PG editors pick their favorite pedalboard-tested bargain stomps—tremolos, dirt boxes, tuners, switchers, and more.
The past year's record gear sales tell us that pandemic window shopping has become more a passion than a pastime. And whether you're pushing a “buy" button or on the horn to your local music shop, pedals are among the most affordable jones satisfiers. Our editors compared notes—and their own pedalboards—to compile this list of our favorite stomps that provide a big tonal bang for under a Benny. They range from time-proven classics to thoroughly modern mojo machines. Check it out, and at these prices you don't even have to hide your wallet first.
TC Electronic Rusty Fuzz
Many modern Fuzz Face-inspired silicon circuits are too dark and mannered, but this badass bargain zeroes in on a joyful range of anarchic, retro tones, from Hendrix to Big Brother. With unity gain at about 10 o'clock, keeping the fuzz setting under 11 a.m. provides enough hair to sting, and levels above that are slap-your-mama. Floor the fuzz and it's '68 at the Fillmore—held notes sing with feedback and bent strings roar and fluctuate, eventually decaying in a beastly groan. Even with fuzz maxed, the tone dial is quite responsive, so highs needn't get drowned in the tidal wave of fur, and turning the tone all the way down warms things if desired. And with a maximum output gain of +55 dB, punching through a live mix is not an issue. The Rusty Fuzz oxidizes the sound of humbuckers at every setting, although it takes some cranking to drive single-coils to glorious ruin. Add a wah pedal and cock it to different positions to tap some truly dinosauric sounds. There's no 9V battery option, but there is enough dynamism and control to satisfy any breed of vintage raunch hound. —Ted Drozdowski
The Good: Easily controllable, super-authentic-sounding vintage fuzz at a bargain price.
The Bad: No 9V option.
$69 street, tcelectronic.com
'93 Gibson Les Paul Classic, neck humbucker, GarageBand reverb plug-in; Rusty Fuzz off, then, volume at unity with fuzz at noon, 3 o'clock, and maxed, with tone at noon; next, fuzz at noon, 3, and 5 o'clock with tone maxed.
Mooer Trelicopter
From Origin Effects' and MXR's latest tremolo wonders to other time-proven gems, there's no shortage of cool amplitude-undulators on the market. But what I've long loved about the Trelicopter is that it puts remarkably amp-like tremolo at your feet not just for a ridiculously nice price, but also in a miniscule package. Even better, whereas many more expensive trem stomps tend to sacrifice faster, choppier sounds for slower, super-chill vibes (or vice versa), Trelicopter hovers in a wonderful middle ground. This is largely thanks to its handy bias control, which sharpens or smooths waveform edges to simulate sounds ranging from black- to brown-panel-esque. —Shawn Hammond
The Good: Vintage-feeling amp trem in a tiny package that's more flexible than many more expensive stomps.
The Bad: Seems to very slightly sap treble frequencies. Mini pots lack indicator mark.
$88 street, mooeraudio.com
Nobels ODR-Mini
It's not a stretch to think that aspiring session guitarists come to Nashville packing a Tele, a capo, and this overdrive. This mini version of the cult classic keeps the general vibe of its larger sibling along with its beautifully rich and mid-focused sound. Thanks to session player Tom Bukovac, the Nobels has taken on a life of its own—to the point where Buk' had to make a video busting all the myths around his early history with it, right down to the $30 price tag. Once word got out about the ODR, it landed on every Nashville cat's board and prices for vintage ones started to rise. Naturally the gain and level controls are self-explanatory, but the real magic is in the spectrum knob. Unlike a typical tone control, the spectrum moves several different frequencies around at the same time. Turning it counter-clockwise gives the tone a mid hump, but not in the way you might think. It decreases the bass and treble—a very handy feature when you're trying to find the right guitar/amp/pedal combo in a mix. If you dig the whole TS vibe but want more mid control, start with this other green box. —Jason Shadrick
The Good: Glow-in-the-dark knobs! You can run it at 18V for more headroom.
The Bad: At extreme gain settings it gets a bit fizzy.
$79 street, nobels.de
Korg Pitchblack Custom
For what's arguably the most important pedal on the floor, this tuner appeals to the type of player who—alongside quickness and accuracy—puts high value on visibility to counteract dark stages and/or sub-par vision. Its 3-D, liquid-like screen makes up about 75 percent of the face of the pedal and leaves no doubt as to what's on the display, no matter which of the four different meter modes chosen. In terms of accuracy, you'd be hard pressed to do much better than the Pitchblack Custom's +/- 0.1 cent spec, unless you pony up for a desktop strobe unit. You won't find a big menu of tuning presets, polyphonic functionality, or other ancillary features on the true-bypass Custom, but it's wonderfully simple and fast, and caters to people like me who can never find their glasses. It's just icing on the cake that the sub-$100 box happens to look like a stealthy spy gadget. —Rich Osweiler
The Good: Huge, crisp, and clear display. Minimalist design. Accuracy to +/- 0.1 cents.
The Bad: Nada.
$99 street, korg.com
Boss TR-2 Tremolo
This list is supposed to be about pedals less than 100 bucks. But at $103 and change, we've made an exception for the venerable and perpetually overachieving TR-2. I bought mine more than a decade ago (I think it was then priced closer to $129), stuck it on my board, and, with a few exceptions, it's been there ever since. Does it top the sounds of vintage Fender amp trems, or one of the more exacting (and expensive) new-school DSP-vintage-driven emulations? No, but I tend to find the comparisons academic. The TR-2 has a warm but familiar voice all its own—several actually, when you factor in the waveform control, which moves from soft, round sine-wave pulses to choppier square waves, and many blends in between. The TR-2 has quirks, like a depth control that makes the modulation virtually imperceptible until just before high noon on the dial. But the perceived volume drop that allegedly plagued early models is long gone, And like so many Boss pedals, it's built to sturdy standards that rival much more expensive and exclusive boutique offerings. —Charles Saufley
The Good: Great range of tremolo textures, from soft, soulfully undulating pulses to hard-choppin' square waves.
The Bad: Not much perceptible modulation in the first half of the depth control's range
$103 street, boss.info
MXR Blue Box
This two-octaves-down-plus-fuzz stomp has been creating chaos since 1974, although it took Jimmy Page's solo on 1979's "Fool in the Rain" to really put it on the map. Today, the pedal's making a well-deserved comeback in stoner rock. It's a simple critter—the double-octave drop engages when it's switched on, the output controls volume, and blend adds or subtracts fuzz. Counterintuitively, with more fuzz in the mix, the overall sound is more controllable and sustained, and less glitchy. Same thing when you play higher on the neck. But the low octave tones are full of marvelously colorful blips and snorts, and the unpredictable note decay—sometimes it's more like dropping off a cliff—has a stellar charm all its own. Try a chord, for a laugh. If that unpredictable decay becomes annoying, just zip a clean boost in front of the Blue Box to beef up sustain. But half the fun of this venerable device—which works on 9V battery or adaptor power—is that madcap unpredictability. —TD
The Good: A Pagey-approved, distinctively weird-ass sound for the ages.
The Bad: If glitching and unpredictable drop-outs bug you, this one-trick horsie ain't your ride.
$79 street, jimdunlop.com
'93 Gibson Les Paul Classic, neck humbucker, Carr Vincent combo, Blue Box off, output at unity; then Blue Box on with blend at 7, 9, 12, and 3 o'clock, and maxed. Followed by a G campfire chord clean, and then with blend at max and at 3 p.m.
Radial Engineering BigShot ABY
If you ever get the hankering to see how fun/cool it is to play through or switch between two amps, just keep in mind it's not quite as simple as just tracking down a box that lets you send your mono signal to two outputs. As many players have found the hard way, phase-cancellation and ground-loop goblins lurk in the shadows of such setups, so if your junction box doesn't have features to deal with them, you may be prematurely thrown off your game and wonder "What the hell! These amps sound fantastic on their own—why don't they now?" In our Rig Rundowns, you've no doubt seen innumerable professionals using Radial utilities for unexciting-but-critical concerns such as these. That's because Radial gear is super sturdy and typically addresses all possible gigging downfalls with straightforward simplicity. For instance, the BigShot ABY requires no power (unless you want to power the current version's channel-indicator LEDs—mine is an older one without LEDs, but I keep the amps on full-time so it doesn't matter) and features a slider for correcting that weak, nasal sound you get when your amps are out of phase, as well as ground-lift and isolation-transformer switches to help eliminate hum. Even cooler, while Radial might not encourage it, I've had wonderful luck using the BigShot's tuner output to route my signal to a third amp, sans any phasing or noise issues. —SH
The Good: Smart, superb, no-nonsense way to play through two or three amps.
The Bad: NA
$99 street, radialeng.com
ProCo RAT 2
We see a lot more RAT 2 homages from boutique builders these days. That's a welcome development, because the RAT 2's basic architecture and tone profile has always been more versatile than its heavy reputation suggests. Good RATs can make leads liquid and white hot with sustain. They also generate great low- to mid-gain overdrive tones, and the filter/tone knob can crate thick, smoky fuzz and distortion voices. But one of the best things about the RAT 2 is that the contemporary China-built version—which sells for a whopping $70—still gets you most of the way to the sound of a vintage late-'80s/early-'90s version. I had one of these recent RATs on extended loan from a pal. It lacked some of the mysterious, hazy thickness and complexity that my vintage version delivers at heavily filtered, attenuated-highs settings. It can also seem a bit peaky in the top end compared to my battered oldie. But 95 percent of the time—and especially in those growling mid-gain distortion settings that folks love to hear from a RAT—the recent-vintage unit sounded and felt practically indiscernible. Did I get lucky? Maybe. But it seems more likely that after selling about a zillion RAT 2s, Pro Co has sorted out how to build this classic to consistently high standards on the cheap. —CS
The Good: Almost all of the killer sounds you'd get from a vintage RAT 2. Super inexpensive.
The Bad: Filtered tones can lack some of the complexity heard in vintage versions.
$70 street, ratdistortion.com
TC Electronic Hall of Fame 2 Mini
Emulating the sound and feel of space is one of the most enduring and strangely satisfying musical effects for guitarists. From the drippy goodness of vintage Fender combos to the ethereal and metallic sounds of modern shimmer, various types of reverb are close to rivaling the number of 3-knob overdrives. The Hall of Fame 2 Mini is a tiny little stomp that covers nearly any possible reverb flavor you might need. When I first got my hands on one, I needed more of a set-and-forget for times when I had a reverb-less backline. Admittedly, I also spent a fair amount of time just blissfully exploring the more ambient settings. One significant upgrade over its predecessor is the addition of a MASH footswitch that acts as an expression pedal to give certain settings more real-time depth and dynamics. You can really interact with the tones in a meaningful way by simply pressing down a bit more. In most cases the effect is subtle but present. However, with a bit of deeper editing via the TonePrint app, you can get downright Fripp-esque with it. If anyone asks about a reverb pedal but doesn't have an affinity toward a particular flavor, I point them to the HOF 2. —JS
The Good: Mind-boggling amount of control via the app. Very authentic analog sounds.
The Bad: Not easy to switch reverb types on the fly.
$99 street, tcelectronic.com
TC Electronic Hall of Fame 2 Mini - Pedals Under $100
Electro-Harmonix Stereo Pulsar
Pulsar is a space-age-sounding name for a decidedly retro analog pedal, and its ability to toggle between triangle and square waves is common to other tremolo stomps, as is the shape dial that adds adjustable sawtooth characteristics to the triangle mode and variable pulse widths to the square wave mode. Rate and depth are the other controls, naturally. So, what makes this box special? It's a stereo tremolo for under $100, and if you think that's not a big deal it's only because you haven't experienced the psychoacoustic payoff of on/off square wave pulses ricocheting between a pair of amps—and your eardrums. It's an enjoyably trippy experience, as the pulses gently and intermittently slap the sides of your skull. But triangle mode shines, too, in a smoother way. Slow pulses of moderate depth also blend well with chorus, phasing, flanging, and even carefully tailored delay-pedal settings, so there's room for more sonic deviance. Use the main out only, and the pedal's mono, giving your amp classic Fender-style tremolo sounds. Add in 9V battery and adaptor power options, and a hard metal shell that's likely bulletproof, and you've got a workhorse stomp that dabbles in microdosing.—TD
The Good: Honest vintage tremolo that's easily shapeable and, in stereo, trippy as hell.
The Bad: If you're looking for modern twists like shimmer and layering, this ain't your juice box.
$89 street, ehx.com
Sample 1 — Round Waves: '73 Fender Stratocaster, Carr Vincent combo and Orange Micro Terror head and Sam Hill Custom 1x12 cabinet, Pulsar off, then with shape control at 10, 12, and 2 o'clock; depth at noon except last play-through at 2
Sample 2 — Triangle Waves: '73 Fender Stratocaster, Carr Vincent combo and Orange Micro Terror head and Sam Hill Custom 1x12 cabinet, Pulsar off, then with shape control at 10, 12, and 2 o'clock; depth at noon except last play-through at 2
Mooer Lo-Fi Machine
My first crack at trying a Mooer came when I reviewed the LoFi Machine nearly seven years ago. Initially, I was skeptical because of the brand's super-low prices and newness on the scene, but it didn't take long to forget all that. The bit knob reduces sampling depth from 5–16 bits, while mix and sample control dry/wet ratio and sample-rate reduction (60–31,250 Hz), respectively, and a 3-way toggle optimizes EQ response for synth, guitar, or bass. With careful manipulation of these controls (as well as your picking attack and other effects), you can use the Machine to summon everything from cool vintage electric-piano approximations to harpsichord tones and old-school video game sounds. Needless to say, I bought this rad stompbox after the review, and today it's still part of my rig—only at the moment it sits atop my keyboard, where I can easily manipulate controls with one hand while playing with the other. —SH
The Good: Myriad unusual sounds—from tame and lovely to lovably silly or sadistically warped—in a small, affordable package.
The Bad: Slightly saps treble frequencies. Mini-pot settings difficult to keep track of.
$98 street, mooeraudio.com
Test Gear: Danelectro '56 Baritone reissue, Squier Vintage Modified Telecaster Custom with Curtis Novak pickups, Schecter Ultra III with TV Jones Magna'Tron bridge pickup, Jaguar HC50 and Goodsell Valpreaux 21 amps.
EarthQuaker Devices Plumes
The ubiquity of the Tube Screamer—and the scores of overdrives that have come in its wake—make it easy to forget the virtues and potential of the original. In fact, EarthQuaker Devices founder Jamie Stillman once hinted he would never bother with building a TS-based pedal. But EQD is nothing if not a restless bunch, and I suspect that the challenge of building a TS-inspired circuit with variable clipping—all for 99 bucks—was more than Stillman and crew could resist. The results are impressive. In general, the Plumes has a bit more headroom and clarity in the top end than your average TS. The LED symmetrical clipping mode ranges to savage grinding and beautifully compressed. The asymmetrical clipping mode is a little softer around the edges, with almost-saturated Fender-amp-like overdrive. There's also a no-clipping op-amp boost setting that reminds you how effectively a TS can work as a near-clean boost. Plumes would be a great TS alternative if it were 50 to 70 percent more expensive. At this price, it's a steal. —CS
The Good: A TS with a triple twist of clipping options. Great range of aggressive-to-clean sounds. Great tone control. More headroom than your average TS-style pedal.
The Bad: Hard to switch clipping modes on the fly without major volume changes.
$99 street, earthquakerdevices.com
Kliq TinyTune
When it comes to mini tuner pedals, mainstream brands like TC Electronic, D'Addario, and Korg tend to rule the roost for serious players, but does that mean they're our only viable option? I decided to put that question to the test a couple years ago when my old Planet Waves Chromatic Pedal Tuner finally died and I saw all the great Amazon reviews for the KLIQ TinyTune. As you've probably noticed, shopper reviews—whether on Amazon or a respected retailer's site—are often overly fawning simply because the item arrived quickly, the sales consultant was engaging and friendly, or, most offensively, the person didn't encounter any problems after using the product for an hour or two. Nevertheless, with an average rating of 4.5 and hundreds upon hundreds of reviews, I figured $29 wasn't that big a gamble. When the TinyTune arrived, I was pleasantly surprised to find that it seemed every bit as sturdy and feature-laden as other tuners on the market, and its display was both brighter and less jumpy than many tuners I've used. —SH
The Good: Excellent build quality and feature set. Clear, bright, easy-to-read interface.
The Bad: Registers notes slightly slower than more expensive offerings.
$29 street, kliqmusicgear.com
Electro-Harmonix Nano Bass Big Muff
Electro-Harmonix is known for a lot of things, with distorted tones and affordability way up high on that list. Inspired by the company's lauded green Russian Big Muff, but in a smaller package and voiced for bassists, the Nano Bass Big Muff houses the accustomed volume, tone, and sustain dials for sound sculpting. However, this Muff also has a mini toggle to switch over to a 50/50 wet/dry signal blend and assist in low-end retention and clarity. At just about 80 bucks, the price is certainly nice, but so is its dirt delivery, which leans more towards warm and fat as opposed to a treble-y or harsher timbre. The NBBM's range of thick fuzz tones are apt for stoner and doom to vintage rock and metal, and really pushing it will spit out copious amounts of tummy tickling fuzz with synth-y flavor, but the NBBM also hangs nicely as a foundational tool with just a kiss of dirty in dry mode. There are a lot of great fuzz pedals for bassists on the market, but pound for pound divided by price, the Nano Bass Big Muff is pretty close to Nobrainerville for me. —Rich Osweiler
The Good: Excellent low-end retention. Dry switch for wet/dry blend.
The Bad: Wet/dry blend limited to the toggle switch's preset 50/50 ratio.
$80 street, ehx.com
Electro-Harmonix Bass Big Muff Nano - Pedals Under $100
MXR CSP101SL Script Phase 90
Maybe it's just front of mind because of Edward Van Halen's recent passing, but when the idea for this story first came across my desk, I immediately flashed on "Eruption" and went to see what a Phase 90 was going for. Thankfully, this Custom Shop version squeaked right under our dollar parameters. The thick syrupy sounds of a well-crafted phaser have permeated not only some of EVH's most famous jams, but also the outlaw funk of Waylon Jennings and the reggae jams of Bob Marley. For the orange-box purists, the script logo versions are the way to go. Thankfully, this particular model has both an LED and an option for 9V power—both of which are missing in the original model. With only one knob to control the speed, the lack of tweakable options is freeing, in a way. Simply turn it until it sounds good. Many times I find myself using my foot to dial in just the right amount, thanks to the handy rubber ring that MXR throws in the box. This is easily one of trippiest pedals to stand the test of time. —JS
The Good: Dead simple to use. Sounds fantastic.
The Bad: I probably use it too much.
$99 street,jimdunlop.com
MXR CSP101SL Script Phase 90 - Pedals Under $100
Big Knob Tone Blender MkII 66
Once you've experienced the rush of hearing a vintage Tone Bender fire up—volume erupting through the roof, mohair-thick fuzz wrapping every note, super-creamy and responsive sustain that gives way to rancorous decay, and subtone artifacts that wobble behind held notes—coveting one is inevitable. Trouble is, a '60s or '70s Bender will set you back $500 to $800. Some clones aren't much cheaper, and most of them tend to sound darker than the originals or lack those artifact surprises. Not so the Tone Blender MkII 66. Big Knob "supreme commander" and one-man band Gary Kibler has been hand-building faithful reproductions of vintage circuits at his workbench for 12 years now, even cutting circuit boards from strip. The MkII is, like its namesake, a three-gain-stage circuit, using Soviet-era military NOS germanium transistors. Level, with unity at, um, barely on, provides a shocking amount of volume on tap, and the attack dial goes from colorful fuzz to hairy, howling banshee. There's no power supply option, in keeping with the originals. You'll want to use your guitar's volume and tone knobs to help command this insane fuzz, which fulfills Kibler's mission to provide classic tones for players on a budget. —TD
The Good: The gory glories of the original MkII Tone Blender at a shocking low price.
The Bad: Also like the originals, you'll need to invest a little time to learn to control this wild, snarling beast—unless you just drop the leash.
$80 street, bigknobpedals.com
Big Knob Tone Blender MkII 66 - Pedals Under $100
Zuzu Green Monster with custom pickup, bridge, in open D tuning; Carr Vincent combo.
Rhythm: clean, Tone Blender volume at unity, attack minimum, then maximum.
Melody line: clean, Tone Blender volume at unity, attack minimum, then maximum, then noon.
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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.
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).
See and hear Taylor’s Legacy Collection guitars played by his successor, Andy Powers.
Last year, Taylor Guitars capped its 50th Anniversary by introducing a new guitar collection celebrating the contributions of co-founders Bob Taylor and Kurt Listug to the guitar world. The Legacy Collection revives five of Bob Taylor’s classic acoustic models, curated by the legendary luthier and innovator himself. “To imagine that we’re doing guitars that harken to our past, our present and our future all at the same time,” Bob says, “I really like that.”
In developing the collection, Bob preserved the essence of his originals while integrating performance and playability upgrades introduced during his tenure as designer-in-chief. “It’s an up-to-date version of what those guitars would be,” Bob explains, “but with the same sound.”
Visually, these guitars feel classic—clean, understated and unmistakably Taylor. While Bob’s original aesthetic preferences are showcased in his Legacy models, the nod to the past runs deeper than trade dress.
From his earliest builds, Bob favored slim-profile necks because he found them easier to play. That preference set a design precedent that established Taylor’s reputation for smooth-playing, comfortable necks. Legacy models feature slim mahogany necks built with Taylor's patented New Technology (NT) design. “My first neck was a bolted-on neck but not an NT neck,” Bob says. “These are NT necks because it’s a better neck.” Introduced in 1999, the NT neck allowed for unprecedented micro-adjustability while offering a consistent, hand-friendly Taylor playing experience.
What makes this collection unique within the Taylor line is Bob’s use of his X-bracing architecture, favoring his time-tested internal voicing framework over more recent Taylor bracing innovations to evoke a distinctive tone profile. Since Andy Powers—Taylor’s current Chief Guitar Designer, President and CEO—debuted his patented V-Class bracing in 2018, V-Class has become a staple in Taylor’s premium-performance guitars. Still, Bob’s X-bracing pattern produces a richly textured sound with pleasing volume, balance and clarity that long defined the Taylor voice. All Legacy models feature LR Baggs VTC Element electronics, which Bob says “harkens back to those days.”
The team at Taylor thought the best way to demonstrate the sound of the Legacy guitars was to ask Andy Powers, Bob’s successor, to play them. A world-class luthier and musician, Andy has spent the past 14 years leading Taylor’s guitar innovation. In addition to V-Class bracing, his contributions include the Grand Pacific body style, the ultra-refined Builder’s Edition Collection, and most recently, the stunning Gold Label Collection.
Below you’ll find a series of videos that feature Powers playing each Legacy model along with information about the guitars.
Legacy 800 Series Models
First launched in 1975, the 800 Series was Taylor’s first official guitar series. Today, it remains home to some of the brand’s most acclaimed instruments, including the flagship 814ce, Builder’s Edition 814ce and new Gold Label 814e.
The Legacy 800 Series features the 810e Dreadnought and two Jumbos: the 6-string 815e and 12-string 855e. Each model serves up a refined version of the Dreadnought and Jumbo body shapes Bob inherited from Sam Radding—the original owner of the American Dream music shop where Bob and Kurt first met. “I was making my guitars in the molds that Sam had made at American Dream,” Bob recalls. “There was a Jumbo and a Dreadnought. That’s all we had.”
All three Legacy 800 Series guitars feature one of Bob’s favorite tonewood combos. Solid Indian rosewood back and sides are paired with a Sitka spruce top, yielding warm lows, clear trebles and a scooped midrange.
Aesthetic appointments include a three-ring abalone rosette, mother-of-pearl Large Diamond inlays, white binding around the body and fretboard, and Bob’s “straight-ear” peghead design. Both Jumbo models also showcase a mustache-style ebony bridge—a nod to Bob’s early Jumbo builds.
Legacy 810e
The 810 Dreadnought holds a special place in Bob Taylor’s heart. “My first 810, the one I made for myself, was a thrilling guitar for me to make,” he says. “It’s the one and only guitar I played. It didn’t matter how many guitars we made at Taylor, that’s the one I took out and played.” The Legacy 810e brings back that bold, room-filling Dreadnought voice along with the easy playability expected from a Taylor.
Taylor Guitars | Legacy 810e | Playthrough Demo
Legacy 855e
Taylor’s first 12-strings found an audience in 1970s Los Angeles. “I was making guitars that would find their way to McCabe’s in Santa Monica and Westwood Music,” Bob says, “and these guitars were easy to play. Twelve-strings were a popular sound in that music. It was a modern country/folk/rock music genre that was accepting our guitars because they were easy to play. They also liked the sound of them because our guitars were easier to record.” The Legacy 855e, with its resonant Jumbo body, slim neck and gorgeous octave sparkle, carries that tradition forward.
Taylor Guitars | Legacy 855e | Playthrough Demo
Legacy 815e
The Legacy 815e revives Taylor’s original Jumbo 6-string, delivering a big, lush sound with beautifully blooming overtones.
Legacy Grand Auditoriums
In the early 1990s, Bob Taylor heard a consistent refrain from dealers: “Not everybody wants a dreadnought guitar anymore.” Players were asking for something with comparable volume but different proportions—something more comfortable, yet still powerful. This feedback inspired Bob to design a new body style with more elegant curves, more accommodating proportions and a balanced tonal response. The result was the Grand Auditorium, which Taylor introduced in 1994 to celebrate its 20th anniversary.
Thanks to its musical versatility and easy playability, Bob’s Grand Auditorium attracted a wide variety of players. “We came into our own with our Grand Auditorium,” he says. “People were describing it as ‘all around.’ It’s a good strummer and good for fingerstyle, but it’s not totally geared toward strumming or totally geared toward fingerstyle.” Also referred to as the “Swiss-Army Knife” of guitars or the “Goldilocks” guitar, the GA quickly became a favorite among guitarists across playing styles, musical genres and different playing applications including recording and live performance. “That guitar made studio work successful,” Bob says. It gained a wider fanbase with the debut of the “ce” version, which introduced a Venetian cutaway and onboard electronics. “That became one of our hallmarks,” says Bob. “If you want to plug in your guitar, buy a Taylor.”
Today, the Grand Auditorium is Taylor’s best-selling body shape.
The Legacy Collection features two cedar-top Grand Auditoriums inspired by past favorites: the mahogany/cedar 514ce and rosewood/cedar 714ce. Both models incorporate Bob’s original X-bracing pattern for a tonal character reminiscent of their 1990s and 2000s counterparts. Shared aesthetic details include a green abalone three-ring rosette, ebony bridge pins with green abalone dots, a faux-tortoiseshell pickguard and Taylor gold tuning machines.
Taylor Guitars | Legacy 815e | Playthrough Demo
Legacy 514ce
The Legacy 514ce features solid mahogany back and sides paired with a Western Red cedar top, yielding a punchy midrange and dry, woody sonic personality that pairs beautifully with cedar’s soft-touch sensitivity and warmth. It’s a standout choice for fingerstyle players and light strummers who crave nuance and depth. Distinct visual details include faux-tortoise body and fretboard binding, black-and-white top trim, and mother-of-pearl small diamond fretboard inlays.
Taylor Guitars | Legacy 514ce | Playthrough Demo
Legacy 714ce
The Legacy 714ce also features a cedar top, this time matched with solid Indian rosewood back and sides. The result is a richly textured sound with deep lows, clear trebles and a warm, mellow response. Inspiring as it is, this specific wood pairing isn’t currently offered in any other standard Taylor model. Additional aesthetic details include green abalone dot fretboard inlays, black body and fretboard binding, and black-and-white “pinstripe” body purfling.
While the Legacy Collection spotlights Taylor’s past, newer models from the Gold Label, Builder’s Edition and Somos Collections show the company’s legacy is always evolving. Explore the Legacy Collection at taylorguitars.com or visit your local authorized Taylor dealer.
Taylor Guitars | Legacy 714ce | Playthrough Demo
The Oceans Abyss expands on Electro-Harmonix’s highly acclaimed reverb technology to deliver a truly immersive effects workstation. The pedal is centered around dual reverb engines that are independently programmable with full-stereo algorithms including Hall, Spring, Shimmer and more. Place these reverbs into a customizable signal path with additional FX blocks like Delay, Chorus, Tremolo, or Bit Crusher for a completely unique soundscape building experience.
Electro-Harmonix has paved the way for powerful, accessible reverbs since the release of the original Holy Grail and now we’ve pushed the envelope deeper with the fully-equipped Oceans Abyss. Featuring a customizable signal path with up to 8 effects blocks, the Oceans Abyss can be configured as individual reverb, modulation, EQ, delay, bit crusher, saturation or volume effects, or as countless combinations for incredibly creative effect shaping. From a simple Spring reverb to a lush stereo field featuring stereo hall and shimmer reverbs, chorus, delay, overdrive, and tremolo, you can go from surf to shoegaze instantly, without breaking a sweat.
Deep parameter editing is accessible via the high-visibility OLED display with multiple graphical views and easy-to-read designs. Expression/CV control over nearly every parameter gives artful control of your effects and dynamics. Fully-stereo I/O plus an FX Loop allows for use with any instrument, recording set up, or live rig. 128 programmable presets via onboard footswitching or MIDI ensure perfect recall in all performance situations. MIDI IN/OUT ports with MIDI IN support of PC, CC, and Tempo Clock expand the already immense talents of the Oceans Abyss. Connect with UBS-C to Windows or Mac for effects editing, preset management, and more with the free EHXport™ app (coming soon).
- Two Stereo Reverbs available at once, each fully pannable in the stereo field
- 10 reverb types to choose from: Room, Hall, Spring, Plate, Reverse, Dynamic, Auto-Infinite, Shimmer, Polyphonic, Resonant
- Additional FX blocks: Delay (Digital, Analog and Tape emulations), Tremolo, Chorus, Flanger, Phaser, Graphic EQ, Saturation, Bit Crusher, External FX Loop, Volume
- Create custom signal path routing with up to 8 effects blocks. Two blocks may be re-verb, the rest may be any of the additional FX blocks.
- Infinite reverb sustain with the press of a footswitch
- Stereo Audio I/O
- Stereo FX Loop routing on TRS Jacks
- Dual action footswitches allow for momentary or latching use
- Easily enable or disable tails
- 128 fully customizable presets
- All controls can be saved to presets
- Dive deep into global and preset settings to set up Oceans Abyss for your specific needs
- Illuminated slide pots and buttons
- High-visibility OLED graphical display
- Multiple graphical views: Signal Path, Performance, Settings, Physical, Explorer
- Easy-to-navigate menu system
- Ergonomic NavCoder knob allows rotary and directional navigation through menus
- EXPRESSION / CV input to control nearly any parameter in any FX block
- Footswitch input allows for adding up to three external footswitches, each assigna-ble to a number of functions
- MIDI In and Out. MIDI IN supports PC, CC (over nearly every available parameter), and Tempo Clock
- USB-C port to connect to Windows or Mac and interface with EHXport™ app (coming soon)
- 96kHz / 24-bit sample rate conversion
- Supplied with 9.6VDC / 500mA power supply