
Photo 1
Let’s build one of my favorite DIY guitar tools that I use daily in my shop. I’ll show you two versions and then explain how to put them into action.
Welcome back to Mod Garage. After receiving numerous requests to show more DIY tools for guitarists, today we’ll explore one of my favorites. For years I’ve used this one in the shop daily and I’m sure you’ll love it. It’s cheap and easy to build, but very effective for analyzing circuits of electric guitars and basses without opening the electronic compartment or lifting the pickguard. It’s a kind of adaptor or extension to measure a pickup’s DC resistance (DCR) from outside the guitar. After building one, we’ll discuss how to interpret the measurements.
The DCR of a pickup is by far the most common parameter you can read when reading pickup descriptions and often it’s used as an indicator of the output. The reason for this is that it’s easy to measure, but, sadly, it doesn’t tell us anything about a pickup’s output nor its tone. To quote pickup designer Bill Lawrence: “DC resistance tells you as much about a pickup’s tone and output as the shoe size tells you about a person’s intelligence.”
I’ve written about DCR as a pickup parameter in detail and you can read about it in “Mod Garage: Demystifying DCR.”
DCR is not a primary parameter in pickup design. It’s simply the result of the type and gauge of the pickup’s wire, the number of turns, and other parameters like the winding pattern, etc. But it isn’t completely useless, and we can use it as a good reference point for analyzing pickups both inside and outside a guitar or bass circuit. All you need for this is a digital multimeter (DMM). You don’t need an expensive calibrated precision DMM—any entry level DMM will work. You can get a simple digital DMM for $10, but if you want to invest in a better device, it can’t harm.
The easiest way to analyze a pickup is outside a circuit. Simply set your DMM to ohm and connect the two pickup leads to your DMM. If your DMM doesn’t have an auto-range function, set it to 20k ohm. Now you’ll get the DCR reading for your pickup. You can compare it to the factory specs of your pickup and it should be close. If your DMM shows “infinite” or “overload,” you know the pickup wire is broken. Let’s say your pickup should read 7k ohm, but yours reads around 2-3k ohm. Your pickup likely has a short circuit somewhere in the winding. Used this way, the DCR is always good to quickly check if a pickup is alive or not.
To quickly analyze a guitar or bass circuit with one or more pickups, you first need to build the DIY adaptor tool this column is about. There are two different versions, and you don’t need much for this:
- Version #1: This is the quick and dirty version. You need a standard 6.3 mm straight mono plug (the same type on all your guitar cables), some wire of your choice (preferably in two different colors), and two insulated alligator clips.
- Version #2: A more elegant version that you can also use with a scope if you have one. You need the same parts as for version #1, but instead of two alligator clips, you need two 4 mm banana plugs, and the two wires need to be longer than what you’d use for Version #1.
So, heat up your soldering iron and let’s get to building version #1.
- Solder one piece of wire to the HOT terminal of the mono plug and another one to the GROUND terminal. I prefer a red wire for the HOT and a black wire for the GROUND terminal (Photo 1).
- Solder an insulated alligator-clip to each end of the two wires, preferably a black one to the black wire and a red one to the red wire. Ready!
Version #2 is built the same way, but, instead of alligator clips, you solder a 4 mm banana plug to each end of the two wires, if possible, also in black and red. The two wires should be long enough that can place your DMM and/or scope at some distance from the guitar. In Photo 2, you can see version #1 on the top and version #2 on the bottom.
The difference between the two versions is that with version #1 you put the plug into the output jack of the guitar, connecting the two probes of your DMM to the alligator clips: the black probe of the DMM goes to ground (black wire) and the red probe goes to hot (red wire) as seen in Photo 3. With version #2, you need to remove the two probes from your DMM, plugging the two banana plugs directly into your DMM or your scope, also seen in Photo 3.
Both versions work equally well. Version #2 is just easier to operate when you also want to use the adaptor for a scope.
For a quick check, you can also directly touch the hot and ground terminals with the probes of your DMM, but you need both hands or a second person for this if you want to play around with the controls or the pickup-selector switch.
Now we can easily check four things with this tool, assuming everything is connected the way it should be and your DMM is set to ohm and auto-range or the 20k ohm scale if your DMM doesn’t have an auto-range mode:
- Do you receive a reading on your connected DMM? If not, check if the volume pot is fully opened. Do you receive a reading now? If so, close the volume pot completely and see if you still receive a reading. No? Perfect, you just proved that the volume pot is alive and well.
- With a fully opened volume pot and a reading on your DMM, slowly turn down the volume and watch the reading on the DMM. If you receive some crazy reading, chances are good there is a treble bleed network on your volume pot. If the reading slowly goes down to zero, you know that there is no treble bleed network on the volume pot, and you can check if it’s an audio or linear volume pot (plus the taper it has, if it’s an audio pot). Let’s say we have a 500k volume pot. When you close the volume pot halfway and receive a reading around 250k, you know it’s a linear pot. An audio pot, depending on its taper, will result in a much higher reading on the first 50 percent of the volume pot. If you read 500k until the volume pot is almost fully closed, this means the pot has a 90:10 audio taper—exactly the kind of volume pot you don’t want to have. If you read something around 300k in the middle of the volume pot, you know it’s a 60:40 audio taper.
- If the volume pot is fully opened and you don’t receive a reading on your DMM, chances are good that your output jack is broken, not connected, or connected incorrectly. Please make sure there is no activated kill-switch in the circuit that can also cause this “problem.”
- Turning the tone knob(s) will make no difference in the reading you receive. If you receive a slightly higher reading with a tone pot fully opened compared to when it’s closed, you know it’s a no-load tone pot.
There is a lot to discover from just the outside of any guitar or bass. So, now let’s see what we can measure from outside the instrument starting with a Telecaster with a 4-way switch. The readings in all examples are the readings I received with guitars I had in the shop, but they can be different in your instruments:
- Bridge pickup only: 5.85k ohm
- Neck pickup only: 6.76k ohm
- Both pickups together: 3.18k ohm
- Pickup selector switch in position #4: 12.30k ohm
The readings for both pickups are within the factory specs and are in a typical range for a vintage-flavored Telecaster pickup set. With a reading of 3.18k ohm for both pickups together, you know that both pickups are in parallel. With the reading of 12.30k ohm, you know that both pickups are in series with each other.
Here is the simplified math behind these readings:
- Series connection: DCR pickup #1 + DCR pickup #2
- In our example, it’s 5.85k + 6.76k = 12.61k ohm, which is very close to the reading of 12.30k we received. The missing 0.31k ohm are eaten up by the resistance of the pots and the tolerance of your DMM. For this test, I chose the cheapest DMM I could find in the shop. A calibrated high-quality DMM will have much less tolerance.
- Parallel connection: (DCR pickup #1 + DCR pickup #2) divided by four
- In our example, it’s 5.85k + 6.76k = 12.61k ohm divided by four = 3.15k ohm, which is very close to the reading of 3.18k ohm we received.
Now let’s repeat this with a standard Stratocaster:
- Bridge pickup only: 7.07k ohm
- Middle pickup only: 5.88k ohm
- Neck pickup only: 5.70k ohm
- Bridge + Middle pickups together: 3.26k ohm
- Neck + Middle pickups together: 2.94k ohm
All three pickups are within the factory specs of this Strat. We have a slightly hotter bridge and two vintage-flavored pickups. The two in-between positions are in parallel.
Lastly, let’s try a vintage PAF-loaded Les Paul:
- Bridge pickup only: 7.77k ohm
- Neck pickup only: 7.09k ohm
- Both pickups together: 3.74k ohm
Both PAFs have the typical vintage DCR and are in parallel in the middle position.
That’s it. Next month we’ll take a deeper look at changing wires on pickups, which is something I’ve been asked about a lot, so stay tuned!
Until then ... keep on modding!- Mod Garage: The Infamous Telecaster Neck Pickup - Premier Guitar ›
- Cult Coils: Lesser-Known Vintage Pickups - Premier Guitar ›
- 5-Way Frenzy: Vintage-Style Strat Pickup Review Roundup ... ›
Here’s a physical mashup for new sounds—something that never existed before now: a humbucking Charlie Christian pickup.
Have texture, color, context, and groove replaced shred chops and bluesy bends in the modern guitar era? Seems like it!
There was a time when the electric guitar reigned like a monarch. Plugged in, turned up, and cracking the sky with saturated authority, it swaggered through stadiums, screamed through garage doors, and printed sparkling textures onto tape reels in studios. Electric guitars weren’t just instruments, they were an accomplice in rebellion—a declaration of intent with six strings and a headstock like a crown.
But that was then, and this is now. Welcome to 2025, where the electric guitar is neither dead nor dominant, but hovering somewhere in the curious limbo between legacy and latency. So let’s roll up our sleeves and take a grease-stained look under the hood.
The Death of the Guitar Has Been Greatly Monetized
Every few years, some tone-deaf oracle proclaims that the electric guitar is dying—usually right before Fender reports record-breaking sales. The “guitar is dead” trope is as worn as a 1959 slab-board neck, and just as beloved in certain circles. But peek behind the curtain of online guitar forums, and you’ll see a landscape less apocalyptic but certainly more complicated.
New gear sales may have occasionally hit plateaus, thanks in part to a tidal wave of secondhand Strats and Les Pauls sloshing around the used market, but that doesn’t mean guitarists aren’t playing. In fact, a growing number of those people are young, diverse, and uninterested in recreating “Eruption” note-for-note. Statistics don’t lie and research indicates that nearly half of all current guitar players are under 30, and about a third are women. The old gatekeeping clichés are rusting away, and the next generation is walking right past them playing a genre you probably can’t name—but your kids will.“We’re witnessing a new breed of guitar sounds designed not just for soloing, but for integrating seamlessly into a sonic workflow that might involve synths, loopers, and yes, even AI.”
Tone Meets Tech
If the classic electric guitar was a muscle car, tomorrow’s iteration may be a hybrid with an amp-modeling package. We’re seeing a rise in alternative pickups, effects-driven designs, and sustainable materials replacing endangered hardwoods. Carbon fiber? It’s not blasphemy any longer. Recycled aluminum? Well, maybe. Guitar rigs are becoming the solar panels of the gear world: tech-savvy, divergent, eco-friendly, yet still capable of making your windows rattle.
But this isn't just about sustainability—it’s about adaptability. We’re witnessing a new breed of guitar sounds designed not just for soloing, but for integrating seamlessly into a sonic workflow that might involve synths, loopers, and yes, even AI. Simply put, it’s about the music, not the muscle.
Genre for a New Generation
If you’re looking for the next guitar god, don’t bother. The pedestal has been dismantled, and the throne now belongs to the collective. Today’s players are blurring genre lines like a toddler with a crayon. The guitar isn’t always the star of the show—it’s the secret ingredient, the smoked paprika in a mashup gumbo. It’s not about being the loudest voice anymore—it’s about texture, color, and context. We’ve had our fill of ego-driven wankery—give us nuance. Give us groove. Give us players who aren’t afraid to capo, loop, and go full tremolo spaghetti-Western to a chillhop beat backed by a horn section. Don’t forget the whammy pedal on the electrified resonator, all while serving the song.
The Coda
So where does that leave us? Somewhere between tradition and transformation—maybe with a hand-wired analog fuzz in one hand and a MIDI cable in the other. As much as I love a sweet blues-rock hand vibrato at the end of a classic pentatonic riff, I don’t mourn its reduced stature. The electric guitar hasn’t vanished; it’s just learned to blend new dialects. It’s still a tool for expression, rebellion, and joy. Guitar is still capable of conjuring emotions that don’t fit into neat categories. And if you ask me, it’s doing just fine.
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).