Modeled after the company’s classic CE 24 model, the SE CE 24 Standard Satin is designed as an affordable, all-mahogany workhorse.
PRS Guitars today announced the PRS SE CE 24 Standard Satin, which will retail in the United States at $499 USD. This introduction marks the most affordable guitar in the PRS catalog.
“It is difficult to speak briefly about the SE CE 24 Standard Satin. The price of this guitar implies that it is probably a great beginner guitar – it is. But, I imagine for some it also implies that it is lacking in some way – it is not,” says Jack Higginbotham, PRS Guitars Chief Operating Officer. “This guitar is full of all the attention to detail we have infused into the SE Series: the neck, pickups, playability, and vibe are pure PRS. More than that, this new satin finish makes a very lively guitar because it is so thin, but it is also incredibly durable, so it can withstand a bit of abuse. This is a quintessential player’s guitar.”
The combination of the all-mahogany body with a bolt-on neck and all-over thin, satin finish is designed to result in a guitar with punch, power, snap, and response. More detailed specifications include: an all-mahogany body that sports PRS’s shallow violin carve, a bolt-on maple neck featuring a wide thin carve and a 25” scale length, 24-fret rosewood fretboard with a 10” radius and PRS’s trademark bird inlays. The PRS SE CE 24 Standard Satin also features the full range and clarity of PRS’s 85/15 “S” pickups and the versatility of the push/pull tone control with 3-way toggle pickups selector.
The SE CE 24 Standard Satin | Demo | PRS Guitars
“I realize there is risk involved in the investment aspect of it [buying a new guitar] and parents can tend to go with the cheapest thing, which is understandable. I’ve bought karate uniforms, ballet slippers, and all kinds of stuff. But, the physicality of playing guitar…if you are fighting the instrument, it makes it even harder to learn, so I suggest buying the best quality thing you can. I am impressed with the quality of the PRS SE CE 24 Standard Satin,” said Lee Priddy, Guitar Teacher and Music School Owner, Priddy Music Academy.
For more information, please visit prsguitars.com.
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Billy Doyle of Man/Woman/Chainsaw
A: I think the most rewarding aspect of music is the rush and chaos of playing live shows with my friends. I really love the tension—not knowing what’ll go wrong each night and what’ll come together nicely.
Billy’s recent fascination has been with The Last Waltz, both film and accompanying album.
Obsession: This summer I discovered the Band’s The Last Waltz concert film and album and fell into a mini obsession with it. Seeing some of the most stellar songwriters of their era share a stage is really special, not to mention how comfortable as a unit the Band is and how high the standard of musicianship is—Levon Helm singing his heart out while playing the drums is particularly wicked. Joni Mitchell’s performance of “Coyote” and Van Morrison’s rendition of “Caravan” are both particularly special, as I grew up listening to those artists. It’s a great insight to be able to learn these songs exactly how they played them.
Eddie Carter - Reader of the Month
A: The most rewarding aspect of playing for me is when I connect with the audience. The main purpose of playing music live, in my opinion, has always been to take the audience away from everyday life for a while. Life smacks a person down a lot, whether it’s a bad day at work or school, bills you can’t keep up with, bad news, etc. When a person goes to hear live music, they want to forget that and have some fun and unwind. When I see the audience smile, sing along, or dance, I know I’ve managed to help with that. That’s why I enjoy doing cover songs and just mix in an original here or there. It’s also why I try to do a variety of music from several decades.
A recent go-to for Eddie has been Duane Betts’ Wild & Precious Life.
Obsession: I guess my current obsession is looping. I don’t plan to get into looping as deep as Phil Keaggy, or use drums and keyboards. I do enjoy stacking parts on guitar and even playing mandolin over a guitar loop, though. It helps with making a song sound more like the recorded version. I also use a looper, a Boss RC-500, to store and make backing tracks for a few songs.
Jon Levy - Publisher
For Jon, Pretenders’ self-titled never gets old.
A: Playing music has enriched my life in so many ways, it’s hard to pick the most important one. Is it the headrush from writing and recording? The thrill of live gigs? The champagne-soaked limousine rides with supermodels and celebrity fans? (Just kidding about that last one.) To be honest, it’s the deep friendship and goofy camaraderie with my bandmates. My entire social life is based on music, and it makes the backaches, hangovers, and tinnitus totally worth it.
Nashville-based singer-songwriter Stephen Wilson Jr. is in Jon’s current rotation.
Obsession: Not looking at my hands when I’m playing. It forces me to concentrate on what I’m hearing and feeling—stuff that’s actually musical, rather than visual. I still ogle the fretboard a bunch, but I’m consciously trying to rely on my other senses as much as possible.
Brett Petrusek - Director of Advertising
Brett’s a big fan of Iron Maiden’s Killers, but also loves Miles Davis’ timeless Kind of Blue.
A: All of it. There are so many seasons and the change of the seasons is what makes it so great. Hitting the perfect riff to inspire a new song. Recording: layering guitars and vocals, hearing the tracks build up and turn into a mix (I really love this part). Creating a body of work. Being on stage with your band and feeling the roar of your guitar through the PA. Connecting with an audience, or better yet, knowing a single person connected with your music in a meaningful way. Watching my team develop and get better at the game. I feel fortunate just to be able to do it and to be able to share the experience with my group, Fuzzrd. The single most important thing? It’s unconditionally always there for me—and it alway starts with a guitar.
Irish hard-rocker Gary Moore’s Victims of the Future is a favorite of Brett’s.
Obsession: Taking a page from the legendary Gary Moore’s playbook: “So try and leave some big moments of silence in your solos—at least twice as long as what comes to you instinctively. After a while, you get in the habit of hearing those spaces, and the waiting comes naturally. And if you’ve got a good tone, you’ll create this anticipation where the audience can’t wait for the next note.”