The guitars we've chosen today are all either Angelus or Tonare Grand models. Each style has it’s own distinction, but first, let us take a look at the features shared by them all. PRS Hybrid 'X'/Classical Bracing - Utilizing an innovative design that allows the top to vibrate freely, this hybrid bracing system ensures detailed clarity and acoustic projection.

The SE AE40E’s top features PRS’ hybrid X/classical bracing. According to the company, this design uses a traditional X at the soundhole “with classical fan bracing across the belly.” The goal is to let the top vibrate more freely for enhanced sound projection and a warmer tone. Today we are going to have a little look at PRS’s wonderful SE acoustics, in particular, the Angelus and Tonare Grand models... Anything that touches the string has the ability to subtract more sustain or tone from your guitar so they have made sure that these guitars are fitted with bone saddles and nuts for the best possible sound. You won’t find this on many instruments at this kind of price. PRS AcousticsThis results in a really versatile sound with a strong midrange and some bright overtones that you may not get with a wood like Mahogany. We love PRS' interpretation of the classic acoustic guitar and think this would make an excellent investment for a student guitarist or a reliable gigging guitar for a professional musician. Features We Love: Angelus Cutaway Body This may seem an odd statement about a guitar as nice looking as the SE A40E Angelus, especially from a brand with the bona fides of PRS Guitars, but it took me a week or so to realize that my generally favorable first impression of this Chinese-built acoustic-electric was actually giving it short shrift. Probably more than any instrument I’ve tested in years, the SE A40E revealed its true potential gradually. Overall, the A40E was really impressive. As lower-cost import lines go, PRS’ SE brand has always been a little different in that it has its own identify, instead of simply serving as a platform for entry-level versions of U.S.-made instruments. The guitar I tested was a fine example. Every detail, line, joint, fret end, and nut edge was right. Impressions—Second and Beyond Soncially, we are in similar ground to the A50E and T50E, respectively: the Maple adds a layer of sparkle to the overall ‘production’ of sound, and this is well suited to the design and bracing.

It’s obvious from the off that these are excellently made guitars. The design, construction and inlay work are all high-level, regardless of price, and the guitars all ship with hard shell cases, adding confidence to the integrity of the instrument. In interviews, Mr PRS speaks of putting 6.0 in with the goal of getting 5.8 out. To that end, PRS guitars are fitted with high-quality, tonally responsive materials for the best possible sound. We’d suggest that, even at this modest price point, the SE T40E adheres to that ethos, and is well worth a test drive soon. The SE A20E is noticeably resonant, with a strong midrange and clear highs. And although the low end is slightly less audible, you can still sense its presence underneath the more impressive mid-to-high frequency ranges. As would be expected for an instrument of its size, the guitar has good projection and volume. It rings out enthusiastically when strummed; the notes are clear and pronounced, with good string separation in chords, giving way to satisfying overtones.If you follow Paul Reed Smith at all you know his philosophy for building acoustic guitars. That it is a ‘subtractive’ instrument meaning that everything on the guitar isn’t adding more tone, or sustain, it is just subtracting less. The PRS SE AX20E has a layered Mahogany body to go along with the solid Spruce top, as does the TX20E. The bracing inside is traditional ‘X’ style, designed to let the timber vibrate and resonate in a controlled way for great, punchy tone. Under the hood, the A40E, like all PRS acoustics, deviates from traditional steel-string bracing. Instead of common X-bracing, the top is supported by hybrid pattern bracing which fuses X-bracing and classical-inspired fan-bracing concepts. It’s a system that PRS says was partly inspired by a particularly robust-sounding Torres guitar from the late 19 th century. The Flame Maple adds lots of presence to the slightly larger Tonare Grand style, making the T50E model a wonderfully percussive, satisfying instrument to write songs on. A55E & T55E

The A55E and T55E have abalone purfing, birds and rosette detailing, making this the most obviously eye-catching of the range. Having said that, it is still reasonably low-key and tasteful: after all, most of the surfaces here are Spruce, Ebony, Mahogany or Maple! First off, the Angelus, which is a medium-sized Grand Concert model with a Venetian-style ‘Angelus’ cutaway. The mid-sized body should work perfectly for most players: it’s big enough to move some air and produce a mature tone, yet not so big that it’s a chore to get the right arm around. By contrast, the Tonare Grand has a larger, non-cutaway body tha tis designed for an altogether bigger sound. Singer-songwriters and fans of strumming will certainly enjoy the deep, loud, projecting voice of the Tonare Grand! The PRS SE A50Eand T50E have a gorgeous layered Flame Maple body, with some beautiful finishes to amply show off the figuring. These are great looking guitars, with abalone birds, purfling and rosette inlay work adding some quiet opulence to proceedings. PRS have evolved the traditional "X" design and incorporated a fan style bracing behind the bridge, this creates a round sweet tone that projects beautifully from the guitar.

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At the base of the T40E, just below the strap button, is the housing for the nine-volt battery, which will need changing every 100 hours or so. Should that moment arrive while on stage, the battery compartment’s location means changing can take place while standing with a strap. It’s a pet hate of ours when guitars need to be taken off, and the strap removed, just to change a battery. Of course, we ( and probably yourselves too) think of gorgeously finished electric guitars with spectacular exotic woods when we visualise PRS. This makes, sense, since it’s what they are world renowned for! But there’s more to it, and today we want to guide you down a slightly different path. Without thinking about why at the time, I found the part quite easy to execute on the PRS. Same goes for arpeggios with fingers surrounding open drone strings. It’s a subtle thing and may be very particular to both the part and my weaknesses as a player, but it’s a good illustration of how small design choices can make a big difference when you’re trying to get the job done.