
This $500 solidbody may look like a no-frills machine, but it’s a rock-solid player with features that elevate it above most guitars in its price category.
A flat-out bargain. Great vibrato system. Excellent fretwork. Fast playability.
Some midrange clutter in the output at wide-open volumes.
$499
PRS SE CE 24 Standard Satin
prsguitars.com
PRS makes some of the best affordable electric guitars in the world. They also have a talent for making those instruments look expensive. They achieve this trick thanks to quality control standards and practices that better most companies at the accessible end of the price spectrum. But PRS also built their reputation on immaculately crafted and very exclusive guitars. And once that association is burned into the collective consciousness of the guitar playing public—and you figure out a way to cop high-end design cues in down-market versions—well, you can make an inexpensive guitar seem very expensive, indeed.
The $499 Indonesia-built PRS SE CE 24 Standard Satin does not have the advantage of a flame-maple top to give an upscale aura, like its bolt-on cousin the SE CE 24, but doesn’t need it. Because it takes about a minute of playing the SE CE 24 Standard Satin to feel and hear that it’s guided by the same playability-first design philosophies that make top-shelf PRS instruments coveted. There’s a lot of classic PRS essence in the SE CE 24 Standard Satin, and at 500 bucks in the year 2024, that is no mean feat.
The Best Deal Yet? PRS SE CE 24 Demo
Stirring Up Trouble
One really cool thing about a satin finish PRS is that, rather than compelling you to don kid gloves, it invites you play it hard, like a battered old Les Paul Jr. or Telecaster might. Like those guitars, the SE CE 24 Standard Satin is an elemental instrument. There is little in the way of bells and whistles to distract you from picking. Instead, the straight-ahead nature of the design tends to reinforce the sense of how well-made the SE CE 24 Standard Satin is.
Even with the $499 price in mind, I will surprise exactly no one by mentioning that this PRS is, more or less, flawlessly put together. Look all you want—you won’t find anything misaligned, sloppily cut, or improperly glued anywhere. The bolt-on maple neck sits snugly in its pocket and the fretwork is every bit as nice as what you see on guitars much further up the food chain. There’s no fret buzz, and yet the action is low and slinky. The guitar rings like it’s a living thing, too. Strum a first-position E chord and you’ll feel the resonance in your ribs.
When you examine the SE CE 24 Standard Satin at even closer range, you find details that charm and impress. Where an expensive U.S.-built PRS wouldn’t leave the factory with anything other than a perfectly bookmatched mahogany body, the SE CE 24 Standard Satin’s all-mahogany body is made up of at least three sections which look fairly asymmetric in size. The grain looks pretty different at the joins, too. But that does nothing to detract from the pervading sense of craft. In fact, it heightens the SE CE 24 Standard Satin’s all-business, proletarian essence—a nice thing to see in a guitar from a brand which, historically, is associated with fancy appointments.
Other construction details leave you appreciative of PRS’ commitment to advancing electric guitar design rather than being bound to tradition. The PRS Patented Tremolo vibrato system is as smooth as molasses and stable even under vicious handling (a specialty of mine). Among guitars in this price class, I’ve grown to expect vibratos that fly wildly out of tune if you sneeze, with arms that constantly flop and dangle out of reach. Even on this import version of the system, the ridiculously simple solution of a non-threaded arm that sits in a plastic sleeve works without fail. You can situate it at various heights and swing it into any position that feels comfortable, and it will stay there. It’s a fix for the inexpensive vibrato blues that many manufacturers would be wise to study. The dark-hued rosewood fretboard, too, seems luxurious for a $500 guitar. Most guitars in this price zone pivoted to paler Indian Laurel for fretboards some time ago.
Rowdy, Raw, and Refined
I instinctively get apprehensive when I see uncovered humbuckers in an affordable guitar. Something about encountering decades worth of ghastly, harsh, thin, and nasty entry-level humbuckers will do that to you. The 85/15 “S” pickups in our review guitar go a long way toward alleviating this paranoia. In humbucker mode, the bridge pickup is balanced. There is a midrange bump that can lend just a touch of harmonic clutter and some stridency when you play chords at full volume. But lead lines sing with a heated energy that has a nice touch of silkiness around the edges. Volume and tone attenuation are effective cures, too, if the midrange is too hot for your taste. That midrange emphasis is less flattering in the neck pickup, at least when you play big rock chords. But melodic fingerpicking and a dynamic touch summon a sweet side, and, as with the bridge pickup, single notes from the 1st through 3rd strings in particular have a satisfying, ringing presence that is not at all harsh. Combined pickup tones are especially nice. They’re springy, airy, and at times have an almost-Stratocaster-but-fatter ring.
Speaking of Stratocaster tones, there’s more than a little taste of Straty-ness in the split-coil voices. In the bridge position, the fundamental split-coil tone rings a lot like a hot Strat pickup, but with less bite and muscle than a Telecaster bridge. The neck pickup comes off as a bit rowdy and exhibits more overdrive characteristics than a Strat neck pickup, but is very responsive to a nudge to the volume control if you want clear, less-driven tones. The middle position in split-coil mode, which combines the centermost coils of the two pickups, is the most interesting twist on the instrument’s inner Stratocaster spirit. It generates a thick and muscular but clear and snappy version of a Strat’s out-of-phase tones. That’s not a sound I use a lot, but I love the PRS’s take on that tonality. Each split-coil position, by the way, exhibits very little volume loss when compared to humbucker mode.
The Verdict
We probably sound like a busted record at this point—going on about how PRS tends to overachieve in the affordable price category. But, hey, don’t look at us. It’s PRS’s fault. And until they start building junk we’ll keep on raving. The careful construction, useful and flexible coil-splitting capacity, reliable, smart vibrato, and all-around stability make this instrument an uncommon value. And you could very easily spend a lot more money and fail to get a guitar that does as much, and does it as well, as this straight-ahead, no-frills machine.
- Paul Reed Smith: The Luthier Behind the Initials ›
- First Look: PRS SE DGT ›
- 10 Things We Learned from Paul Reed Smith ›
- Why Paul Reed Smith Started Building Guitars ›
Stompboxtober Day 29 is live! Enter today to win a pedal from StewMac—more chances to win tomorrow!
StewMac International House of Overdrive Pedal Kit, With Bare Enclosure
The IHOO is based on the Crowther Hot Cake, an overdrive that became available around 1976. It was one of the earliest hand-made boutique effects pedals available. The circuit was designed to be what is now referred to as a “transparent” overdrive. An effect that enhances the player's sound while keeping the original tone intact.
This circuit has undergone many changes since its inception, and we have further expanded on the design by returning to an earlier version most revered by players and removing the buffer, which resulted in a reworked circuit that is true bypass but still retains the charm of the design.
We also include the original LM741 IC chip found in the originals, as well as the TL071 that is found in later versions so you can experiment with which IC best suits your playing style.
Featuring presets by Jack White, this pedal is designed to offer intuitive control, precise filtering, and flexible expression pedal integration.
Eventide, in collaboration with Third Man Hardware announces Knife Drop, a commanding new effects pedal that merges aggressive octave fuzz with earth-shaking analog synth tones.
Born from the collaborative vision of two pioneering forces in music technology, Knife Drop opens a new chapter in effects processing. The pedal combines Eventide’s decades of digital audio mastery with Third Man Hardware’s innovative vision, resulting in a product that’s as intuitive as it is deep, as fresh as it is familiar.
"The Third Man crew have amazing product design instincts and we learned so much throughout our collaboration. It didn't feel like work, it felt like Rock 'n Roll.” —Russell Wedelich, Eventide Audio CTO
"Collaborating with Eventide on the Knife Drop has been an inspiring and exciting experience that expanded into some amazing sonic possibilities. We're so excited to get the Knife Drop into people's hands, to make their own sounds and feel the same excitement we had." — Dan Mancini, Third Man Hardware
Core Features:
- Rich blend of octave fuzz and analog synth capabilities
- Dual octave control with dedicated footswitch
- Precise filtering options with pre/post distortion routing
- Intuitive preset system with instant recall
- Stereo I/O with switchable guitar/line level inputs
- Flexible expression pedal integration for dynamic control
Intuitive Control
The Synth Mix knob allows players to blend between raw guitar signals and bold synthesized tones, while the Drive section delivers everything from a subtle boost to intense, biting distortion. The expressive filter section includes responsive envelope control, adjustable resonance, and switchable routing, putting total tonal flexibility firmly in the user’s hands.
Knife Drop features an LED ladder display for precise preset navigation and a secondary function layer that unveils additional sonic territory. The dual I/O configuration supports both mono and stereo operation, while the switchable input accommodates various signal levels for versatile applications, whether onstage or in the studio.
Knife Drop will be available for purchase on October 29, 2024, in the United States through Third Man Records’ website and internationally through Eventide's authorized distributors, with an MSRP of $299. Additionally, a limited-edition yellow model will be offered exclusively on Third Man Records' website for $333.
For more information, please visit eventide.com
Knife Drop Pedal: Presets Playthrough and Sound Demo - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Handcrafted in the USA, the JEL-50 features 50 watts of all-tube power, two channels, and a transparent effects loop. The JEL-212 Cab is loaded with Celestion Creamback speakers.
Jake E. Lee ranks high on the shortlist of influential gunslinger guitarists that emerged as the heroes of a new generation in the early ‘80s. Best known for the burning guitar work and innovative songwriting, Lee contributed to two of Ozzy Osbourne's most revered albums, 1983’s Bark at the Moon and 1986’s Ultimate Sin.
With Ozzy, his post-Ozzy band, Badlands and most recently, with his own group, Red Dragon Cartel, Lee’s playing embraced the athleticism of the ‘80s while remaining firmly rooted in the hard rock fundamentals of the ‘70s. Jake’s tonal choices provide the evolutionary glue between the sonics of those two great eras. Jake E Lee and Dave Friedman combined their legendary ears and talents to create the new Friedman JEL-50, a signature amplifier that offers Lee’s ultimate tones in a boutique hand-wired package.
In Lee’s own words, “this amp puts the two specific tones I use to create my sound in one head: The sweetness and warmth of a classic Plexi and the more aggressive slant of the master volume amps of the ‘80s -- all tweaked to my taste. Dave has an innate understanding of where I’m coming from as a player and we’re alike in the way we hear tones. Dave doesn’t hear things as a technician, he hears things like a musician, and that made him really easy to work with. I grew up in the ‘70s and those muscular, articulate rock tones were the tones I always sought, but I made a name for myself in the ‘80s when you needed a little more aggression and a little more scream. I’ve always tried to retain a little of that ‘70s heart and I still do, and that’s what this amp does -- though it’s got plenty more on tap if you need it!”
The JEL-50 was specifically designed to take pedals well especially boosts, ODs, phasers, flangers, tremolos, and wahs. The ultra-transparent buffered, series effects loop takes time-based effects pedals and rack units equally well. This is the exact same FX loop Friedman uses on all its amplifiers including the legendary BE-100. The head cabinet features beautiful red tolex, white piping and solid Baltic Birch construction.
SPECIFICATIONS
- 50-Watt all-tube head
- Two channels
- Handwired in the USA
- Custom USA made transformers
- 2 x EL34 power tubes
- 3 x 12AX7 preamp tubes
- JEL channel - Gain, Master, 3-way Bright switch
- JEL Channel Hi/Lo (Push pull gain switch)
- Plexi channel - Gain, Volume, 3 way Bright Switch
- EQ- Bass, Middle, Treble shared with Ch1 and CH2
- Ultra-transparent series effects loop
- Thump knob - ( Rear ) Varies lowered response of the amps power section
- Presence - ( Rear) Varies high end content of the amps power section
- Single button foot switch for channel selections
- 4, 8 and 16 ohm Impedance jacks
- Limited Lifetime Warranty
- Dimensions: 8.75″ (D) x 24″ (W) x 10″ (H)
- Weight: 33.5 lbs
2x12” Celestion Creamback Loaded Extension Cab
The Friedman JEL 2x12” is a rear ported closed-back extension cabinet which utilizes tongue and groove Baltic Birch construction to deliver the bass, mid response and great sound you would expect from a Friedman cab. The JEL 212 Cab features red tolex, white piping and black grille cloth, designed to cosmetically match the Friedman Signature Jake E Lee heads.
At the heart of the cab is a Celestion G12M-65 Creamback 16 Ohm speaker. The G12M Creamback is perhaps the definitive vintage Celestion ceramic magnet guitar speaker. Developed in the mid-sixties, it was quickly adopted by players like Hendrix, Beck and Page, who typified the louder and more aggressive blues-rock playing styles that came to characterize that era. The higher power handling G12M-65 Creamback used in the JEL 1x12 produces that familiar woody tone, making it ideally suited when both vintage and modern tones are desired. The increased power handling brings with-it low-end grunt complementing the warm and vocal mid-range, crunchy upper mids and sweet, refined highs.
As with all Friedman cabinets, oversized 12-gauge speaker wire is soldered between the speaker and terminal, assuring you capture every ounce of valuable tone. This compact monster not only excels in the studio, but the perfect compliment to your stage rig. The Friedman JEL-212 Cab is handcrafted with pride in the U.S.A. and designed to withstand the rigors of the road.
SPECIFICATIONS
- Hand crafted in USA
- Cosmetics to match the Jake E Lee Signature Heads
- 2 x Celestion G12M-65 12" Creamback Speakers
- Nominal impedance - 8 Ohms
- Closed back -rear ported cabinet design
- Limited lifetime warranty
- Dimensions: 12" (D) x 30" (W) x 20.75" (H)
- Weight: 58 lbs.
The Friedman JEL-50 Head carries a street price of $2999.99 and the JEL-212 Cabinet carries a street price of $999.99.
For more information, please visit friedmanamplification.com
Friedman Amplification - All new Jake E Lee 50-Watt Head featuring Jordan Ziff - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Friedman JEL-50 Jake E Lee Signature 50-watt Tube Head and 2x12" Cabinet
Jake E Lee 50W Tube Head 212 StkThe Boss GX-10 Multi-FX Processor offers 23 guitar amps, nine bass amps, and 170 effects for versatile sound creation.
Boss announces the GX-10, a powerful new amp and effects processor for guitar and bass. Equipped with the core sound engine and color touch display from the acclaimed GX-100 released in 2022, the GX-10 offers players the same inspiring experience in an even more portable footprint. Adding in multi-mode footswitches, an integrated expression pedal, and USB audio connectivity, the GX-10 seamlessly transitions from nightly stage performing to desktop recording, song creation, and daily practice sessions.
The GX-10 delivers a universe of ultra-responsive tones in a travel-ready size. There are 23 guitar amps and nine bass amps to choose from, including high-gain X-Ultra, X-Optima, and X-Titan types crafted with the latest BOSS modeling technologies. Players can color sounds with 170 different effects, including overdrives and distortions, mod effects, delays, and reverbs, plus dedicated bass effects and BOSS classics like Slow Gear, Octave, Slicer, and more.
The GX-10 enables fast sound creation with an inviting color touch display and four dynamic parameter knobs. Up to two amps and 15 effects are supported in each memory, and it’s easy to change effect order and create series or parallel routings by dragging blocks with a finger on the screen. Send/return jacks are available to integrate favorite pedals or an amp’s effects loop into the GX-10 signal flow.
The GX-10's clever control options provide versatile real-time sound adjustment possibilities while performing. Multiple control modes and user-assignable settings offer maximum flexibility with just three footswitches. By default, the expression pedal toggles between volume and wah and activates the tuner when the pedal is pulled back. But it can be customized to control nearly anything using the GX-10’s assign matrix.
Boss Tone Studio allows users to edit sounds and load their own speaker cab IRs from a Mac or Windows computer. The GX-10 also supports the optional Bluetooth® Audio MIDI Dual Adaptor, which unlocks on-the-gig wireless editing via the mobile version of the app.
Boss Tone Studio includes additional tools to organize GX-10 sounds for different gigs and playing situations. It also provides direct access to Boss Tone Exchange, an online platform for downloading professionally created sounds and sharing GX-10 Livesets with the global BOSS community. GX-100 Livesets are fully compatible with the GX-10 as well. In addition, there’s a built-in USB-C audio interface for capturing high-quality guitar tones in music production apps on computers and mobile devices.
The new Boss GX-10 Guitar Effects Processor will be available for purchase at authorized U.S. Boss retailers in October for $399.99.
For more information, please visit boss.info.