Bridging the gap between high end studio guitars and full blown concert guitars, the Antonio Model 62 is an exquisitely appointed and well designed guitar that throws a cat amongst the pigeons for guitarists on both sides of the studio/concert divide.

This is Antonio Picado’s entry point into their ‘concert’ guitar range. As a result, everything about this guitar has a high end feel. Exotic Madagascan Rosewood oozes luxury whilst premium grade wood brings refinement to tone, responsiveness and improved dynamics.

A Closer Look

The Model 62 is constructed with your choice of either spruce or cedar top paired with Madagascan Rosewood for back and sides. This exotic choice of rosewood over the Indian variation has an impact on the overall aesthetic, tonal character and also your wallet.

Premium rosewood comes at a price, so it should be no surprise that this guitar built to the same spec as the Model 60 retails for around £800 more when the premium rosewood is taken into account.

There’s no denying the styling of Madagascan rosewood has its appeal. A vibrant colour palette which takes in red/orange hues in addition to chocolate browns found in Indian Rosewood. The wavy and less predictable grain patterns also add aesthetic interest beyond the straight lines of the Indian variety.

Antonio Picado clearly aims for a higher end feel in other areas too, with a hint more decorative detail framing the hardwood inlay running down the centre of the neck, which pairs in nicely with the purfling on the back and sides.

A redesigned and marginally (1mm) wider rosette is an attractive feature that pairs well with its matching tie block. The green in the rosette is picked up by the colour matched purfling of the back and sides which brings a real sense of continuity to this guitar.

The soundboard grain on the review model is particularly straight and tight. Two characteristics of the highest grade timber when it comes to soundboard selection. This is noticeably different to the Model 60, which supposedly has the same grade of wood. I do wonder whether there is a conscious choice to further grade woods in-house before assigning to either the Model 60 or Model 62. It would make sense after all, to build the more expensive Model 62 with a better soundboard if this can be distinguished.

Tone

As I alluded to the introduction, there is a noticeable difference in the way the Model 62 sounds when compared to its close relative, the Model 60.

One of the biggest differences is the presence and balance of the tone. The Model 62 feels impeccably well balanced in terms of tonal production. While there is depth and air to the tone of the Model 60, the Model 62 feels more up close and personal with full bodied notes that fill the room.

This is perhaps most noticeable on the G string. There is an even transition up to the B string meaning melodies are easier to control and sound more natural as a result.

Whist the Model 60 sings with glorious overtones, the Model 62 seems to do the same trick but with more measured choice of harmony. It’s almost as though there is a mini-Mozart in the guitar, directing proceedings as notes are produced.

There is a roundedness to the tone of individual notes that is hard to convey in words. Whilst often guitars produce notes with an immediate impact, the tone dies away soon after. The impact of notes on the Model 62 have a tendency to linger that moment longer.

They’re nice notes too. Buttery trebles sing with seemingly endless sustain. Because notes feel so full of body, the decay feels more drawn out giving a sense of more sustain.

Basses are evenly matched in tone to the trebles. Clean definition with body and depth are how I might characterise the lower register. This transitions nicely through the D string onto the G, creating a seamless playing experience.

Playability

As with all Antonio Picado guitars, the Model 62 is a delightful playing experience. Well set up with an action/relief to please most, comfortable traditional shaped neck.

Despite being around 100 grams heavier, there is good balance between body and neck, which makes longer practice sessions less fatigue inducing.

The guitar responds very well to touch. Expressive playing and phrase shaping is simple as a result.

Conclusion

The Model 62 is marketed as Antonio Picado’s entry into the ‘concert guitar’ range. I think this is such an interesting guitar for guitarists on both sides of the studio/concert divide.

Those looking at high end studio guitars might be tempted into spending that little bit more for a lot in return. Whereas those considering concert guitars might have to think again after playing the Model 62, as it might not cost as much as initially planned to attain a guitar with genuine concert credentials.

I can see this guitar appealing to advanced guitarists who want a superior instrument without spending the usual ‘concert’ money. One that flies a little under the radar within the general population, but outperforms many of similar price.