Eclectic Effecting 101: How to Use Stock Pedals to Unlock New Sounds

A hands-on guide to using chains of pedals to create enigmatic, spooky, and downright crazy sounds.
Have you ever wondered how to combine guitar effects to create unique and unusual sounds? If youāre willing to experiment and think creatively about your gear, itās not too hard. For starters, letās agree on one thing: a new guitar color means very little if it lacks a musical context. Without a song or composition to frame your sounds, youāll quickly become that self-indulgent internet guitarist who just bought the latest gadget and insists on showing it off with no point of reference or practical application.
Conversely, consider Tom Morelloās brilliant use of the DigiTech Whammy pedal in Rage Against the Machineās āKilling in the Name,ā or Adrian Belewās pachyderm-inspired trumpeting (which he purportedly created using an Electro-Harmonix Big Muff running into a Deluxe Electric Mistress flanger) on King Crimsonās āElephant Talk.ā
Think about the Beatles, who always wrote a great song first and then modified it with effects. This is true for āI Need You,ā with its subtle volume swells, which John Lennon created by manipulating the knobs on George Harrisonās guitar while he was strumming the chords. Another Fab Four highlight is āIām Only Sleeping,ā which features some out-there (for the time) backwards guitar sounds that were created by flipping over the tape.
So do yourselfāand your listenersāa favor and put your new sounds in an environment that displays musical creativity, not simply gear lust. To help you reach that goal, weāll explore different ways to coax fresh sounds from an assortment of pedals, and then showcase these colors in a variety of musical settings.
Mix and Match
For these particular sound experiments, I was fortunate enough to borrow some gear from various friends, which I augmented by rummaging through my own meager collection. But donāt let this vast selection of gear dissuade you from taking the plunge into sound design. You donāt need to have these specific brands and models of pedals to try out the following ideas. For the most part, my pedal choices were rather ordinary. I focused on the basicsāchorus, flange, rotary, delay, and distortionāwith the occasional modern or boutique pedal thrown into the mix. Ultimately, itās about generating compelling sounds with the gear you have at hand.
On all the sound clips, I played an American Standard Telecaster equipped with JBE HB humbuckers. I used a variety of ampsāall clean and with the reverb offāincluding a Fender Princeton Reverb, Fender Deluxe Reverb, Marshall JCM 900, and a Marshall G80R CD. But honestly, the amps made very little difference because all I needed was a clean, full sound.
Laser-Gun Guitar
Letās start with something relatively straight-ahead. Clip 1a offers a space-age effect with a playful, sci-fi feel. This sound gives the impression that youāre tremolo picking, when youāre actually playing only one note at a time. To that point, a tremolo pedal could work, but Iāve found that most flangers pulse faster than most tremolo devices. A fat, distorted tone is particularly helpful for this sound. (If you elect to go clean, use heavy compression.) One of the tricks to using this sound is to match the song tempo to the pulse of the effect. In this clip, the tempo is 140 bpm.
I started my signal with an MXR CAE Boost/Overdrive with all knobs, except the boost, set at 50 percent. From there I ran into a Boss BF-2 Flanger with the rate maxed out, and the depth, manual, and resonance at 50 percent. In Clip 1b, youāll hear the short riff without any effects.
Signal Chain: Guitar > MXR CAE Boost/Overdrive > Boss BF-2 Flanger > Fender Princeton Reverb
Arpeggios: More Than Meets the Ear
Keyboard arpeggiators have been around for decades. Duran Duranās āHungry Like the Wolfā keyboard intro is a prime example. Some might also point to the Whoās āBaba OāRiley,ā but my research suggests that was generated by a Lowrey organ marimba with the repeat function on. Still, itās a similar effect. An arpeggiator pedal will generate a stream of arpeggios or scalar runs after you hit a single note. Sometimes they can sound stiff and lifeless, but adding in another effect can give the sound a new dimension.
In Clip 2a, the guitar just goes through an EarthQuaker Devices Arpanoid set to run a minor-scale sequence. Pretty funky, huh? In Clip 2b, I added a Boss PS-6 Harmonist set to harmonize down a perfect fifth. At about 0:22 into the clip, I added a TC Electronic Flashback 2 Delay set to reverse with almost no feedback, and a delay time that matches the tempo. I also put a 1960 Old World Compressor at the beginning of my signal chain, so the sequence doesnāt decay as quickly.
Signal Chain: Guitar > 1960 Old World Compressor > EarthQuaker Arpanoid > Boss PS-6 Harmonist > TC Electronic Flashback 2 > Marshall G80R CD
Time for Techno
These days there are plenty of synth-emulator pedals, such as the DigiTech Dirty Robot, the Pigtronix Mothership, and the Subdecay Octasynth, just to name a few. As great as these pedals sound, if you really want to emulate a classic ā70s or ā80s synth, I recommend you connect your synth pedal to some sort of modulation effect. Weāll use the most ubiquitous oneāa chorus.
For this example, I plugged an Electro-Harmonix Micro Synth into an Analog Man Bi-Chorus. The Micro Synth is dialed to an Arp Synth setting I nabbed from the companyās very helpful templates. The trick here is to make sure you have enough modulation effect to give the synth depth and movement, but not so much that it throws the synth sound out of tune. Iāve set both the speed and depth to about 60 percent. Clip 3 is pure ā80s synth, Ć la Yaz or Eurythmics. The transformation is so drastic that one could be excused for doubting this is a guitar.
Signal Chain: Guitar > Electro-Harmonix Micro Synth > Analog Man Bi-Chorus > Fender Deluxe Reverb
Faux-Synth Fuzz
āWell, thatās just fine,ā I hear you say, ābut what if you donāt have a synth pedal?ā The fact is, you can emulate certain synth sounds with just about any high-gain or high-fuzz distortion pedal running through any stomp that adds movement to your signal. For faux-synth fuzz, Iām usually partial to boxes that let you adjust the bias, such as the EarthQuaker Devices Dirt Transmitter. It can go from ultra-thick and smooth fuzz, reminiscent of a Les Paul through a Hiwatt stack, to a tone that sounds like a slowly dying 9V battery. I then run the fuzz through something like a JHS Unicorn vibe effect.
But for this example, I used a Keeley Dark Side, which contains a multitude of sounds in one small unit. For Clip 4, I set the Dark Sideās fuzz to maximum and the fuzz filter to 50 percent. On the mod side of the pedal, I maxed out the U-Vibeās depth and chose a rate of 50 percent. The result: an ultra-clean distortion with a pulsing triplet feel and very little attack tone.
Signal Chain: Guitar > Keeley Dark Side > Fender Deluxe Reverb
Steel Drums
While this effect is a bit of a novelty, you could easily use it in some other context, which is to say, one that doesnāt evoke the islands. To create Clip 5, I used the Electro-Harmonix POG with the dry guitar signal set low (be sure to keep it in there, otherwise the effect sounds very artificial). The ātwo octaves upā setting is at 100 percent, and the āone octave upā setting is at 50 percent. This gets you pretty close to steel drums but, once again, the trick is to include movement. To create it, I also added a small amount of tremolo using a T-Rex Tremster, with both the depth and speed set to about 15 percent. The tremolo is so slight that when itās on, you donāt notice it, but if you turn it off, you miss it.
Signal Chain: Guitar > Electro-Harmonix POG > T-Rex Tremster > Fender Princeton Reverb
Jingle-Jangle
Youāll notice Iāve used the word āfauxā several times to indicate that these effects get you close to emulating other instruments, but not completely there. Iāve chosen this word because Iām not interested in precisely cloning the original tones and timbres. If I wanted total accuracy, Iād simply play those instruments or at least find samples. The whole point here is to do something slightly different. Use these faux ideas as starting points and then try manipulating them to discover even more sounds.
In that spirit, I offer Clip 6, which goes after some faux 12-string tones. Once again, Iāve used the Electro-Harmonix POG, this time with the dry guitar signal and the āoctave upā set at maximum. Theoretically, that will get you the octave-string sound of a 12-string. Still, that doesnāt provide the natural chorus of a 12-string. But thatās easy to remedyājust add a chorus pedal. For this example, I went with a Fulltone ChoralFlange with everything set low, but with a wide sweep.
Signal Chain: Guitar > Electro-Harmonix POG > Fulltone ChoralFlange > Fender Princeton Reverb
East Meets ⦠West?
This is a sound I discovered by doing what youāre not supposed to do. The EarthQuaker Devices Tentacle is a one-button, no-knobs, octave pedal. The manual states, āThe effect will become much more pronounced when using your neck pickup and playing above the 12th fret.ā Being somewhat contrarian, I decided to use the bridge pickup and play below the 12th fret. Wowāwas it biting! It sounded kind of like a sitar, or maybe a Japanese shamisen, or is it a Turkish cumbus? Actually, it doesnāt really sound like any of them.
Nevertheless, I played a hybrid lick using all those instruments as inspiration. I played the so-called Japanese pentatonic scale (Rāb2ā4ā5āb6) and incorporated some phrasing and articulation more akin to a Middle Eastern taqsim. But it was still missing something. I added a mysterious texture I cajoled from a TC Electronic Hall of Fame Reverb by selecting the Church setting, turning the tone all the way off, and dialing decay and level to 75 percent. Suddenly there was a sound that sparked childhood memories of watching badly dubbed Kung Fu movies on Saturday morning TV (Clip 7).
Signal Chain: Guitar > EarthQuaker Tentacle > TC Electronic Hall of Fame Reverb > Fender Deluxe Reverb
Living in Stereo
Clip 8 is a concept Iāve thought about for a long time but have not pursued as much as Iād like, even though itās relatively easy to accomplish. The idea here is to play in stereo with two different amps with different sounds going to them. You can achieve this in a number of ways. First, you need some sort of signal splitter. In this case, I ran through the Fulltone ChoralFlange, which has stereo outputs, with the chorus setting at about 50 percent. I could have easily used any number of other stereo effects or even a stereo splitter, but for this experiment I wanted the chorus on both signals. From there, one line went directly into the Fender Deluxe Reverb, which Iāll call Amp 1. The other line ran into a Death By Audio Echo Dream 2 with the original signal muted and the delayed signal at 300 ms. This meant that Amp 2 would be heard 300 ms after Amp 1. But thereās more.
This delayed signal also ran into a Line 6 POD with the flange set to 75 percent and then into a Marshall JCM 900. So I had two different signals going into two different effects set to two different times, running into two different amps!
Now this is a radical idea on its own, and you can get a lot of unusual sounds by just playing freely, but I wanted to take it one step further. I started with a shifting arpeggio sequence that moved between A major and G major. I wanted the signals to sync up and harmonize, and I did this by playing two different rhythmic patternsāthe first consisting of eighth-notes, the second one of 16th-notes. This yielded a hip, synth sequencer-inspired idea, but the sound is both guitaristic and futuristic.
Signal Chain: Guitar > Fulltone ChoralFlange > Fender Deluxe Reverb
Second output of ChoralFlange > Death By Audio Echo Dream 2 > Line 6 POD flanger > Marshall JCM 900
Frippertronics Revisited
This last sound grew out of wanting to imitate Robert Frippās Frippertronics tape loops. I began by using a long loop on a Boss RC-20 Loop Station that I swelled into with my guitarās volume. From there I ran into a Radial Trimode Distortion with the drive gain set on high and a Wampler Nirvana Chorus with all knobs set at 50 percent. What I ended up with was much heavier than the normal Frippertronics, probably due to my choice of low notes, but I still liked what I heard.
Rather than soloing over the loop, which is what Fripp normally does, I decided to play the loop like a keyboard, using the pitch knob on a Boss Harmonist. I started with no harmony, then moved up a fifth, then a sixth, back down, down again, etc., finally ending an octave up from where I started. I really like this sound and find it highly musical, if not particularly guitaristic. After experimenting with some drum loops, I finally settled on something I thought Fripp and Peter Gabriel might use in collaboration (Clip 9).
Signal Chain: Guitar > Boss RC-20 Loop Station > Radial Trimode Distortion > Wampler Nirvana Chorus > Boss PS-6 Harmonist > Marshall JCM 900
Final Thoughts
Frequently, after having found the right combination of pedals to create a certain effect, I had to add a Boss NS-2 Noise Suppressor to the end of the signal chain because the signal would have unwanted hum, buzz, or some other sort of white noise. Iāve found that in a live environment, a noise suppressor can mess with your signal in unexpected and unwanted ways, but when recording at home in a controlled environment, it can be a tremendous help.
As you start to experiment with your own unusual combination of pedalsāand trust me, these are just the beginnings of endless possibilitiesādo yourself two huge favors.First, write down every setting. I know youāll think, āThatās so cool! Iāll never forget that.ā But you will. After three or four experiments, you wonāt be able to tell your flange from your fuzz, let alone the discreet settings each knob requires. And donāt rely on taking photos with your phoneāthe knob markings are too small.
My last piece of advice is a mantra: Put it in a song, put it in a song, put it in a song.
In line with the MOOERās 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 versatileāall 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.
GTRS Announces the W902, The Latest Update to its Wing-series ofĀ Intelligent Guitars
This year has marked the return of GTRSā Intelligent Guitar products, notably with the recent announcement of the SL810 release. Additionally, the company has now announced the upcoming release of the W902, an upgraded version of the original W900 Intelligent Guitar, bringing affordability to the series yet again but without compromising on quality and technical features.
For tonewoods, GTRS has chosen to build the W902 with an Alder body, complete with a delightful Magic Crystal color and High Gloss finish. Attached through bolt-on construction is a 5-piece C-shape neck made from selected roasted flame maple and rosewood, complete with a Satin Natural finish, Rosewood fingerboard, and a White Shell dot inlay. A Dual-Action Steel truss rod runs through the neck, topped with a bone nut, and 24 white copper (0 fret stainless) fanned frets.
While the construction is certainly impressive, the most notable feature of the W902 is the upgraded GTRS Intelligent Processor System, the G151, which even offers upgrades over the SL810's recently announced G150 system. Pre-installed on the system is a staggering 128 effects, along with 10 of both MOOER's in-house MNRS amp and cabinet simulation profiles. Exclusive to the W902, the G151 system even includes 17 guitar simulation effects, allowing guitarists to emulate the tonal resonance of some of their favorite guitars.
To activate and browse through presets within the G151 system, which can be connected via Bluetooth 5.0, guitarists can use the guitar's Super Knob, which lights up in different LED colors depending on which preset is activated. Of course, users are able to get stuck into and edit the effects chains of presets through the GTRS app, enabling them to craft their own favorites through their mobile device. The guitar still functions without the G151 system; the Super Knob just needs to be turned off, and the W902 is usable as a regular electric guitar.
Within the GTRS app, there is even an 80-second looper, 10 metronomes, and 40 drum machine grooves built in, providing users with an all-in-one suite for guitar practice and composition. This is especially the case when combined with the W902's OTG-recording support, enabling on-the-go recording without the need for a hardware recording setup.
No effects and amp simulations would be complete without being complemented by high-quality pickups, which isnāt a problem for the W902 considering the GTRS HM-2N Alnico V neck pickup and GTRS HM-2B Alnico V bridge pickup, both of which resonate beautifully through the guitar's GTRS HL-II bridge.
GTRS always wants to ensure that its customers are set up with everything they need to jam, which is why the W902 comes bundled with a GTRS Deluxe gig bag, three guitar wrenches, a USB 3.0 cable for charging, and a user manual. The guitar even contains a wireless transmitter and an integrated 4000mAh Li-ion battery, providing up to 12 hours of continuous use (9 hours with the transmitter in use), allowing users to enjoy the G151 system through headphones or an amplifier.
Along with all the bells and whistles, the W902 also sports standardized guitar features, such as knobs for volume control and tone, a 3-way pickup switch, and a black GTRS strap pin. However, those who want to experiment further with the guitarās impressive technology can connect the intelligent system to the GTRS GWF4 wireless footswitch, which is ideal for switching between presets in live scenarios when control through a mobile device isn't practical. Overall, the W902 is yet another example of GTRSā commitment to continually improve its Intelligent Guitar series.
GTRS W902 Guitar construction features:
- Alder Body
- Magic Crystal Color
- High Gloss Finish
- 5-Piece Selected Roasted Flame Maple and Rosewood Neck with Satin Natural Finish (C-Shape)
- Bolt-on construction
- Rosewood fingerboard
- 24 white copper (0 fret stainless) fanned frets
- White Shell dot inlay
- 42mm Bone Nut
- 12" radius
- 25-1/2" scale
- 09-46 strings
- Dual Action Steel truss rod
- GTRS HL-II bridge
- GTRS HM-2N Alnico V neck pickup
- GTRS HM-2B Alnico V bridge pickup
- Black GTRS strap pin
- Built-in wireless transmitter
- Super Knob, Volume Control Knob, and Tone Knob
- 3-way tone-selection switch
- GLB-P1 Li-ion Battery (4000mAh, up to 12 hours of continuous use, 9 hours with the wireless transmitter in use)
- USB port for charging and OTG recording
- GTRS Deluxe gig bag
- 3 guitar wrenches
- USB 3.0 Type A to C cable
GTRS G151 Intelligent Guitar System features:
- GTRS G151 Intelligent Processing System (and GTRS App)
- 128 effects
- 10 MNRS amp (GNR) and cabinet (GIR) simulation models
- 17 guitar simulations
- 80-second looper
- 40 drum machine grooves
- 10 metronomes
- Bluetooth 5.0 connectivity
- GTRS GWF4 wireless footswitch support (sold separately)
The GTRS W902 will be available from the official distributors and retailers worldwide on 13h May 2025.
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 MOOERās 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 Proās maple fingerboard, whereas others will prefer the warmer resonance of the MSC31 Proās 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 MOOERās 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 guitarās 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 MOOERās 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 possibleāa 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 guitarās 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
- 12ā 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).
Axe-wielders Jake Cinninger and Brendan Bayliss take us through their current gear garages.
Itās been just over 10 years since we had legendary South Bend, Indiana, jam band Umphreyās McGee on Rig Rundown, so when we saw that they were coming to play at Nashvilleās Ryman Auditorium in early April, we figured it was time to reconnect.
Guitarists Jake Cinninger and Brendan Bayliss showed PGās John Bohlinger what pieces of kit theyāre digging these days, and how they orchestrate their incredibly broad range of sounds.
Brought to you by DāAddario.
Simply Z Best
Hereās an up-close look at Cinningerās No. 1, a G&L Comanche. The Z-coil pickups do away with typical single-coil 60-cycle hum issues at high-gain settings. Itās an all-purpose workhorse.
Cinninger replaced the stock trem bar with a Jake Blade, a custom-made replacement patented by Mark Benjamin of RoughGauge LLC. Compared to a regular trem bar, itās out of the way and allows for more expressive playing.
For strings, Cinninger uses DāAddario .10s, and he swears by his beveled-edge Telefunken 2 mm picks.
Special S
Cinninger says only 50 of these G&L S-styles were made, with remarkable pieces of wood and specially designed pickups. This one cuts closer to a classic, throaty Stratocaster sound, and if a venue has quiet, clean power that wonāt present excessive noise issues, itās more likely to be called into action.
Two by Two
Cinningerās signal runs to one amp at a time. The Schroeder head, which is used for cleans, was built with military-spec durability by Tim Schroeder in Chicago and is one of 10. Cinninger says itās got some Dumble qualities, with its clarity, power, consistency, and speed to the speaker, and it connects to a Schroeder cabinet and custom speaker.
The Oldfield Marquis 100-JC, built by Paul Gussler in Charlotte, North Carolina, is the Marshall-flavored side of Cinningerās rig. It handles dirty signals and is connected to classic Electro-Voice drivers.
Jake Cinningerās Pedalboard
Cinningerās board, which he made with his dad, is 25 years old, and itās constantly changing. His always-on boxes include a Banzai Cold Fusion Overdrive, Fuchs Royal Plush Compressor, and Mesa Boogie Five-Band Graphic EQ, plus a Steel Guitar Black Box tube buffer that adds some āairā in the high end.
On top of those, thereās a Boss TU-3, MXR Smart Gate, Radial Tonebone Hot British, MXR Distortion III, Sarno Earth Drive, TC Electronic Flashback, Boss PS-5, Source Audio Soundblox 2 Multiwave Distortion, Malekko Fuzz, Guyatone MD2, Boss PH-3, Morley Bad Horsie, BBE Mind Bender, and a custom āFuzzBucketā fuzz made by a friend.
Utility units include a Lily P4D, Radial BigShot ABY, and Ebtech Hum Eliminator, plus a 9-channel effects switching system.
Sorry, Mark
Meet Miss Lucy. This is a PRS Mark Tremonti Signature, albeit without Tremontiās name on the headstock, and tricked out with the Jake Blade. This one runs a bit hotter than Brendan Baylissā other PRS guitars, and his tech changes the strings on itāDāAddario XL .010sāevery day. Like Cinninger, he digs the Telefunken 2 mm picks.
Also in the stable are another PRS single-cutaway and a double-cut PRS McCarty.
Doubles of the Oldfield
Bayliss runs both a Mesa Boogie Lonestar head and a Gussler-built Oldfield head (which sounds similar to his Lonestar) at the same time. The Mesa runs to a cab with Celestion 12ā³ speakers.
Brendan Baylissā Board
Baylissā board also features the Steel Guitar Black Box, a Lily P4D, Radial BigShot ABY, a Boss TU-3, and a Morley 20/20 Bad Horsie wah.
Aside from those, thereās a Keeley Compressor, MXR Custom Badass Modified O.D., Cusack Screamer, MXR Timmy, Cusack Tap-A-Whirl, Audio Blend Edge EQ, Boss OC-5, Boss CE-5, MXR Phase 95, Eventide H9, Stigtronics Delay, and Boss DD-20.
Guitarist William Tyler, a restless sonic explorer: āI would get bored staying in the same place.ā
The expansive instrumental guitarist/composer pushes himself out of his comfort zone, beyond the boundaries of his neo-Americana wheelhouse on Time Indefinite.
Mastering an instrument and an artistic styleāand then being recognized and rewarded for itāis a daunting enough accomplishment that one might be forgiven for feeling that, once reached, itās the be-all to end-all. Guitarist William Tyler, for all the praise and opportunity that have come his way over the past decade and a half, isnāt content to plow the same furrow. With his evolutionary new album, Time Indefinite, this son of the South is pushing further afield, not completely forgoing his virtuosic neo-Americana lyricism but incorporating it into static-friendly, otherworldly studio experimentation.
The disorienting opener of Time Indefinite, āCabin Six,ā begins with a loop of hovering blare that, lasting nearly a minute, might lead listeners to think something is amiss with their turntable stylus; this gradually dissipates into an eddy of railroad-like whine from which a chiming 6-string hook emerges only to finally sink into a murky, detuned drone. The simple, lovely āAnima Motelā and almost naĆÆve āConcernā are eminently approachable, and āHowling at the Second Moon,ā with its alternate, Joni Mitchell-inspired tuning, feels like something that could have appeared on one of Tylerās previous albums (even if it was recorded on his iPhone then texturized via a bump to a cassette recorder and dosed with added effects). But the distressed sonic sculptures of āThe Hardest Land to Harvestā and āElectric Lakeā or the sampled, distorted church choir laced through āStar of Hopeā have a ghostly resonance unlike anything the guitarist has done before.
SoundStream
āI think itās important for artists to push themselves into new ways of working,ā Tyler says. āMost of my favorites, artists I follow over the long trajectory of their careers, have done that, whether itās in music, film, visual art, novels. Of course, some people have a method or style that they stick to, and it serves them. And I wouldnāt want to put anything out into the world that I wouldnāt myself, as a consumer, enjoy spending time with and taking seriously. That said, I would get bored staying in the same place. The new record is about making something that was a little less chained to certain kinds of guitar music, where I felt like I might be running up against my creative limitations or enthusiasms in that area. I wanted to reinvent myself for myself, to explore fresh possibilities, even with the guitar as my primary tool.ā
Tyler, whose parents were hitmaking Nashville songwriters, made his name early on as a young guitar phenom playing in such alternative-minded, country-influenced bands as Lambchop and Silver Jews, before appearing on the fourth volume of the influential Tompkins Square āImaginational Anthemā series of new-era American Primitive guitar and then making his full-length debut as a solo artist with the 2010 album Behold the Spirit. As a player and composer, he was recognized for subsuming the early influence of John Fahey and the Takoma style into something vibrantly his own.
Tyler keeps his tools simple and his ears open.
Photo by Angelina Castillo
William Tylerās Gear
Guitars
- Mid-1950s Martin D-18
- 1974 Gibson SG
Pedals
- Hologram Electronics Microcosm
- Strymon El Capistan
- Line 6 DL4 Mark II
Once Tyler signed to the stalwart indie-rock label Merge, the guitarist released a string of warmly received electro-acoustic albums: Impossible Truth (2013), Deseret Canyon (2015) and Modern Country (2016). There was also a marvel of a solo performance at Nashvilleās Third Man Records released as an LP in the āLive at Third Manā series. A few years later came the album Goes West, its title alluding to a pre-pandemic move to Los Angeles, and its arrangements flecked with atmospheric swirls and sunny, almost pop-like touches. Tyler also created an aptly rustic score for First Cow, director Kelly Reichardtās 2019 art house Western, and the guitarist capped his Merge run in 2023 with Secret Stratosphere, a live album of soaring full-band versions of numbers from his back catalog, credited to William Tylerās Impossible Truth.
āI wanted to reinvent myself for myself, to explore fresh possibilities, even with the guitar as my primary tool.ā
Tyler has released covers of such disparate artists as Alex Chilton, Michael Chapman, Fleetwood Mac, Yo La Tengo and Neu!/Harmoniaās Michael Rother, not to mention classical composers Handel and DvorĆ”k. The broad listening palette suggested by these choices always pointed toward a more intrepid path. But the album that most presaged the spirit of Time Indefinite is New Vanitas, a small masterpiece of pandemic creation that found him threading beautiful, involved guitar melodies through hypnagogic soundscapes, often haunted by lo-fi snatches of radio broadcasts and sotto-voce dialogue, as on the evocatively titled āSlow Nightās Static.ā New Vanitas even includes a woozy track called āTime Indefinite,ā the foreshadowing title a favorite that he borrowed from a film by documentarian Ross McElwee.
On Time Indefinite, Tyler says, āI was drawn to more ambient music, including by guitarists like Christian Fennesz and Norman Westberg, but also groups like Stars of the Lid and Boards of Canada.ā
Another signpost on Tylerās new road was a collaboration with Four Tetās Kieran Hebden that yielded the folktronica single āDarkness, Darkness.ā Then last year brought the standalone track āFlight Final,ā Tylerās first release for the artist-led imprint Psychic Hotline, and a slice of musique concrĆØte that brings to mind Brian Enoās association with German ākosmischeā pioneers Harmonia and Cluster. That recording, the first fruit of an association with collaborator and co-producer Jake Davis, set the stage for their work together on Time Indefinite. Most of the pieces on this album, whether blown-out lullabies or spectral hymns or folk-art abstractions, feel like memories refracted in a dream diary.
āThe process of working on this album helped me get better at tempo, just feeling more comfortable playing slower.ā
āThe new album started out as a series of experiments, without necessarily thinking that they were going to make for a whole recordāthough, eventually, Jake and I heard a thematic coherence to what we were coming up with,ā Tyler explains. āIt took a long while to come together, but the roots of the music are in the Covid lockdown. The emotional landscape of that time changed the things I was listening to as well as the music that was coming out of me. I was drawn to more ambient music, including by guitarists like Christian Fennesz and Norman Westberg, but also groups like Stars of the Lid and Boards of Canada. I had gone back to Nashville and was dealing with a problematic mental state. Among other issues, I can tend to approach things too fast, spiritually, emotionally, and physically. Beyond using different recording techniques and learning new ways of creating a piece of music, the process of working on this album helped me get better at tempo, just feeling more comfortable playing slower.ā
The guitars Tyler used in the studio for Time Indefinite were his āfamily heirloomā Martin D-18 and a beloved Gibson SG, both of which are his main live instruments. For effects pedals, he favored a Hologram Electronics Microcosm (āfor low-pass filter looping and really weird granular stuffā) and a Strymon El Capistan (āfor delays kind of like the old Electro-Harmonix Memory Manā), though Davis also did a lot of processing with an array of his own. One serendipitous piece of gear was a 1959 Webcor Regent reel-to-reel machine deck that Tyler liberated, still new in the box, while helping to clear out his grandfatherās storage space in Mississippi. Davis was inspired to make old-school tape loops with it, including that startling sound that opens the album. Tyler would play arrhythmic, asymmetrical parts that Davis would record and chop up for the loops.
Tyler at this yearās Big Ears Festival with Jake Davis and Cecilia Stair.
Photo by Ross Bustin
Tylerās recent spate of collaborations, from Davis and Four Tet to pedal-steel guitarist Luke Schneider, āhas kept me on my toes, challenged me and recharged me,ā he says. āThe insularity of being a solo instrumentalist and writing everything by yourself can be freeing at first. And it can be motivating, as when I first started learning how to play fingerstyle guitar, with all the practicing. But I donāt like the isolation of it now. These days, I prefer working with other people. It pushes you into other genres, those different modes of communication.ā
Another recent colleague, Marisa Anderson, has credited Tyler for his open, venturesome spirit as a studio partner, with his default attitude of āyesā when they were making their absorbing duo album, Lost Futures. āThat was something I really enjoyed about playing with Williamāhe was up for everything,ā she said. āI was like, āThereās the diving board,ā and heād say, āLetās go.āā
āThese days, I prefer working with other people. It pushes you into other genres, those different modes of communication.ā
Tyler is quick to credit artists and albums that have inspired him. Along with the aforementioned players, he namechecks a vast range of others, from Jimmy Page to Jeff Parker, Bill Frisell to Fred Frith, Bruce Langhorne to Nels Cline, William Ackerman to Sandy Bull. Tyler muses about how some of his Nashville session heroes should āhave gotten weirderā¦. I wish Chet Atkins had dropped acid, listened to a Sonny Sharrock LP, and made his own noise record, you know?ā Regarding his touchstones for sonic left turns, he points to Wilcoās Yankee Hotel Foxtrot, as well as Talk Talkās emotive, avant-minded swansongs Spirit of Eden and Laughingstock.
āThose two Talk Talk albums are beyond masterpieces, with some great guitar playing,ā Tyler says. āThey were in essence made by an artist, Mark Hollis, who did not care about being commercial anymore and certainly not about being able to replicate the stuff live. When Jake and I were recording āHowling at the Second Moon,ā that sort of attitude was a reference point, kind of like, āWell, instead of trying to get away from the lo-fi weirdness of my original iPhone demo, why donāt we lean into it?āā
Ever thoughtful and candid in conversation, Tyler has been exceptionally transparent about coping with personal loss and midlife crises, as well as going to rehab for the over-indulgence of alcohol. Knowing that, one can hear grief and anxiety in the whorls of Time Indefinite, with the passages of guileless 6-string representing a nostalgia for less complicated times. āItās a mental landscape record for sure,ā he says. āFor fans of my previous albums, it might not hit the same way, I realize. But I hope this record says to people that itās all right to take chances with how you express yourself, with how naked and raw that can be. It has a purposeful arc and is meant to prompt things that arenāt super fashionable in todayās ephemeral, constant-content culture, like deep listening, emotional ambiguity, self-reflection, you know?āYouTube It
This three-song set from last year showcases the expansive cosmic country sound of Tyler and his Impossible Truth band, which includes a Kraftwerk cover.
The country virtuoso closes out this season of Wong Notes with a fascinating, career-spanning interview.
Weāve saved one of the best for last: Brad Paisley.The celebrated shredder and seasoned fisherman joins host Cory Wong for one of this seasonās most interesting episodes. Paisley talks his earliest guitar-playing influences, which came from his grandfatherās love of country music, and his first days in Nashvilleāas a student at Belmont University, studying the music industry.
The behind-the-curtain knowledge he picked up at Belmont made him a good match for industry suits trying to force bad contracts on him.
Wong and Paisley swap notes on fishing and a mutual love of PhishāPaisley envies the jam-band scene, which he thinks has more leeway in live contexts than country. And with a new signature FenderĀ Telecaster hitting the market in a rare blue paisley finish, Paisley discusses his iconic namesake patternāwhich some might describe as āhippie pukeāāand its surprising origin with Elvisā guitarist James Burton.
Plus, hear how Paisley assembled his rig over the years, the state of shredding on mainstream radio, when it might be good to hallucinogenic drugs in a set, and the only negative thing about country-music audiences.