McPherson has mastered the redwood-topped guitar. It’s a gorgeous tonewood with subtle sonic qualities that can be hard to voice, but when it’s done right, the effect is deeply satisfying. It has the warmth of cedar, but with added volume and mid-range definition. It’s soft, yet clear. It’s a cozy, yet articulate sound that’s ideal for fingerstyle guitar and light rhythm work.
This one is well-complemented by the rosewood back and sides, which bear a quilted, three-dimensional sheen. They reflect a good bit of bass that wraps itself like a blanket around all the notes. Visually they jive perfectly, too, the orange-red of the top transitioning to the black, golden-to-dark-brown of the back. The Koa binding splits the difference between them.
It is a creature of mysterious grace. The bloom is a bit slower than its closest tonal relative, red cedar, and it’s overtones are darker. It casts a long shadow. There’s this almost dream-like quality that the mids evoke as they push forward, the highs and lows shimmering their wake. It’s eloquent, yet economical, conveying what’s needed with just the right amount of detail and dimension. Basically, this guitar is the kind of sonic landscape where great songs are born.