
Photo 1
Do the open strings buzz or sound wimpy on your Fender-style guitar? Maybe the problem lies at the headstock.
String trees are tiny and often go unnoticed, but they play a vital role on flat, Fender-style headstocks. Also called string retainers or guides, they secure the first two (or sometimes four) strings between the nut and tuners. Photo 1 shows a guitar configured with two “butterfly" string trees holding down the top four strings.
On both guitar and bass, a string tree's primary function is to provide the correct amount of downward pressure on a string so it doesn't rattle and buzz within its nut slot. This downward pressure also ensures that a string will sustain properly when played open. If an open string isn't securely seated in its slot—essentially pinned down the way you'd press a string against a fret—it won't sound as loud or clear as it should.
Whether or not a guitar or bass requires string retainers is determined by how its headstock is constructed. For example, Gibson headstocks tilt back at an angle from the fretboard, and this angle is sufficient to create the necessary downward pressure to keep strings firmly seated in their slots en route to the tuner posts. By contrast, Strats, Teles, and most other guitars with six-in-a-row tuners have flat headstocks that run parallel to the fretboard. On these headstocks, the strings that have to travel the longest distance from the nut to the tuner posts need hardware to create this essential downward pressure.
A string tree's primary function is to provide the correct amount of downward pressure on a string so it doesn't rattle and buzz within its nut slot.
A string tree's primary function is to provide the correct amount of downward pressure on a string so it doesn't rattle and buzz within its nut slot.
Most of us never think twice about string trees until there's a problem. I've already described one—the rattle or sitar-like buzz that results from insufficient downward pressure behind the nut. But if a string tree creates excessive pressure, this can cause premature wear in the affected nut slots and also create tuning issues. And here's another consideration: If you have a whammy bar, certain types of string trees can interfere with the string returning to pitch after you release the bar.
To summarize, string trees can help or hinder your guitar's performance. Let's take a closer look and discuss ways to deal with potential problems.
Design and construction. String trees come in a variety of materials and styles. Most are metal, like the butterfly, disk, and barrel types found on Fender guitars. The metal trees will work, but if you do a lot of bending or use a whammy bar, you'll probably experience tuning problems. Why? Every time the string changes tension against the tree, the metal-to-metal contact creates friction that can cause the string to hang slightly at this point of contact.
Photo 2
To reduce friction—and thus improve tuning stability—you have two options: use a string tree made from a slippery material such as graphite (Photo 2), or install a string tree with built-in rollers that turn with the string as you bend or use the whammy bar (Photo 3).
Photo 3
Both types of retainers accomplish the goal of reducing metal-to-metal friction. I've had great success with Graph Tech string trees, which are made from a synthetic material impregnated with a Teflon-like lubricant, and roller string trees from All Parts.
What's your angle, man? The amount of downward pressure a string tree creates is determined by its location and how high it sits off the headstock. Assuming an identical location, a lower retainer—one that's close to the headstock—will create a steeper angle between it and the nut than a retainer that sits higher off the headstock. Getting the correct angle is critical for avoiding wear (too steep an angle) or sonic artifacts (too shallow an angle).
Photo 4
For a guitar equipped with a single string tree to hold the 1st and 2nd strings, the angle between the retainer and nut should be about the same as the angle between the nut and 6th-string tuner (Photo 4). For guitars that require a second string tree for the 3rd and 4th strings, the angle should approximate that of the 5th string.
Many string trees sit on a separate post or standoff spacer that determines the retainer's height. The attachment screw passes through this washer-like cylinder and goes into the headstock (Photo 5). When the post is a separate piece from the section that actually holds the strings, you can adjust the retainer's height—thereby controlling the string angle—by inserting a shorter or taller spacer.
If the string angle is too shallow and you have a removable metal or plastic spacer, you can increase the angle buy sanding or filing the spacer to reduce its height. Alternatively, you can substitute a shorter spacer: Electronic supply companies sell standoffs for PC boards, and some enterprising guitarists adapt the ball-ends of bass strings for this purpose. Stacking small washers can work too. Whether you need to go up or down, it shouldn't be too hard to adjust the height of your string tree by either modifying it or swapping it out.
Photo 5
Replacing the string tree. If you opt to upgrade to a roller or graphite retainer, it's a very simple project. All you need is a small or medium tip Philips head screwdriver. Lift the strings out from the retainer, remove it, screw the new one in place, and you're done. You might encounter small variations in screw size and threading, but most manufacturers use a consistent size. You can use your original screw if it's in good condition and fits the new retainer.
First-time installation. If you're installing a string tree on a headstock that's never had one—on a replacement neck, for example—string up the guitar and lay the new tree on the corresponding strings, midway between the nut and closest tuner. Confirm the strings are lined up evenly and then, with the screw in place, press down on the tree so the screw makes a small indentation in the headstock. This indentation should lie exactly between the two strings. Use it as a guide for drilling the mounting screw hole.
Start with a pilot hole, using a very small bit. For the screw hole proper, be sure to choose the correct drill bit—it should be slightly smaller than the screw. Measure everything twice, go slowly, and be careful how deep you drill—you don't want to drill completely through the headstock! Before installing the screw, lubricate its threads with a bar of soap or candle wax.
Inserting a delicate screw into a hard maple headstock requires skill, so don't attempt to install a new string tree unless you have the right tools and experience. If you're unsure about your abilities, take the guitar to a qualified repair tech or luthier.
Goodbye string trees. Some manufacturers offer locking tuners with staggered posts. Intended to create the required string angle on a six-in-line headstock without using string trees, staggered posts start out at a normal height for the 6th string and then gradually reduce height, which puts the shortest post furthest from the nut. Depending on the geometry of your headstock, you may be able to eliminate string trees altogether by using these tuners, but the only way to know for sure is to install them and see if you experience any of the sitar sounds or sustain issues that come from having too shallow an angle on your top strings. In most cases, you probably won't need string trees if you have staggered tuners.
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Classic counterpoint techniques that work for surf.
Intermediate
Intermediate
• Learn some time-honored guidelines of classical composition.
• Apply revered rules to more modern styles.
• Create interesting and complex surf lines.The term counterpoint scares many people who think it is a carefully devised process that strips you of creative freedom. This is partly true, because some individuals have pushed the practice of counterpoint as strict rules at some point without explaining its purpose. I disagree with the view that music theory is a rule. Counterpoint, like serialism or any other principle of harmony, is simply a recipe for an expected result. These music theory recipes are not baking recipes where exact measurements must be made; music theory is more like cooking, which is more malleable and open to in-the-moment modifications.
Species Counterpoint
Why was counterpoint invented? Counterpoint has two primary goals: first, to ensure parts are singable, and second, to keep each “voice” independent. Let’s discuss the intervals aspect first. Some intervals are challenging to sing. Tritones, for instance, are not easy for even professional singers to hear and sing when sight reading. Even when time is spent with a piece, getting used to tritones takes a bit of digestion. (This is the main reason tritones were avoided for so long in music. Music was primarily vocal-based for quite some time, such as in 16th century Italian composer Giovanni Palestrina’s music. Carelessly placing tritones would make the music very difficult to sing.) With guitar, we don’t have to hear the notes before we play. We should, but it’s not required (and sometimes that’s what gets us in trouble). The species counterpoint recipe is designed to avoid certain dissonant intervals that are not approached by step. In other words, we don’t jump to or from a dissonance.
When music changed and new instruments became available, the recipes of species counterpoint changed, which makes sense as the limitations of hearing a note weren’t as much of an issue. As baroque composer and theorist Johann Joseph Fuchs proposed, the series counterpoint method is a recipe that places us in a particular time in history. By understanding and using the recipe of series counterpoint, we can connect with the rich musical tradition of the past.
Independence
During this same period, one of the main ingredients of music was that each “voice” (soprano, alto, tenor, bass) was to remain independent. You should be able to hear the journey of each voice on its own. The recipes for counterpoint ensure we maintain independence. Playing two 5ths in succession or two octaves in succession sounds unified and thus makes us lose independence. Using counterpoint, we can ensure that we don’t weave in and out of independent and unified sounds. In the era of early counterpoint, say the Palestrina era, composers didn’t think in terms of a predetermined chord progression. They thought about each line and made sure they merged in harmony. The music was written horizontally to ensure the lines didn’t crash or lose independence. This is considerably different from how we often make music in the rock genres of the 20th century. Bach started incorporating the thought of a “vertical” chord progression. Even before the 20th century, the recipes for counterpoint had evolved. But the evolution didn’t make the earlier recipes irrelevant; it added more options to our recipe book.
Voice Leading
Another critical thing about counterpoint is the movement from one note to another. This is similar to the earlier discussion about intervals that are hard to sing. Voice leading is a crucial aspect of counterpoint. It’s the art of connecting one note to another, whether in a single line or with chords. It ensures that our musical lines flow smoothly, guiding the listener’s ear through the composition. Writing a herky-jerky line that jumps all over the place makes it hard to sing. The art of voice leading is writing lines to feel and sound like they unfold and take us on a ride, but not a ride on a road ridden with potholes—think of a newly paved road on a highway. Counterpoint instills in us how to create even motion. So, when you want to create unrest and a feeling of a jerky experience, you’re applying intentionally.
Power of Suggestion
Counterpoint rules are not strict guidelines but rather flexible recipes or suggestions. Composers have always been free to write what they wanted (well, aside from political and religious oppression), using counterpoint to enhance their compositions, and many composers have experimented with expanding the counterpoint recipes. There are times when we need an expected result. This is when you can use tools to help you achieve that outcome. Although counterpoint was most popular in eras that have long since passed, it still holds significant value in our modern music industry. Its recipes, while evolving, continue to provide a solid foundation for contemporary music composition.
Broken Traditions
At some point, composers grew weary of the sounds they had heard for many years and started expanding. They stopped caring about losing the independence of voices and used parallel 5ths and octaves. Sometimes, they stopped caring about voice leading and wrote pointillistic music. Composers even started composing with noise (such as John Cage), or experimenting with electronic means of composition (Delia Derbyshire and Karlheinz Stockhausen). However, counterpoint still existed, and many of these composers, even though they strayed from some of the recipes, still deeply understood its structure, such as Arnold Schoenberg, who invented a system to avoid tonal harmony.
Lesson
I will give you more than just a dry recipe for species counterpoint in this lesson. Instead, I’ll focus on key elements that can be directly applied to your rock and pop compositions, making your music more dynamic and interesting. For each of these examples, I will live in the land of surf music, one of my favorite genres.
Imitation
In fugues, which are species counterpoint-based, we use something called imitation. Imagine we have two guitarists. Guitarist 1 plays a riff or melodic phrase, and then Guitarist 2 plays that same riff right after Guitarist 1 finishes. Guitar 2 is imitating Guitar 1. However, we can adjust the octave and pitches on which the imitation starts to add more variety to its performance.
For Ex. 1, I created a three-measure phrase for guitar 1 that I will imitate in measure two with Guitar 2. Guitar 2 is an exact copycat of Guitar 1, but they don’t play the part at the same time.
Ex. 2: For this example, I will drop the imitation for Guitar 2 an octave lower.
Ex. 3 is where the fun begins. As I mentioned earlier, we can start on different pitches for our imitation. If the theme (measures one through three) implies a key signature (we’re using the key of E minor for each of these examples to keep it simple), we can imply another key for the imitation but keep the same interval relationship and shape of the theme. We will outline the V chord (Bm) for measures four through six. The result is a conversation between two instruments that can move through a chord progression in a song or a couple of key centers for variety. We can use the same idea with guitar and bass or any other combination of instruments.
In counterpoint, we call the first riff or melodic phrase the “theme.” You may wonder what Guitar 1 is supposed to do while Guitar 2 (or in my recorded examples, bass) imitates the first riff. We have two options: One is to play free—you devise a harmony that works on top of the riff, but you don’t have to play this harmony on every imitation. It’s just an accompaniment that happens at that given time, as in Ex. 4a. Ex. 4b uses the same free accompaniment but moves bars four through six to B minor.
The second option is a countertheme. You can write a second riff that plays every time the imitation plays. The theme and countertheme are interconnected. They swap parts back and forth, as we see in Ex. 5a. Ex. 5b uses the same free accompaniment but moves bars four, five, and six to the key of B minor.
We already have a fruit-bearing tree. This technique prolongs material, using the same parts to lengthen and ornament the music you’re making. Johann Sebastian Bach was a master of this, and I highly recommend studying his music if you like imitation, canons, and fugues.
Consonance and Dissonance
Okay, now that you understand the basic concepts of imitation, theme, and countertheme, it’s time to start digging deeper into the concepts of harmony and voice leading. For counterpoint, we have two categories for interval organization. Consonant intervals are unisons, 3rds, 5ths, 6ths, and octaves. We also have dissonant intervals, such as 2nds, 4ths, and 7ths. Ex. 6 features consonant intervals, Ex. 7, dissonant.
In counterpoint, we only use dissonant intervals step by step. We never jump into them or leave them by leap. Jumping into dissonances can be off-putting. Yes, there are times when you want that sound, but there is a difference between knowing how to use dissonance and using dissonance that isn’t working. Ex. 8 is an example of jumping into dissonance. Many guitarists don’t know how to deal with dissonance when soloing, and songwriters sometimes can’t hear poorly approached dissonance when writing melodies. I know … it sure sounds like I’m talking about rules here! But really, it’s about using tools to achieve a desired result or fixing issues rather than strict regulations.
Strong Beats
In classical music, beat 1 is the strongest in the bar, followed by beat 3, the second strongest. Beats 2 and 4 are the strong beats in jazz. We will focus on beat 1 as the strong beat right now. It’s generally essential that beat 1 of each measure is consonant. The recipe states not to use dissonance on strong beats. There is more tolerance for dissonance on weak beats (2 and 4).
This means we must have an overview of our lines and how they meet at each bar on beat 1 (and beat 3). Beats 1 and 3 should be consonant using a unison, 3rd, 5th, 6th, or octave. Using species counterpoint allows us to tell a functional harmony story more clearly, making the story more apparent to the listener.
The Dreaded Parallel Perfect Intervals
If your head isn’t already spinning, get ready. Earlier, I mentioned that we want to maintain independence with each line in the counterpoint. We don’t want to hear them collapse into each other. Unisons, perfect 5ths, and octaves are perfect intervals. They are the most unified-sounding intervals, which means you lose the most independence when using them. Using two back-to-back octaves is a parallel motion of a perfect interval. This means the line’s independence is wholly lost, which we want to avoid in counterpoint. For this reason, we avoid placing parallel perfect 5ths and octaves successive to each other and adjacent strong beats. Check out Ex. 9 to hear parallel octaves and Ex. 10 for parallel 5ths. Bear in mind, of course, that some genres and periods completely disregard this, such as minimalism.
Shapes of Things
We have most of the basics laid out, except one more topic regarding the independence of lines. We want to maintain the independence of the line with interval choice rather than the direction of each line. When we think of musical lines, we want each line to have its own journey but not unfavorably crash into the other. To achieve this, we want each line to have a different shape and follow each other in parallel motion. We have options for variety.
1. Parallel motion: Each line moves in the same direction with perfect intervals (Ex. 11).
2. Similar motion: Each line moves in the same direction with constant intervals (Ex. 12).
3. Oblique motion: When one voice stays in the same position, the other voice moves (Ex. 13).
4. Contrary motion: When both lines move in opposite directions, offering the most independence (Ex. 14).
The idea is to have a variety of shapes to maintain independence of direction.
Final Thoughts
I know this is a lot to take in. Studying counterpoint is no small task. But I hope that this introductory lesson into the concepts of counterpoint illuminates its power as both a creative tool and a troubleshooting device for composing and building solos. Understanding counterpoint means only sometimes considering it in the composition process. You can write as you always do, but if something doesn’t sound right, it’s much easier and faster to diagnose and fix the problem. There are times when composing with counterpoint in mind can be a fantastic tool. It’s up to you to decide when to use the creative recipe.
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).