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In the days before PRS launched the affordable range of S2 USA models, the PRS Mira X was the most simplistic and affordable USA model they had ever built – Still a full blown USA model, with appropriate hardware and pick-ups, but with far less trimmings, hence a more attractive price – Despite the USA humbucking pick-ups, the design and style probably has more in keeping with the classic Gibson Les Paul Special models, from the late 50’s golden era – So a simple appearance maybe, but totally professional with regards to how it performs and handles – The PRS legendary build quality is present and correct, hence you’ll still experience that slick and easy action – This is a 2009 model, so it is now well beyond its 10th birthday – Re-strung and set-up with a new set of 10’s, to fully appreciate that slinky PRS action – Complete with a deluxe PRS gig bag and appropriate tag – No fret wear – Some tarnish on the bridge post, as well as the brass string posts on the Kluson style tuners – Some wear on the black gloss finish, with a few slight knicks, but nothing that can be considered nasty, or indeed shows the wood – Mainly lightish grazes to the top surface of the gloss finish – The whole vibe of the Mira X is less posh, so more workmanlike – As such any ‘played in’ wear only adds to the guitars appeal, so play it and don’t worry about it acquiring any additional nicks or grazes

Below I’ve re-listed my original notes as per my first delivery of a Mira X back in 2009 :-

Launched as a new model at the 2009 NAMM show and yes to a large extent it was a variation of the existing Mira – Although at its deepest part, the body is the same depth as the original Mira – However whilst the original Mira has a substantial amount of curves and contours, the  body of the Mira X is left far more square – As such it captures the vibe of the original Les Paul Double Cutaway models, from the late 50’s that are equipped with P90’s – Maybe PRS would not admit it as bluntly as this, but it really is a take on those simplistic Gibson models, even to the point that it has a 24.5″ scale length, 22 frets and a wide/fat neck profile  – The original Mira has a  25″ scale length, 24 frets plus either a wide/thin or regular neck profiles – Yes PRS have left the Mira X as basic as possible when it comes to trimmings, but the usual PRS build quality, attention to detail, playing performance and tonal quality is all there and as good as ever – As PRS state, it really is a case of ‘less is more’ – One nano second of holding it will reveal the weight, or rather the lack of weight as it hits the scale at less than 6lbs 4oz on this example – This is down to a combination of new woods for PRS, with a solid African basswood body, a Sipo mahogany neck, plus a pau ferro fingerboard

The neck has the popular wide/fat profile, as found on many other PRS guitars, which measures .886″ around the top nut end and .979″ around the 12th fret – So a comfortable amount of girth without coming across as chunky – A touch deeper than many Gibson SG’s, but a touch slimmer than many Les Paul’s – As usual the 22 medium jumbo frets are installed, correctly profiled and polished to perfection, which gives you a nice fluid playing action, so a set of 10’s still possess a nice slinky feel about them – Like the Santana model and the Singlecut SC245, the Mira X has a Gibson-esq 24.5″ scale length which a) helps with that slinky yet positive feel and b) helps to produce a softer tone than would be found on the original Mira with a 25″ scale length – Hardware has all the vintage vibe about it with the PRS light-weight wrapover bridge tailpiece, mounted on a pair of chunky brass string posts, whilst the Kluson style machine heads are a non-locking vintage format, with the push-in ferrules and brass string posts

Tonal character – Played un-plugged, the Mira X is alive with a vibrant acoustic voice, which is still apparent when you get round to hooking it up to your amp set-up – Pick-ups are tagged as PRS Mira X Treble and Bass, which are based on the same humbuckers as found on the SC245 – They measure 8.5K neck, so vintage territory, with a hotter bridge pick-up coming in at 11.79K  – Simple control set-up, with a master volume and tone pot, plus a traditional 3 way selector switch – No coil tap option this time – Tone is very much that of a vintage PAF flavoured SG Standard, in that it is smooth, rich and warm, very open, with incredible clarity and just enough muscle in the mid range – The bridge pick-up is full bodied, so not harsh or honky sounding, with the right amount of bite and throaty edge to it, that is delivered in a musical way – Playing around with clean and overdrive amp settings, you’ll experience the essential classic SG vibe of Clapton, in his Cream days, old school shorts Angus, Santana Abraxas period, through to the likes of Steve Craddock (Paul Weller and Ocean Colour Scene) – As usual on a PRS, the taper on the volume and tone pots allow a full width of 1-10 to be used, which on overdriven amp settings allows you to ‘roll off’ the volume pot to give you the desired level of overdrive and emotion, even down to a chilled out blues base, with out losing tonal quality and highs – Full expression is only a touch away – Wind up the amp a touch and the smooth ‘woman tones’ as Eric Clapton called it, coupled with endless sustain, awaits you from the neck pick-up, or for more snarling bite with clear overtones, that is essential for great driving riffs and power chords, just switch to the bridge pick-up – On clean settings jangly pop based tones are available, or even warm dark jazz tones if you ‘roll off’ the tone pot

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