
My Morning Jacket is keyboardist Bo Koster, bassist Tom Blankenship, guitarist Jim James, drummer Patrick Hallahan, and guitarist Carl Broemel.
After a hiatus, the rootsy rock heroes reconvene with new guitars—including James' signature Gibson ES-335—to deliver a self-titled album of big beats and powerhouse jams.
My Morning Jacket guitarists Jim James and Carl Broemel both play amazing, beautiful, high-end guitars. But during sessions for their latest album, My Morning Jacket, they spent some time gripping a pair of unusual, less-than-fancy instruments that probably wouldn't need to be kept behind the glass case in your local guitar store.
It all started when James received an off-beat custom 6-string from the proprietor of L.A.'s Old Style Guitar Shop. "My friend Reuben Cox made me a Tele out of plywood from Home Depot," James says about his unique high-end/low-end hybrid. "It weighs about 2 pounds and has a Fender neck on it, but the body is plywood. It has one humbucker at the bridge and no knobs or anything. That thing just snarls."
Not to be outdone, Broemel opted for something vintage with plenty of quirk. "My new fave for the studio is a Silvertone U1," he says. "It's cool, light, plucky, and I used it on probably half of the new record. It's very clean and very low output, so the amps always sound friendly. It was a guitar you bought at Sears for $20. It has a lipstick pickup, a volume and tone knob, and a 3-position switch that in the middle position doesn't do anything, but one way is a low roll-off and the other way is a high roll-off. For a pickup that's that close to the neck, to be able to roll-off some lows makes it more useful to me."
My Morning Jacket - Love Love Love (Official Video)
James and Broemel often both play Gibson or Gibson-style instruments—at least during live shows—but it's pretty easy to distinguish between the two of them. James' lines have a feeling of longing or searching to them, as if he's reaching beyond himself for that perfect note that's just past his grasp. Although not after he kicks on his gated Devi Ever USA Fuzz Monster, at which point it just gets nasty (his lead on "Love Love Love" is a great example). Broemel is more subtle. He's often resting his hand on his Bigsby, which gives his playing a faux-slide feel, although at times he'll use a real slide, like on "Regularly Scheduled Programing," for colors and textures. Those differences are most pronounced when they're both soloing at the same time, as they are during the climax of "In Color," off the new album.
But My Morning Jacket isn't Aerosmith, and they're not purposely choosing their guitars to distinguish their tones. "I think those guys know more about guitar tones than what you should and shouldn't do," Broemel laughs. "I think we're more like kids. We're just bumbling through it."
TIDBIT: Even though he has a new signature model ES-335, Jim James chose to use a guitar made from Home Depot plywood on some of My Morning Jacket.
Nonetheless, rich tones abound on My Morning Jacket, whichoozes the band's signature blend of rootsy, '70s countrified rock; tight, cogent songwriting; and space to stretch out and jam. Songs like "Penny For Your Thoughts" and "In Color" are fine examples of that ethos. But as the band headed to L.A.'s 64Sound to begin the album's initial sessions in late 2019, they had no idea what they were walking into—and not just because of their guitars.
Low Pressure and Loose Jams
My Morning Jacket went on hiatus after wrapping up their tour in support of 2015's The Waterfall. After reconvening for four shows in summer 2019—including two epic nights at Colorado's Red Rocks Amphitheater—they decided to head back into the studio that fall to feel things out.
"We didn't really know what the future of the band held, so we just wanted to come in and play together." —Jim James
"That session was interesting because we didn't know if we were going to make a record or not," says James, who also fronts the band. "We didn't really know what the future of the band held, so we just wanted to come in and play together." That set the tone for the sessions and the way the band approached them. "We came in with low expectations and low pressure and started knocking around ideas in an almost jazz-like way, where you just play the idea around and around and let it speak. It turned out we started doing song after song after song. It just flowed naturally."
The jams from those sessions plus another round in March 2020 form the nucleus of My Morning Jacket. Many of the songs were cobbled together from multiple takes, which meant some have detectable tempo changes and even include instrument changes mid-solo. That lends a feeling of raw energy to the album. "I don't really care if they're not exact," James says about the hazards of compiling various takes. "If it feels good, I don't mind that stuff."
Carl Broemel and Jim James, live and in color, doin' the double guitar thing they're known for. "We work together really harmoniously," says James.
Photo by Joshua Brasted
This loose approach also created the ideal conditions for some inadvertent dueling leads, like during the climax of "In Color." "It is very open-ended in terms of who's going to do what," Broemel says. "It's almost to the point where it's like, 'Why doesn't everyone just go for it?' Similar to a New Orleans band where it's like a fanfare and everyone is playing. We haven't perfected that, but that is our idea."
Papa’s Got a Brand New Gibson
The sessions for My Morning Jacket were done with limited gear, since James insisted everyone bring only essentials. For Broemel, that meant the Silvertone U1, two Les Pauls, and two Duesenbergs, and for James, it was the plywood Tele, one acoustic, and a prototype Gibson Jim James ES-335.
Jim James' Gear
Jim James poses with his new Gibson ES-335 and one of his favorite guitar tools—his trusty capo. His signature model spots a thin neck profile that, in part, provides relief for his carpal tunnel syndrome.
Photo by Ken Settle
Guitars
- Gibson Jim James ES-335
- Reuben Cox Custom Plywood T-Style
- Chris Fleming-Designed Fender Strat
- Scott Baxendale Custom "Jimmy"
- Gibson ES-335
- Gibson Barney Kessel
- Gibson Hummingbird
- Gibson J-45
Strings & Picks
- D'Addario Nickel Wound (.009–.042)
- D'Addario Phosphor Bronze Acoustic Extra Light (.010–.047)
- Dunlop .88 mm
Effects
- Devi Ever USA Fuzz Monster
- Boss Waza Craft BD-2W Blues Driver
- Boss OC-2 Octave
- Electro-Harmonix POG
- Malekko Spring Chicken Reverb
- EarthQuaker Devices Ghost Echo
- Universal Audio Golden Reverberator
- Universal Audio Astra Modulation Machine
- Universal Audio Starlight Echo Station
- Spaceman Orion
- SoloDallas The Schaffer Boost
Amps
- 3 Monkeys Orangutan
- 3 Monkeys cab
- Mesa/Boogie cab
James' new signature model is the result of a collaboration that took place over about five years. The guitarist explains that his goal was to create a guitar that didn't have fancy appointments—to make something that seemed "almost invisible," as if it were a part of the Gibson line for decades. To accomplish this, James chose to outfit his signature model with a '70s walnut finish, calibrated T-Type humbuckers, and Kluson Waffleback tuners. "I hope people who like me or like my music like the guitar," he shares. "I like the thought of somebody just seeing it in a guitar store and going, 'Whoa, that's really beautiful.' I wanted it to feel like a classic instrument that doesn't have a bunch of weird things on it. I think we've created a classic feeling instrument that plays really well. I've been playing it on these tour dates and I really love it."
One difference that players will find unique about the Jim James ES-335 is its slim neck profile. "I wanted it to have a thin neck, because I've got pretty bad carpal tunnel," he reveals. "During shows, my hands would go completely numb. They would turn into hamburger, and by the end of a tough song, I didn't know if I was going to make it through the next song."
"I like having an amp in a closet, and when you open the closet, it's hot and it smells like wax or whatever toxic shit is in these old amps." —Carl Broemel
Opting for a slim neck is just one of the ways James has adapted his rig to his carpal tunnel issues. He's also switched to lighter string gauges. "It's helped a lot," he says. "I broke strings a lot in the old days. Before I had a guitar tech, I had to use .011s so I would make it through the show. I went down to .010s for a long time. This tour, we went down to .009s, and it's been incredible—the ease of playing. I went to extra-light gauge on the acoustic, too. I also try to limber up and do stretches. I hope I don't have to have surgery. And I have braces I wear when I sleep."
Captains of the Capo
James often plays with a capo, which helps him reimagine the fretboard. He's a visual player who thinks in terms of shapes. In that regard, the capo is a powerful tool that enables him to find new sounds from familiar fingerings. But more than that, his visualizations impact the way he interprets a song.
Carl Broemel's Gear
Carl Broemel wields his Bigsby-equipped '88 Les Paul Standard.
Photo by Ken Settle
Guitars
- 1988 Gibson Les Paul Standard with Bigsby
- Gibson Les Paul Junior
- Duesenberg Starplayer TV
- Duesenberg Caribou
- Silvertone U1
- GFI Ultra Pedal Steel
- Scott Baxendale Conversion Harmony Roy Smeck Model
Strings & Picks
- D'Addario Nickel Wound (.011–.049)
- Dunlop .73 mm
Amps
- 1967 Fender Princeton Reverb
- 1950s Fender Tweed Deluxe
- 1968 Fender Vibrolux
Effects
- Hudson Electronics Blackbird octave fuzz
- Hudson Electronics Sidecar overdrive
- Keeley Tone Workstation
- Fulltone Tube Tape Echo
- Empress Tape Delay
- Moog MF Delay
- EBow
"I think in terms of shapes and colors," he says, "and each fret represents a different color. When I put a capo on a different fret, it makes the song a different color for me. No capo, or open, I see as a white or clear color. First [fret] capo is yellow. Second capo is blue. Third capo is red. Fourth capo is orange. Fifth capo is purple. Sixth capo is pink. And I think that's as high as I got."
For Broemel, using a capo helps him take advantage of some of the instrument's characteristics—like open strings, unisons, and harmonics—especially in keys not generally considered open-string "guitar keys."
Rig Rundown - My Morning Jacket's Carl Broemel
Article and photos: https://bit.ly/MMJBroemelRRPremier Guitar’s Perry Bean met with Carl Broemel when My Morning Jacket stopped in Nashville on their summer t..."Our song 'Circuital,' for example, is in Bb," he says about the title track of their 2011 release. "You get no benefit from a standard-tuned guitar when the song is in Bb—you get nothing open. But that's what's so good about the guitar. You have all these bonus things that are special about the instrument. You have access to two or three versions of the same note. I like to use unisons, an open string with a fretted note, or an open string with a harmony, and play with that—play high on the neck but also use an open string. That stuff is interesting to me about the guitar. It has limitations, which I like, and if you use a capo, you can scoot those limitations to whatever key you want."
The Path of Least Resistance
When it comes to capturing their sounds, it's no surprise that Broemel preaches his love for old-school tones. "I like having an amp in a closet, and when you open the closet, it's hot and it smells like wax or whatever toxic shit is in these old amps," he says. "That's what I want. I need that. You pick up an acoustic guitar and it is this beautiful thing and it smells like wood." This provides Broemel with a more-visceral sonic experience. He adds, "I always feel like I need the sensation of touching the music. It's been hard with digital. When you were working with analog all the time, it really felt like every sound had a tactile feel. I am over that, but as far as guitar sounds, you've got to have a speaker. You have to have an amp. Maybe the tube is a little wonky. Maybe the fuzz pedal you found in a dusty box isn't working right, but it's the best."
"There are no rules or distinctions between who's doing lead or who's doing rhythm. It's like we both float in and out of all the different spaces." —Jim James
James and Broemel are no purists, and both embrace digital gear when it helps get the job done. Broemel concedes that, sometimes, it's just a more reliable method. "I took my Fulltone [Tube] Tape Echoes on the road for a while," he says. "But there was one Bonnaroo we were playing, and I pulled the top off and the tape had melted. It was too hot, and there was dust and moisture in the air. You can do it, but if you want your tape echo to work the entire show, maybe it has to live in an air-conditioned box." Broemel uses a tape-free Empress Tape Delay on tour these days.
When it comes to the band's gear, how they record, or how they divvy up their parts as a two-guitar outfit, My Morning Jacket embraces the path of least resistance and keep things loose and natural. It just seems to work. And keeps working. "It's pretty organic," James says. "Sometimes I'll have a thing that'll need to happen and I'll ask Carl to do a certain thing. But a lot of times we'll just play and let it speak. We work together really harmoniously. There are no rules or distinctions between who's doing lead or who's doing rhythm. It's like we both float in and out of all the different spaces. We have our own way of doing things."
My Morning Jacket – Regularly Scheduled Programming
My Morning Jacket show off their giant tones, big beats, and the newly released Jim James ES-335 as they perform "Regularly Scheduled Programming" on Jimmy Kimmel Live!
- Rig Rundown: My Morning Jacket's Carl Broemel - Premier Guitar ›
- Gibson and Jim James Unveil New Signature ES-335 - Premier Guitar ›
- Stomp Stations of the Stars - Premier Guitar ›
- My Morning Jacket and Nathaniel Rateliff & The Night Sweats Joint Tour Announcement ›
- My Morning Jacket’s Jim James and Carl Broemel - Premier Guitar ›
- My Morning Jacket Gear Guide - Premier Guitar ›
This wonky Zim-Gar was one of many guitars sold by importer Gar-Zim Musical Instruments, operated by Larry Zimmerman and his wife.
The 1960s were strange days indeed for import guitars, like this cleaver-friendly Zim-Gar electric.
Recently I started sharing my work office with a true gem of a guy … one of the nicest fellas I’ve ever come across. If you’ve been following my column here, you might remember my other work mate Dylan, who is always telling me about new, fad-type things (like hot Honey guitars) and trying to convince me to use AI more. (What can I say, he’s a millennial.) But Steve, on the other hand, is about 10 years my senior and is a native New Yorker—Brooklyn actually, from the Canarsie neighborhood. Steve is a retired teacher and spent many years teaching in the Brownsville area of Brooklyn, and man, he has some amazing stories.
Mostly we talk about music and sports (he’s exiled here among us Philadelphia sports fans) and he’s just endlessly interesting to me. He has a huge appetite and can eat a whole pizza. When he talks, he sounds like one of the Ramones and he still has an apartment in Rockaway Beach. We both love Seinfeld and, like George Costanza, Steve knows where all the great bathrooms are across New York City. Since he’s been added to my circle (and is such a mensch), I decided I should work him into a column.
So here’s the connection: Back in the day there were many American importers, dealers, and wholesalers. A lot of them were based in New York, Chicago, and Los Angeles, but I only know of one guitar importer located in Brooklyn: Gar-Zim Musical Instruments. The company was run by Larry Zimmerman and his wife, and the couple had some success importing and selling Japanese guitars and drums. I used to see early Teisco imports with the Zim-Gar badge, which was the brand name of Gar-Zim. I’ve also seen Kawai guitars with the Zim-Gar label, but the Zimmerman’s seemed to sell cheaper and cheaper gear as the ’60s wore on, including the piece you see here.
“This build reminds me of the cutting boards I used to make in wood shop back in my high school days.”
The model name and factory origin of this guitar is a mystery to me, but this build reminds me of the cutting boards I used to make in wood shop back in my high school days. The guitar is just flat across the top and back, with absolutely no contouring or shaping. Its offset body is plywood with a thin veneer on the top and back. From a distance this guitar actually looks kind of nice, but up close you can see a rather crude and clunky instrument that offers little flexibility and playability. The non-adjustable bridge is off center, as is the tremolo. It was really hard to get this guitar playing well, but in the end it was worth it, because the pickups were the saving grace. Another example of gold-foils, these units sound strong and raw. The electronics consist of an on/off switch for each pickup and a volume and tone knob. The tuners are okay, and the headstock design is reminiscent of the Kay “dragon snout” shape of the mid to late ’60s, which is where I would place the birthdate of this one, probably circa 1966. Everything is just so goofy about this build—even the upper strap button is located on the back of the neck. It reminds me of that era when simple wood factories that were making furniture were tasked with building electric guitars, and they simply didn’t know what they were doing. So, you get oddities like this one.
Gar-Zim continued to sell guitars and other musical instruments through the 1970s and possibly into the ’80s. I once even saw a guitar with the label Lim-Gar, which is totally puzzling. I think there should’ve been a Stee-Gar designation for my new buddy Steve-o! Yes, good readers, with guitars and me, there are always just a few degrees of separation.
In line with the MOOER’s recent expansion on the MSC range, the company is excited to announce the new MSC50 Pro, an Alder-bodied electric guitar with gloss finish, available in the new Magic Crystal color.
Featuring a roasted maple neck with a satin finish, a rosewood fingerboard for playing comfort, 22 frets, and a standard C shape, the guitar has been designed with classic guitarists in mind. This is beautifully emphasized with its beautifully resonant tonewoods, all while still being balanced perfectly with style and comfort of use.
The MSC50 Pro features all of the industry-standard features you might expect from such an impressively affordable guitar, such as bolt-on construction, a bone nut, and a dual-action steel truss rod. However, other features make the electric guitar stand out among others at a similar price point, such as its MTN-3LC locking tuning pegs, beautiful Abalone dot inlay, and, of course, its previously mentioned tonewood selection.
In order to capture the MSC50 Pro's balanced tonal profile, MOOER's luthiers have built it with three perfectly balanced pickups: the MSC-II N single coil neck pickup, the similar MSC-II M single coil middle pickup, and, best of all, the MHB-II B bridge humbucker. When these carefully chosen pickups are combined with the guitar's MPW 2-point chrome bridge, guitarists can make the most out of its tonal versatility, all while maximizing tuning stability.
To ensure that the guitar is suitable for a wide range of genres, both softer and higher-gain examples, the MSC50 Pro has a convenient coil split switch built into it, giving users better resonance control. Of course, this is also combined with a classic tone dial, a standard 5-way tone switch, and a volume control dial.
Overall, the MSC50 Pro reminds users of MOOER guitars that the company has never forgotten about its roots in classic-style guitars. Yes, the company is continuing to develop innovative guitar technology in other areas, but this electric guitar also represents a grounded approach, keeping things classic, sleek, and tonally versatile–all at a reasonable price point.
Features:
- Alder Body with a Gloss Finish
- Available in the Magic Crystal color
- Standard C-shaped roasted maple neck with a Satin finish
- Bolt-on construction
- 22-fret rosewood fingerboard
- Abalon dot inlay
- MTN-3LC locking tuners
- Bone nut
- Dual-Action Steel Truss Rod
- 12" radius
- 09-46 strings
- 25.2" scale
- MSC-II N Single Coil neck pickup, an MSC-II M Single Poil middle pickup, and an MHB-II B Humbucker Bridge Pickup
- Chrome guitar strap pin
- Coil Split Switch
- 5-Way Tone Switch
- Volume and tone dials
- MPW 2-Point chrome bridge
The MSC50 Pro will be available from the official distributors and retailers worldwide on 13th May 2025 at an expected retail price of USD419/Euro399/GBP339.
MOOER Expands Its Popular MSC Guitar Line with the MSC30 Pro and MSC31 Pro
MOOER has never shied away from innovation when it comes to its guitars. However, with the recently announced release of the MSC30 Pro and MSC31, the company reminds us that, sometimes, true innovation lies in mastering and enhancing a proven classic. With this philosophy, MOOER introduces two new exciting additions to their beloved MSC series of electric guitars.
Both the MSC30 Pro and MSC31 Pro continue MOOER’s philosophy of creating affordable guitars, but without sacrificing quality or performance, thanks to the poplar bodies and flame maple tops. Some guitarists will be drawn to the bright tones of the MSC30 Pro’s maple fingerboard, whereas others will prefer the warmer resonance of the MSC31 Pro’s rosewood alternative.
Each guitar features sturdy bolt-on neck construction, dual-action steel truss rods, bone nuts, and MTN-1 chrome tuning pegs (with the BK upgrade being reserved for the MSC31 Pro), ensuring tuning stability and comfort at all times.At the heart of both models are MOOER’s versatile MSC pickups, comprising the MSC-1N single-coil neck pickup, the MSC-1M single-coil middle pickup, and the powerful MHB-1B dual-coil humbucker at the bridge. Further complemented by a versatile 5-way pickup selector and exclusive coil split switch, players can effortlessly switch between a wide palette of tones, such as pristine cleans ideal for jazz or blues, or high-gain tones for heavier genres.
Tremolo support is also provided through both the guitar's bridges, with the MSC30 Pro featuring an MTB-1 2 Point Tremolo bridge, and the MSC31 Pro boasting an exclusive black MTB-1 BK 2 Point Tremolo bridge. Both bridges guarantee guitarists the ability to use tremolo bars in their guitar performances, without compromising the integrity of tuning stability.
Both guitars come with a selection of vivid new colors, complementing the guitar’s hardware with undeniable visual appeal. The MSC30 Pro is available in the classic finishes of Sunset Red, Lake Blue, Lemon Green, and Rose Purple. Meanwhile, the MSC31 Pro boasts its own selection of glossy finishes: Grey Burst, Blue Burst, Green Burst, and Purple Burst.
Overall, the MSC30 Pro and MSC31 Pro solidify MOOER’s commitment to combining quality craftsmanship, affordability, and versatility, giving guitarists of all levels the chance to own instruments that genuinely inspire.
Features
MSC30 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Maple fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, Abalone dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 Chrome tuning pegs
- Available in gloss-finished Sunset Red, Lake Blue, Lemon Green, and Rose Purple
- Volume and tone dial
- Chrome strap pin
MSC31 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Rosewood fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, White Shell dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 BK tuning pegs
- Available in gloss-finished Grey Burst, Blue Burst, Green Burst, and Purple Burst
- Volume and tone dial
- Chrome strap pin
The MSC30 Pro and MSC31 Pro will both be available from the official distributors and retailers worldwide on 2nd April 2025.
MOOER Gives Bassists What They Want with the New MBJ410 and MBJ420 Electric Bass Guitar Models
For 15 years, MOOER has built a critically acclaimed name for itself thanks to its cutting-edge electric guitars, pedals, and accessories. While the company is no stranger to building electric bass guitars, this has not been its focus for some time, hence why so many bassists are excitedly anticipating the release of the MBJ410 and MBJ420 electric bass guitars.
Both the bass guitars sport glossy Poplar bodies, keeping the price point affordable but without limiting their tonal resonance and versatility, whereas the MBJ420 holds the additional bonus of being built with a Poplar Burl top. Complete with roasted maple C-shaped necks (also accented with a gloss finish) as well as Roasted Maple fingerboards and White Shell dot inlays, the necks are designed to offer as much comfort as possible–a high priority for bass guitarists.
A 34" fret scale further enhances practicality for bassists, as does the neck's 12" radius. Strings are available in .045, .065, .080, and .100 gauges, providing something for any type of bass style - whether slapping, plucking, or picking techniques are preferred.Thanks to the industry-standard components of a dual-action steel truss rod and bone nut, the tuning and resonant stability of both the MBJ410 and MBJ420 models are also of a high standard. However, this is accentuated further by the guitars' strong and reliable BTN-1 tuning pegs, essential for heavier-gauge bass strings.
The tonewoods and structural integrity of the MBJ-series electric bass guitars wouldn't be complete without the accompaniment of the guitar’s two single-coil JB-style pickups. Combined with the MOOER BSC-2 bridge, both bass guitars have been carefully designed to amplify bass resonances excellently, complemented even further by their simple but effective tone dials. Two volume controls are also built in, ensuring that bassists can customize their sonic output to have the perfect tonal blend.
In terms of standout features, the main difference between the two bass guitars is the MBJ420's added poplar burl top, but most notably, the color selections. For the MBJ410, the bass guitar is available in Gunmetal Gray, Metal Green, and Metal Blue, perfectly suiting the stages of higher-gain performances. In contrast, the aesthetics of the MBJ420 are more classic, purchasable in Red Burst, Blue Burst, and Tobacco Burst. Finally, both guitars are topped with a chrome strap pin, enabling stylish and energetic live performances.
Overall, bassists will no doubt be excited to see MOOER return to electric bass guitars with the MBJ410 and 420 models. Of course, electric guitars will remain the focus for the company, but the release of these two new products is a reminder of just how accommodating MOOER is for its wide audience of musicians.
Features
- Electric bass guitar built with gloss-finished Poplar body (MBJ420 also features a Poplar Burl Top)
- Roasted maple C-shaped neck with a gloss finish
- Roasted maple fingerboard
- White Shell dot inlay
- 12” neck radius
- MOOER BSC-2 bridge
- VBJ-1 and VBJ-2 Single Coil pickups
- MOOER BTN-1 tuning pegs
- Bolt-on construction
- Bone nut
- Dual-action steel truss rod
- Pre-installed strings available in .045, .065, .080, and .100 gauges
- 21 frets
- 34"fret scale
- Colors available in Gunmetal Gray, Metal Green, and Metal Blue (MBJ410), and Red Burst, Blue Burst, and Tobacco Burst (MBJ420)
- Chrome strap pin
- 2 x volume control dials
- 1 x Tone dial
The MBJ410 and MBJ420 will both be available from the official distributors and retailers worldwide on 29th April 2025 at an expected retail price of USD319/Euro299/GBP249(MBJ410), USD399/Euro379/GBP319(MBJ420).
The Oceans Abyss expands on Electro-Harmonix’s highly acclaimed reverb technology to deliver a truly immersive effects workstation. The pedal is centered around dual reverb engines that are independently programmable with full-stereo algorithms including Hall, Spring, Shimmer and more. Place these reverbs into a customizable signal path with additional FX blocks like Delay, Chorus, Tremolo, or Bit Crusher for a completely unique soundscape building experience.
Electro-Harmonix has paved the way for powerful, accessible reverbs since the release of the original Holy Grail and now we’ve pushed the envelope deeper with the fully-equipped Oceans Abyss. Featuring a customizable signal path with up to 8 effects blocks, the Oceans Abyss can be configured as individual reverb, modulation, EQ, delay, bit crusher, saturation or volume effects, or as countless combinations for incredibly creative effect shaping. From a simple Spring reverb to a lush stereo field featuring stereo hall and shimmer reverbs, chorus, delay, overdrive, and tremolo, you can go from surf to shoegaze instantly, without breaking a sweat.
Deep parameter editing is accessible via the high-visibility OLED display with multiple graphical views and easy-to-read designs. Expression/CV control over nearly every parameter gives artful control of your effects and dynamics. Fully-stereo I/O plus an FX Loop allows for use with any instrument, recording set up, or live rig. 128 programmable presets via onboard footswitching or MIDI ensure perfect recall in all performance situations. MIDI IN/OUT ports with MIDI IN support of PC, CC, and Tempo Clock expand the already immense talents of the Oceans Abyss. Connect with UBS-C to Windows or Mac for effects editing, preset management, and more with the free EHXport™ app (coming soon).
- Two Stereo Reverbs available at once, each fully pannable in the stereo field
- 10 reverb types to choose from: Room, Hall, Spring, Plate, Reverse, Dynamic, Auto-Infinite, Shimmer, Polyphonic, Resonant
- Additional FX blocks: Delay (Digital, Analog and Tape emulations), Tremolo, Chorus, Flanger, Phaser, Graphic EQ, Saturation, Bit Crusher, External FX Loop, Volume
- Create custom signal path routing with up to 8 effects blocks. Two blocks may be re-verb, the rest may be any of the additional FX blocks.
- Infinite reverb sustain with the press of a footswitch
- Stereo Audio I/O
- Stereo FX Loop routing on TRS Jacks
- Dual action footswitches allow for momentary or latching use
- Easily enable or disable tails
- 128 fully customizable presets
- All controls can be saved to presets
- Dive deep into global and preset settings to set up Oceans Abyss for your specific needs
- Illuminated slide pots and buttons
- High-visibility OLED graphical display
- Multiple graphical views: Signal Path, Performance, Settings, Physical, Explorer
- Easy-to-navigate menu system
- Ergonomic NavCoder knob allows rotary and directional navigation through menus
- EXPRESSION / CV input to control nearly any parameter in any FX block
- Footswitch input allows for adding up to three external footswitches, each assigna-ble to a number of functions
- MIDI In and Out. MIDI IN supports PC, CC (over nearly every available parameter), and Tempo Clock
- USB-C port to connect to Windows or Mac and interface with EHXport™ app (coming soon)
- 96kHz / 24-bit sample rate conversion
- Supplied with 9.6VDC / 500mA power supply
Our columnist’s silver-panel Fender Bandmaster.
How this longstanding, classic tube amp design evolved from its introduction in 1953.
I have a silver-panel Bandmaster Reverb that I don’t think I’ve talked about enough in this column. It’s one of the most versatile and flexible amps I own, so I use it for everything. It’s portable, has tube-driven reverb and tremolo, and has a full set of EQ knobs including the critical bright switch, which we discussed the importance of earlier this year (“How to ‘Trebleshoot’ a Vintage Fender Amp,” March 2025). The amp is not only pedal-friendly; the flexible 4-ohm output impedance will handle almost all speaker configurations and sound any way you’d like. Let’s take a deeper look at the Fender Bandmaster amp and walk through its development through the years.
The first Bandmaster was introduced in 1953 as a wide-panel tweed amp with Fender’s 5C7 circuit. This rare combo was loaded with a single 15" Jensen P15N and powered by dual 6L6GC tubes in push-pull configuration to produce a modest 25 watts. The 6L6GCs were cathode biased and along with the 5U4GB rectifier tube contributed to a forgiving sag, early breakup, and a midrange-y voice.
Fender made several changes when they launched that amp’s successor in 1955, the more widely known 5E7 narrow-panel Bandmaster, a well-proven amp that has come back as a reissue model. It was still a dual-channel amp—instrument and microphone—but the newer 5E7 model had a fixed bias and a negative feedback loop, providing a louder, firmer, and cleaner tone. Most importantly, the single 15" speaker was replaced by three 10" speakers, making it very similar to the narrow-panel tweed Bassman, the granddaddy of all Marshall amps. This Bandmaster had three speakers instead of the Bassman’s four, and it delivered 25–30 watts instead of 40. It offered early breakup with a midrange-y, big and full tone.
For those not acquainted with tweed amps, the volume and EQ knobs behave differently than on silver- and black-panel Fender amps. The volume pot can act like a distortion control, while the EQ knobs control the volume, and many players I’ve talked to have not really unlocked this secret. This works because, in these circuits, the volume pot sits right before the preamp tube, which allows it to push the tube into full distortion. Since the EQ pots are located right after and are capable of reducing the volume, you’re able to distort the preamp at low volume settings.
“Things became more standardized in 1964 with the arrival of the black-panel AB763 Bandmaster, an amp I have worked on a lot and appreciate for its robustness, simplicity, and versatility.”
In 1960, a short-lived and rare Bandmaster dressed in brown tolex and a black faceplate appeared with the 5G7 circuit. From here on, all Bandmasters had the modern top-mounted chassis. With this circuit, the Bandmaster started to both look and sound more like a black-panel amp. It kept the 3x10" speakers but got a diode rectifier and bigger transformers resulting in a 45-watt output. Tremolo was introduced for the first time, and both channels were now intended for guitar.
The following year, a blonde 6G7 Bandmaster followed as a smaller amp head paired with a 1x12 extension cabinet. It had the timeless early blonde looks with cream tolex, brown faceplate, oxblood grill cloth, large Fender logo, and white knobs. But halfway into the blonde era, towards 1964, things turned strange and rather confusing. There were suddenly two 12" speakers, black knobs, a wheat-colored grill cloth, a more slim black-panel-style Fender logo, a black faceplate, and all in various combinations close to the transition into ’64.
Things became more standardized in 1964 with the arrival of the black-panel AB763 Bandmaster, an amp I have worked on a lot and appreciate for its robustness, simplicity, and versatility. It offers a pure, clean, scooped black-panel tone that’s somewhere between a Vibrolux Reverb and Pro Reverb, which share the medium-sized 125A6A output transformer and dual 6L6GC tubes. With its medium/high power and flexible 4-ohm output impedance, it can drive all kinds of speaker cabinets—as long as you stay between 2 and 8 ohms, you are safe.
For a short time in 1967–68, there was a transitional Bandmaster with aluminum trim and black-panel innards before the all-new silver-panel Bandmaster Reverb replaced it in 1968. The small-head cabinet had grown in size and, unfortunately, weight to accommodate the reverb tank. The amp got a 5U4GB rectifier tube along with a few general silver-panel changes to the circuit. Several silver-panel models existed with minor differences until a 70-watt beast version came along in 1977 with master volume.
To my own 1968 Bandmaster Reverb, I have done a few adjustments. First, I made a custom baffle to hold two 8" speakers. I installed a pair of WGS G8C speakers that fit perfectly on the baffle board without colliding with the reverb tank or transformers. Sometimes, I use only one of the 8" speakers for bedroom volume levels. Second, I reversed the bias circuitry to standard AB763 specs, making it easier to adjust bias correctly on both power tubes. If you are into sparkling clean and funky Strat sounds, you would love this little 2x8" combo.