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$869.99
The SE Kestrel takes a traditional singlecoil bass platform and adds PRS’s fit, finish, and attention to detail, delivering a new take on a classic instrument. No matter the style or decade, the Kestrel can achieve every bass part you loved growing up.
Kestrel (4B ‘S’) pickups are extremely punchy and focused, giving player the ability to walk a low-mid focused blues line, articulate a high-mid focused fretless style part rich with harmonics, nail the scooped midrange and sweet top-end sound slappers favor, and wield a razor sharp blistering rock bassline. This bass has growl to burn!
Designed in PRS’s Maryland shop, the Kestrel’s alder body and modern neck through construction provide sustain and evenly balanced tone. The maple/walnut neck has been meticulously designed, and the 34” scale length makes this an instantly comfortable bass for players old and new. A modern bridge allows you the choice of strings through the bridge or the body to yield even more tonal possibilities.
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Description
SPECIFICATIONS
| BODY | |
|---|---|
| Body Wood | Alder |
| NECK | ||
|---|---|---|
| Number of Frets | 22 | |
| Scale Length | 34″ | |
| Neck Wood | 5-Ply Maple with Walnut Strips, Neck-Through Construction | |
| Neck Shape | SE Bass | |
| Neck Depth At The Nut |
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| Width of Fretboard at the Body |
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| Width of Fretboard at the Nut |
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| Fretboard Wood | Bound Rosewood | |
| Fretboard Inlay | Birds | |
| HARDWARE | |
|---|---|
| Bridge | Hipshot TransTone |
| Tuners | Hipshot HB6 |
| Hardware Type | Chrome |
| ELECTRONICS | |
|---|---|
| Controls | Two Volume Controls and One Tone Control, Pickguard Mounted |
| Strings | 45-105 |
Brand
PRS - Paul Reed Smith
Paul Reed Smith
This passion for quality affects not only the work habits of individuals but also the structure of the whole company. Paul Smith: “We’re not organized like other companies. Every PRS craftsperson is a self-contained quality control ‘department.’ They have a lot of authority over their work, and if a guitar falls short in any way, they don’t pass it on to the next stage, and they make that decision themselves. They hand guitars back and forth all the time, and they inspect everything over and over. It’s like an old European guild or a shop. There’s a constant ‘is this good enough?’ conversation out there on the factory floor. So the quality control begins at the workbench. It’s not something we overlay or tack on. It’s an integral, organic part of the process, beginning with design and materials selection and going through every single step in construction and testing.”
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