A new acoustic and an electric from the Paul Reed Smith Exclusive Collection
Guitar manufacturing magicians Paul Reed Smith have unveiled their newest additions to their highly limited Collection Series. Continuing the Collector Series tradition of an electric and an acoustic PRS offers the new Series III Grand acoustic and the Series III McCarty new semi-hollow body guitar.
They are part of a series of guitars that are given the red carpet treatment in terms of the materials used to build them and the attention to detail while building.
Series III McCarty Semi-Hollow Guitar
The McCarty semi-hollow electric guitar is built with an African mahogany back with a curly maple top with two F holes carved in. The 25” scale length spans across a pernambuco pattern neck with an African blackwood fretboard that reaches up to 22 frets and locks into place with a PRS stoptail bridge. Holding the strings in place and in tune from the bridge is the set of Phase III locking tuners with ivoroid buttons. Armed with two Uncovered Collection 57/08 humbuckers the McCarty uses the PRS Bobbins volume and tone controls to tweak the tone as you see fit.
Aesthetically the McCarty gets every bit the same attention with the espresso finish with microburts giving it its rich, dark coffee look that is tastefully complimented by the 17k gold and white gold celtic inlays, the gold and white gold truss rod cover inlay, and the 14k gold side dots. Looking for the next position has never looked so ritzy.
Series III Grand Acoustic Guitar
The Grand acoustic couldn’t settle on just one or two woods to properly define its sound so it was decided that it would have any highly coveted wood built into it in one way or another. The back and sides are built with quilted maple with black/maple/black purfling with a curly maple neck.
The top is an adirondack spruce top with paua heart and black purfling complimented by a figured curly maple binding. The fretboard fully utilizes ebony and paua heart and 14k gold and mammoth ivory for the celtic inlays and uses paua heart purfling.
Collector Series Retrospective
As you can gather the Collector Series III isn’t the first line in the series. There have been two previous installments in the past so since we’re on the topic we’re gonna take a look at what has led up to the current line.
The electric from Series I was also a McCarty built of mahogany and a curly maple top. It used African blackwood for the fretboard with paua heart, 14k gold, and mammoth ivory for the celtic inlays. The same gold is also used for the Phase III tuners, the PRS tremolo, PRS Collection humbuckers, and side dots.
The Tonare Grand acoustic was made from European bearclaw spruce and curly maple for the body and pernambuco for the neck. Because gold is all you need to make anything look almost as good as me, the 14k gold and mammoth ivory is also used for the celtic inlays.
The Series II electric is a DGT model built with mahogany and a quilted maple top and a pernambuco neck with Honduran rosewood for the fretboard that uses mammoth ivory for the purfling and inlays. The guitar uses DGT tuners with faux bone buttons and a PRS tremolo to tighten the strings up over the pair of DGT gold-covered humbuckers.
The McManus/Simpson Angelus acoustic from Series II is built from sitka bearclaw spruce and African blackwood for the body with curly maple for the binding. The neck is a custom-carved pernambuco neck with African blackwood for the fretboard filled with paua heart, green abalone, and 14k gold inlays.
There you have it, ladies and gentlemen. The PRS Collection Series, where it’s been and where it’s going. Now if you’ll excuse me I need to finish this report to justify blowing the entire future budget of Guitar-Muse so I can buy one of these. So far all it says is “you’ve gotta spend money to make money.” It’s gonna be a hell of a sale if I pull this off.