK WOOD: MAHOGANY NECK WOOD: MAHOGANY NECK WOOD: MAHOGANY NECK WOOD: MAHOGANY NECK WOOD: MAHOGANY NECK WOOD: MAHOGANY
FRETBOARD WOOD: EBONY FRETBOARD WOOD: EBONY FRETBOARD WOOD: EBONY W/MAPLE BINDING FRETBOARD WOOD: EBONY FRETBOARD WOOD: EBONY FRETBOARD WOOD: EBONY
NECK SHAPE: WIDE FAT NECK SHAPE: WIDE FAT NECK SHAPE: WIDE FAT NECK SHAPE: WIDE FAT NECK SHAPE: WIDE FAT NECK SHAPE: WIDE FAT
SCALE LENGTH: 25.3” SCALE LENGTH: 25.3” SCALE LENGTH: 25.3” SCALE LENGTH: 25.3” SCALE LENGTH: 24.72” SCALE LENGTH: 24.72”
FRETBOARD RADIUS: 11.81” FRETBOARD RADIUS: 11.81” FRETBOARD RADIUS: 11.81” FRETBOARD RADIUS: 11.81” FRETBOARD RADIUS: 11.81” FRETBOARD RADIUS: 11.81”
FRETS: 20 FRETS: 20 FRETS: 20 FRETS: 20 FRETS: 20 FRETS: 20
STRING SPACING: 2 7/32” STRING SPACING: 2 7/32” STRING SPACING: 2 7/32” STRING SPACING: 2 7/32” STRING SPACING: 2 7/32” STRING SPACING: 2 7/32”
BRIDGE: EBONY BRIDGE: EBONY BRIDGE: EBONY BRIDGE: EBONY BRIDGE: EBONY BRIDGE: EBONY
NUT/SADDLE: BONE NUT/SADDLE: BONE NUT/SADDLE: BONE NUT/SADDLE: BONE NUT/SADDLE: BONE NUT/SADDLE: BONE
CASE: HARDSHELL CASE: HARDSHELL CASE: HARDSHELL CASE: HARDSHELL CASE: GIGBAG CASE: GIGBAG
PRS A RTIS TS
ON S TAGE A ND IN THE S TUDIO

M A R TIN S IMPS O N A LE X LIFE S O N TE NILLE A R TS

L A RRY FLE E T

LOC A S H MEG H A N PATRICK R AY L A M O NTAG NE

S A M G ROW DUS TIE WA R ING JO HN HI AT T TO N Y MCM A NUS

DEMO VIDEOS ACCOL A DES LR BAGGS/PRS PIEZO
Click any thumbnail to watch demo videos
T h e L R B ag g s/PRS Pie zo s y s te m allow s p laye r s to
s eamle s s l y ge t b ot h a co u s t ic an d e le c t r ic to n e s
“ Whether you’re into linear lick s or blocke d f r o m o n e in s t r um e nt .
chords , and no mat ter if you’re a nuance d
f inger s t ylis t or a bash - it- out ple c tr um
s tr ummer, here’s a b eautif ul acous tic from a
name you know that ’s well wor th the dough…
You’d never know that this is a ‘budget ’ PRS .”
– Guitar Playe r

S E A6 0 E S E T4 0 E

H O L LO W B O DY II PIE ZO

S E H O L LO W B O DY II PIE ZO
“ The SE T6 0 E was de signe d with vintage
guitar s in mind, to have a f ull, rounde d - out
dynamic r ange that favor s the low end and
midr ange (s omething help e d by the us e of
zir icote). The s ound is big but is al s o spread
out evenly— mak ing it ver s atile without b eing
too in -your-face and clear ly lending it s elf to
a r ange of s t yle s .”
– A coustic Guitar

SE A50E S E P 20 E

“ The T4 0 E is an e xpre s sive, dynamic

ins tr ument with an out s tanding bas s-to -
treble balance that ’s p ower f ul, s we et , and
r ich thank s to it s ingenious combination of
X- br acing and clas sic al fan -s t yle br acing. The
c athe dr al rever b - like re s onance is s tunning.
This mo del is by far the b e s t f inger s t yle
B y u t ilizing a b le n d k n o b (o n t h e Co r e H o llow b o d y
ins tr ument I’ve playe d in the sub -$1,0 0 0 II o r Cu s to m 24 Pie zo) o r dis c r e te vo lum e co nt r o l s
SE A40E LR B AGG S/PRS PIE ZO pr ice r ange, and it even out shine s guitar s I’ve f o r t h e mag n e t ic p ic k up s an d t h e p ie zo s y s te m
playe d cos ting thre e to six time s as much.” (a s f o un d o n t h e PRS S E H o llow b o d y II Pie zo),
t his e le c t r o nic s s y s te m is e x t r e m e l y ve r s at ile an d
– Guitar World in s p ir ing . B ot h s y s te m s allow p laye r s to b le n d
t h e s y s te m a s ab ove o r p lug into t wo o u t p u t ja c k s
s e par ate l y an d s p li t t h e s ig nal of mag n e t ic p ic k up s
into an amp an d t h e p ie zo t h r o ug h a n a co u s t ic amp
o r D I into t h e s o un db oar d .