PRS SE Custom 24 Floyd Electric Guitar – Charcoal Burst

$1,459.99

The SE Custom 24 “Floyd” brings the legendary Floyd Rose bridge to PRS’s most-famous model: the Custom 24. The Floyd Rose 1000 Series Tremolo gives players new phrasing options and the confidence to flutter or dive bomb without going out of tune. Additional appointments include a 24 fret, 25” scale length, Wide Thin maple neck, and 85/15 “S” pickups that deliver remarkable clarity and extended high and low end (no mud when you go for the throat!). So dive, bend, play with harmonics, and have fun with the SE Custom 24 “Floyd” guitar…it can take whatever you’ve got.

IN STOCK
SKU: CU44FLECA Categories: , Tags: , , , UPC: 825362101000

Description

SPECIFICATIONS

BODY
Body Construction Solidbody
Veneer Flame Maple
Top Wood Maple
Back Wood Mahogany
Top Carve Shallow Violin
NECK
Number of Frets 24
Scale Length 25″
Neck Wood Maple
Neck Construction Multi-Ply
Truss Rod PRS Double-Acting
Neck Shape Wide Thin
Neck Depth At The Nut 13/16″
Width Of Fretboard At The Nut 1 11/16″
Width Of Fretboard At The Body 2 1/4″
Fretboard Wood Ebony
Fretboard Radius 14″
Fretboard Inlay Birds
Headstock Logo Signature “SE”
NECK/BODY ASSEMBLY
Neck/Body Assembly Type Set
HARDWARE
Bridge Floyd Rose 1000 Tremolo w/ Locking Nut
Tuners PRS Designed Tuners
Hardware Type Nickel
Nut PR-11 Locking
Truss Rod Cover “Custom”
ELECTRONICS
Treble Pickup 85/15 “S”
Bass Pickup 85/15 “S”
Controls Volume and Push/Pull Tone Control with 3-Way Blade Pickup Switch
ADDITIONAL INFO
Strings PRS Classic 9-42
Tuning Standard (6 String): E, A, D, G, B, E
Case Gig Bag

For more options visit our PRS section

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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