Fender PM-1, PM-2 & PM-3 all-Mahogany standards
The latest additions to the Paramount range drop the preamp and go mahogany. Can they win more players to Fender’s acoustic resurgence?
When Fender launched the Paramount series last year, it represented a new commitment to winning over players from a company that’s arguably not traditionally a go-to for acoustics. With its Standard and Deluxe ranges, a two-year development paid dividends and we were suitably impressed with the PM-2 Deluxe parlor, PM-1 dreadnought and PM-3 000 Standards in issue 402. Fender was establishing itself in the lower market area with characterful models boasting solid backs and sides, which also came stage-ready with individually voiced preamps for each shape – the result of a Fishman/Fender collaboration. The Paramount Standards offered serious spec for the money, and now with its next wave of models, Fender moves from spruce/mahogany to add all-mahogany construction to the range. But that’s not the only fundamental change…
Curiously, these new Standard models are not equipped with Paramount preamps. The original spruce-topped electros have gone up to £599, but it’s puzzling that these new models don’t have preamp-fitted model options, too. Nevertheless, their look is anything but disappointing. The mahogany tops have an indented texture to the grain that looks and feels vintage; a thin ‘open-pore’ satin finish leaves their organic looks unhindered.
While we’re encountering more guitars in this price territory that aim for vintage Americana-style heritage, these models set a new standard for their price range. The narrower 60s-inspired headstock, open gear tuners and Fender logo and motif all set the tone, but the checkerboard purfling for the top, rosette and back strip takes on influence from further back in time and recalls the old
Weissenborn Style 4 rope binding. It really gives these models a premium vintage touch, and it’s even more effective set against the dark mahogany than the original launch models. With such a strong cosmetic show, we’re just left with a small bugbear: the only feature disrupting the vibe here is the white nut. An ivory tone to match the binding would’ve better served the flow of the design. But the advantage is, it’s real bone.
These are lightweight guitars, too, especially for solid back and sides builds. The PM-2 is actually neck-heavy when standing with it on the strap. For the heavy-handed among us, that might give pause for thought, but the weights feel welcoming and accessible here, with the satin ‘open pore’ necks soon beckoning. And in play, there’s the sense that it all adds to the appealing sonic qualities of these guitars.
Feel & Sounds
In many respects, the PM-1 is a textbook example of an all-mahogany dreadnought boasting a lot of the character that attracts players to this wood choice, but it feels notably livelier than some we’ve encountered. Compared with our Martin D-15-styled solidmahogany Sigma, for example, the Fender’s lighter weight seems to aid an airer tonality without losing muscular projection. That mahogany mid voice is there in abundance with a thumpy and defined low-end, rather than the boom that we’d hope to find from mahogany. Sustaining notes shine in the upper-mids with a pleasing, rounded bluegrass
For flatpickers and those pursuing a woodier tonality, look no further than the Pm-1
quality playing with a pick. For flatpickers and those pursuing a woodier tonality, rather than steely chime, look no further.
The differences between the dreadnought and PM-3 cutaway 000 are not surprising, but the PM-3 has distinct areas of appeal. It’s a more delicate sound with less low-end than the dreadnought from the shallower depth, and it immediately feels like a welcoming home for fingerpicking, especially with the added player accessibility of the body. That satisfying roundness to notes is present and the bass still holds its own well in the balance rather than letting the mids dominate. The C-shape neck feels superb here with the lowest action of the trio, and proves itself the friendliest for lead. Which is just as well with a cutaway on offer. Access to the upper frets is even easier thanks to the placement of the strap button on the upper bout, rather than the usual neck heel. The trade-off is that this model feels a little neck-heavy on the strap.
Fender’s specs say otherwise, but the PM-2 parlor’s neck feels meatier, especially in comparison to its slimmer body, and there’s
more of a medium-low action here compared with the low on the other models. Off-putting for some, but it could also be a key factor towards this being the biggest surprise of the trio. It certainly makes its extra 2mm depth over the PM-3C count. We’re used to the descriptions ‘boxy’ and ‘compression’ being par for the parlor experience, but the PM-2 projects the latter trait wider than expected with more lower-end clout than you might assume from looks alone. The solid construction surely helps and the PM-2 soon reveals a versatility that could appeal to those who may not have considered a small-body model before. Again, that rounded woodiness pervades picked notes, but it really opens up for harder strumming – richer and more powerful in the bottom end where it might be expected to be predominantly mid-focused.
Verdict
Fender’s latest additions prove it’s on the right track with the Paramount series. If you’re looking around the £500 end of the market, these are a must-try. They feel and sound well considered, each offering their own angle on mahogany appeal. We would’ve liked to see the Paramount preamp offered, at least as an option – widening the potential appeal these designs deserve – but as it stands, these are solid-wood acoustics with quality hard cases. A compelling sell. The PM-1 edges it for us as it encompasses mahogany’s charms so well, and the company’s “earthy and organic” claim is actually very accurate in sound and vision. But all three guitars combine to make a strong statement: Fender is serious about acoustics and it’s reaping rewards for us players.