PRS instruments are widely recognized as some of the finest examples of guitar engineering that money can buy – but for some, that meticulous and intricate design approach comes at a slight cost. Namely, in some schools of thought, PRS and are simply ‘too good’, and what they make up for in sheer engineering ingenuity, they lose in the intangible ‘soul’ of the instrument. Paul Reed Smith addressed such criticisms in a recent , seemingly arguing such notions have become lazily leveled at his guitars largely by those who have never played them.
“It is true that our window is narrower,” Smith says in response to the idea his guitars are “too perfect and have no soul” (via ). “The good one and the bad one are much closer than other brands. What I hope is that we’re moving it up so that the window is moving up.
” He continues, “’I’ve picked one up and it didn’t move me’ is a fair comment. But ‘I’ve never picked one up and it’s never moved me’ – that’s not fair.” While discussing people’s eagerness to dismiss PRS guitars, Smith recalled an exchange he had with an unnamed guitarist, who was less-than-pleased with the idea of the PRS Silver Sky.
“That rockstar ended up buying one and loves it,” Smith says. “And I said, 'You called it a fart in a space suit!' And he goes, 'Eh, I was wrong.' “He said, 'I liked the decision about the pickups, I liked the decision about the neck shape, the action, the way it feels, the weight,' all.
