
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.
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Crank the heat! PG's John Bohlinger plugs into the boutique-built Sterling Vermin, a modern twist on the iconic Rat distortion. Hear it rip through Strats, Teles, and a Les Paul with classic snarl and smooth silicon/BAT41 clipping.
Sterling Vermin RAT
The Sterling Vermin was born from a desire for something different — something refined, with the soul of a traditional RAT pedal, but with a voice all its own.
Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, the Sterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold step forward for creativity.
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes. Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedal that’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide, usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affords a satisfying smoothness to the rotation, with just the right amount of tension. Additionally, the polished stainless-steel enclosure with laser-annealed graphics showcases the merging of the pedal’s vintage flavor and striking design.
From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt with Big Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass in dynamic distortion. With premium components, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’s a new chapter for RAT.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).