Paul Reed Smith’s own vision for the ultimate guitar comes in at an incredibly affordable price.
PRS SE Paul's Guitar, played through a Fractal AX8 direct to Pro Tools, via a Universal Audio Apollo Twin Duo.
The first segment is a "Plexi Crunch" patch on the AX8, played on the guitar's bridge pickup in full humbucker mode first, then switched to the neck pickup. The following jangly segments are into an edge-of-breakup "Boutique DC30" patch, as follows: bridge full humbucking, then split-coil; neck full humbucking, then split-coil; both pickups together in split-coil mode; then finished off with a quick run with the bridge pickup back in full-humbucking mode.
RatingsPros:Easy playing feel. Rich, versatile tones. Performs beyond expectations for its price range. Cons: Some might find pickups to be too hot. Tuner buttons feel downscale. Street: $999 PRS SE Paul’s Guitar prsguitars.com | Tones: Playability: Build/Design: Value: |
PRS’s imported SE guitars have always been built to a very high standard. And the fact that the Maryland outfit now entrusts its Indonesian facility with building a faithful, affordable rendition of “Paul’s Guitar”—an instrument built to reflect the sum of founder Paul Reed Smith’s experience and evolving personal preferences—says a lot about the company’s confidence in its manufacturing partner. That the result achieves this level of performance and quality—all at a price south of $1,000—is probably something few players would have imagined when the company first set up shop.
Super Student Edition
The fundamentals of the SE Paul’s Guitar design will be familiar to anyone remotely acquainted with archetypal PRS models: a solid mahogany body (4-piece, in this case) is topped with a highly flamed, carved-maple cap finished in a luscious vintage amber, all cut in the distinctive PRS shape. The glued-in mahogany neck sports a chunky heel, while the unbound rosewood fretboard features impressive abalone bird inlays. The 22 jumbo frets are immaculately dressed and polished at both the crowns and ends, and the forward-facing edges of the synthetic/bronze-blend nut are free of sharp corners, both of which set this guitar apart from many affordable imports.The guitar’s 25" scale and 10" fretboard radius are also pretty common PRS specs, as is the Wide Fat neck shape, which is a rounded, ergonomic “C” profile that sits comfortably in the hand and measures somewhere just on the slim-ish side of a ’59 Les Paul carve. Nut width is a traditional 1 11/16".
Mounted to the body with brass studs is PRS’s clever and efficient 1-piece compensated aluminum Stoptail bridge, while the Kluson-style tuners, with their rather lightweight plastic buttons, represent one of the few obvious hardware downgrades on the SE. The PRS TCI “S” bass and treble humbuckers are said to be wound to vintage specifications, although their 11k ohm resistance seems hotter than what most would consider “vintage”. The hotter specs do, however, enable what PRS calls a “true single-coil split” via the individual mini-switches, delivering the approximate output of a vintage-wound Stratocaster pickup. The control set is simple: a single volume and tone control, and a 3-way switch.
Full, Familiar Sounds
Unplugged, the SE Paul delivered the familiar, easy feel of a great PRS and a lively, ringing quality that you can hear without an amplifier. Amped up through a Friedman Small Box head and 2x12, a Mesa/Boogie Mark Five: 35 with a 1x12 cab, and a Fractal AX8 into a rehearsal-sized PA, the SE dished tones that would make anyone familiar with a PRS Core model feel right at home.
Great PRS guitars tend to compel you to play and play, rather than forcing you to stop and wonder how it all works. This SE is similarly graceful and intuitive, beckoning me to riff through indie-rock chestnuts, gnarly Americana-twang, and fired-up blues leads without stopping to consider that I was handling an unfamiliar instrument. The humbuckers nail that Les Paul-with-extra-snap sound typical of many PRSes, which works equally well for classic rock, grunge, or contemporary indie and pop. The pickups certainly feel hot, but even in humbucker mode they are capable of great clarity and sparkle, and the single-coil tones are extremely impressive. With the split switching option, Paul’s SE is a remarkably versatile guitar.
The Verdict
No one will be surprised by a well-built, smooth-playing PRS guitar—even in SE guise. But the level of quality and consistency offered here for a cool grand is noteworthy nonetheless. The import version of Paul’s Guitar delivers a big dollop of the sort of looks you get from a high-end PRS, and the sound and playability make it feel much more expensive than it is. That’s a praise-worthy feat, and one we expect Mr. Smith looks upon with considerable satisfaction.
Watch the First Look:
While the pedal builders at Sehat Effectors are in the game for their love of the 6-string, they’ve since begun exploring what effects pedals mean to other kinds of instrumentalists.
This time, I’d like to share my perspective as a pedal builder on how our effects pedals—originally crafted with guitarists in mind—are experiencing an exciting evolution in use. Our customer base spans around the globe, and as it turns out, many of them aren’t guitarists. Instead, our pedals are finding their way into the hands of non-guitarist musicians like DJs, synth players, movie sound directors, and even drummers. Yes, a drummer once used one of my fuzz pedals in a drum miking setup—quite an extreme yet bold experiment! This made me wonder: How did such a phenomenon come about?
Most of the pedals I build are fuzz effects and other experimental types, all primarily tested within guitar setups. But then I visited a friend’s studio; he goes by “Balance” onstage. He’s a well-known musician and producer here in Indonesia, and a member of the hip-hop group JHF (Jogja Hip Hop Foundation). Now, here’s the kicker—Balance doesn’t play guitar! Yet, he’s one of my customers, having asked for a fuzz and modulation pedal for his modular synthesizer rig. Initially, I was skeptical when he mentioned his plans. Neither my team nor I are familiar with synthesizers, let alone Eurorack or modular formats. I know guitars and, at best, bass guitar. My colleague has dabbled with effects experimentation, but only within the guitar framework.
So, my visit to his studio was a chance to study and research how guitar effects pedals could be adapted to a fundamentally different instrument ecosystem. The following is an interview I did with Balance to get a deeper understanding of his perspective.
As a modular synthesizer user, aren’t all kinds of sounds already achievable with a synth? Why mix one with guitar effects?
Balance: Some unique sounds, like those from Hologram Effects’ Microcosm or the eccentric pedals from Sehat Effectors, are hard to replicate with just a synth. Also, for sound design, I find it more intuitive to tweak knobs in real-time than rely on a computer—direct knob control feels more human for me.
Are there challenges in integrating guitar pedals with a modular synthesizer setup? After all, their ecosystems are quite different.
Balance: There are indeed significant differences, like jack types, power supplies, and physical format. Modular synthesizers are designed to sit on a table or stand, while guitar pedals are meant for the floor and foot control. However, they share a common thread in the goal of manipulating signals, eventually amplified through a mixing board and amplifier. The workaround is using converters/adapters to bridge the connection.“If you’re a saxophonist who buys a guitar pedal, it’s yours to use however you like.”
Are you the only modular synth user combining them with guitar pedals?
Balance: Actually, I got the idea after seeing other musicians experiment this way. Effects like fuzz or distortion are iconic to guitar but absent in synthesizer sound options. I believe signal manipulation with fuzz or distortion is a universal idea that appeals to musicians creating music, regardless of their instrument.
This brief chat gave me new insight and sparked my curiosity about different frameworks in music-making. While I’m not yet tempted to dive into modular synths myself, I now have a clearer picture of how fuzz and distortion transcend guitar. Imagine a saxophonist at a live show using a pedalboard with a DigiTech Whammy and Boss Metal Zone—absurd, maybe, but why not? If you’re a saxophonist who buys a guitar pedal, it’s yours to use however you like. Because, in the end, all musicians create music based on their inner concerns—whether it’s about romance, friendship, political situations, war, or anger. Eventually, they will explore how best to express those concerns from many angles, and of course, “sound” and “tone” are fundamental aspects of the music itself. Good thing my partner and I named our company Sehat Effectors and not Sehat Guitar Works. Haha!
Reverend Jetstream 390 Solidbody Electric Guitar - Midnight Black
Jetstream 390 Midnight BlackReverend Contender 290 Solidbody Electric Guitar - Midnight Black
Contender 290, Midnight BlackMetalocalypse creator Brendon Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great.
Slayer guitarists Kerry King and Jeff Hanneman formed the original searing 6-string front line of the most brutal band in the land. Together, they created an aggressive mood of malcontent with high-velocity thrash riffs and screeching solos that’ll slice your speaker cones. The only way to create a band more brutal than Slayer would be to animate them, and that’s exactly what Metalocalypse (and Home Movies) creator Brendon Small did.
From his first listen, Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great. Together, we dissect King and Hanneman’s guitar styles and list their angriest, most brutal songs, as well as those that create a mood of general horribleness.
This episode is sponsored by EMG Pickups.
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Pearl Jam announces U.S. tour dates for April and May 2025 in support of their album Dark Matter.
In continued support of their 3x GRAMMY-nominated album Dark Matter, Pearl Jam will be touring select U.S. cities in April and May 2025.
Pearl Jam’s live dates will start in Hollywood, FL on April 24 and 26 and wrap with performances in Pittsburgh, PA on May 16 and 18. Full tour dates are listed below.
Support acts for these dates will be announced in the coming weeks.
Tickets for these concerts will be available two ways:
- A Ten Club members-only presale for all dates begins today. Only paid Ten Club members active as of 11:59 PM PT on December 4, 2024 are eligible to participate in this presale. More info at pearljam.com.
- Public tickets will be available through an Artist Presale hosted by Ticketmaster. Fans can sign up for presale access for up to five concert dates now through Tuesday, December 10 at 10 AM PT. The presale starts Friday, December 13 at 10 AM local time.
earl Jam strives to protect access to fairly priced tickets by providing the majority of tickets to Ten Club members, making tickets non-transferable as permitted, and selling approximately 10% of tickets through PJ Premium to offset increased costs. Pearl Jam continues to use all-in pricing and the ticket price shown includes service fees. Any applicable taxes will be added at checkout.
For fans unable to use their purchased tickets, Pearl Jam and Ticketmaster will offer a Fan-to-Fan Face Value Ticket Exchange for every city, starting at a later date. To sell tickets through this exchange, you must have a valid bank account or debit card in the United States. Tickets listed above face value on secondary marketplaces will be canceled. To help protect the Exchange, Pearl Jam has also chosen to make tickets for this tour mobile only and restricted from transfer. For more information about the policy issues in ticketing, visit fairticketing.com.
For more information, please visit pearljam.com.