
Relief for the tube shortage is ahead, but it’s happened before and could happen again. Here’s the practical—and geopolitical—long view.
“Think about the American and British rock bands trying to get into the Cold War Soviet Union to play rock music that Soviets had never heard—through their British tube amps, with tubes manufactured in Russia.”
That quote, from Sweetwater Senior Category Manager for Amps and Effects Darren Monroe, sums up how much culture and politics can impact every note you play. And that’s especially true regarding tubes. Let’s start with some deep background.
A Brief Post-War History of Tubes
Until the mid-1950s, the vacuum tube ruled the world of electronics. If something needed amplifying, there were countless high-quality variations to choose from. They were in TVs, radios, record players, etc. The world’s armies even got into the game, demanding military-spec options that continue to be among the most sought-after tubes today. So, the little glowing bottles were in high demand, and the industry thrived. But things were about to change.
Seemingly overnight, the solid-state transistor became the go-to platform for countless electronic products we still use today, literally changing the world. They were cheaper to make, smaller, more efficient, and more reliable. They also offered pure, uncolored sound—precisely what you want in a great stereo system.Mike Matthews, the founder of Electro-Harmonix, had the foresight to acquire tube manufacturers, starting in the early 1990s, and today the brand names Tung-Sol, Electro-Harmonix, EH Gold, Genalex Gold Lion, Mullard, Svetlana, and Sovtek are all under the company’s umbrella.
Photo by Mike Chiodo
The First Tube Shortage
The demand for vacuum tubes dried up quickly. Factories that used to produce thousands of tubes daily had to close their doors as they watched orders disappear. Tube manufacturers all but vanished entirely from the U.S. Of course, guitarists still wanted their tubes, but, as Dave Friedman, owner/designer of Friedman Amplification, explains, there weren’t nearly enough 6-stringers to keep the giant industry afloat.
“The guitar tube market is really small in the scope of the tube industry,” he says. “Tubes used to be used in a variety of things, so these huge factories [suddenly] had no demand. They basically became obsolete. That’s when Mike stepped in.”
Friedman is referring to Electro-Harmonix Founder and President Mike Matthews. A legend in the musical instrument industry, Matthews helped write the template for many electric guitar effects pedals. His iconic designs—including the Big Muff, the Memory Man, the Electric Mistress, and the POG—are still going strong today. But many guitarists don’t know that Matthews is a massive presence in the world of vacuum tubes for guitar amplification, and helped save the industry.
It all started with the crumbling Soviet Union. “I took a rock ’n’ roll band to Russia in ’79 for the first exhibit they opened to companies around the world for consumer products,” Matthews recalls. “Only two companies from the U.S.A. went: us and Levi’s. And when I was there, I started thinking about how I could buy products from Russia [to import in the U.S.].”
“The EL34 everyone was using was the German Siemens tube. And in ’90 or ’91, those tubes went away. There were no other EL34s being made.” —Dave Friedman, Friedman Amplification
With his background in effects pedals, Matthews was familiar with integrated circuits (ICs), and dove head-first into importing Russian versions at 15 cents each. He says he made “a killing on them!” But it was only a short time before another trip east, and a respected friend’s approval, inspired the switch to importing tubes.
“In ’88, I saw vacuum tubes on the wall at the Ministry of Electronics [the Soviet Union’s state-run organization responsible for research, development, and production of electronic and electrical devices, from 1965 to 1985]. I took samples to Jess Oliver [famed amplifier designer and former vice president of Ampeg], and he said, ‘They’re good!’ So, I got early customers like Peavey, and the tubes took off!”
But the U.S.S.R. was failing, and panicked Soviet authorities demanded he commit big or leave it all behind. “Because the Soviet Union was starting to fall apart, the companies that made the tubes defaulted on their loans,” he explains. “So, the Russians told me that either I had to buy the factory for $500K or they’d sell to Groove Tubes. So, I sorta had to buy it.” And then he was in the vacuum tube manufacturing business for good.
“It has been a big deal,” says Sweetwater’s Darren Monroe. “In some cases, we even had to take products off the web.”
Building Back the Biz
The early ’90s were another dark time for the vacuum tube industry. Though Matthews was hard at work building his tube operation, he was far from full-strength, and other tube manufacturers continued to disappear. It got so bad that many of the day’s most famous amplifier designers adapted their amps for whatever tubes were available.
Friedman remembers, “When I started in the industry in ’88, Sylvania tubes were around but coming to an end. The EL34 everyone was using was the German Siemens tube. And in ’90 or ’91, those tubes went away. There were no other EL34s being made. Mike Matthews was just starting, so for a short time, everyone switched to the Sovtek 5881, which was a Russian military tube. Even Marshall had 5881s in their amps. EL34s didn’t exist!”
Thankfully, there was hope. As Matthews’ tubes were coming online, Svetlana (who would later be purchased in 2001 by Matthews under the name New Sensor Corporation) emerged as a player in the tube game.
Then came tubes from China. “Slowly, Svetlana came out, Mike came up, and then some Chinese EL34s showed up,” recalls Friedman. Availability stabilized with the entry of Chinese mega-manufacturers Shuguang and Psvane in the international marketplace. In Russia, Matthews grew to absorb the brands Tung-Sol, Mullard, and Sovtek, too. Also, newcomer JJ Electronic showed up in the early ’90s. They earned a name for quality and reliable tubes made in Czechoslovakia, and, after the division of that country, Slovakia.The world now had sufficient vacuum tube manufacturers to furnish guitarists, amp builders, and retailers everywhere. For nearly 30 years, you could get almost any tube from countless retailers and distributors. That changed in 2020.
“At the end of 2019, the Chinese government told Shuguang, ‘we’re closing you down.’ To make things worse, I don’t know if they will be able to open again. They lost all of their skilled workers.”—Mike Matthews, Electro-Harmonix
The Current Shortfall
If you’ve shopped for new tubes in the last couple of years, you might have noticed strikingly few options available, and even more striking price tags on some of the ones that were. Yes, the current tube shortage is real. Guitar amp builders and retailers haven’t been able to rebuild their stock of tubes.
Why? The current shortage began in late 2019/early 2020, when China’s Shuguang factory—then the world’s largest tube manufacturer—shut its doors seemingly overnight. The loss of Shuguang put the tube industry on its heels in a big way, plus the pandemic was looming right around the corner.
“That was big,” acknowledges Matthews. “At the end of 2019, the Chinese government told Shuguang, ‘We’re closing you down.’ To make things worse, I don’t know if they will be able to open again. They lost all of their skilled workers.”
Very few in the industry know the real reason Shuguang was shuttered. Still, with the Chinese government’s penchant for secrecy, theories abound. According to Matthews, the Peking government wanted the factory’s land. Friedman, though skeptical, heard a different story. “They had a fire a while back, but who knows if they were lying,” he says. “Anyway, their whole process still isn’t back. Right now, there is only New Sensor Corporation, JJ, and Psvane. Those are the only manufacturers [although their tubes are sold under many brand names]. So, all your tubes are only coming from three sources."
“The guitar tube market is really small in the scope of the tube industry,” says Dave Friedman. “Tubes used to be used in a variety of things, so these huge factories [suddenly] had no demand. They basically became obsolete. That’s when Mike stepped in.”
Fast forward to today, and the world continues to deal with Covid, labor shortages, international tensions, and all-out war. Varying government ideologies snarl and confuse the production of countless products, and importing and exporting of many products has ground to a halt.
While the Russia/Ukraine war and its political ramifications haven’t officially stopped Matthews and Russian tube production, they have introduced nearly insurmountable challenges to his ability to export goods. Matthews believes this explains the massive price increases, noting, “Western countries have high tariffs on things from Russia, so the costs are up.”
“A tube that used to wholesale for $9 now wholesales for $18,” adds Friedman. “Some 12AX7s are selling at retail for $30 or something! The wholesale side is not much less than that. Russian tubes are kinda off the table at this point.”
The two vacuum tube manufacturers that remained open for business with no limitations were JJ Electronic and Psvane. But both have struggled to keep up with demand. It got so bad that, according to Friedman, “JJ were so back ordered that they hadn’t taken any new orders for a couple of years.”
“A tube that used to wholesale for $9 now wholesales for $18. Some 12AX7s are selling at retail for $30 or something! The wholesale side is not much less than that.”—Dave Friedman, Friedman Amplification
Tube Supply Today
The tube shortage has weighed heavily on the entire guitar industry for a couple of years now. Labor shortages and trade tariffs are a major headache for tube manufacturers, amp builders can’t finish their products, and guitarists can’t keep their amps in working shape. Much of this comes to a head at music retail.
“It has been a big deal,” Sweetwater’s Monroe says, sighing. “In some cases, we even had to take products off the web. There was no way we could deliver. We even explored buying a container full of tubes and getting our own tube-matching equipment. But that was such a huge task that we decided not to do it.”
For large retailers, the problem is twofold. They must have after-market tubes for their customers. Plus, they understand the need to allocate tubes to amp manufacturers, ensuring the tube shortage doesn’t also become an amp shortage. If tube amp builders don’t have tubes, they’re out of business.
“It’s a difficult needle to thread,” Monroe says. “There are a lot of tube amp users out there that need to service their existing amp. We can’t provide that because all the tubes are going to new amps. Yeah, we want to sell more amps but, at the same time, we want to take care of those customers.”
According to Mike Matthews, making tubes in the U.S. "“would cost something like 500 to 600 percent more. The environmental and labor considerations…. It’s a handmade business, and the costs are just way too high.”
Photo by Mike Chiodo
The Cost Factor
Other than JJ Electronic, nearly every vacuum tube today originates from Russia or China. In the ’70s and ’80s, both were promising markets on the global stage. But today, both countries have volatile political climates and have economically distanced relationships with the U.S. that makes trade, including the tube trade, much more difficult and expensive. So, many guitarists in our hemisphere are asking, “Why not just make tubes here in North America?”
Matthews wades in: “You can’t make them in the U.S.A. It would cost something like 500 to 600 percent more. It’s just much too expensive. The environmental and labor considerations…. It’s a handmade business, and the costs are just way too high.”
With the U.S. being a no-go, what about other industrialized countries that manufacture high-quality products while still keeping costs down? Could we produce tubes in Mexico, Indonesia, or Taiwan?
Again, Matthews says no. It’s just too skilled-labor intensive. “It’s a handmade thing. A machine can’t just make the whole tube,” he explains. “There are a lot of different parts that go into one tube. Each of those parts is made separately; then, the whole tube is put together. Tubes require people who have those skills.”
“But it’s a lost art,” Friedman adds. “Almost no one knows anything about tubes anymore or how to build them. All the people that did are dead now. It’s like how houses used to be hand-troweled plaster. Try and find a plasterer today who can do that work. They almost don’t exist. Stuff gets lost over time.”
“I mean, there are still a lot of tube amps that are sold. If there’s a demand, they’ll fill the void.”—Dave Friedman, Friedman Amplification
Emerging Optimism
Just when things are looking very dark, there is a faint light at the end of the tunnel. JJ Electronic is still at it and should accept new tube orders soon. Matthews’ New Sensor Corporation fully expects to make it through Russia’s current political climate. There are even rumors of Chinese powerhouse Shuguang returning.
“I think things are improving,” Monroe says, optimistically. “We’re hearing, ‘We’re getting more tubes in,’ and, ‘We’re going to be able to supply you with tubes.’ So, hopefully, for anyone that couldn’t get tubes through us, we’ll have their tubes in stock soon.”
Also, tubes never entirely went away. Look at any large retailer and you’ll find a selection of EL34s, 6L6s, 12AX7s, and more. Your choices might be limited, and the prices higher, but they’re there. Why? Because the industry saw this coming, reached out to their suppliers, and prepared accordingly.
“We started talking to the Psvane company early,” says Friedman. “We were set up with them and in a good position when this all happened.”
“Guys like Mike Matthews did tell people early on, ‘I’m getting shut down. I’m not going to be able to deliver these,’” says Monroe. “That created a bit of a panic at the time. So, we were able to order ahead and keep sales going.”
Amp Makers Adapt to Survive
Amp builders have been able to adjust to availability the same way they always have—by embracing different tubes and brands. While the name on a tube might say Sovtek, Mullard, or Mesa/Boogie, there’s a good chance it was made in the same factory. And amp builders, unbeknownst to most guitarists, often jump from one brand to another to ensure their customers get the best-sounding and most reliable tubes currently produced.
Friedman explains: “Look, tubes have to sound great, but they also have to be reliable. That’s why I've changed tube makers several times over the years—because of reliability issues. So, whatever amp brand is on a tube [in our amps], it’s just whatever tube deemed the most reliable for right now. And that’s changed a million times over the years.”
While Friedman thinks each tube has its own magic, he also believes that right now there are better ways to spend your tone-chasing money. “There’s a big variety of tubes,” he says. “They have their own gain levels and tone. They all have a sonic signature, and you need to find out what you like. But I’m of the mind, ‘Don’t swap your tubes if they’re working.’ And, if you have an amp you like, figure out what’s in it and replace them with the same tube. Just look for a well-tested tube from a reputable source. There are a lot of great tube matching/screeners out there. So, know what you’re going for and get a screened tube that has a warranty.”
“I mean, there are still a lot of tube amps that are sold. If there’s a demand, they’ll fill the void.”—Dave Friedman, Friedman Amplification
The Future of Tube Amps
Although we seem to be emerging from the tube shortage, if history does repeat itself, this won’t be the last time it happens. Also, let’s not forget the rise of digital modeling and the new generation of solid-state amps that approximate tube tone that have entered the market in recent years.
This leads to the question, “Is this the end of the electric-guitar tube amplifier?” Not according to both Friedman and Monroe. “There is enough of a market that tubes will continue. There’s still money on the table,” Friedman says matter-of-factly. “I mean, there are still a lot of tube amps that are sold. If there’s a demand, they’ll fill the void. And remember, they asked the same thing in the early ’90s. It happens over and over again.”
“Tube amps are as hot as ever,” echoes Monroe. “I’ve been in purchasing for a long time at Sweetwater, and there are just too many amps out there. Someone is going to find a way to keep them going.”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).