
Adjusting pickup height sounds simple, but pickups that aren’t adjusted properly can cause problems.
Guitars with two or three pickups offer lots of sonic variety, but they also introduce a particular problem that single-pickup instruments—such as Fender Esquires and some Les Paul Juniors—don't have. When you switch pickups on a multi-pickup guitar, you can experience volume differences between one position and another. This can be rather annoying when you're in the studio or playing a gig. Just as frustrating is when your treble strings sound weak, but the bass strings are ridiculously loud. In both cases, the fix can be as simple as adjusting your pickups.
Guitarists often overlook this tweak, either after a setup or replacing pickups. Adjusting pickup height sounds simple, but pickups that aren't adjusted properly can cause problems, which I'll describe in detail below. Fortunately, all these problems are correctable.
To show you how to adjust pickups yourself, we'll look at two guitars—a Stratocaster and a Telecaster. Both of these project guitars sport single-coil pickups and both are terribly out of adjustment.
1. This Strat needs the height of its three single-coil pickups adjusted for optimum sound. 2. Our project Tele's two single-coils also need to be adjusted for proper height.
Step 1: Gather your tools and prepare your workspace.
You only need two tools for this project, but it's important to use the correct ones. Here's what I use when adjusting pickups:
- 6" precision machinist ruler
- Phillips head screwdriver
Step 2: Measure current pickup height.
First tune the guitar to pitch and then start taking its current measurements. These baseline measurements are very important because you need to know where the pickups are now in relation to where they should be.
Here's how to measure a pickup's height:
- Press the 1st string onto the last fret and hold it down.
- Using the 6" machinist ruler, measure the distance from the top of the pole piece to the bottom of the 1st string. Write down the measurement.
- Repeat this process with the 6th string, again holding it against the last fret and writing down the measurement.
- Now repeat the process with the remaining pickup(s).
- At this point you'll have measurements for both the treble and bass sides of each pickup.
How did our project guitars measure up?
The Strat's bridge pickup was 6/64" on the treble side and 8/64" on the bass side. The middle pickup measured 8/64" on both treble and bass sides, and the neck pickup measured 2/64" and 4/64", respectively, for the treble and bass sides. As we'll see in a moment, these distances are way off. The project Tele was also out of whack, with its bridge pickup measuring 4/64" and 2/64" (treble and bass) and neck measuring 2/64" and 4/64".
Not only were the heights of these pickups all over the map, the Tele's neck pickup was loose and wobbly. That's a tell-tale sign that the rubber compression tubing (which acts like a spring) over the pickup screws had either shrunk or was too short to begin with. To correct it, I had to remove the strings and pickguard, and then separate the pickup from the guard. After installing new tubing, I was able to adjust the pickup without it bobbing inside the guitar.
When you finish recording the baseline measurements on both the treble and bass side of each pickup, you're ready to adjust them to their ideal specs.
3. Using a machinist ruler to measure the distance between the top of the pole piece and the bottom of the 6th string on our project Stratocaster's bridge pickup. This pickup is too low. 4. The bridge pickup is set too high on our project Telecaster. 5. Adjusting a Telecaster bridge pickup. In addition to setting its overall height, the three adjustment screws let you control the pickup's fore and aft tilt. For maximum sustain and power, make sure the top of the bridge pickup's pole pieces sit parallel to the strings.
Step 3: Correct the pickup height.
There's a lot of debate about what constitutes "correct" pickup height, but conceptually the goal is simple: Set the pickup height to give your guitar optimum volume, clarity, sustain, and treble-to-bass balance.
Setting the pickups too high doesn't further this cause. In fact, when Fender-style single-coil pickups are too close to the strings, the pole pieces—which are cylindrical magnets—will pull the strings out of tune, causing intonation problems and reducing sustain. If the pole pieces are high enough, they can actually collide with the strings, especially when you play open chords. When a pickup is too close to the strings, its output signal can be too hot and overload the preamp stage in your amplifier.
Yet when the pickups are set too far away from the strings, the result is a weak signal. This will cause the guitar to sound thinner and brighter than normal.
Furthermore, when the pickups aren't balanced correctly from the 1st to the 6th string, the result is uneven volume as you move from the treble to the bass strings. Fortunately, we can prevent all these problems. The tables in Fig. 1 show the measurements I use for each pickup on a Strat and Tele.
Using a Phillips head screwdriver, raise or lower the pickup by turning the adjustment screws located on either side of the pickup. (Some single-coils use slot-head screws, in which case you'll need a straight screwdriver.) Make small adjustments and go slowly. After each adjustment, again hold down the 1st and 6th strings at the last fret and take new measurements. Repeat this process for each pickup until it matches the corresponding specs in the tables.
Tip: Running out of screw length before you're done adjusting the pickups is one of the "little surprises" that can occur when altering pickup height. If this happens, remove the pickguard and replace the screws with longer ones.
Step 4: Testing—1, 2.
After you adjust the pickups to spec, it's time for the final test, which is to plug into your amp and play. So you can hear the full range of your pickups, don't stand too close to your amp. Instead, move back a good 10 feet or more.
Be sure to test the pickups with the guitar's volume wide open. Listen carefully to the balance between bass and treble strings, and switch between all the positions on your pickup selector. The goal is to hear equal volume from each pickup, even though the tone will change dramatically from pickup to pickup.
These measurements are a base point to start from, though I wouldn't recommend adjusting the pickups any higher. If the pickups sound unbalanced after you've set them to these specs, lower the louder pickup to reduce its output instead of raising the quieter one. A quarter turn can make an audible difference, so listen carefully, and be patient.
Wrap.
By following this relatively simple procedure, you'll probably discover that the dynamics, sustain, clarity, and stringto- string balance will have improved on your Strat or Tele. Next month, we'll tackle another DIY project, so stay tuned.
[Updated 8/27/21]
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Drew Berlin, left, and Alexander Dumble, right, first met in the early ’70s through luthier Jim Foote. “Within an hour or so, I went and got one of my amps from home, and he modded it for me. And that started the relationship,” remembers Berlin.
Drew Berlin talks about what it takes to preserve the legacy of Dumble—and how that might involve building a few new amps.
For guitarists, the name Dumble conjures awe, wonder, critique, devotion, myth, and plenty of conjecture—all of it understandable. The late Howard “Alexander” Dumble’s namesake amps are akin to the vaults of Fort Knox: We know they exist, we’ve heard tales of their unimaginable treasure, but few have, or ever will, experience them firsthand.
The mystery stems from how Mr. Dumble kept a tight-knit circle of friends he trusted with his amplifiers. That’s why, when he passed in 2022, many wondered what would become of his builds, designs, and company. Fortunately, Dumble had a plan and entrusted the keys to his kingdom to two of his closest friends: Drew Berlin and Matt Swanson.
Judging by Berlin’s résumé, the brand is in good hands. An early adopter of the amplifiers as a professional guitarist, he even helped Dumble voice many of them. But beyond the Dumble sphere, he is a titan of the vintage guitar gear community. As one half of the famed “Burst Brothers,” he was key in shaping Guitar Center’s early vintage program and still deals in some of history’s most priceless, sought-after, and collectible guitars and amps.
Berlin’s connection to Dumble was far more personal. From the day they first met until Dumble’s passing, their friendship centered on caring for each other, whether that meant amp modifications or healthcare. Berlin was a constant presence.
“I even had a deal with my wife where, if I wasn’t home by midnight, she’d call Mr. Dumble,” he said with a chuckle. “He was so charming. He’d sweet-talk her: ‘Oh yes, Diana. Drew’s here, and we’re getting a lot done. He’s really helping, so I’ll need him a bit longer.’ And she’d say, ‘Okay.’ [laughs] That went on for 20 years.”Here’s “Woody,” a Dumble Special that was often used to “audition” potential customers. It’s a single-channel design that has beautiful, smooth compression. And like many of Dumble’s amp designs, there’s nowhere to hide.
At 74, Berlin’s love and devotion to Dumble and his amps remain unwavering. While many are lucky to glimpse one in person, he owns several, still gigging them regularly. More crucially, he and Swanson own the brand’s name and trademark, a job he takes very seriously setting up the Dumble Preservation Society to safeguard everything, service existing Dumble amplifiers, and, though he didn’t know it at the time, build new ones.
But before anyone questions his motives, it’s vital to understand where Berlin is coming from. His passion for the amps and profound devotion to his friend and the legacy he left was even visible over our video call from his California recording studio. Every decision he makes balances protecting the legacy with navigating the future, and is always guided by the question, “What would Mr. Dumble have wanted?”
Thankfully, if anyone can answer that, it’s Berlin. And he was generous enough to share why that is with us.
How did you and Mr. Dumble first meet?
I knew about Dumble and the tone in the early ’70s, and I started becoming more and more familiar with it, of course, through Jackson Browne, David Lindley, and Stevie Ray Vaughan. Because of that, and being that I was “the vintage guy,” a mutual friend, Jim Foote, thought that it would be interesting for Mr. Dumble to meet me.
He set up an appointment, and Dumble came in with a small Special called “Woody,” which we actually just displayed at NAMM. I plugged into the amp and started playing, and we started talking. Within an hour or so, I went and got one of my amps from home, and he modded it for me. And that started the relationship.
It began with gear, but it seems your friendship grew into something much deeper.
You know, it absolutely did. He was brilliant, and we had a lot in common beyond music. So, I started trying to be there for him as much as possible, sometimes like eight or 10 hours at a time, day after day after day.
Pretty soon, it was hard for him to get around, so I found a vehicle for him and was able to help him out. I felt really honored to be able to do that, because I was getting such great advice from him, and he was really intelligent on so many levels. My family even did a lot of outings together where we included him as part of the family. He loved my children, so they grew up knowing him as Uncle Alexander.
Given your close connection to both the man and his amplifiers, what would you say defines the “magic” of his amplifiers?
He liked to say that the frequencies were enhanced, and there were more highs, more lows, more mids. It was a blossoming of frequencies. Most of his amps were touch-sensitive, so if you dug in harder, it would change the tone. You could express more, and notes would do different things.
But as far as for me, it's more than just something that you hear. When you're playing it, the expression that you're able to create, it's something you feel in your chest, in your heart. And I like that they never hurt. Some amp tones are irritating and hurt your ears, especially if it's too loud. Dumbles never did. The louder, the better.
At first glance, this would appear to be a Special, but in 1989 Dumble modified it to be a 150-watt Steel String Singer for Stevie Ray Vaughan while his SSS was in for repairs.
Players often point to the Steel String Singer’s cleans and the Overdrive Special’s distortion. Did Dumble approach those as separate designs, or did he see a unifying thread in his creations?
It was very important for him to be really happy with the way the amp sounded in the clean, lush mode before you kick in the overdrive.
The way he explained it, it starts in the power section of an amplifier. It needs to be clean, powerful, and warm. Then you get a really warm, clean, lush sound and add the overdrive section to that. Getting that right is more challenging than the overdrive section. The overdrive was a balance of how much crunch you wanted and how much sustain. So that was secondary.
There are rumors of the incredible time he took building each amp and how particular he was about every detail. Are they true?
Yes. And he liked to do everything himself. He never let anyone even touch a build that he was working on. I understand now more than I did, as far as how difficult and how time-consuming that was.
He would change out 20, 30, 40, or 50 parts on an amp. It would take forever. And then after he finally came up with the right combination, the artists would come over and play it. If it wasn’t quite what they wanted, he’d go back to the drawing board. And it took several tries, in some cases, to get the amp exactly where the artist and Mr. Dumble both agreed was the right sound.
Then he’d have to make sure that it was roadworthy before he would send it out on the road.
“Some amp tones are irritating and hurt your ears, especially if it's too loud. Dumbles never did. The louder, the better.”
How did he sustain that level of commitment and detail throughout his career?
Well, the amps were so complex, there were so many stages, and there’s so many different variances that it did become overwhelming towards the end of his life. He stopped making Steel String Singers and Overdrive Reverbs a long time ago because they were too much work. There were 11 Steel String Singers, and I think 12 Overdrive Reverbs were made. But he stuck with the Overdrive Specials. He had some health issues on and off through the years, so he did the best he could.
Did you and Dumble ever discuss your role in the future of his brand?
Well, we talked about it. My partner, Matt Swanson, and I were left to protect Dumble, his legacy, and his intellectual property. And a lot of people showed interest in wanting to take the Dumble name. The trademark was expiring and we had to act.
That’s when we started the Dumble Preservation Society. We offer amp service with the right schematics and parts. We have two techs. One was a close friend of Dumble’s that he personally approved, and the other is incredibly passionate and skilled. Since Dumble passed, we’ve serviced over 50 of his amps.
Matt Swanson (left) and Drew Berlin set up the Dumble Preservation Society to safeguard the brand, service existing Dumble amplifiers, and, though they didn’t know it at the time, build new ones.
Was your initial focus just to maintain the amps he’d already built?
That, and honoring his legacy. There’s so much he created that you hear all the time on records, in movies, on the radio. His sound is everywhere. It’s important for people to understand what he did. The Preservation Society stems from that: keeping awareness of his tone and his genius, servicing amps, and secondarily, building them.
What led you to start building new Dumble amps?About six to eight months into his passing, we found out that in order to keep the trademark, we had to actually manufacture and sell something. That’s when I made the decision. It wasn’t about profit. It was either do it ourselves or let someone else take it. He left us in charge for a reason, and he trusted our judgment.
Who’s building the new amps?
There are two guys, who don't want recognition. They don’t think it’s important, and I respect that. One is someone I’ve known and trusted for 35 years. He’s an incredible technician who was very close to Dumble. He told me he had promised Dumble he wouldn’t use any of the knowledge Dumble had shared with him to build amps. I said, “I understand that, but would you rather have people who didn’t know Dumble, weren’t connected to him, and aren’t trying to preserve his legacy do this? Or would you rather help us do what’s necessary?” He agreed.
Another is a friend who I’ve known for at least 20 to 25 years. He’s an amp repair tech who’s incredibly knowledgeable and passionate about Dumble amps. When things needed to be done and Dumble couldn’t do them himself, this was one of the only guys he ever trusted with anything.
You’ve mentioned several close associates deeply connected to and influenced by Dumble. It’s like he was building his company the whole time.
You’re right. He kind of was. I don’t think it was chance that he put us together.
I had been taking care of him for years, and he and Matt became great friends. One day, Dumble pulled him and me aside and said, “Drew, I really appreciate everything you’ve done, but I think moving forward, you’re going to need Matt’s help.”
I think he understood that we would need to work together to keep his legacy alive. I’m really grateful because I couldn’t have accomplished a lot without Matt. Together, we’ve kept the Dumble name alive and treasured, and that’s what we wanted to do.
One of Dumble’s biggest supporters was Carlos Santana, who owned several Dumble amps over the years.
With the new amps now emerging, what can players anticipate from this next chapter?
I wish I could answer that, but I’m not sure where we’re going in the future or how we’re doing it. I can tell you, the few that we’ve made were very time consuming, as if Mr. Dumble did it himself: hand-cutting the boards, everything done by hand, the parts being as close as possible to what Mr. Dumble was using. We’re trying to get the sound as close as possible, to where you don’t just hear it, you feel it.
Right now, it’s just a handful of players, the Dumble family, in a way. I helped screen people for Mr. Dumble that I thought were great players and great people, people worthy of his amps. It’s still got to be like that. So, right now, we’re working with a few of Mr. Dumble’s favorite players, giving them some amplifiers and trying to tweak them the way he would have.
Are you adhering closely to Dumble’s original designs with these new builds?
We’re not trying to reinvent the wheel right now. We’re happy if we can get our amps sounding really close to what Mr. Dumble did. We're not trying to enhance or come up with new ideas for them, at least not at this point.
For those who’ve played the new amps, what’s been their reaction so far?
Well, the first one we did has already been on a couple of sessions. It went to a really talented pro player, and we’ve heard nothing but good things. And, a couple of weeks ago, I had a session where I brought one of the amps we had at NAMM. I have several Dumbles I use, and I kind of forgot that it wasn’t one of mine.
It’s exciting to have people playing them, wanting them, and wanting to take them on the road and record with them. Seeing guys I really respect, players, producers, and people making records really like it gives me confidence. The magic that Mr. Dumble had, his ears, his musical talent, his experience in electronics, I don’t see anyone else having that combination.
You stayed out of the design and building process during his lifetime. How do you think that shapes your perspective for what you’re doing now?
Now that we’ve done this, I feel like maybe it would have been better for him if I had pushed a little harder to let people help him when he was alive. He just wanted to do everything himself. I really appreciate that about him, but I never pushed him to say, “Let me help you.” I helped him in other ways, but I never got involved in building amps or letting others help him.
As both a fan and a friend, where do you hope to see the Dumble brand head in the future?
I wish I could give you an exact response, but I don’t know fully right now. This is still new for me, and I’m not sure where it’s going or how I’m going to feel about it.
I do know that as long as the brand is respected, I’ll be okay with it. If people could understand that Dumble did this from his heart. He had the magic to give people something to create with, and that’s what he lived for. He wanted to give artists a tool to help them become better musicians. As long as I can help carry that forward, I feel like I’m doing something useful.
Just like guitarists, audiophiles are chasing sound. It may be a never-ending quest.
“What you got back home, little sister, to play your fuzzy warbles on? I bet you got, say, pitiful, portable picnic players. Come with uncle and hear all proper. Hear angel trumpets and devil trombones.”—Alexander DeLarge (Malcolm McDowell) in the film A Clockwork Orange.
We listen to recorded music for enjoyment and inspiration, but few of us expect recordings to rival the experience of live music. Most guitarists know that the average home sound system, let alone Bluetooth boomboxes, cannot reproduce the weight and depth equal to standing in a room with a full-blown concert guitar rig. Also, classical music lovers recognize that a home system won’t reproduce the visceral envelope of a live orchestra. Still, much like guitarists, audiophiles spend huge amounts of time and money chasing the ultimate “realistic” audio experience. I wonder if sometimes that’s misguided.
My exposure to the audio hobby came early, from my father’s influence. My dad grew up in the revolution of home electronics, and being an amateur musician, he wanted good reproduction of the recordings he cherished. This led him to stock our home with tube components and DIY electrostatic hybrid speakers that rivaled the size and output of vintage Fender 2x12s. I thought this was normal.
Later, I discovered a small shop in my hometown that specialized in “high end” audiophile gear. They had a policy: No sale is final until you are completely satisfied. I became an almost weekly visitor (and paying customer) and was allowed to take equipment home to audition, which was dangerous for a young man on a low budget. It was through this program I started to understand the ins and outs of building a cohesive system that met my taste. I began to pay much more attention to the nuances of audio reproduction. Some gear revealed a whole new level of accuracy when it came to acoustic or vocal performance, while lacking the kick-ass punch I desired of my rock albums. I was seeking reproduction that would gently caress the sounds on folk, classical, and jazz recordings, but could also slay when the going got heavy. This made me a bit of an odd bird to the guys at the audio shop, but they wanted to please. With their guidance I assembled some decent systems over time, but through the decades, I lost interest in the chase.
Recently, I’ve begun perusing online audiophile boards and they seem oddly familiar, with tube versus solid-state discussions that might feel at home to guitarists—except the prices are now beyond what I’d imagined. For the most part, they mirror the exchanges we see on guitar boards minus the potty-mouth language. Enthusiasts exchange information and opinions (mostly) on what gear presents the widest soundstage or most detailed high-frequency delivery, all in flowery language usually reserved for fine wines.
Speaking of whining, you’ll rethink your idea of expensive cables when you hear folks comparing 18", $1,700 interconnects for their DACs. Some of the systems I’ve seen are more costly than an entire guitar, amplifier, and studio gear collection by a serious margin. Mostly, the banter is cordial and avoids the humble-bragging that might go along with the purchase of a $10,000 set of PAF humbuckers. Still, I have a lack of insight into what exactly most are trying to accomplish.
If you’ve ever worked in a big-time studio, you know that the soundscape blasting out of huge monitors is not what most of us have in our homes. My experience rewiring pro-studio patchbays is that less emphasis is placed on oxygen-free, silver-plated, directional cables than the room treatment. I’ve found myself wondering if the people on those audio boards—who have spent many tens or even hundreds of thousands of dollars on their home systems—have ever been in a studio control room listening to music as loud as a 28,000 horsepower traffic jam of NASCAR racers. That might be an eye-opener.
One of my takeaways is that even though music recording began as an attempt to reproduce what actually happens in a room, it hasn’t been just that for a long time. With all our effects and sonic wizardry on display, recording is like playing an instrument itself, and much more complex. This is not a new revelation to Beatles fans.
What amazes me is that both audiophiles and guitar fanatics pursue the sounds we hear on recordings for differing reasons and with subjective results. It’s a feedback-loop game, where we chase sounds mostly exclusive to the studio. So, how do we determine if our playback is accurate? Will we ever be satisfied enough to call the sale final?
I’m not convinced, but just the same, I’ll continue my own search for the holy grail of affordable, kick-ass sound that still loves a folk guitar
Mooer Prime Minimax M2 Intelligent Pedal boasts 194 effects models, 80 preset slots, MNRS and third-party sample file compatibility, an 80-minute looping module, internal drum machine, high-precision tuner, Bluetooth support, and a rechargeable lithium battery.
Over the last few years, Mooer has released several Prime multi-effects devices, including the Prime P1, P2, S1, and most recently in 2024, the Prime Minimax M1. Excitingly, the company is kicking off 2025 with a brand new addition to the Prime family–the Prime Minimax M2 Intelligent Pedal.
Within this small multi-effects device, a whole lot of functionality is packed in, including an impressive 194 effects models, including overdrive, preamp simulators, cabinet models, delays, reverbs, modulation effects, etc., and more. In typical Mooer style, though, the company took things a step further by offering limitless flexibility through the support of its in-house MNRS sample files, as well as third-party IR sample files. Essentially, this means that users can download additional tonal emulations and effects from the Mooer Cloud and third-party sources to the device, which they can then save across 80 preset slots.
As with some past models in the Prime series, the M2 sports a convenient touchscreen design, facilitating easy browsing through the devices banks of presets. However, guitarists are not limited to interfacing with the pedal in this way, as it also features two footswitches, both of which can be used to switch between presets in each bank. There is even a MIDI jack built into the device, enabling users to connect their MIDI controllers to extend the control functions, and the MOOER F4 wireless footswitch support is also supported. Essentially, these augmentation options facilitate additional footswitches to ensure switching preset tones is always as quick and seamless as possible within any workflow.
While the Prime M2 Intelligent Pedal is primarily designed for effects and tonal simulations, it also comes packed with an array of other useful features. For example, it contains a looping module with a hefty 80-minute capacity, in addition to 10 recording save slots to ensure that any looping creations can be kept for future use in performances. Similar to past looper modules in Mooer's products, users are also free to overdub their recordings and even undo or redo their overdubs, offering a lot of real-time flexibility for creating loop-based musical structures.
As if the addition of a looper wasn’t enough, this feature is also synchronizable with an internal drum machine and metronome, a combination that includes 56 drum grooves and 4 metronome varieties. Ultimately, it’s a reminder that Mooer clearly recognizes and wishes to solve the struggles that musicians have when attempting to produce precise loops while staying in time. Upon commencing recording, the drum machine can produce four initial beats to serve as a count-in cue, and of course, this can be combined with the device's tap-tempo control for dynamic use. Best of all, this feature can also be applied to modulation and delay effects, ensuring that they work perfectly in time with any performance.
Extra features are included to complete this all-in-one pedal, including a high-precision tunerwith fully customizable frequency ranges. Guitarists can even leverage the M2’s built-inBluetooth input support, allowing them to practice, jam, and even produce looped musicalstructures over their favorite backing tracks, band prototypes, and musical pieces.
Perhaps unsurprisingly for existing Mooer product users, the Prime M2 also boasts an impressive variety of audio routing systems. As was previously mentioned, that includes Bluetooth input, as well as industry standards such as dual-channel stereo output, perfect for stereo delay and modulation effects. It also supports headphone output for those who wish to practice in silence, and even OTG recording, which means that guitarists can record their creations directly to their smartphone whilst on the go.
Speaking of on-the-go, Mooer is continuing its recent portable-play focus with the Prime M2Intelligent Pedal, as it is fitted with a built-in rechargeable lithium battery with a battery life of up to 6 hours. Ultimately, this means that even a lack of local power sources won’t get in the way of rehearsals and live performances. Combined with the pedal’s lightweight and small build, it truly is an ideal addition to the pedalboard of any traveling musician.
Overall, the Prime M2 Intelligent Pedal is set to be an impressive new addition to the Prime series. It features augmented functionality when compared to past models, yet still in a minimalist and easy-to-use package, keeping the size small and light yet still packing in footswitches, a touch screen, and other flexible control systems.
Features:
- 194 built-in effect models and tonal emulations
- 80 preset slots for storing downloaded MNRS and third-party sample files
- Compatibility with the MOOER Cloud tone-sharing platform
- Built-in 80-minute looping module
- Record, overdub, pause, delete, and playback functions for looping
- Internal drum machine module, stocked with 56 drum grooves
- 4 unique metronomes
- Synchronization between drum machine and looper
- Convenient count-in cue function support from the metronome
- High-precision and customizable tuner module
- 2 multi-function footswitches
- 1.28-inch touchscreen interface
- LED digital display
- LED charge indicator
- Portable USB/OTG recording
- Direct compatibility with the MOOER prime mobile APP and MOOER Studio desktop software for preset management
- Bluetooth 5.0 audio playback
- 3000mAh integrated lithium battery with up to 6 hours of use time
- DC 5V/2A power supply and charging
- 3 hours charging time
- Low weight of 228g
- Compact, at 74mm (L), 125mm (W), and 49mm (H)
- Sample rate of 44.1kHz
- Bit depth of 24bit
- Compatible with MOOER F4 wireless footswitch
- 3.5mm MIDI port
- Mono TS ¼” input
- Stereo TS ¼” output
- 3.5mm headphone output
- Power switch button
The Prime Minimax M2 Intelligent Pedal will be available from the official distributors or retailersworldwide.
For more information, please visit mooeraudio.com.
With Is, My Morning Jacket turned to an outside producer, Brendan O’Brien, who has worked with Pearl Jam, Stone Temple Pilots, and many others.
Evolutionary, rocking, anthemic, psychedelic, and free—the band’s guitarists share the story of the making of MMJ’s visceral, widescreen new album.
“Time is such a fun thing to think about, how elastic it is and how strange it is,” muses My Morning Jacket singer and guitarist Jim James. For a band that’s weathered more than a quarter-century together, that elasticity and strangeness feel particularly poignant. After a period of uncertainty and creative fatigue that left fans, and the members themselves, questioning the group’s future, My Morning Jacket has over the past several years emerged reinvigorated.
Their latest album, Is, represents not just a continuation of the rebirth that began with 2021’s self-titled effort, but a profound evolution in their creative process: Currently, MMJ—which also includes guitarist Carl Broemel, bassist Tom Blankenship, keyboardist Bo Koster, and drummer Patrick Hallahan—find themselves in the midst of what Broemel characterizes as a “special and interesting era,” one marked by newfound inner peace, a willingness to relinquish control, and, as James simply puts it, “the freedom to do whatever the fuck we want,” that has resulted in some of their most focused and dynamic work to date.
Is emerges as the product of this revitalized My Morning Jacket, distilled from a wealth of material that James had accumulated, throwing “every single idea into the pot,” he says, rather than reserving some for solo projects as he’d done in the past. The result is both concentrated and adventurous, a tightly focused 10-song collection that still, in characteristic MMJ fashion, roams freely across stylistic boundaries. From the soaring leadoff track “Out in the Open,” a sort of rootsy take on U2’s widescreen anthem rock, to the evocative and soulful first single “Time Waited,” the heavy-riffing “Squid Ink” to the hypnotic psych-folk workout “Beginning From the Ending,” the lilting, harmony-laden pop nugget “I Can Hear Your Love” to the ominous minor-key prowl “River Road,” the album covers vast musical territory. “Jim has a giant archive of song ideas and it’s always growing,” Broemel says, and then laughs. “I think it’s the good and the bad thing about having a digital recording device in your hand at all times—you can capture every idea. So we had so much to work through.”
SoundStream
But Is also marks something of a letting go for James, who, for the first time in years, welcomed an outside producer into the fold. And not just any producer, but capital-P producer Brendan O’Brien, whose extensive resume spans music’s biggest names, from Pearl Jam, Stone Temple Pilots, and Rage Against the Machine to Bruce Springsteen, Neil Young, and AC/DC. For James, who had long acted as the band’s producer in an effort to “play all the positions myself,” this surrender of control was unusual. As for why they went with O’Brien, James says, “The thing that really struck me about Brendan was once I started playing him demos, he immediately had ideas and opinions that were really constructive without making it about his ego. He’s really great about telling you, ‘Ah, I don’t think this song’s as good as the rest.’ Or, ‘I don’t really like this chorus, what if we replaced it with something else?’ He was just always about the song.”
Adds Broemel, “He managed to pull us out of us, if that makes sense.”
“I think it’s the good and the bad thing about having a digital recording device in your hand at all times—you can capture every idea.” - Carl Broemel
To be sure, many of these songs both took shape and transformed in the studio. “I Can Hear Your Love” and “Beginning From the Ending,” for example, evolved from solo recordings with drum programming and sound effects into fuller band arrangements. But perhaps the most dramatic metamorphosis was “Out in the Open.” The song originated during the pandemic as a ukulele riff that James found so complex he “couldn’t even play it,” and that he eventually arranged into what he calls “kind of a ballad.” It sat for a couple years before he brought it to the band during these sessions. “When we listened to it, everybody had the same feeling as I did: ‘We like the riff, but where does it go? What does it do?’” James recalls. O’Brien provided the breakthrough. “He said, ‘What if we turn this into a rock song? Bring in the electric guitar, amp it up, and keep it getting bigger?’” The final version blends James’ original ukulele recording with a full-band, big-rock arrangement—what he describes as “a really cool merging of the unknown inspired by Brendan.”
Jim James' Gear
In addition to his Flying V, Jim James’ Gibson arsenal includes three ES-335s, an ES-355 prototype, a vintage Gibson Barney Kessel, a modded 1962 Reissue Les Paul Custom (pre-SG), and a Hummingbird.
Photo by Nick Langlois
Guitars
- Gibson ES-335 (black)
- Gibson ES-335 (sunburst)
- Epiphone Jim James ES-335
- Gibson ES-355 prototype
- Fender Custom Shop Tele
- Fender Custom Shop Strat
- Reuben Cox Custom Plywood T-Style
- Gibson Barney Kessel (vintage)
- Gretsch Country Gentleman (vintage)
- Modified Gibson 1962 Reissue Les Paul Custom (pre-SG)
- Gibson Flying V
- Gibson Hummingbird
- Gibson J-45
Amps
- 3 Monkeys Orangutan
- 3 Monkeys cab
- Rivera Silent Sister isolation cabinet with Mesa/Boogie Celestion speaker
Effects
- Devi Ever US Fuzz Monster
- MXR MC406 CAE Buffer
- ISP Deci-Mate G Decimator
- Boss BD-2W Waza Craft Blues Driver
- Boss OC-2
- Electro-Harmonix MEL9
- Malekko Spring Chicken
- EarthQuaker Devices Ghost Echo
- EarthQuaker Devices Spatial Delivery V2
- Universal Audio Golden Reverberator
- Universal Audio Astra Modulation Machine
- Universal Audio Starlight Echo Station
- Spaceman Orion
- SoloDallas The Schaffer Boost
- Radial SGI-44
- Strymon blueSky
- Boss DD-7 Digital Delay
- Strymon Zuma
- Strymon Ojai
- D’Addario CT-20 Tuner
Strings & Picks
- D’Addario Pure Nickel (.009–.045)
- D’Addario Phosphor Bronze Acoustic Extra Light (.010–.047)
- Dunlop Tortex .73 mm
This anything-goes mindset extended to the band’s approach to guitars and amplification. While James and Broemel brought their recent arsenal—including James’ Fender Princeton amp, his Gibson ES-335 signature model, a Gibson ES-355 prototype “that Gibson made me when we were first figuring out my guitar that I use a lot in the studio,” and his custom Reuben Cox plywood T-style guitar, alongside Broemel’s treasured 1988 Bigsby-equipped Les Paul Standard and Duesenberg Starplayer TV—O’Brien’s studio offered what Broemel describes as “a disgusting amount of amazing guitars.” The amp selection was equally impressive, running the gamut of Fender classics (“the brown amps, the black amps, the silver amps,” as Broemel puts it) along with discoveries like a Port City head that became a frequent go-to. Rather than being fussy about gear choices, the band found themselves drawn to whatever served the song best. “Half the time I wound up with one of Brendan’s SGs in my hand through one of Brendan’s amps,” James recalls. “I used to be more precious about it, but now I really just don’t give a shit at all, as long as it sounds right with the song.” This approach yielded particularly dramatic results on “Die For It,” where Broemel created a massive guitar solo by positioning two amps—“a Super Reverb and something else,” he says—in the middle of the room, capturing what he calls a “giant stereo thing that’s so wide and washed-out and crazy, kind of like what it feels like at our shows.”
“Half the time I wound up with one of Brendan’s SGs in my hand through one of Brendan’s amps.” - Jim James
It’s this sort of liberation from old habits that has helped recharge the band after almost three decades together. Although, James admits, “It ebbs and flows. There’s been periods where it’s been very easy and periods where it’s been very difficult.” Is reflects this hard-won wisdom; its title speaks to the fact that the music “just is what it is,” James says. “The record always makes itself. You really have to let go.”
Carl Broemel's Gear
Carl Broemel’s favorite 6-string is his 1988 Bigsby-equipped Les Paul Standard, which he puts to the test here during a Savannah, Georgia, concert.
Photo by Chris Mollere
Guitars
- 1988 Gibson Les Paul Standard with Bigsby
- Duesenberg Starplayer TV
- Duesenberg Caribou
- Creston Custom
Amps
- Carr Slant 6V head
- Emperor 4x12 cab with Warehouse speakers
- Rivera Silent Sister isolation cabinet with Warehouse speaker
Effects
- Hologram Electronics Chroma Console
- Electro-Harmonix POG
- Kingsley Harlot V3 Tube Overdrive
- JAM Pedals Delay Llama Xtreme
- Origin Effects SlideRIG Compact Deluxe MkII Compressor
- Eventide H9
- Boss TU-2
- Strymon Zuma
- GigRig G3 Switching System
Strings & Picks
- D’Addario EXL140 (.010–.052)
- Dunlop Tortex .73 mm
It’s a perspective that has enabled My Morning Jacket to find a path forward. As Broemel notes, “In some ways, all we want to be is like a brand-new band again, but that’s impossible. So we’ve just gotta keep going.” One thing that never changes, he adds, “is that the feeling of playing a good show never gets old. It’s like catching a huge fish. That’s evergreen for me.”
James agrees, noting that the band has never sounded better. “Music’s infinite,” he says. “We’ll never exhaust all the possibilities. As long as you’re trying something new, that’s what keeps it fun and fresh, hopefully for us and for the listener.”
YouTube It
Broemel, with his Creston Custom, and James, with a Fender Strat (and purple heart-shaped sunglasses), lead My Morning Jacket through the heavy riffs, deep grooves, and big unison bends of “Squid Ink” on Jimmy Kimmel Live!