
Though there's a plethora of delay pedals on the market, the control scheme on a Boss DD-7 is very common.
Whether you’ve got a barebones analog box or a feature-packed digital model, your delay can do a lot more than add ambience to your sound. Here we walk you through everything from basics like signal-chain placement and dialing in traditional sounds to looping and precise tempo matching.
Delay pedals are among the most popular effects around, and the reason is simple: A delay pedal not only gives your sound a professional sheen and adds a three-dimensional quality—even when set for a discreet, atmospheric effect—but it can also produce a wide variety of not-so-subtle sounds and textures, ranging from ear-twisting rhythmic repeats (à la Eddie Van Halen's “Cathedral") to faux twin-guitar harmonies and live looping.
This how-to guide will cover the aforementioned effects, as well as fundamentals like the function of typical delay controls, and where to place your unit in an effects chain. Although there are countless delays on the market—many of which have mind-boggling features—we're going to use a basic delay pedal setup similar to what you'll find on a Boss DD-7 as our reference point. We've also provided some sample settings so you can get the most out of your delay pedal right away.
Delay Pedal Controls
Three controls are common to virtually all delay units: Time, Feedback (sometimes labeled "Repeat" or "Regeneration"), and Level (or "Mix").
Time controls the length of time between any two repetitions of your signal. It is most often measured in milliseconds (ms). Most delay pedals don't have a delay-time readout that would enable you to determine exact delay times in milliseconds, so you typically just adjust the Time knob to get an approximate time based on the unit's available range. For instance, the Boss DD-7 (street $179) has a Mode knob that selects between four time ranges—up to 50 ms, 51–200 ms, 201–800 ms, and 801–3200 ms—and the Time knob then adjusts the setting within the selected range.
Feedback determines the amount of repetitions. At its minimum setting, Feedback outputs a single repetition of the original signal. From that point on, as you turn up Feedback you get more repeats. Some delay units allow infinite repeats when this control is maxed.
Level controls the volume of the repeats. When Level is at its minimum setting, you won't hear any repeats. When it's all the way up, the repeats should be as loud as the original signal.
Signal-Chain Placement
If you plan to use your delay in conjunction with other stompboxes, it's important to consider where to place these effects in the chain—especially if you're using an overdrive, distortion, or fuzz pedal. The most common setup is to place dirt before delay. This is important because it means you'll be delaying the distorted signal as opposed to distorting a delayed signal, which will sound mushy and indistinct. Because a distortion pedal has the strongest impact on your fundamental tone, it's typically placed early in the chain, whereas delay is usually placed toward the end of the chain so it can produce repeats of all of the effects added to your guitar sound. Of course, you should experiment for yourself to see what you prefer.
If you're taking the dirt-before-delay with the distortion from your amp, then you'll want to insert your delay into your amp's effects loop (if it has one) so that it comes in the chain after the preamp gain. For recording, it's less of an issue because you can just record the amp without any effects and then add delay during post-production.
Doubling and Modulation
The term "doubling" refers to the process of using a subtle delay to thicken your sound. To get a doubling effect, set Time between 50 and 100 ms, Feedback for minimal repeats (one or two), and Level all the way up. Because the repeat happens so quickly, it creates the illusion of another guitar playing in unison with the original signal rather than sounding like an echo. If you use a lower delay time (20 to 50 ms), you can also get pseudo chorusing and flanging sounds.
Doubling and Modulation Example
Slapback Echo
Slapback is a single short repeat similar to a tape slap (the time delay between the record and play heads in an analog tape recorder), and it is most often heard in rockabilly and country. To achieve a slapback effect, keep the Time short (between 80–140 ms), Feedback at 0 (so you only get one repeat), and Level at about 50 percent.
Slapback Example
Faux Reverb
A reverb-type effect can be achieved by modifying some of the settings used for slapback. Set the Time between 100 and 200 ms, Feedback for about 5 repeats, and Level at about 50 percent.
Faux Reverb Example
Tempo Matching
Most delay pedals do not have precise delay time readings on their knob panels. This isn't a crucial issue when you're using shorter delay times or when precise timing of the repeats is not integral to the performance. However, if you're playing to a fixed beat source (say, a band or rhythm track) with a delay time of more than 200 ms and a fairly high Level setting that gives the repeats a distinct note, it will sound best if you dial in a precise delay time that matches the tempo of the band or rhythm track. Otherwise, the repeats will be out of time against the underlying beat. If your music is delay based, delay pedals such as the Providence DLY-4 Chrono Delay (street $449), TC Electronic ND-1 Nova Delay (street $259), and Strymon Timeline (street $449)—all of which feature LED readouts of the delay time—are worth considering.
Newer digital delays such as the Providence DLy-4 Chrono Delay, TC Electronic ND-1 Nova Delay, and Strymon Timeline feature exact millisecond readouts for players who need very precise delays for tempo-matching purposes.
Many delay pedals from the last decade or so offer a happy middle ground with tap-tempo functionality (some designs require using an aftermarket external footswitch to access this). If you're familiar with the term but aren't quite sure exactly how it works, here's the scoop: Though many players don't know the exact tempo they need in terms of beats per minute (bpm), most have an innate sense of the tempo they wish to play at, so tapping it out on a delay pedal's tap-tempo footswitch is an easy way to get the sort of tempo matching we've been talking about. If your delay doesn't have tap-tempo functionality, or if you want a formulaic approach to calculating the delay time, see the "Calculating MSfrom BPM" sidebar.
Dotted-Eighth Rhythmic Repeats
Guitarists like Eddie Van Halen, the Edge, and David Gilmour took delays to new heights by making them an integral part of compositions like Van Halen's "Cathedral," U2's "Where the Streets have No Name," and Pink Floyd's "Another Brick in the Wall, Part 1." They popularized a trick using dotted-eighth-note delay repeats to create the illusion that they were playing more notes—and faster—than they really were.
Dotted-Eighth Rhythmic Repeat Example
To do this, set your delay to repeat everything you play a dotted-eighth-note (three 16ths) after you play the original note, and then pluck continuous eighth-notes. After the delay's initial entrance on the last 16th of the first beat, it will fill in the second and fourth 16th-note of every successive beat—as long as you continue to play eighth-notes (newly picked notes will cover the first and third 16th of every beat). To make this sound as natural as possible, set your delay pedal's Level knob all the way up so it matches the volume of the original signal, and try to keep the notes as precise and short as you can to avoid having a picked note overlap with a delayed note.
Delays such as the Line 6 Echo Park feature dotted-eighthnote modes that make it a cinch to create rhythmic parts in the style of U2's the Edge or Pink Floyd's David Gilmour.
Some delays, such as the Line 6 Echo Park, have rhythmic subdivision modes built in, so dotted-eighth repeats won't be a problem to set up. However, if your delay doesn't offer subdivisions, you'll have to do some math to get the Time setting right. Here, again, the "Calculating MS fromBPM" sidebar will be a big help.
Delay as Harmonizer
Some delays, such as the Line 6 Echo Park, have rhythmic subdivision modes built in, so dotted-eighth repeats won't be a problem to set up. However, if your delay doesn't offer subdivisions, you'll have to do some math to get the Time setting right. Here, again, the "Calculating MS fromBPM" sidebar will be a big help.
One caveat with using a delay to perform harmonized lines is that you won't be able to easily start both parts simultaneously. You might try using a volume pedal to mute the opening line and bring the volume up when the harmony begins, but the more common approach is to just start a line and opt for a staggered entrance of the harmony line. In fact, some songs were written with staggered harmony parts. For instance, the intro to Iron Maiden's "The Trooper" has a built-in layered entrance of a harmonized line and can be pulled off by a single guitarist using a delay pedal.
Delay as Harmonizer Example
If you're new to harmonizing, here's a quick overview on creating harmony parts. Typically, the intervals of a harmony part are fixed (i.e., the part uses the same interval, shifting between its major or minor form to accommodate diatonic notes) throughout the duration of the line, with thirds and sixths being the most common choices (although fourths, fifths, and octaves are also frequently employed). Of course, there are exceptions to every rule, and different intervals can be used throughout a line. For a more in-depth exploration of harmonized lines, consult a book such as A Player's Guide to Chords and Harmony: Music Theory for Real-World Musicians by Jim Aikin or David Baker's Arranging and Composing for the Small Ensemble: Jazz, R&B, Jazz Rock, an advanced workbook with a forward by Quincy Jones.
Looping
Guitar legends such as Bill Frisell and David Torn have made looping an integral part of their live shows. At its most extreme, looping is almost like real-time multi-tracking: You can continually add layers of sound, starting with a bass figure, then a layer of chords, followed by a muted, single-note rhythm part, and then a solo on top. Pedals like the Line 6 DL4 Delay Modeler (street $236), Boss DD-7, and Eventide TimeFactor (street $399) have built-in looping functionality and are good options for getting started with looping.
Many newer digital delays—including the Eventide TimeFactor (above), Boss DD-7, and Line 6 DL4 Delay Modeler (bottom) —also feature built-in looping functionality.
One tricky thing with looping is that the start and end points of the loop have to be rhythmically precise: When you first record the loop, you have to start the loop on the first beat of the phrase, beat occurs again—thus cutting off the note's sustain to avoid overlap. In every loop, the last note will immediately flow into the repetition of the first note. Sometimes there might be a very slight lag before the effect is actually activated after you step on the pedal. We're talking milliseconds here, but you might feel it and may have to adjust the timing of your stomps accordingly.
If the maximum looping time available on your delay device is too short for some of your more ambitious looping applications, there are still good uses for it. For example, if you only had enough delay time to have one harmony or drone note sound, you could leave it on for infinite feedback and practice playing and hearing scales or patterns against the fixed tonal center. You could also use it to loop a note that you could tune the rest of your strings to if you don't have a tuner (at least you'd be in tune with yourself!). These may not be performance-critical uses, but they could certainly be helpful in your development as a musician.
Adventure Awaits … Awaits … Awaits
Although we've explored its most common uses, there are still many more sounds and textures that can be created with a delay pedal—in fact, the possibilities are nearly endless. And whether you arm yourself with a basic echo box or one of the newer units with a bunch of bells and whistles, learning to see and use the effect in a fresh new way— just as the Edge and Eddie Van Halen did—could make you the next sonic innovator whose sonic weapon is the delectable delay.
Calculating MS from BPM
A song's tempo is usually expressed in terms of beats per minute (bpm). But figuring out a song's tempo by counting beats for 60 seconds isn't especially practical. A more efficient way is to find a smaller multiple of 60 and use that as the basis for your calculations. For example, you can count how many beats go by in 15 seconds and multiply that by 4 (15 x 4 = 60 seconds or one minute) or you can count how many beats go by in 10 seconds then multiply that by 6. It can be hard to get a really accurate reading with this approach, but it will get you in the ballpark, if you're in a pinch.
However, while most musicians think of tempo in terms of bpm, most delay units represent delay time as milliseconds (ms). Studio guitarists used to carry conversion charts in their gigbags to make sure they could always lock in with tempos at a session, and we're including one for you below. If you ever find yourself in need of a beat-matched delay but don't have this chart handy, you can use some basic formulas to convert the desired bpm into ms and set your delay accordingly. The basis for the formulas is the number 60,000—the number of milliseconds in a minute. To convert bpm to ms, the formula is:
60,000/bpm = quarter-note ms
For example, 60,000/100 bpm = 600 ms. If you're playing to a track that is 100 bpm, you'll need to set your delay at 600 ms to get quarter-note repeats.
To get smaller subdivisions of the quarter note, there are two approaches. You can divide the quarter-note ms reading proportionately, as needed. For repeats in eighth-notes, divide the quarter-note ms by 2, and for repeats in 16ths, divide the quarter-note ms by 4. At a tempo of 100 bpm, quarter-note repeats are 600 ms, eighth-note repeats are 300 ms, and 16th-note repeats are 150 ms.
Or you can use these formulas:
30,000/bpm = eighth-note ms
15,000/bpm = 16th-note ms
For triplet-based music, the formula is:
40,000/bpm = quarter-note-triplet ms
For example, 40,000 divided by 100 bpm = 400 ms. You can divide the quarter-note-triplet ms reading to get values for eighth- and 16th-note triplets. To get eighth-note-triplet repeats, divide the quarter-note-triplet ms by 2, and to get 16th-note-triplet repeats, divide the quarter-note-triplet ms by 4. At a tempo of 100 bpm, quarter-note-triplet repeats are 400 ms, eighth-note-triplet repeats are 200 ms, and 16thnote- triplet repeats are 100 ms.
Or you can use these formulas:
20,000/bpm = eighth-note-triplet ms
10,000/bpm = 16th-note-triplet ms
To calculate ms for dotted-eighth-note rhythmic repeats,
the formula is:
45,000/bpm = dotted-eighth-note ms
For example at 100 bpm, you will need a delay time of 450 ms to get repeats in dotted-eighth-notes.
[Updated 8/30/21]
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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).