The Champ better watch its back.
Super versatile tone control. Throaty voice and impressive mass for a 5-watt, 8-inch-speaker amp. Happy with pedals. Drop-dead gorgeous.
Hefty price tag for a little amp.
$1,299
Magnatone Starlite
magnatoneusa.com
The fact that small amps excel—and can sound really big—in studio situations isn’t news as much as it’s audio engineering gospel. But while little amps like the Fender Champ, Gibson Skylark, and Danelectro DM10 have been pulling feats of trompe-l’oeil on records for decades, some small combos still sound bigger and badder than others. And I feel pretty good about making the case for Magnatone’s new 5-watt Starlite as one of the biggest sounding—and most flexible—little amps that’s ever joined this club of overachievers.
Maggie Mélange
The Starlite is something of an early-’60s Magnatone mashup. The name is borrowed from a series of Maggies from the mid ’60s best known for their arresting “squiggle” grill cloth. But the cabinet design and circuit are more closely related to the Custom 210, a 5-watt, single-6V6GT-powered rival to the Fender Champ and other small amps of the time, distinguished by the inclusion of Magnatone’s rather legendary vibrato circuit.
Sadly, there’s no vibrato on the new Starlite. The inclusion of the effect would have likely made the amp exceedingly expensive for its size. But the flexibility of the Starlite’s circuit is still extra impressive thanks to a clever tone control and a negative feedback switch that, as we will see, can profoundly transform the sound and tactile experience of playing the Starlite.
Just like every new Magnatone we’ve seen since the company’s 2014 resurrection, the Starlite is both sturdy and exceedingly handsome. I can’t think of an amp that’s less likely to disrupt the design of a well put-together living room. And its compact 17" x 8" x 12" dimensions might make it look—to less guitar-savvy interior-design-enthusiast friends—like a beautifully restored vintage radio or hi-fi speaker.
The Starlite’s construction is robust. Its smallest components, like caps and resistors—which number fewer than 30, by my count—are neatly arrayed on a glass epoxy PCB. The power transformer is from Hammond, and the power and preamp tubes are Apex-matched JJs—a 6V6S and 12AX7 respectively.
Tiny, Toneful, and Brutish
Though the benefits of using a small amp in a recording situation are well documented, there are limitations to such setups. Sometimes an 8-inch speaker won’t offer the bass response necessary for inciting a certain kind of performance. Lower wattage and smaller speakers can also change the way pedals like fuzz and high-gain overdrive respond to your playing in adverse ways. But if ever there were a 5-watt, 8-inch-speaker-equipped amp with the flexibility to help bridge those gaps, it’s the Starlite.
Much of the Starlite’s versatility is derived from its very flexible tone control. Magnatone suggests that it helps bridge tweed and black-panel Fender Champ sounds. And to some extent that is very true. Counter-clockwise from noon, the control scoops out progressively more midrange, which is a hallmark of black-panel Champs, resulting in exceptionally crisp, sparkling high-end output and honking, modest bass response with low to moderate amp distortion. Cranked to the gills, as any black-panel or early silver-panel Champ fan knows, this tone profile can sound pretty brash and splatty—particularly with single-coils. That’s where the midrange-boosted clockwise half of the tone control becomes invaluable.
Warmly saturated overtones can give you the confidence to lean hard on the amp at full volume without fear of being too piercing.
Clockwise from noon, the added midrange starts to massage and round off harsher transients while increasing saturation to the lows and low-mids, adding flattering contours to 5th- and 6th-string output and a satisfyingly distorted edge to high strings. Because of the Starlite’s class-A single-ended circuitry, there isn’t any of the tweed sag you associate with amps like the Deluxe—at least in the clinical sense. But these warmly saturated overtones can give you the confidence to lean hard on the amp at full volume without fear of being too piercing.
The beauty of both of these tone settings, and the many cool in-between shades available through the control’s ample range, is that the Starlite is super responsive to guitar-volume attenuation. You can very easily set the amp up at wide-open volume and move from aggressive crunchy tones to clean ones with a slight adjustment of your instrument’s controls.
The amp’s response and distortion makeup can also be completely reshaped by the negative feedback switch. With the switch on (a configuration that sets the amp up as Fender designers of old would have intended), the Starlite’s distortion tends to be warmer, and clean tones tend to be less spiky. In general, the negative feedback “on” settings were more satisfying and versatile to my ear. But in the moments I hankered for extra Mike Bloomfield-style sting, taking the negative feedback out of the mix was an enticing and thrilling option.
The Verdict
At $1,299, the Starlite is 100 bucks more than Fender’s excellent ’57 Custom Champ. And I suspect that for many potential customers, the more expansive and flexible tone control, negative feedback switch, output for an 8-ohm external, and the dashing, less-common styling will be worth the extra cash. Even if you find the head-to-head tweed-style comparisons a toss-up (and the Starlite is not, strictly speaking, a tweed Champ equivalent), the Maggie arguably has an edge in versatility. In its most black-panel-like settings, I still found the Starlite throatier, more massive, and even a little more sparkly on top than my otherwise sweetly ringing early-’70s silver-panel Champ (which is identical to a black-panel in most respects). The same qualities also make it a little more conducive to use of boost, overdrive, and fuzz, which, by the way, all sound fantastic-to-fantastically-trashy in tandem with the Maggie.
Such margins of advantage may be slim to modest in each comparison. But when using a small amp in the studio, where creating the illusion of a bigger amplifier is often the aim, the Starlite’s knack for lending a little extra illusion of mass and muscle is no small consideration.
Magnatone Starlite Demo | First Look
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Here’s a physical mashup for new sounds—something that never existed before now: a humbucking Charlie Christian pickup.
Have texture, color, context, and groove replaced shred chops and bluesy bends in the modern guitar era? Seems like it!
There was a time when the electric guitar reigned like a monarch. Plugged in, turned up, and cracking the sky with saturated authority, it swaggered through stadiums, screamed through garage doors, and printed sparkling textures onto tape reels in studios. Electric guitars weren’t just instruments, they were an accomplice in rebellion—a declaration of intent with six strings and a headstock like a crown.
But that was then, and this is now. Welcome to 2025, where the electric guitar is neither dead nor dominant, but hovering somewhere in the curious limbo between legacy and latency. So let’s roll up our sleeves and take a grease-stained look under the hood.
The Death of the Guitar Has Been Greatly Monetized
Every few years, some tone-deaf oracle proclaims that the electric guitar is dying—usually right before Fender reports record-breaking sales. The “guitar is dead” trope is as worn as a 1959 slab-board neck, and just as beloved in certain circles. But peek behind the curtain of online guitar forums, and you’ll see a landscape less apocalyptic but certainly more complicated.
New gear sales may have occasionally hit plateaus, thanks in part to a tidal wave of secondhand Strats and Les Pauls sloshing around the used market, but that doesn’t mean guitarists aren’t playing. In fact, a growing number of those people are young, diverse, and uninterested in recreating “Eruption” note-for-note. Statistics don’t lie and research indicates that nearly half of all current guitar players are under 30, and about a third are women. The old gatekeeping clichés are rusting away, and the next generation is walking right past them playing a genre you probably can’t name—but your kids will.“We’re witnessing a new breed of guitar sounds designed not just for soloing, but for integrating seamlessly into a sonic workflow that might involve synths, loopers, and yes, even AI.”
Tone Meets Tech
If the classic electric guitar was a muscle car, tomorrow’s iteration may be a hybrid with an amp-modeling package. We’re seeing a rise in alternative pickups, effects-driven designs, and sustainable materials replacing endangered hardwoods. Carbon fiber? It’s not blasphemy any longer. Recycled aluminum? Well, maybe. Guitar rigs are becoming the solar panels of the gear world: tech-savvy, divergent, eco-friendly, yet still capable of making your windows rattle.
But this isn't just about sustainability—it’s about adaptability. We’re witnessing a new breed of guitar sounds designed not just for soloing, but for integrating seamlessly into a sonic workflow that might involve synths, loopers, and yes, even AI. Simply put, it’s about the music, not the muscle.
Genre for a New Generation
If you’re looking for the next guitar god, don’t bother. The pedestal has been dismantled, and the throne now belongs to the collective. Today’s players are blurring genre lines like a toddler with a crayon. The guitar isn’t always the star of the show—it’s the secret ingredient, the smoked paprika in a mashup gumbo. It’s not about being the loudest voice anymore—it’s about texture, color, and context. We’ve had our fill of ego-driven wankery—give us nuance. Give us groove. Give us players who aren’t afraid to capo, loop, and go full tremolo spaghetti-Western to a chillhop beat backed by a horn section. Don’t forget the whammy pedal on the electrified resonator, all while serving the song.
The Coda
So where does that leave us? Somewhere between tradition and transformation—maybe with a hand-wired analog fuzz in one hand and a MIDI cable in the other. As much as I love a sweet blues-rock hand vibrato at the end of a classic pentatonic riff, I don’t mourn its reduced stature. The electric guitar hasn’t vanished; it’s just learned to blend new dialects. It’s still a tool for expression, rebellion, and joy. Guitar is still capable of conjuring emotions that don’t fit into neat categories. And if you ask me, it’s doing just fine.
This wonky Zim-Gar was one of many guitars sold by importer Gar-Zim Musical Instruments, operated by Larry Zimmerman and his wife.
The 1960s were strange days indeed for import guitars, like this cleaver-friendly Zim-Gar electric.
Recently I started sharing my work office with a true gem of a guy … one of the nicest fellas I’ve ever come across. If you’ve been following my column here, you might remember my other work mate Dylan, who is always telling me about new, fad-type things (like hot Honey guitars) and trying to convince me to use AI more. (What can I say, he’s a millennial.) But Steve, on the other hand, is about 10 years my senior and is a native New Yorker—Brooklyn actually, from the Canarsie neighborhood. Steve is a retired teacher and spent many years teaching in the Brownsville area of Brooklyn, and man, he has some amazing stories.
Mostly we talk about music and sports (he’s exiled here among us Philadelphia sports fans) and he’s just endlessly interesting to me. He has a huge appetite and can eat a whole pizza. When he talks, he sounds like one of the Ramones and he still has an apartment in Rockaway Beach. We both love Seinfeld and, like George Costanza, Steve knows where all the great bathrooms are across New York City. Since he’s been added to my circle (and is such a mensch), I decided I should work him into a column.
So here’s the connection: Back in the day there were many American importers, dealers, and wholesalers. A lot of them were based in New York, Chicago, and Los Angeles, but I only know of one guitar importer located in Brooklyn: Gar-Zim Musical Instruments. The company was run by Larry Zimmerman and his wife, and the couple had some success importing and selling Japanese guitars and drums. I used to see early Teisco imports with the Zim-Gar badge, which was the brand name of Gar-Zim. I’ve also seen Kawai guitars with the Zim-Gar label, but the Zimmerman’s seemed to sell cheaper and cheaper gear as the ’60s wore on, including the piece you see here.
“This build reminds me of the cutting boards I used to make in wood shop back in my high school days.”
The model name and factory origin of this guitar is a mystery to me, but this build reminds me of the cutting boards I used to make in wood shop back in my high school days. The guitar is just flat across the top and back, with absolutely no contouring or shaping. Its offset body is plywood with a thin veneer on the top and back. From a distance this guitar actually looks kind of nice, but up close you can see a rather crude and clunky instrument that offers little flexibility and playability. The non-adjustable bridge is off center, as is the tremolo. It was really hard to get this guitar playing well, but in the end it was worth it, because the pickups were the saving grace. Another example of gold-foils, these units sound strong and raw. The electronics consist of an on/off switch for each pickup and a volume and tone knob. The tuners are okay, and the headstock design is reminiscent of the Kay “dragon snout” shape of the mid to late ’60s, which is where I would place the birthdate of this one, probably circa 1966. Everything is just so goofy about this build—even the upper strap button is located on the back of the neck. It reminds me of that era when simple wood factories that were making furniture were tasked with building electric guitars, and they simply didn’t know what they were doing. So, you get oddities like this one.
Gar-Zim continued to sell guitars and other musical instruments through the 1970s and possibly into the ’80s. I once even saw a guitar with the label Lim-Gar, which is totally puzzling. I think there should’ve been a Stee-Gar designation for my new buddy Steve-o! Yes, good readers, with guitars and me, there are always just a few degrees of separation.
Dive into the ART Tube MP/C with PG contributor Tom Butwin. Experience how this classic tube-driven preamp and compressor can add warmth and clarity to your sound. From studio recordings to re-amping and live stage applications, this time-tested design packs a ton of features for an affordable price.
Art Tube Mp Project Series Tube Microphone/Instrument Preamp
Designed in Rochester NY and originally released in 1995, the Tube MP is celebrating its 30th anniversary in 2025.
The Tube MP/C is the most fully-featured member of the Tube MP family, designed for recording guitarists and bassists. It is a tube mic preamp and instrument DI with advanced features including an optical compressor/limiter and switchable line/instrument output levels for use as a re-amping device.
In line with the MOOER’s recent expansion on the MSC range, the company is excited to announce the new MSC50 Pro, an Alder-bodied electric guitar with gloss finish, available in the new Magic Crystal color.
Featuring a roasted maple neck with a satin finish, a rosewood fingerboard for playing comfort, 22 frets, and a standard C shape, the guitar has been designed with classic guitarists in mind. This is beautifully emphasized with its beautifully resonant tonewoods, all while still being balanced perfectly with style and comfort of use.
The MSC50 Pro features all of the industry-standard features you might expect from such an impressively affordable guitar, such as bolt-on construction, a bone nut, and a dual-action steel truss rod. However, other features make the electric guitar stand out among others at a similar price point, such as its MTN-3LC locking tuning pegs, beautiful Abalone dot inlay, and, of course, its previously mentioned tonewood selection.
In order to capture the MSC50 Pro's balanced tonal profile, MOOER's luthiers have built it with three perfectly balanced pickups: the MSC-II N single coil neck pickup, the similar MSC-II M single coil middle pickup, and, best of all, the MHB-II B bridge humbucker. When these carefully chosen pickups are combined with the guitar's MPW 2-point chrome bridge, guitarists can make the most out of its tonal versatility, all while maximizing tuning stability.
To ensure that the guitar is suitable for a wide range of genres, both softer and higher-gain examples, the MSC50 Pro has a convenient coil split switch built into it, giving users better resonance control. Of course, this is also combined with a classic tone dial, a standard 5-way tone switch, and a volume control dial.
Overall, the MSC50 Pro reminds users of MOOER guitars that the company has never forgotten about its roots in classic-style guitars. Yes, the company is continuing to develop innovative guitar technology in other areas, but this electric guitar also represents a grounded approach, keeping things classic, sleek, and tonally versatile–all at a reasonable price point.
Features:
- Alder Body with a Gloss Finish
- Available in the Magic Crystal color
- Standard C-shaped roasted maple neck with a Satin finish
- Bolt-on construction
- 22-fret rosewood fingerboard
- Abalon dot inlay
- MTN-3LC locking tuners
- Bone nut
- Dual-Action Steel Truss Rod
- 12" radius
- 09-46 strings
- 25.2" scale
- MSC-II N Single Coil neck pickup, an MSC-II M Single Poil middle pickup, and an MHB-II B Humbucker Bridge Pickup
- Chrome guitar strap pin
- Coil Split Switch
- 5-Way Tone Switch
- Volume and tone dials
- MPW 2-Point chrome bridge
The MSC50 Pro will be available from the official distributors and retailers worldwide on 13th May 2025 at an expected retail price of USD419/Euro399/GBP339.
MOOER Expands Its Popular MSC Guitar Line with the MSC30 Pro and MSC31 Pro
MOOER has never shied away from innovation when it comes to its guitars. However, with the recently announced release of the MSC30 Pro and MSC31, the company reminds us that, sometimes, true innovation lies in mastering and enhancing a proven classic. With this philosophy, MOOER introduces two new exciting additions to their beloved MSC series of electric guitars.
Both the MSC30 Pro and MSC31 Pro continue MOOER’s philosophy of creating affordable guitars, but without sacrificing quality or performance, thanks to the poplar bodies and flame maple tops. Some guitarists will be drawn to the bright tones of the MSC30 Pro’s maple fingerboard, whereas others will prefer the warmer resonance of the MSC31 Pro’s rosewood alternative.
Each guitar features sturdy bolt-on neck construction, dual-action steel truss rods, bone nuts, and MTN-1 chrome tuning pegs (with the BK upgrade being reserved for the MSC31 Pro), ensuring tuning stability and comfort at all times.At the heart of both models are MOOER’s versatile MSC pickups, comprising the MSC-1N single-coil neck pickup, the MSC-1M single-coil middle pickup, and the powerful MHB-1B dual-coil humbucker at the bridge. Further complemented by a versatile 5-way pickup selector and exclusive coil split switch, players can effortlessly switch between a wide palette of tones, such as pristine cleans ideal for jazz or blues, or high-gain tones for heavier genres.
Tremolo support is also provided through both the guitar's bridges, with the MSC30 Pro featuring an MTB-1 2 Point Tremolo bridge, and the MSC31 Pro boasting an exclusive black MTB-1 BK 2 Point Tremolo bridge. Both bridges guarantee guitarists the ability to use tremolo bars in their guitar performances, without compromising the integrity of tuning stability.
Both guitars come with a selection of vivid new colors, complementing the guitar’s hardware with undeniable visual appeal. The MSC30 Pro is available in the classic finishes of Sunset Red, Lake Blue, Lemon Green, and Rose Purple. Meanwhile, the MSC31 Pro boasts its own selection of glossy finishes: Grey Burst, Blue Burst, Green Burst, and Purple Burst.
Overall, the MSC30 Pro and MSC31 Pro solidify MOOER’s commitment to combining quality craftsmanship, affordability, and versatility, giving guitarists of all levels the chance to own instruments that genuinely inspire.
Features
MSC30 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Maple fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, Abalone dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 Chrome tuning pegs
- Available in gloss-finished Sunset Red, Lake Blue, Lemon Green, and Rose Purple
- Volume and tone dial
- Chrome strap pin
MSC31 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Rosewood fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, White Shell dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 BK tuning pegs
- Available in gloss-finished Grey Burst, Blue Burst, Green Burst, and Purple Burst
- Volume and tone dial
- Chrome strap pin
The MSC30 Pro and MSC31 Pro will both be available from the official distributors and retailers worldwide on 2nd April 2025.
MOOER Gives Bassists What They Want with the New MBJ410 and MBJ420 Electric Bass Guitar Models
For 15 years, MOOER has built a critically acclaimed name for itself thanks to its cutting-edge electric guitars, pedals, and accessories. While the company is no stranger to building electric bass guitars, this has not been its focus for some time, hence why so many bassists are excitedly anticipating the release of the MBJ410 and MBJ420 electric bass guitars.
Both the bass guitars sport glossy Poplar bodies, keeping the price point affordable but without limiting their tonal resonance and versatility, whereas the MBJ420 holds the additional bonus of being built with a Poplar Burl top. Complete with roasted maple C-shaped necks (also accented with a gloss finish) as well as Roasted Maple fingerboards and White Shell dot inlays, the necks are designed to offer as much comfort as possible–a high priority for bass guitarists.
A 34" fret scale further enhances practicality for bassists, as does the neck's 12" radius. Strings are available in .045, .065, .080, and .100 gauges, providing something for any type of bass style - whether slapping, plucking, or picking techniques are preferred.Thanks to the industry-standard components of a dual-action steel truss rod and bone nut, the tuning and resonant stability of both the MBJ410 and MBJ420 models are also of a high standard. However, this is accentuated further by the guitars' strong and reliable BTN-1 tuning pegs, essential for heavier-gauge bass strings.
The tonewoods and structural integrity of the MBJ-series electric bass guitars wouldn't be complete without the accompaniment of the guitar’s two single-coil JB-style pickups. Combined with the MOOER BSC-2 bridge, both bass guitars have been carefully designed to amplify bass resonances excellently, complemented even further by their simple but effective tone dials. Two volume controls are also built in, ensuring that bassists can customize their sonic output to have the perfect tonal blend.
In terms of standout features, the main difference between the two bass guitars is the MBJ420's added poplar burl top, but most notably, the color selections. For the MBJ410, the bass guitar is available in Gunmetal Gray, Metal Green, and Metal Blue, perfectly suiting the stages of higher-gain performances. In contrast, the aesthetics of the MBJ420 are more classic, purchasable in Red Burst, Blue Burst, and Tobacco Burst. Finally, both guitars are topped with a chrome strap pin, enabling stylish and energetic live performances.
Overall, bassists will no doubt be excited to see MOOER return to electric bass guitars with the MBJ410 and 420 models. Of course, electric guitars will remain the focus for the company, but the release of these two new products is a reminder of just how accommodating MOOER is for its wide audience of musicians.
Features
- Electric bass guitar built with gloss-finished Poplar body (MBJ420 also features a Poplar Burl Top)
- Roasted maple C-shaped neck with a gloss finish
- Roasted maple fingerboard
- White Shell dot inlay
- 12” neck radius
- MOOER BSC-2 bridge
- VBJ-1 and VBJ-2 Single Coil pickups
- MOOER BTN-1 tuning pegs
- Bolt-on construction
- Bone nut
- Dual-action steel truss rod
- Pre-installed strings available in .045, .065, .080, and .100 gauges
- 21 frets
- 34"fret scale
- Colors available in Gunmetal Gray, Metal Green, and Metal Blue (MBJ410), and Red Burst, Blue Burst, and Tobacco Burst (MBJ420)
- Chrome strap pin
- 2 x volume control dials
- 1 x Tone dial
The MBJ410 and MBJ420 will both be available from the official distributors and retailers worldwide on 29th April 2025 at an expected retail price of USD319/Euro299/GBP249(MBJ410), USD399/Euro379/GBP319(MBJ420).