
Horsegirl is (from left to right) guitarists Penelope Lowenstein and Nora Cheng, with drummer Gigi Reece.
Fueled by youthful bravado and an explosive retro-futuristic sound, this young punk-rock power trio blasts the lid off your expectations with their debut, Versions of Modern Performance.
Since the dawn of garage rock, basements and carports across America have played host to untold thousands of high school friends looking to fulfill that insatiable need to form a band. And, of course, it’s never easy, but even when everything clicks, it’s probably safe to say that not many of them wind up getting signed to the genre-defining indie rock label Matador Records on their first try.
“For us, it started purely as three teenagers who were doing it for fun,” gushes Penelope Lowenstein—at 18, the youngest member of the teenaged three-piece Horsegirl, who in the short span of three years have gone from jamming together in their parents’ basements to, this October, opening for the legendary alt-rock outfit Pavement on their much-touted reunion tour. “I don’t know how it usually happens for bands, but it was just this weird moment where suddenly we were on peoples’ radar. Eventually we recorded a bunch of demos, put them on Soundcloud, and sent them to all the labels who had become interested, and that’s how we were connected with Matador.”
It isn’t easy to make good songwriting sound effortless, but this power trio—and they are definitely that—is making it happen.
There’s more to the story, but for now here’s the nitty-gritty: Versions of Modern Performance, Horsegirl’s debut album, is 34 minutes of voluminous sonic joy, tracked in its entirety at Steve Albini’s stalwart Electrical Audio and produced by studio vet John Agnello, whose prestigious credits include work with Dinosaur Jr., Sonic Youth, the Dream Syndicate, and Kurt Vile, to name just a few. Lowenstein switches off on guitar, bass, and vocals with Nora Cheng. They met and cemented their friendship while taking part in the School of Rock program in their native Chicago. (Sidenote: They first played together in a cover band that featured, you guessed it, Sonic Youth songs on the setlist). Gigi Reece, Horsegirl’s drummer, joined in early 2019, bringing an instant powerhouse backbeat to the band’s sound, which surges with a psychedelic fervor that conjures tastes of the Velvet Underground and Nico, My Bloody Valentine, Stereolab, and Yo La Tengo—again, to name just a few.
Beautiful Song
“We were brought together by this shared love for the same kind of music,” says Cheng, describing how the resurgent Chicago scene, tough-to-crack but nurturing when it counted, eventually helped propel Horsegirl into the spotlight. They recorded their first single, the cavernous and hauntingly folk-tinged “Ballroom Dance Scene,” with their friends Jack Lickerman and Niko Kapetan (whose own band, Friko, has carved out a distinctive dream-pop niche). Eventually the Chicago Tribune came calling, running a high-profile feature on Horsegirl that sparked a critical buzz. “This was after more and more bands had started popping up that seemed to share similar influences with us, or the same ethos, I guess you could call it,” Cheng observes. “I don’t know exactly how it happened, but it all turned into a very supportive, young community.”
In a sense then, Versions of Modern Performance is as much a reflection of the scene that elevated Horsegirl as it is the band’s full-throated statement of purpose. From the sharp angles and resonant chords of the uptempo opener “Anti-glory” to the layers of sludge and whistling guitars in the mournful “Billy” (loosely inspired, with its E–B–E–B–E–B tuning, by the music of Nick Drake), the album conveys a warm, enveloping analog atmosphere where heavy-leaded psych rock, recombinant proto-punk, wistful indie-pop melodies, and volcanic blooms of guitar feedback all collide in a crucible of spontaneity. Infuse all that with a healthy dose of controlled chaos and the multi-colored picture of what Horsegirl is all about begins to take shape.
Nora Cheng’s Gear
Nora Cheng gets sonic with her Ibanez Roadstar II at the Sinclair in Cambridge, Massachusetts, on August 7, 2022.
Photo by Tim Bugbee/Tinnitus Photography
Guitars
• Ibanez Roadstar II
• Fender Jaguar
Amps
• Vox AC30
• Fender Twin Reverb
Effects
• Ibanez Tube Screamer
• Keeley Electronics Loomer Fuzz/Reverb
Strings and Picks
• Ernie Ball Regular Slinkys (.010–.046)
• Various picks
“We had a very clear idea of how we wanted this record to sound,” Cheng says, referring to the band’s initial sessions with Agnello. “The main thing was to stay away from being too polished. We wanted it to sound like our live set. It just goes with the idea of us being a trio, and wanting to capture that live sense on the record. And it was really helpful to have somebody working with us who understood that.”
“It was hard to keep up on an actual bass, but the Bass VI made it easy for my hands. It was also a huge turning point for us songwriting-wise, because as a guitarist I can only think of it in guitar terms.” —Penelope Lowenstein
Daunted only slightly at first by the magnitude of recording at Electrical Audio (“it was crazy to see Fugazi’s thank-you note taped to the fridge there!” recalls Cheng), the trio quickly took to their surroundings and established a free-flowing collaborative rapport with their producer. “I think John’s philosophy was very much like, ‘If we get a good live energy going between the three of you, then you don’t really have to add very much else,’” Lowenstein recalls. The band set about duplicating their live setup, with Cheng relying on her Ibanez Roadstar II (her dad’s college guitar) running through a Vox AC30 or a Fender Twin, while Lowenstein played her early ’90s Fender Strat Ultra (which once belonged to her dad), often through a Fender Hot Rod Deluxe. Interestingly, both guitarists also use coiled guitar cables from axe to pedalboard—a bit of an old-school move that’s perceived by many players as a midrange tone thickener, due to the cable’s length and high capacitance.
Penelope Lowenstein’s Gear
Penelope Lowenstein plays the Squier Classic Vibe Bass VI that she shares with Cheng. The instrument’s guitar-like playability made it an inspiration for songwriting for the band’s debut album.
Photo by Tim Bugbee/Tinnitus Photography
Guitars
• Early ’90s Fender Stratocaster Ultra
• Fender Jazzmaster
• Squier Classic Vibe Bass VI (also used by Nora Cheng)
Amps
• Fender Hot Rod Deluxe
Effects
• EarthQuaker Westwood Translucent Drive Manipulator
• EarthQuaker Bellows Fuzz Driver
Strings and Picks
• Ernie Ball Regular Slinkys (.010–.046)
• Various picks
For the low end, they switch off on a Squier Classic Vibe Bass VI, which Lowenstein acquired from a friend. “I’m still trying to figure out what it needs amp-wise when we play live,” she admits, “but it was really a solution to being in a trio. It was hard to keep up on an actual bass, but the Bass VI made it easy for my hands. It was also a huge turning point for us songwriting-wise, because as a guitarist I can only think of it in guitar terms, but because it’s not a bass I feel like it lets me write whatever the song needs. Sometimes I’ll do low-end things, and sometimes I’ll almost take a guitar solo on it.”
Naturally, both players have embraced the expressive scope of effects pedals, and distortion in particular. Cheng prefers her Ibanez Tube Screamer for most songs, but on the ironically titled “The Fall of Horsegirl,” the violin bow comes out (shades of Jimmy Page!) and she leans into a Keeley Electronics Loomer fuzz/reverb box. “I got it when I was really big into My Bloody Valentine,” she reveals, “and it has some really cool—I think they’re reverse—reverb sounds. We just cranked a bunch of stuff on it like, ‘Okay, what sounds cool with the bow?’ And it turned into this very big, cathedral-like sound. It’s noisy, but it’s also a bit beautiful. That came from a lot of experimentation.”
“The idea behind interludes is not just to be there for no reason. They’re meant to break apart the album and let you settle after this one and prepare for this next one.” —Nora Cheng
Lowenstein comes back to “Billy,” the album’s closing track. “I’ve basically stolen my dad’s Jazzmaster to play just that one song on tour, because it’s ridiculous to retune like that,” she says. “But I have an EarthQuaker Westwood on it—that’s the sound of my main distortion. I also use a Bellows pedal with it near the end. Whenever we want a crazy Horsegirl ending, I just hit the Bellows and it does the rest.”
Horsegirl’s itch for sonic exploration gets scratched on the album’s three brief interludes: the the cavernous “Bog Bog 1,” the feedback-soaked “Electrolocation 2,”and “The Guitar Is Dead 3,” which features all three band members seated at one piano, plunking out a single mournful chord progression that gets processed through a building wave of echo and delay.Horsegirl digs into a song from their new record onstage at the Sinclair in Cambridge, Massachusetts.
Photo by Tim Bugbee/Tinnitus Photography
“I guess the idea behind interludes is not just to be there for no reason,” Cheng says. “They’re meant to break apart the album and let you settle after this one and prepare for this next one. And something interesting about that was we’d developed interludes just playing them live, so it was something that was maybe natural for us to do anyway.”
The band’s most compelling collective trait is their willingness to explore all these possibilities together, as a unit. “Dirtbag Transformation (Still Dirty),” their latest single, is a beautiful example: Over a Breeders-like groove, Cheng and Lowenstein lay into chords that bend and move between Reece’s loping rhythm with judicious use of the whammy bar. “I play my Strat on that one,” Lowenstein recalls. “That’s the only song we recorded with two guitar parts first, and then we added the bass part. We’ve rearranged it live so Nora plays bass and I play a hybrid of the two guitar parts.” The song also moves between minor- and major-sounding moods, and tails out on a sunny coda where both singers take up the underlying wordless melody in unison.
What makes Versions of Modern Performance such a solid and endlessly accessible debut is how the band managed to harness their freewheeling sense of abandon into the rigid structure that memorable songs demand.
Further on, “World of Pots and Pans,” played in open E, harnesses the band’s psychedelic-punk leanings, as does the epic “Homage to Birdnoculars.” The song is a roiling workout that feels seamlessly drawn, with its simple two-note anchoring guitar melody and the recurring lyric “fall into my wormhole,” sounding inspired by the modern Texas-psych blueprint perfected by bands like the Black Angels. But it would be a mistake to try to pigeonhole Horsegirl’s sound as the sum of any set of perceived influences. What makes Versions of Modern Performance such a solid and endlessly accessible debut is how the band managed to harness their freewheeling sense of abandon into the rigid structure that memorable songs demand. It isn’t easy to make good songwriting sound effortless, but this power trio—and they are definitely that—is making it happen. And together with Agnello at the mixing desk they’ve crafted an album that merits repeated Saturday night listens in—where else?—the nearest basement you can find that’s tricked out for sound and kicked-back listening.
Cheng describes “Beautiful Song,” the album’s oceanic second track, as a vivid snapshot of what the band sought to harness and then release. “That’s how we want people to listen to us,” she says. “We all really enjoy the process of listening to a record all the way through, so it was something that we were thinking about. A record was the goal, from even before we had enough songs to make one. And there’s the typical first song that’s strong and sets the tone for the album, but I think the second song is underrated. I tend to really like second songs, because to me, that’s when we’re in the album.”
Recording at Steve Albini’s famed Electrical Audio studio was initially intimidating, but the trio doubled-down to make a compelling, vibrant live-vibe album that recalls primal Sonic Youth.
“I think this is the hardest we’ve all worked in our lives,” Lowenstein asserts, citing the hurdles Horsegirl had to overcome as a band of teenagers seeking entry into an adult world.
Their journey from the hyper-competitive live venues of Chicago to the hallowed studio spaces of Electrical Audio has been a rollercoaster, but, through it all, friendship and an ever-nurturing sense of community have kept them grounded. “We wrote all these songs while we were living this experience. Throughout high school, we were a live band. It was just what we love to do. And where we are right now feels like a really important thing to share with everyone. It’s very special to us.”
Horsegirl - Full Performance (Live on KEXP)
The band runs through some of the meatier cuts from their new album (as well as the fan fave “Ballroom Dance Scene”). Nora Cheng opens with her Fender Jaguar, tuned to open E, and then switches to her reliable Ibanez Roadstar II, while Penelope Lowenstein holds down the harmonic interplay and lower frequencies on her Squier Bass VI.
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).
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