For 2018, there is a striking new finish, extended range tweaks, an artist addition, a refinement of the SE Standard family, and PRS’s flagship guitar is adding a new look and a left-handed version.
Stevensville, MD (November 7, 2017) -- The PRS SE Series continues to see significant additions in the 2018 model year with nine new models, growing on the huge strides made by the brand last year. For 2018, there is a striking new finish, extended range tweaks, an artist addition, a refinement of the SE Standard family, and PRS’s flagship guitar is adding a new look and a left-handed version.
“Ultimately our mission with the PRS SE Series is to bring tremendous value to the player. Whether you’re searching for a great first guitar or the last guitar you’ll ever need, we believe you can find a PRS SE instrument that will work flawlessly for you,” said Jack Higginbotham, Chief Operating Officer, PRS Guitars. “When developing new models and refining existing ones, it’s the details that add up to making an exceptional instrument. We sweat the details.”
Here is a look at what’s new for the PRS SE Series in 2018:
SE Standard 24 Multi-Foil
Designed around a finish offered by PRS in the late 80’s, the PRS SE Standard 24 Multi-Foil (or Multi-Metal back in those days) may be a nod to the past, but it keeps its striking, modern feel even a few decades later. Created by layering different finishes in a unique way, this distinctive finish has graced stages for decades –always commanding attention from the crowd. Sporting two 85/15 “S” humbuckers and a 3-way blade switch with push/pull tone control, the SE Standard 24 Multi-Foil has the tone to match its powerful look.
SE SVN (“Seven”)
The SE SVN (“Seven”) offers classic PRS looks, playability, and reliability. The Wide Thin maple neck and 26.5” scale length make the SE SVN addictive to play, and the 85/15 “S” pickups, modified for seven strings, deliver full, modern tone with clear, strong low end and clear, musical high-mids and treble. Topped off with coil-taps for the pickups and the PRS patented molded tremolo, the SE SVN is a pro-level instrument with amazing versatility and response.
“The PRS 7 string is the guitar I pull out to write with when I want to break through song writing barriers, and typically the results are riffs that make me want to smash things.” – Clint Lowery / Sevendust
SE Chris Robertson
When on tour fronting the hard rock band Black Stone Cherry, Chris Robertson heavily relies on SE Series instruments. The SE Chris Robertson is a singlecut guitar with a mahogany back and maple top with flame maple veneer and a 22 fret, 24.5” scale length Wide Fat mahogany neck with rosewood fretboard. With a Soapbar in the neck position and a 57/08 “S” humbucker in the bridge, the SE Chris Robertson delivers old-school tone to match its classic appointments. The three-way toggle switch and volume and tone controls for each pickup, allow players to dial in a wide range of tones.
“The reason for the humbucker/soapbar pairing comes from my love of singlecoil neck pickups and soapbar pickups in general. The wide variety of tones the guitar is capable of with this set up is astounding! The middle position with the 57/08 split is beautiful. I hope everyone enjoys these guitars as much as I do!” – Chris Robertson, Black Stone Cherry
SE Standards
The SE Standards from PRS offer some enviable appointments for their humble price tag, including versatile switching systems complete with coil taps and rosewood fretboards. New for 2018, PRS SE Standards now come with 85/15 “S” pickups, fretboard binding, and the PRS SE signature headstock logo. The SE Series began in 2001 with the goal of providing a quality instrument to players of all levels. This segment of guitars is meant to extend this promise to an even more affordable pricepoint.
“With so many aspiring players struggling to stick with guitar past the first year, we knew we wanted to deliver an affordable quality guitar that players didn’t have to fight. We want the guitar to inspire you to play; it can’t be something you have to worry about staying in tune or simply working right. So while the [SE] Standards are our first foray into the below $500 price point, that doesn’t mean we compromised on tone, versatility, playability, or reliability,” said Jack Higginbotham, COO, PRS Guitars. “We’re very proud to offer these guitars to the world.”
SE Custom 24 - Exotic Veneers & a Lefty
The PRS SE Custom 24 is the quintessential SE instrument, designed to faithfully reflect the PRS model that started it all. For 2018, PRS is adding two new veneer options: spalted maple and zebrawood. Both new veneers come finished in Vintage Sunburst, adding a distinctive new look while serving up classic PRS playability, reliability, and vibrant tone. The SE Custom 24 Lefty is another new model in the SE lineup, for left-handed players the world over. These new offerings for the SE Custom 24 keep the same foundational specifications as the SE Custom 24: maple top, mahogany back, Wide Thin maple neck, 24 frets, 25” scale length, the PRS patented molded tremolo, dual 85/15 “S” pickups with a 3-way blade switch and push/pull tone control for coil tapping.
For complete specifications and a closer look at the 2018 PRS SE lineup, visit www.prsguitars.com. 2018 PRS SE models should be arriving in dealers in December 2017.
For more information:
PRS Guitars
In a career defined by evolution, Joe Bonamassa is ready to turn the page once again. The blues-rock virtuoso has just announced Breakthrough, his most adventurous and genre-blending studio album to date, out July 18th via his own J&R Adventures.
At the heart of the announcement is the release of the album’s powerful title track—“Breakthrough' —a soulful, hard-hitting anthem about letting go, moving forward, and finding your fire again, available today on all streaming platforms.
Crafted across multiple continents and infused with a world’s worth of inspiration, Breakthrough marks a bold new chapter for Bonamassa—one that leans on fiery solos, emotionally rich storytelling, groove-driven arrangements, and stylistic exploration. Produced by longtime creative partner Kevin Shirley (Iron Maiden, The Black Crowes, Journey), the album was shaped by sessions in Greece, Egypt, Nashville, and Los Angeles, resulting in a vibrant sonic tapestry that shifts effortlessly from funky blues and Texas swing to acoustic ballads and swaggering hard rock.
Joe Bonamassa “Breakthrough” - Official Lyric Video
Watch the official lyric video for "Breakthrough" by Joe Bonamassa
“I think this album, Breakthrough, marks a shift in the styling of Joe Bonamassa’s recording output,” says Shirley. “While there are plenty of guitar solos on this record, his emphasis has been on songs primarily. Each time Joe undertakes a new recording project, he seems to access a different part of his vast library of music genre from the jukebox-in-his-head! This album is a round-the-world musical trip—from Little Feat funkiness to Texas swing, from hard rock power to acoustic singer/songwriter-style songs.”
The newly released single “Breakthrough,” co-written with longtime collaborator Tom Hambridge (Buddy Guy, ZZ Top, Lynyrd Skynyrd), captures the emotional core of the record—an uplifting anthem about transformation, persistence, and letting go of the weight that holds us back. With gritty vocals, melodic guitar lines, and lush instrumentation, the track embodies Bonamassa’s signature blend of power and finesse while ushering in a bold new direction.
“Breakthrough” follows the success of Bonamassa’s recent singles “Still Walking With Me” and “Shake This Ground,” both of which hinted at the adventurous spirit behind the full album. “Shake This Ground” delivered a moody, introspective edge, while “Still Walking With Me” leaned into warmth, gratitude, and classic soul. Each track reflects a different facet of Bonamassa’s evolving songwriting approach, rooted in emotional honesty and anchored by his unmistakable guitar work.
The album announcement caps a stretch of extraordinary momentum for Bonamassa. Next up, Bonamassa recently began his extensive *European Spring Tour, followed by a June run with his powerhouse supergroup Black Country Communion* (featuring Glenn Hughes, Jason Bonham, and Derek Sherinian). After another round of summer dates across Europe—including sold-out shows in Ireland—he’ll return stateside for his just-announced* 2025 U.S. Summer Tour*, a limited amphitheater run featuring stops at The Greek Theatre, Red Rocks, and more iconic venues.
With over 50 albums, 28 #1 Billboard Blues albums, and a lifelong commitment to evolving the genre, Bonamassa shows no signs of slowing down. Whether headlining iconic venues, mentoring rising artists through Journeyman Records, or supporting music education via his Keeping the Blues Alive Foundation, Bonamassa continues to shape the future of blues-rock with every note.
For more information on Breakthrough, tour dates, and VIP packages, visit jbonamassa.com.
Why is Tommy’s take on “Day Tripper” so hard? And what song would Adam Miller never play with him? Plus, we get Adam’s list of favorite Tommy Emmanuel records.
We call guitarist Adam Miller in the middle of the night in Newcastle, Australia, to find out what it’s like to play with Certified Guitar Player, Tommy Emmanuel. Miller tells us just how famous Tommy is in Australia, and what it was like hearing him play from a formative age. Eventually, Adam got to open for Emmanuel, and they’ve since shared the stage, so we get the firsthand scoop: Why is Tommy’s take on “Day Tripper” so hard? And what song would Miller never play with him? Plus, we get Adam’s list of favorite Tommy Emmanuel records.
Adam’s newly released trio album, Timing, is out now.
Plus, we’re talking about new recordings from Billy Strings and Bryan Sutton, as well as Brooklyn Mediterranean surf party band Habbina Habbina.
Patterns can be viewed as boring or trite, but a little bit of creativity can turn them into bits of inspiration.
Chops: Intermediate Theory: Intermediater Lesson Overview: • Learn different ways to arrange scales. • Combine various sequences to create more intersting lines. • Solidify your technique by practicing unusual groupings of notes. Click here to download a printable PDF of this lesson's notation. |
I want to offer some food for thought on making sequences musical. Using sequences in our playing helps develop our musicianship in various ways. It can help us tune into the fretboard, develop melodic ideas all around the neck, and further our improvisation and compositional skills. So, spending time with sequences is certainly not time wasted. Please note that I sometimes use the word “rule" in this column, this is only a pointer to keeping on track of our exploration of these concepts. The intellect is very useful, but intuition is where the creativity comes from. When in balance lots of great things can be done. Let's get stuck in!
It's simple to play a scale from bottom to top, or top to bottom, but we can develop a sequence by shuffling these notes around. In Ex. 1 we have a C Major scale (C–D–E–F–G–A–B) played in thirds followed by a sequence highlighting the diatonic triads of the major scale. By following a “rule" we can develop many different sequences. The options are endless and a little overwhelming.
Click here for Ex. 1
Lets start by simply combining an interval sequence with an arpeggio sequence. In Ex. 2, the first two beats of the first measure feature ascending thirds. This is then followed by a triad arpeggio starting from the third note on the string. The next set of thirds then starts on the “and" of beat 4. The entire sequence is a seven-note pattern that is created by combining two thirds and a triad. It gives us a nice bit of rhythmic displacement as the phrase is now starting in a different place in the measure.
Click here for Ex. 2
Ex. 3 is a descending idea in A minor that basically flips the sequence we looked at in Ex. 2. Here, we are starting with two descending thirds before the triad. I'm using pull-offs and economy picking to articulate the triads. This one works well over D minor as well if you want a D Dorian (D–E–F–G–A–B–C) flavor.
Click here for Ex. 3
You can see the effectiveness of combining different sequences and groupings of notes to create interesting runs. It's also really effective for making phrases. In Ex. 4 we take a small fragment from Ex. 3 and change the rhythm. In the sound example I repeat this a few times over some implied chords in my bass line: Am, F, and Dm. It's great to get more from one line by seeing the different chord types you can play it over.
Click here for Ex. 4
In Ex. 5 we're going to start using fourths and fifths. It starts with an ascending A minor triad (A–C–E) before leaping to the 9 (B) and then hitting a G major triad (G–B–D). A similar pattern leads into the C major triad (C–E–G). Throwing in these wider intervals alongside triads is very effective for creating a dramatic sounding runs.
Click here for Ex. 5
For our next example (Ex. 6), we will take fragments from Ex. 5 and space them out a bit. I wanted once again to show how these sequence ideas can also be helpful for developing melodic phrases. Once we have a cool sequence or fragment, all we need to do is be creative with how we play it. We can change the rhythm, harmonic context, dynamic, and much more.
Click here for Ex. 6
Before we move on, it's important to remember that we can add colorful notes to our triads. Let's begin with some seventh-chord arpeggios. Ex 7 features are diatonic seventh arpeggios in G minor (functioning as a IIm chord) to get a Dorian sound.
Click here for Ex. 7
Ex. 8 is a little gratuitous of me. It begins with an idea made of several different concepts. First, we start with an Am7 arpeggio (A–C–E–G), then descend down an A5 arpeggio. I follow that up with diatonic thirds and end with a pedal-point sequence. If that's not enough, we then take this bigger idea and fit it around a chord progression. I move it to G7, Dm7 and then I break my “rule" slightly and outline notes of a C6 arpeggio (C–E–G–A). However, it does keep the same melodic contour of the initial idea. I used my ear and fretboard to guide me. It's always healthy to have a fine balance between intellect and intuition.
Click here for Ex. 8
We dig into C harmonic minor (C–D–Eb–G–Ab–B-C) for Ex. 9's monster two-measure lick. It sounds evil! In composing this phrase, I kept to the basic concept of finding seventh-chord arpeggios within C harmonic minor in the 8th position. I followed my ear as well as my slowly developing intellect. However, if you look closely you can see I was following a mini chord progression through this line. We start out with a CmMaj9 arpeggio (C–Eb–G–B–D) in the first beat, followed by a G7b9 arpeggio (G–B–D–F–Ab). Here we have a very strong Im-V7 movement in C minor. I then move back to our CmMaj9 arpeggio and in the second measure we start descending down an Eb augmented triad (Eb–G–B). This is then followed by more CmMaj9 goodness.
Click here for Ex. 9
Ex. 10 is now taking Ex. 9 and extending it into a cool flamenco-inspired melody. The rhythms in this were inspired by the incredible Paco De Lucia. I follow the sequence from the previous example almost exactly, but I use a bit of artistic license to repeat certain fragments to fit into a “top line" or “head"-style melody.
Click here for Ex. 10
My aim here isn't to give you one rule to follow but instead to encourage you to take the sequences you know and love and start getting more out of them. Enjoy and stay safe!
MayFly Le Habanero Review
Great versatility in combined EQ controls. Tasty low-gain boost voice. Muscular Fuzz Face-like fuzz voice.
Can be noisy without a lot of treble attenuation. Boost and fuzz order can only be reversed with the internal DIP switch.
$171
May Fly Le Habanero
A fuzz/boost combo that’s as hot as the name suggests, but which offers plenty of smoky, subdued gain shades, too.
Generally speaking, I avoid combo effects. If I fall out of love with one thing, I don’t want to have to ditch another that’s working fine. But recent fixations with spatial economy find me rethinking that relationship. MayFly’s Le Habanero (yes, the Franco/Spanish article/noun mash-up is deliberate) consolidates boost and fuzz in a single pedal. That’s far from an original concept. But the characteristics of both effects make it a particularly effective one here, and the relative flexibility and utility of each gives this combination a lot more potential staying power for the fickle.
“Le Habanero’s fuzz circuit has a deep switch that adds a little extra desert-rock woof.”
The fuzz section has a familiar Fuzz Face-like tone profile—a little bit boomy and very present in that buzzy mid-’60s, midrangey kind of way. But Le Habanero’s fuzz circuit has a deep switch that adds a little extra desert-rock woof (especially with humbuckers) and an effective filter switch that enhances the fuzz’s flexibility—especially when used with the boost. The boost is a fairly low-gain affair. Even at maximum settings, it really seems to excite desirable high-mid harmonics more than it churns out dirt. That’s a good thing, particularly when you introduce hotter settings from the boost’s treble and bass controls, which extend the boost’s voice from thick and smoky to lacerating. Together, the boost and fuzz can be pushed to screaming extremes. But the interactivity between the tone and filter controls means you can cook up many nuanced fuzz shades spanning Jimi scorch and Sabbath chug with tons of cool overtone and feedback colors.
