How Does Paul Reed Smith S2 Mira Sound Unplugged In Small Rooms?

Okay, let me nerd out for a bit here — the quick core fact is that S2 Mira guitars come with PRS-designed S2 pickups, which are PRS’s own humbucking designs made specifically for the S2 line. Those pickups have a balanced, slightly vintage-leaning voicing compared to some of the modern-hot PRS pickups; they aim to sit nicely between clarity and warmth, so the Mira retains that glassy PRS top-end but with enough midrange to cut through a mix. That said, there’s a catch I’ve learned from digging through forums and staring at guitar photos late into the night: PRS has tweaked the pickup spec across different runs and finishes. Some early S2 Mirаs shipped with covered S2 humbuckers, while other runs used the open-coil versions. There are also limited or special-run variations where PRS swapped in slightly different S2-voiced sets. So if you’re eyeballing a used Mira or trying to ID one, don’t be shocked if the pickup covers, pole-piece style, or even the winding labels look different from one example to another. If you want to be sure about the exact model in a particular Mira, the most reliable routes are: check the PRS product spec page or archived spec sheets for the model year, ask the seller/dealer for photos of the pickup underside or any factory paperwork, or contact PRS with the guitar’s serial number. Physically, you can also remove the pickup ring and look for maker stamps or stickers on the pickup baseplate — PRS usually marks their S2 pickups, but some covering styles hide those marks. For players who care about tone, the S2 set is a great starting point; if you want something brighter or beefier, swapping to an 85/15 or a 57/08-style set is a common, tone-first upgrade. Personally, I love the way the S2 humbuckers respond with light touch and dynamic playing — they’re not screamingly hot, but they polish chords beautifully and sing when you push them. If you’re buying, a quick photo of the pickups and the seller’s confirmation can save a lot of guesswork, and if you already own one, try out a few amp settings before reaching for the soldering iron — sometimes the stock S2s surprise you in the best way.

If you’re hunting for reliable takes on the 'PRS S2 Mira', I usually split my reading across three camps: pro write-ups, community threads, and hands-on video demos. For pro-style coverage I look to sites like 'Premier Guitar', 'Guitar Player', 'Guitar World', and 'MusicRadar' — they tend to give measured impressions, photos, specs, and sometimes back-to-back comparisons with similar models. Manufacturer pages are useful too; the official PRS site lists specs and finishes for the S2 line, which helps me check whether a reviewer is talking about the exact iteration I’m interested in. For the lived-in, messy truth I dive into user reviews on places like 'Reverb', 'Sweetwater', and 'Thomann' — those listings often include tons of photos, sound clips, and comments from owners who’ve put real miles on a guitar. Forum threads on 'The Gear Page' or the official PRS forum are gold for long-term notes: look for owner threads where people update their impressions months or years later. On YouTube I lean toward demo channels that show multiple tones and zoom in on fretboards and hardware — channels associated with retailers like 'Andertons' or reviewers who routinely disclose loaners/sponsorships tend to be more trustworthy because they show setup and context. When I read reviews I cross-check details: neck profile and fret size (are they compared to older PRS models?), pickup description and what amp/effects were used, and any notes about finish or hardware issues. If multiple sources mention the same quirk — say a particular neck shape or pickup output — that builds confidence. If I’m considering a purchase, I’ll combine a trusted pro review + recent owner posts + two video demos so I can judge tone across rigs. And if you’re buying used, ask for resolution photos, the serial number so you can confirm year, and short raw clips with clean and overdriven tones — that usually tells me more than a single polished demo. Personally, I love starting with a 'Premier Guitar' deep dive, skimming Reverb/Sweetwater for real-world photos and comments, then finishing with a couple of YouTube demos before I decide whether to try one in a shop or pull the trigger online.

Okay, so here’s my two-cents from the angle of a gear-obsessed player who spends too much time drooling over specs and demo videos: the Paul Reed Smith S2 Mira tends to come with a PRS-style ‘Pattern’ neck profile — think a medium-slim shape that’s a happy middle ground between vintage rounder necks and ultra-flat modern profiles. In practice that means it’s slim enough for fast single-note runs and comfy for barre chords, but it still has enough substance for relaxed chordal playing. When I first picked one up, the neck felt familiar if you’ve played other PRS guitars: not too chunky, a gentle curve under the palm, and very playable for a long session without cramping up. Technically speaking, a lot of players describe it as similar to the 'Pattern Thin' feel PRS often uses, though S2 runs can vary slightly by year or small factory variations. The fretboard radius on many PRS models sits around a medium-flat value that makes bending smooth while still comfortable for chording — I’d call it pretty versatile. If you come from a Strat ‘C’ background, expect a little more roundness; if you’re coming from a Gibson rounded ‘50s style, expect something slimmer. The S2 Mira’s profile shines with 9s or 10s; I used 10–46s and it felt nicely balanced for lead and rhythm. If you’re shopping, try the guitar with the same setup and strings you usually play. A quick tip from experience: the neck feel can vary with humidity and fret dressing, so a well-set-up S2 Mira will feel better than one fresh out of a less-attentive shop crate. Also, don’t discount player preference — some folks love to swap to a slightly chunkier nut or a different fretwire to tune the feel. Personally I’d say the Mira’s neck is one of those friendly designs that lets you comfortably switch styles mid-song — it’s forgiving and fun to play, and I find myself reaching for it when I want something that’s equally ready for bluesy bends and crunchy chords.

I've been playing guitar for years, and the Paul Reed Smith S2 series is one of my favorites because of its versatility and craftsmanship. The S2 can definitely be customized, though not as extensively as PRS's Core models. You can swap out pickups, change the tuning machines, or even refinish the body if you're adventurous. The stock S2 pickups are great, but upgrading to something like '57/08' or '85/15' pickups can give it a whole new tonal character. I’ve seen players add custom pickguards or replace the knobs for a personal touch. The neck shape is comfortable, but some sand it down for a smoother feel. The bridge is solid, but swapping it for a MannMade or similar can improve tuning stability. Just remember, modifications might affect resale value, so think carefully before diving in.

I get oddly excited talking gear tweaks — especially when it’s about making a guitar like the PRS S2 Mira sing longer and fatter. If you want more sustain and better tone, start with the fundamentals: strings, nut, and setup. Heavier strings (11s or 11–52, or even 12–54 if you’re brave) increase tension and vibration transfer into the neck and body, which almost always lengthens sustain. Swap the stock nut for a dense material — bone or a high-quality TUSQ — and make sure it’s cut perfectly. A sloppy nut steals tone and sustain faster than most people realize. Finally, a pro setup: correct neck relief, low but buzz-free action, and well-intonated saddles will make the guitar feel alive and hold notes longer. If you want electronics and hardware that change character and sustain, there are a few high-impact swaps. Upgrading pots to quality CTS units and using 500k pots (for humbuckers) keeps highs present, giving the impression of more sustain. Add a treble-bleed circuit (for example 150pF + 220k resistor or a small cap alone) so you don’t lose attack as you roll volume back. Changing the tone cap affects the frequency roll-off: try a 0.022µF orange drop for clarity or a 0.047µF for warmer mids. For pickups, choose models with higher output or tighter magnets if you want more harmonic sustain: hotter humbuckers like a Seymour Duncan JB or PRS's own hotter coils will compress and sustain more, while PAF-style pickups give a rounder, singing sustain. If you want tonal versatility, fit four-conductor pickups and wire a push-pull pot for coil-split and series/parallel options — you’ll keep clarity and add different sustain flavors. Hardware tweaks can be surprisingly effective. Swap to a heavier bridge or brass saddles to boost string-to-body energy transfer; some players report noticeable sustain increases with a solid brass or steel bridge block. Locking tuners improve tuning stability, which lets you chase sustain without worrying about slipping. For extreme sustain, consider an active sustainer system like a Sustainiac or Fernandes sustainer if you want infinite sustain textures — it’s a different beast but magical in the right songs. Lastly, don’t forget shielding the cavities with copper tape and proper grounding; a quieter instrument sounds richer and the sustain feels cleaner. Play around with pickup height and string gauge first — those simple changes often give you the biggest musical payoff before you start swapping parts. Try a combo of a bone nut, heavier strings, a hotter neck/middle pickup, and a bridge saddle swap — you’ll likely hear the Mira bloom in a way that makes soloing much more satisfying.

After too many heart-stopping moments watching guitars inch down conveyor belts, I’ve got a pretty set opinion: for air travel you want a hard, ATA-style flight case that hugs the shape of the instrument or a rugged molded case with custom foam. The Paul Reed Smith S2 Mira is a solid, professional-quality guitar, and the fragile bits you worry about most on planes are the headstock, neck joint, and any knobs or trem hardware. An ATA-rated road case (sometimes called a flight case) or a molded case from makers like 'SKB', 'Gator', 'Pelican'/'3i', or TKL—fitted with dense, pick-and-pluck foam or custom-cut inserts—gives you the crush resistance and recessed latches that airline baggage handlers rarely respect. Look for recessed spring-loaded handles and recessed steel latches, plus a pressure-equalization valve if you fly a lot. If you want specifics for the S2 Mira, measure the guitar first: some molded cases are made for Les Paul–style single cuts while other cases are more universal. The S2 Mira’s headstock and upper bouts need solid top-and-bottom padding and a snug neck cradle to stop torque. A factory PRS hardshell might be okay for local gigs, but for checked airline travel I’d trust a military-grade ATA case or a roto-molded waterproof case with customizable foam. Add a neck support block, a strap of foam under the headstock, and protect the tuners with folded microfiber or bubble wrap. Use TSA-accepted cable locks or lockable recessed latches so security can inspect without damaging anything. Packing tips I actually use: slightly loosen the strings (not too much—just relieve tension), remove or tape down trem arms and any removable hardware, secure loose items (picks, cables) in a separate pocket or a small hard box inside the case, and take photos of the guitar for insurance. If you can get it into the cabin, do that, but most overheads are too tight—measure the case beforehand. Also consider instrument insurance and a labeled tag with contact info. All that fuss adds weight and cost, but for me it’s absolutely worth it when I’m boarding with a fragile neck and a lot of sentimental value; sleeping on a layover is easier knowing the guitar won’t be crushed in transit.

Totally digging how many players ask about the S2 Mira vs the PRS Core — it’s one of those conversations that makes me want to grab a tea, plop on the couch, cue up 'Cowboy Bebop' in the background, and noodle for hours. From my time trying both, and hearing heaps from friends and forum chatter, the S2 Mira feels like the scrappy, honest sibling: great tone, solid build, and a friendlier sticker price. The Core lineup, by contrast, hits you with that ultra-refined, buttery PRS experience — more luxurious finishes, slightly fancier appointments, and the kind of detail work that really shows if you’re picky about cosmetics and the absolute finest fretwork. Playability and feel are where most players will decide. The S2 Mira tends to be very playable out of the box: comfortable neck, reliable hardware, and pickups that are aggressive and musical enough to cover most styles. It’s a very practical guitar for gigging, writing, or just sitting at home with a small amp. The Core models often feel a touch more 'polished'—fret edges, neck shaping, and setup refinement can be noticeably superior, which is lovely if you crave that extra bit of hand-finished finesse. Tonally, Core picks tend to be a bit more nuanced and responsive at the extremes of your gain and volume control, while the S2 delivers bold, immediate tone that’s easy to dial in for rock, blues, and indie stuff. If you care about cosmetics and collectibility, Core usually wins: figured tops, translucent finishes, and more boutique-esque appointments make cores pop visually and also tend to hold resale value better. The S2 line, including the Mira, focuses more on value — you’ll often get a straightforward finish, solid woods, and reliable hardware without the premium frills. That doesn’t make it lesser; it just makes it practical. For many players, especially those who gig or mod their guitars, the S2 is perfect because it sounds great, is easy to work on, and you don’t cry as much if something gets dinged. In short—well, keeping it open-ended rather than wrapping it up like a review blurb—the S2 Mira is an awesome choice if you want real PRS tone and playability without paying full Core prices, and it’s a killer workhorse. If you’re chasing the ultimate PRS aesthetic, the finest handwork, and the slightly more expressive tonal palette, then stepping up to a Core makes sense. Personally, I keep an S2 around for late-night writing sessions and a Core on the stand for shows where I want that extra sparkle; your mileage might vary based on how much you value finish, nuance, and resale, but either way you’re getting sweet PRS DNA — and that feels pretty great.

Man, my S2 Mira has been my little workhorse for years, and swapping strings became a sort of ritual for me — an experiment station where tone, feel, and setup all argue with one another. For playability, the first thing I learned is to match string gauge to what I actually play. If I'm soloing and want effortless bending, I go for lighter sets like .009-.042 or a hybrid .009/.011 (low E thicker) — they make the neck feel supremely fast on that slightly shorter PRS scale. But if I'm chasing sustain and a meatier rhythm tone, .010-.046 or .011-.049 gives the guitar more presence and pushes the top and body a touch harder. For the S2 Mira's semi-hollow-ish voice, a touch heavier often unlocks richer mids without turning the neck into a steel bar. Material and coating matter just as much as gauge. I prefer nickel-wound for a warmer, more vintage feel; stainless steel will brighten things and can feel a hair stiffer under the fingers. Coated strings like Elixir Nanoweb or D'Addario XT keep that fresh tension and smoothness for longer — I use them when I'm gigging back-to-back nights and can’t afford tone to sag between sets. The trade-off is a slightly different tactile response and a tiny loss of raw shimmer, which I quickly forgive for the tuning stability and longer life. For fingerstyle or jazzier, mellow stuff I sometimes swap to flatwounds — the S2 Mira responds beautifully, giving a silky top end and smooth attack. Practical tip: don’t forget the setup. The same .010 set on a poorly adjusted neck will buzz or feel sluggish. I always check nut slots, action at the bridge, and intonation after changing gauges. If you like low action, slightly lighter gauges help; if you want a thicker tone, heavier strings plus a tiny raise in action works wonders. Brands I keep coming back to are D'Addario NYXL for stability, Ernie Ball Regular Slinkys for playability and feel, and Elixir for coated durability. Ultimately I rotate based on gig type and mood — lighter for lead-heavy nights, heavier for chunky rhythm sessions — and let the guitar tell me what it prefers that week.