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PRS SE Mark Tremonti Electric Guitar – Charcoal Burst

$939.99

The SE Mark Tremonti provides a powerful voice and classic PRS aesthetic for players ready to rock. Through his solo work and as the lead guitarist of Alter Bridge and Creed, Tremonti has made a name for himself as a heavy rock player with melodic strength. The Tremonti “S” pickups are paired with dual volume and tone controls, offering the articulate aggression needed to cover Tremonti’s tonal demands. Additional appointments include a beveled maple top with flame maple veneer, Wide Thin maple neck, and a trem-up route, making the SE Mark Tremonti fast to play and hard to put down.

Out of stock

Description

PRS SE Mark Tremonti Electric Guitar

SPECIFICATIONS

BODY
Body Construction Solidbody
Veneer Flame Maple
Top Wood Maple
Back Wood Mahogany
Top Carve Bevel
NECK
Number of Frets 22
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 Rosewood
Fretboard Radius 10″
Fretboard Inlay Birds
Headstock Logo Signature “SE”, Decal
NECK/BODY ASSEMBLY
Neck/Body Assembly Type Set
HARDWARE
Bridge PRS Patented Tremolo, Molded with Trem-Up Route
Tuners PRS Designed Tuners
Hardware Type Nickel
Nut PRS
Truss Rod Cover “Tremonti”
ELECTRONICS
Treble Pickup Tremonti “S”
Bass Pickup Tremonti “S”
Controls Volume and Tone Control for Each Pickup and 3-Way Toggle Pickup Switch
ADDITIONAL INFO
Strings PRS Classic 9-42
Tuning Standard (6 String): E, A, D, G, B, E
Case Gigbag

For more options check out our Electric Guitars.

Additional information

Weight 9 kg
Dimensions 20 × 8 × 50 cm

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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