In an ever-constricting economy, it's nice to know that there still exists a wide range of choices in the sub-$1,000 acoustic guitar market. Dominant brands like Taylor, Martin, Guild, and Takamine offer some excellent models at mid-market prices attractive to the semi-pro or even professional guitarist. Add to that list the Breedlove Atlas Series acoustic guitars and the specific model that's the focus of this review, the Breedlove Atlas Studio C25/SMe acoustic-electric ($1,129.00 List; $849.00 Retail).

The Breedlove name may not have the household recognition of some of the other brands listed above, but aficionados of boutique acoustic instruments will almost surely recognize it. In fact, before the Atlas series was introduced in 2003, Breedlove Guitars was strictly a custom shop. Building instruments since 1973, the company quickly won acclaim for their radical takes on traditional designs. (Aside: I recently attended the SOFA traveling sculptural art fair and exhibit at Chicago's Navy Pier; in a hall otherwise devoted to world renown glass-blowing studios and haughty ceramics dealers, Breedlove had a booth setup where they were offering a handful of their high-end creations to the Windy City's select aesthetes.)

The Atlas series, which is comprised of fourteen models (including four different body styles and twelve- and nylon-string models), is Breedlove's first production line. The designs are manufactured in Korea, then shipped back to Breedlove Guitars in Bend, OR for final setup and quality control.

Built Atlas-Tough
This State-side final step is readily apparent in the Breedlove Atlas Studio C25/SMe I tested. The neck is a joy to play thanks to an expert setup and fret job. A close look at the smooth-polished fret kerfs and expertly sanded saddle (with compensated b-string) reveals an attention to detail not typically seen in this price range (See Fig. 1). The 20, medium-wire frets are even up and down the neck, and the intonation is above average as well. The medium-light D'Addario EXPs that the C25/SMe ships with are not my favorite strings: I find them to be stiff and generally unresponsive. Regardless, this guitar is an absolute joy to play.

Fig1: The extra attention to finish and setup detail are apparent in the smooth fret kerfs and expertly intonated saddle.

The C-profile mahogany neck may have a bit more girth than you're accustomed to seeing on an acoustic, but I found it to be exceedingly comfortable, both for chordal strumming and single note picking. A smooth, satin neck finish makes for even faster fretting, and the tapered neck heel and generous cutaway make for easy upper-register access. The neck is fitted to the body with an expertly executed dovetail joint; in fact, this guitar feels extremely solidly built through and through. Even an interior inspection yielded nary an excess bead of glue. The Atlas Studio looks like the product of some border-line obsessive manufacturing tolerances. I approve.

Fig2: Like all the build elements on the Atlas Studio, the rosette inlay is flawlessly executed.

I really dig this guitar's aesthetic—stripped-down but not exactly utilitarian. The rosewood bridge is non-traditional yet understated. The miniature, pearlescent fret markers and twelfth-fret stylized "S" inlay are classy, as are the tortoiseshell body binding and soundhole rosette, the latter of which features a thin ring of inlayed abalone (see Fig. 2). The closed-gear Grover tuners are smooth and stable, and their compact knobs lend this guitar an air of modern professionalism. The strap button on the underside of the neck heel is a nice touch (and one I think should be standard on every acoustic guitar).

Atlas Strummed
The Atlas Studio C25/SMe makes use of laminate mahogany for the sides, solid mahogany for the neck and back, and solid Sitka spruce for the top. Light and strong, and attractive in appearance, Sitka spruce is a common top wood used in acoustic guitar construction. The incorporation of solid (as opposed to laminate) top and back typically means a guitar will exhibit even more of its tonewood's inherent sonic attributes; in spruce's case that means a responsive, articulate midrange, and gently rounded-off highs and lows. Solid Sitka spruce is also extremely resonant: Guitars with a solid Sitka spruce top are typically louder and sound more full than other tonewoods, laminate or solid.

Surprisingly, the Atlas is not at all a large-sounding guitar. This may be due in part to the compact Concert body-style and cutaway. Still, I expected a livelier guitar from the solid tonewoods involved. Played solo acoustically, this makes the guitar easy to sing over. However, when playing along with, say, a dreadnought (a Martin D1 and Taylor 210 on separate occasions; both are comparably priced) the Breedlove Atlas Studio Concert was somewhat buried.

Still, even though the guitar's overall volume leaves a little something to be desired, the Atlas C25/SMe sounds great by itself, especially when strummed with a pick. The guitar's tonewoods yield a present and articulate midrange that never sounds brash or nasal. Chords are even and full, and single notes sound almost beefy with a satisfyingly low-mid emphasis on the pick attack.

When jammed on hard, the Atlas Studio compresses pleasantly. It doesn't have too wide of a dynamic range, but that's all the better for strumming, I say. The C25/SMe doesn't sound quite as stellar when played fingerstyle. The small body and lower overall volume of the guitar makes fingerstyle notes seem dull and almost boxy, but not in that retro-vibe, Robert Johnson, parlor-style acoustic way. No, this axe is a strummer.

Fig3: An L. R. Baggs Stage Pro Element pickup system offers EQ, notch and phase controls, as well as a built-in tuner.

The electronics on the C25/SMe are by L. R. Baggs, specifically a Stage Pro Element piezo undersaddle pickup/preamp system (see Fig. 3). I'm not big on piezo transducer tones, but I'd call the amplified sounds produced by this system above-average. Full chords sound balanced and natural, but that piezo quack starts to rear its ugly head when playing single note lead lines.

The controls on the Stage Pro Element are basic with a few nice extras. The volume control is a slider, as are the three bands in the EQ section. A knob offers variable notch filtering for combating feedback onstage, as does a phase switch. The 9-volt battery is accessed quickly and easily through the top of the control panel. Situated among the controls is a simple tuner. Illuminated by LED, it's quick, accurate, and easy to read. . . what more do you need? (The tuner is calibrated to standard E, natch.)

You might also want something to protect the instrument. Fortunately, the C25/SMe comes with a hardshell case. And for those times when you want to travel a little lighter, an optional gigbag is available, featuring a custom-molded protective foam interior that snugly cradles the guitar's neck and lower bout (see Fig. 4).

Fig4: What a gig bag!

Studio Titan
One of the biggest challenges when recording acoustic guitar is getting the instrument to sound full without it getting boomy. Even with an acoustically-sound space and great gear, capturing even-sounding acoustic guitar tracks often means a lot of dancing around the mic, experimenting with relative axis and proximity. Here's where the Atlas Studio lives up to its name: It's nearly impossible to get this guitar to sound boomy, even when in close proximity to a large diaphragm condenser.

I listened to the Atlas Studio C25/SMe miked with an AKG C 414, an Audio-Technica AT3035, and a Golden Age R1 MKII passive ribbon. Strummed through these mics the C25/SMe sounded full, authoritative, and earthy, with minimal insert compression necessary. Another challenge when recording acoustic guitar is combating excessive pick-click, but the pleasant low-mid characteristic the Atlas Studio imparts on pick attack seems to effectively abate this particular problem. The guitar effortlessly produced tracks that sit well in a mix with minimal EQ-ing, and pretty decent soloed. Fingerpicking, however, started to yield even more of that midrangy boxiness through the mics, especially through the R1. This is something that could be EQ'd out of a track with not much effort, but this guitar just isn't that exciting when played without a plectrum.

More Than A Single-Task Axe
With its low volume and unimpressive fingerpicked tone, you might start thinking that the Breedlove Atlas Studio C25/SMe is, like its Greek namesake, doomed to an eternity of task monotony—strumming in a studio. Still, considering its superior playability, construction, and tone, and its above-average electric sound, and I'd say the Atlas Studio is a shoe-in for touring acoustic guitarists, especially lead players. The neck shreds, the tone is decent, and the smaller body may actually help combat feedback without having to resort to a soundhole cover.

Alongside other guitars in its near-sub-grand price-range, the Breedlove Atlas Studio C25/SMe compares very favorably in terms of build quality, setup and finish, aesthetics, and tone (when picked), with better-than-average electronics. And though the guitar's overall volume is underwhelming, even this feature has its benefits, both live and in the studio.

Pros: Superior build-quality and playability. Superb recorded tone. Better-than-average electronics. Very reasonably priced. Awesome gig bag.
Cons: Low overall volume. Lackluster fingerpicked tone.

Owen O'Malley is a musician, composer, and sound designer. He used to live on Long Island and front a cover band called California Highway Patrol. Yep.