Could this be the best sub-$1,000 guitar around?
Incredible value. Superb playability. Great pickups for this price range. Top quality.
The customized control layout can take time to get used to.
$899
PRS SE DGT
prsguitars.com
It’s amazing how great affordable gear can be these days. But PRS’s imported SE Series combines quality and value in a way very few companies manage. The PRS SE DGT is yet another professional-grade, gig-ready model at a head-turning price. And even among a roster of other SE guitars that offer spectacular quality and playing experience for the money, the SE DGT might just be the company’s best budget-friendly offering yet.
David Grissom, a beast of a guitarist who needs little introduction, has a relationship with PRS dating to the mid-eighties, when he and Paul met at a guitar show. Grissom had already purchased a PRS, but he was a willing sounding board for Paul Reed Smith’s ideas. In 2007 the collaboration led to an official DGT model, which blossomed out of the company’s McCarty model. Today, both the McCarty and DGT are quintessential PRS designs and arguably some of the most recognizable models the company has to offer.
The neck profile, which Grissom says is identical to his own 2010 core version, has a mid-50’s Les Paul feel. It’s full, but not too chunky.
Designing an affordable version of a much-loved, pre-existing high-end model is not easy. And when talking about an $859 version of a $4K instrument, you accept that concessions are made. But knowing how to identify and preserve the essentials of an instrument is a PRS talent, and the SE DGT speaks to their status as masters of the process.
Looks That Thrill
The SE DGT comes in two different finishes: gold top (with moon inlays) and McCarty tobacco sunburst (with bird inlays). The latter finish adorns our review model and it sported a beautiful 2-piece, flame maple veneer that would be at home on a more expensive instrument. The fit and finish on the SE DGT was near immaculate, and the fret work was good as it is on guitars twice the price. Even the pots feel satisfying to the touch.
It was obvious that PRS tried to keep the bones of the SE version as close as possible to the $4k core DGT. Both guitars have mahogany bodies and necks along and the same DGT neck carve. The neck profile, which Grissom says is identical to his own 2010 core version, has a mid-50’s Les Paul feel. It’s full, but not too chunky. The SE version of the PRS patented tremolo is molded metal rather than machined as it is on the core model. Nevertheless, it holds tune even after a wash of aggressive wiggle stick bends. Under the hood, the control cavity is coated with metallic shielding paint and there’s a treble bleed circuit on each volume pot.
Texas-Sized Tones
Grissom’s trademark sounds are generally thick, distorted tones. He’s a blues-rocker through and through. So even many of his clean tones are less pristine than you think. Grissom, in his own estimation, stays on the bridge pickup for about 90 percent of the night when he’s playing his own music. And in several interviews around the release of the SE DGT, Grissom alluded to a very specific recipe for the pickups in his core DGT models, which were the benchmark for the SE variations. Grissom shied away from divulging specifics, but the alnico 2 pickups are very much in the vintage vein. The bridge pickup measures 8.7k ohms and the neck is 7.6k ohms—both comfortably in the low-output range.
The bridge pickup, so essential to Grissom’s sound, is clear and full-throated.
The controls on the SE DGT include volume controls for each pickup and a master push/pull tone knob that triggers the coil-tap function. Each of the pickups utilizes the inner coil in coil-tap mode. Because Grissom relies so heavily on the bridge pickup, the bridge pickup volume control is closest to your hand—the reverse of most guitars with independent volume controls for each pickup. It can take a while to get used to.
The most impressive aspect of the DGT “S” pickup’s performance is the bass response. With the Revv D20 and Bad Cat 15R used here for evaluation, I tend to keep the bass control on both amplifiers at around 5 or 6. But with the SE DGT I kept it closer to 3 to accommodate the pickup’s robust bass. The bridge pickup, so essential to Grissom’s sound, is clear and full-throated. The high end is airy and almost Telecaster-like. And with the right attack I got a tone somewhere between Mark Knopfler and Albert Lee. Pretty cool.
One of the most useful features on the SE DGT is the coil-tap feature. To my ear, the coil-split sounds are more Gretsch-like than Fender-like. And while you hear a slight drop in volume in isolation, it’s nearly unnoticeable at stage volume. The tapped tones are rich and springy. Even better, they keep much of the low end intact and sound beautiful with overdrives.
The Verdict
For just $899 ($849 for the gold top), the PRS SE DGT comes very close to replicating the playing experience of its much more expensive inspiration. The playability is top notch. The pickups sound fantastic. And the SE’s build is a marvel for the money. With the core version of the DGT selling for about $4,000, this PRS SE DGT will be a most welcome option for players with real-world budgets.
PRS SE DGT Demo | First Look
New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward 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 pedalthat’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 affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.
Ernie Ball, the world’s leading manufacturer of premium guitar and bass strings, is proud to announce the release of the Pino Palladino Signature Smoothie Flats, the newest innovation in flatwound bass strings.
Developed in collaboration with legendary bassist Pino Palladino, these signature sets are engineered to deliver an ultra-smooth feel and a rich, warm tone that’s as versatile as it is expressive. Available in two gauges—Extra Light (38–98) and Medium (43–108)— Smoothie Flats are crafted with a precision-polished cobalt alloy ribbon for low tension, flexible playability, and deep vintage-inspired sound.
Ernie Ball: Pino Palladino Signature Smoothie Flats Bass Strings
Product Features:
- Precision polished for an ultra-smooth feel
- Cobalt alloy ribbon winding for a rich, deep sound
- Flexible, low-tension design for superior playability
- Trusted by Pino Palladino for studio and live performance
Pino Palladino Signature Smoothie Flats bass strings are available at Ernie Ball dealers worldwide.