⭐️ Paul Reed Smith responds to claims that PRS guitars are “too perfect and have no soul”

“I’ve never picked one up and it’s never moved me — that’s not fair”

Paul Reed Smith, founder and chief engineer of PRS, is responsible for designing some of the most finely crafted guitars money can buy. Yet for certain critics, that very precision has become a point of contention — suggesting that the instruments are simply “too good for their own good.”

Both electric and acoustic guitars from PRS are widely regarded as benchmarks in modern guitar engineering. However, a recurring criticism suggests that while these instruments excel in technical brilliance, they somehow sacrifice the elusive, intangible “soul” that many players seek.

In a interview with American Music Supply, Paul Reed Smith addressed these claims head-on, implying that such opinions are often voiced by people who have either never played his guitars or formed their views without firsthand experience.

“In some ways, it’s true that our window is narrower,” Paul Reed Smith explains when responding to the idea that PRS guitars are “too perfect and have no soul” (via MusicRadar).
“The distance between a great instrument and a bad one is much smaller with us than with other brands. What I hope is that we’re moving that entire window upward.”

He continues:
“Saying ‘I picked one up and it didn’t move me’ is a fair statement. But saying ‘I’ve never picked one up and it’s never moved me’ — that’s not fair.”

While discussing how quickly some players are willing to dismiss PRS guitars, Paul Reed Smith recalls a conversation with an unnamed guitarist who was initially unimpressed by the concept of the PRS Silver Sky.

“That rock star ended up buying one and absolutely loves it,” says Paul Reed Smith.
“I told him, ‘You called it a fart in a space suit!’ And he replied, ‘Yeah… I was wrong.’”

According to Smith, the guitarist went on to praise numerous design choices:
“He said he liked the pickup decisions, the neck shape, the action, how it feels, the weight — all of it.”

For Paul Reed Smith, every single aspect of guitar construction contributes to the final result, and no variable can be overlooked if the instrument is to perform at its highest level.

Expanding on that philosophy, he recalls:
“I’ve had far too many experiences where we refined the acoustic tone of a guitar, and suddenly the instrument came alive when plugged into an amp.”

He adds:
“If you were to coat a guitar completely in clear silicone rubber — essentially an over-plasticized finish — that will absolutely change the tone. The idea that it wouldn’t affect the sound is just crazy.”

This is far from the first time Paul Reed Smith has spoken publicly about his micro-component approach to building PRS guitars, where every design decision, no matter how small, plays a role in shaping the instrument’s voice and character.