
Focusrite announces the launch of Scarlett 4th Gen. The new range features the Solo, 2i2, 4i4, Solo Studio, and 2i2 Studio, designed to offer greater audio specifications, enhanced creative capabilities, and unprecedented ease-of-use.
The new Scarlett range boasts better specs than any previous generation of Scarlett. Key features include Auto Gain, Clip Safe and a re-engineered Air mode, cementing its status as a giant leap for the acclaimed range.
Scarlett Solo
The Scarlett Solo is ideal for singer-songwriters. With one mic preamp, one Hi-Z instrument/line input and brand-new custom-designed headphone amp, Solo provides stunning audio quality in a compact design perfect for home studios and on-the-go recording. Solo also features the re-engineered Air mode with Presence, and all-new Harmonic Drive, to breathe life into vocals and acoustic instruments.
Scarlett 2i2
For the aspiring artist, the Scarlett 2i2 offers two remote-controlled mic preamps and two Hi-Z instrument/line inputs for guitars, keys and groove boxes. The iconic 2-in/2-out interface delivers professional studio quality in a portable package. With powerful new features like Clip Safe, Auto Gain and Air mode, the 2i2 empowers artists to make release-ready recordings anywhere.
Scarlett 4i4
For the multi-instrumentalist, the Scarlett 4i4 provides two remote-controlled mic preamps, switchable line or Hi-Z instrument inputs, two fixed line inputs, and four balanced outputs for the flexibility to record mics, guitars, synths and more. MIDI I/O makes it easy to bring in synths and grooveboxes to sync with recording sessions. The 4i4 brings professional studio quality within reach for home musicians who want to connect more of their gear at once. 4i4 also includes new features like Clip Safe, Auto Gain and the re-engineered Air mode.
The Scarlett Solo Studio and Scarlett 2i2 Studio packs provide an all-in-one solution for high-quality recording. Including either a Solo or 2i2 interface, CM25 MkIII studio condenser mic and closed-back SH-450 headphones, these bundles have everything needed to start recording studio-quality vocals and instruments right out of the box.
Scarlett Solo Studio
The Scarlett Solo Studio and Scarlett 2i2 Studio packs provide an all-in-one solution for high-quality recording.
Scarlett 2i2 Studio
Including either a Solo or 2i2 interface, CM25 MkIII studio condenser mic and closed-back SH-450 headphones, these bundles have everything needed to start recording studio-quality vocals and instruments right out of the box.
Features
Focusrite has completely re-engineered the audio circuitry and introduced professional-grade converters for incredible performance. Scarlett 4th Gen uses converters from Focusrite's flagship RedNet range to deliver a massive 120dB dynamic range. 2i2 and 4i4 now feature remote-controlled preamps with 69dB of gain to get the best sound out of every mic. A custom-designed headphone amp drives high-impedance headphones louder and clearer than any previous Scarlett. In addition, all models now have independent controls for headphones and monitors.
With Auto Gain, users will never have to worry about setting levels again. Just play or sing for ten seconds, and Auto Gain will set the perfect level for recording. Clip Safe monitors levels up to 96,000 times per second and automatically adjusts the gain to prevent clipping, allowing users to fully immerse in performing and not have to worry about their levels. The re-engineered Air mode takes a sound's unique character and brings it to the front of the mix, for standout vocal or instrument tracks. Air mode includes the original all-analogue Presence mode, plus a new DSP-based Harmonic Drive mode for console-like richness.
The new design combines elegance, functionality and accessibility. Details include premium Neutrik connectors, spacious knob placement, and endless gain knobs on 2i2 and 4i4. Complemented by Scarlett's iconic red, the front panel showcases a sleek black finish and soft touch knobs.
The Dynamic Gain Halos make it easy to set and monitor levels. This update to the iconic Scarlett Gain Halos enables users to set the perfect level and get great results every time.
Loopback routes computer audio to DAWs with ease via Scarlett's virtual inputs. It can also mix Scarlett inputs and computer audio for sampling from other software, streaming and recording flexibility.
Focusrite's Easy Start tool quickly guides users through setup, so they're ready to record with the included Ableton Live Lite and three months of Pro Tools Artist recording software. To help users get the best results for recording, mixing and mastering, the Hitmaker Expansion software bundle provides a complete suite of iconic studio plugins from some of the industry's biggest names, including Softube, Native Instruments, Antares, and many more. Also included are five free masters from Landr that can be used at any time, plus a two-month subscription to Landr Studio, offering and unlimited music distribution on streaming platforms such as Spotify, Apple Music, YouTube Music and TikTok.
Focusrite Control 2 is also provided and enables remote control setup and mixing from a PC or Mac.
Pricing
USD ex. tax
- Solo - $139.99
- 2i2 - $199.99
- 4i4 - $279.99
- Solo Studio - $249.99
- 2i2 Studio - $299.99
Available now at focusrite.com and authorised dealers globally.
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Hereās a physical mashup for new soundsāsomething 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 werenāt just instruments, they were an accomplice in rebellionāa 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 letās 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 dyingāusually right before Fender reports record-breaking sales. The āguitar is deadā 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 youāll 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 doesnāt mean guitarists arenāt playing. In fact, a growing number of those people are young, diverse, and uninterested in recreating āEruptionā note-for-note. Statistics donāt lie and research indicates that nearly half of all current guitar players are under 30, and about a third are women. The old gatekeeping clichĆ©s are rusting away, and the next generation is walking right past them playing a genre you probably canāt nameābut your kids will.āWeāre 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.ā
Tone Meets Tech
If the classic electric guitar was a muscle car, tomorrowās iteration may be a hybrid with an amp-modeling package. Weāre seeing a rise in alternative pickups, effects-driven designs, and sustainable materials replacing endangered hardwoods. Carbon fiber? Itās 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 sustainabilityāitās about adaptability. Weāre 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, itās about the music, not the muscle.
Genre for a New Generation
If youāre looking for the next guitar god, donāt bother. The pedestal has been dismantled, and the throne now belongs to the collective. Todayās players are blurring genre lines like a toddler with a crayon. The guitar isnāt always the star of the showāitās the secret ingredient, the smoked paprika in a mashup gumbo. Itās not about being the loudest voice anymoreāitās about texture, color, and context. Weāve had our fill of ego-driven wankeryāgive us nuance. Give us groove. Give us players who arenāt afraid to capo, loop, and go full tremolo spaghetti-Western to a chillhop beat backed by a horn section. Donāt 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 transformationāmaybe 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 donāt mourn its reduced stature. The electric guitar hasnāt vanished; itās just learned to blend new dialects. Itās still a tool for expression, rebellion, and joy. Guitar is still capable of conjuring emotions that donāt fit into neat categories. And if you ask me, itās 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 Iāve ever come across. If youāve 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, heās a millennial.) But Steve, on the other hand, is about 10 years my senior and is a native New YorkerāBrooklyn 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 (heās exiled here among us Philadelphia sports fans) and heās 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 heās been added to my circle (and is such a mensch), I decided I should work him into a column.
So hereās 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. Iāve also seen Kawai guitars with the Zim-Gar label, but the Zimmermanās seemed to sell cheaper and cheaper gear as the ā60s wore on, including the piece you see here.
āThis build reminds me of the cutting boards I used to make in wood shop back in my high school days.ā
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 ādragon snoutā shape of the mid to late ā60s, which is where I would place the birthdate of this one, probably circa 1966. Everything is just so goofy about this buildāeven 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 didnāt 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 ā80s. I once even saw a guitar with the label Lim-Gar, which is totally puzzling. I think there shouldāve 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 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.
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).