
Buying a bass amp? Nothing’s more confusing—nor more critical—than understanding power classes and wattage specs. Here, we demystify the lingo and gross math to help you find the right amp for your needs.
There are two main types of bass amplifiers on the market today: tube (or “valve” for us Britons) and so-called “solid-state” designs. But despite the seeming simplicity here, the everyday reality of finding the right bass amp for your needs is much trickier than you’d expect. For starters, although tube circuits have been around for decades, many bassists still don’t really understand them. But recent advances in solid-state technology have even greater potential to be confusing. In this article we’re going to demystify one of the most important areas of amp design that even many experienced bassists don’t adequately grasp—power-amp types and their associated power ratings.
The reason we’re focusing on these is because amplifying beefy bass frequencies—moving all that air and thumping listeners’ chests—requires far more power than a guitarist needs to wail on a 6-string. And once you’ve got a deeper understanding of how to ascertain the true power capabilities of an amp, the better you’ll be able to navigate the sea of marketing-speak and tech talk surrounding amps large and small.
In order to dive deep on these two topics, though, we need to discuss a few aural and electrical basics first. To some our conversation might feel pretty complicated in parts, but I promise that if you stick with me through the tech talk, I’ll tie it all together so you’ll walk away with newfound clarity and practical knowledge that’ll save you a lot of money, time, and hassle in the long run. In fact, you might find yourself asking, “How come no one ever explained all this before?”
The Science of Sonics
AC Meets DC, and Watts Are Born
Now let’s briefly look at some power fundamentals. A battery such as the 9V units used in effects pedals produces direct current (DC). The electricity from DC sources is under pressure to flow continuously like water from a tap. The unit of measure for this pressure is volts (V), and the rate of the flow is measured in amperes (A). When we multiply V x A, we get Watts (W)—the unit of measure for the power being used.
However, things aren’t quite so simple when the current flows back and forth like the alternating current (AC) from a wall socket. The waveform for AC current should look like that produced by the vibrating string in Fig. 2. Another equation calculates the power contained within this alternating waveform—averaging it over time—in order to relate it directly to DC current. The equation involves a bunch of dual-axis chart graphing and square-root stuff that most players have no interest in. The resulting values from this more complicated math are designated RMS (for “root-mean square”), and with these RMS values the same V x A = W equation we used for DC current now holds true for AC: V (RMS) x A (RMS) = Watts (Avg).
Watts (Avg) is often incorrectly referred to as “RMS power,” “RMS watts,” or “watts RMS.” However, the RMS value of the power waveform is different from the average power value (22 percent higher for a sine-wave signal), and therefore should not be used. The correct term specified by the Federal Trade Commission is continuous average power. Continuous average power ratings are a staple of performance specifications for audio amplifiers and, sometimes, loudspeakers.
Basic Amp Operation
Now let’s look at how amplifiers work. Amps need the pressure (volts) of the AC power from the wall socket adjusted in order to make it suitable for use with your bass and speakers. This is usually done by means of a transformer or a switch-mode power supply (SMPS). The transformer and SMPS also convert alternating current to a smooth, steady direct current. This steady stream of power must then be regulated by an electronic “tap.” In a tube amp, the tubes function as the tap regulating the flow. In a solid-state amp, it’s transistors.
As your bass string vibrates over the pickup (which is, in fact, a tiny generator), an electrical waveform is produced and then fed to the amplifier, where it is made larger and used to turn the transistors or tubes on and off in a matching way so as to produce a larger version of the bass-note waveform. In order to respond quickly to notes you might play at any moment, the tubes or transistors in your amp are always turned on slightly—like a car engine idling, ready to take off when you press the accelerator. The rate of this idling state is known as the bias setting in tube amps. Transistor amps also have bias, though it usually isn’t adjustable. We’ll talk more about bias later.
You’ll recall that we said amps send DC to power the electronic taps. But if the stream of current is steady regardless of how much gets used up amplifying a signal at any given moment, what happens to the power not being used? The answer, my low-end-loving friends, is why moderate- and high-powered bass amps these days have cooling fans and/or heat sinks: The excess current is turned into heat that must be dissipated in order to prevent damage to the circuit. This is how conventional linear amplifiers operate, and there are two basic types of these: class A and class B. (There are also sub classes such as class AB.)
The weight of a traditional amplifier, like the one shown here, comes largely from its massive transformer—the circular object on the left. The amp’s discrete components on the circuit boards make it easy to repair by a qualified tech. In this type of amp, excess current is turned into heat and then dissipated by heat sinks (right) or a fan.
Class A and B vs. Class D
Let’s look at linear amps a little closer. In the sine wave in Fig. 2 we can see that the wave has a central point, which is known as the X axis. Graphically speaking, this corresponds to the position of the string at rest. The wave goes positive first, then negative, then returns to rest before beginning its next cycle. To amplify this we need a central point about which to cycle the electrical equivalent of this wave. In a pure class-A tube or solid-state amplifier, this central point is half of the available volts. The tubes or transistors then turn more on or off to produce the amplified wave, which means the tubes or transistors process all of the signal, all of the time—there are no breaks, joints, or delays in the signal. It remains as sonically pure as possible.
In a class-B tube or solid-state amp, the center point is at zero volts, and two supplies are used—one positive and one negative. In such a case, two sets of tubes or transistors are used, with one set handling the positive half, and the other the negative half. This setup makes class-B amps far more efficient, with greater output potential. However, as the wave crosses the zero point and the positive half turns off and the negative half turns on, there has to be a slight overlap between the two sides to avoid breaks in the output (sound). This is where the aforementioned bias setting comes into play, ensuring that both sets are turned on slightly all the time. In a class-AB amp, the bias is set higher than a class-B amp, making the overlap between the two halves larger.
In recent years, a third amplifier type—class D—has become increasingly popular, thanks to its small size, light weight, extreme efficiency, and affordability. In class-D amps, the transistors turn full on or full off very fast—up to 500,000 times per second—positive on then off, negative on then off, and so on. Without getting too deep into electrical stuff, let’s just say that class-D amps are more efficient because the sound from the instrument is used to control the length of time transistors in the power section are on or off. Because of this greater efficiency, class-D amps generate far less heat than class-A and class-B amps. But they are not without their problems. The output must be filtered to get rid of the switching noises, and extensive protection mechanisms are needed to prevent damage to the power supply, speakers, and other parts due to overheating or power overload. If a class-D amp does get overloaded or overheats, power will switch off for 5–10 seconds and then reset.
all this before?”
How to Make Sense of Power Ratings
Okay, folks, we’re getting closer and closer to the crux of our power conversation. Remember when we talked about continuous power output? For a very long time that was the most widely accepted basis for amplifier power ratings, because it has a direct correlation to real-world needs. However, over the last few years myriad other power-rating formulas have been invented or brought back from obscurity. To be blunt, the only reason I can see for some of this is to fool consumers who can’t make sense of all the technical terminology and to make products sound more powerful than they actually are. These other rating types include burst power, peak music power output (PMPO), and fast pulse power before clipping (FFP).
To measure an amplifier’s power, we feed a sine wave (Fig. 2) into the front of the amp, connect a load of the correct impedance to the output, and turn it up. Maximum output is reached when the top or bottom of the waveform starts to flatten out, a phenomenon known as clipping. The output is then measured and noted.
Now let’s look at how output ratings are listed on some products currently for sale on the market. (We aren’t disclosing makes or models, because the point here is to make sense of all those numbers, terms, and acronyms.) If an amp is listed as having “continuous power output of 500 watts RMS into 4 ohms at 1% THD,” it means that, at the point of clipping, the amp can produce 500 watts of electrical power on a sustained, continuous basis.
Those two words—“sustained” and “continuous”—are key because they indicate a stamina that is crucial to certain musical situations. That’s a good thing, and here’s why: The waveform we’ve been looking at so far depict steady-state waves, but when you’re playing bass it’s not just one steady note with no dynamics. There’s a larger peak at the onset of the note when the string is plucked, followed by the decay as the string ceases vibrating. Fig. 5 looks more like the waveforms in composite music reproduction, where there are peaks due to loud sounds (such as drum beats) and lower sounds (like vocals and backing instruments).
In 1959 the British tube manufacturer Mullard noted in its Circuits for Audio Amplifiers guide that the average continuous output power required for general music reproduction (e.g., a recording of a band) was approximately an eighth of continuous power at full volume if the transients (large peaks in the waveform caused by sudden, loud signals) were to remain unclipped. This is a power rating system that has reared its ugly head again recently, especially with regard to lightweight class-D amplifiers. Most class-D bass amps today use small power modules designed for general music reproduction—not low-frequency-heavy bass—and they are rated using this 1/8th-power system rather than the more robust continuous average power rating.
Here’s part of the power specifications for a bass amp using a typical class-D power module:
Key Specifications:
• 300W at 1% THD+N, 4Ohm
• Full power bandwidth (20Hz – 20 kHz)
• 113dBA dynamic range (300W, 4Ohm)
• THD+N = 0.005% (1W, 4Ohm)
An amp with these specs will be marketed as a 300-watt amplifier. But what the specs don’t tell you is that this class-D amp module can only sustain 300 watts of output for a maximum of 27–60 seconds! This is more or less the norm for all class-D modules, and it’s perfectly acceptable for, say, playing MP3s of your favorite band. But if we go back to Mullard’s average continuous formula and calculate backward, we find that only 1/8th of those 300 watts—about 38 watts—is continuously available. This rather optimistic math is used as justification for selling what’s really a 60-watt amp as a 300-watt.
A class-D amplifier lacks a transformer, which means it’s much lighter than a traditional amp and it generates very little heat. But if the power module fails, it typically can’t be repaired. Replacing it is so expensive that most players opt
to buy a new amp instead.
Know Your Needs
Despite what I’ve just said, I want to make it clear that I’m not saying class-D amps can’t sound good and perform well for bass players. But whether they’re right for you does depend on what you play, how you play, and what other gear you use. For example, if you’re a slap player who uses the bass as more of a percussive instrument (like Mark King of Level 42, for example), the waveform going from your bass to your amp will be very similar to general music waveforms. It’ll have a series of large peaks (transients) and a lower average power demand. That means serious output power is not required for any length of time. This is more or less perfect territory for the typical class-D amp.
The situation changes somewhat for players who use compressors, because compressors remove the large transients and elevate the decaying note so that the resultant wave more closely resembles a continuous waveform. The more compression, the more continuous the waveform gets (Fig. 4). And the higher average volumes that compressors and limiters promote require more amplification power for a longer period of time. Throw in some pedals, perhaps a sub-harmonic generator or an oscillator, and the problem is compounded even more.
Some manufacturers of class-D amps have started to address this problem by fitting extra heat sinks and cooling fans to the power modules in an attempt to push the continuous power ratings higher, prevent thermal shutdown, and make the modules more suitable for musical-instrument amplification. But there is still some distance to go in this regard.
Another crucial thing to remember when buying a bass amp is that frequency response is intimately connected to power ratings. In a tube amp, the lowest frequency that can be reproduced is determined by the size of the output transformer and its ability to transfer the low frequencies to the speaker. It’s usually around 30 Hz. In solid-state linear amps (class A, B, AB, etc.), the low frequency that can be reproduced is approximately 20 Hz—the lowest frequency humans can hear. But some class-D amplifier manufacturers limit the lowest frequencies to around 60 or 70 Hz to use less of the already-low continuous power and make the amp sound louder. The result is usually an amp that sounds boxy and has no real low-end substance.
Similarly, it’s critical to consider how an amp will react to being overloaded by, say, stepping on an external boost or fuzz pedal, or by cranking the gain and volume to max. Whether this is a big deal to you will depend largely on the genre of music you play. Tube amps tend to growl and snarl in a way that can be very pleasing. For rock bassists, nothing comes close to the sound of a good tube amp at full bore. Traditional linear class-A and class-B transistor bass amplifiers also tolerate quite a bit of overloading, although most players don’t find the distortion to be as pleasing as tube distortion.
without their problems.
Class-D amps, on the other hand, do not tend to react well to overloading due to built-in protection mechanisms. Under slight overload the amp will limit or cut the output momentarily, and under heavier overload the output gets switched off completely for a few seconds. The leading manufacturer of OEM class-D modules has fitted the latest models with soft clipping in an attempt to solve this problem, but there is some distance to go before the problem is solved. However, if the style of music you play is less likely to result in overload situations (for instance jazz or fusion), this may be less of a concern.
Worst-Case Scenarios
Bass amps from reputable makers should be reliable if you treat them properly. However power sections do die sometimes, and here is where another big difference between amp types emerges. Tube amps usually blow tubes, which is no big deal: You buy some more, plug them in, maybe have a tech re-bias them, and enjoy months or years of great tone. It’s easy, simple, and not too expensive. This is why hundreds, maybe thousands, of old tube amps are still being used onstage and in the studio decades after they were built.
Traditional class-A or class-B transistor power amps are also usually very easy to repair. Parts are available from most electronic suppliers, and a good tech can diagnose and fix the problem at reasonable cost by replacing only the parts that have blown up.
The power modules in class-D amps, however, usually cannot be repaired. If the power section fails, paying a tech to replace the power module will cost about half as much as the complete amplifier. In these cases, most players will opt for a new amp instead. This represents a total loss to the customer, and is also bad for the environment because the surface-mount circuit boards in most of these amps are hard to recycle into anything useful. Then there is the second-hand value to consider: A lot of musicians primarily raise funds for new purchases by selling old gear. Tube amps seem to go up in value as they get older. Traditional heavyweight linear amplifiers also do well, largely because their low repair costs mean if you buy a duffer it can be fixed without breaking the bank. Sadly, many modern lightweight class-D amps with surface-mount modules that cannot be repaired have almost no residual second-hand value.
Armed and Dangerous
We’ve covered some pretty heady territory here, but now that you have a better understanding of power-amp types and their power ratings—one of the most mysterious and significant areas of amp design—you’ll be able to make your next amp purchase much more confidently.
It’s worth noting that almost all the big bands and pro musicians use old-school, heavyweight tube or solid-state amps, and the particulars we’ve discussed here are a huge reason why. But like I said, class-D amps can be solid performers. Just be sure to pay attention to the fine print. If you’re interested in a lightweight class-D unit, be sure to select the right output power. If a 200-watt tube or traditional solid-state amp would meet your power needs, double that and get a 400-watt class-D amp to be safe—it won’t weigh much more.
There are a lot of very good amplifiers out there—tried-and-true designs that are still in production after many years, as well as modern heavy and lightweight designs from outfits new and old. So try as many as you can, don’t rush into anything, and buy the best that you can afford. Happy hunting!
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!
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.
Dive into the ART Tube MP/C with PG contributor Tom Butwin. Experience how this classic tube-driven preamp and compressor can add warmth and clarity to your sound. From studio recordings to re-amping and live stage applications, this time-tested design packs a ton of features for an affordable price.
Art Tube Mp Project Series Tube Microphone/Instrument Preamp
Designed in Rochester NY and originally released in 1995, the Tube MP is celebrating its 30th anniversary in 2025.
The Tube MP/C is the most fully-featured member of the Tube MP family, designed for recording guitarists and bassists. It is a tube mic preamp and instrument DI with advanced features including an optical compressor/limiter and switchable line/instrument output levels for use as a re-amping device.
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).