The Jazzmaster icon goes beyond offsets and shreds on fresh, sparkly Teles and a Vox-Fender mashup. Plus, he encounters his first Floyd Rose.
Dinosaur Jr.ās J Mascis is rock ānā rollās loudest low talker. Onstage, the reserved frontman is overshadowed by his three full stacks, summoning up President Teddy Rooseveltās quote: āspeak softly and carry a big stick; you will go far.ā
Fellow volume-dealing stalwarts Emmett Jefferson Murphy III (drums)ābetter known as āMurphāāand Lou Barlow (bass/vocals) helped J form the band in 1984 after their first group, Deep Wound, dissolved. Both left Dinosaur Jr., and then rejoined in 2005. This core group has released eight studio albums of dynamically rich rock that teeters between a runaway locomotive fueled on feedback and buzzing riffs, and hooky, melodic, pop-soaked nimble rhythms that carry more than they crush. While never reaching the mainstream stratosphere like some of their contemporaries (including Nirvana, who opened for Dino Jr. in 1991), this consummate power trio have remained popular in the American underground by continually selling out theaters, splashing into the Billboard 200 (climbing even higher in the Independent and Rock charts), and headlining alternative-music festivals. All along the way, their soft-spoken shredder has ascended as a guitar-hero among musical outcasts.
Before Dinosaur Jr.ās sold-out show at Nashvilleās Brooklyn Bowl, Mascis reconnected with PGās Chris Kies to talk Teles (yes, you read that right; heās touring with more Telecasters than ever), including the development of his new signature T thatās based on his studio-perfect ā58 model. We also witness two firsts for J: a Phantom-Tele-Jazzmaster Frankenstein and a Floyd Rose-equipped guitar.
Brought to you by DāAddario XPND Pedalboard.
The Phantom of the Bowl
J Mascis has been linked to the Jazzmaster for decades. In 2021, he broke his offset mold, releasing a signature FenderĀ Telecaster based on a beloved 1958 Tele that has long been his go-to instrument for tracking solos. But during our November 2021 chat at Nashvilleās Brooklyn Bowl, Mascis mentioned that the ā60s Vox Phantom was his favorite silhouette. He could never get along with them onstage, so heās cobbled together various parts and made his own dream machine. This guitar features a modern copy of a Phantom body, a Fender Deluxe Series Telecaster maple neck and fretboard (with jumbo frets), and a Mastery JM-style bridge.
The project was entrusted to and executed by Trevor Healy of Healy Guitars out of Easthampton, Massachusetts. Healy recounts: āMy favorite thing about it was cutting around the Mastery bridge to fit snug inside the pickguard. Thereās also a Seymour Duncan custom shop pickup under the bridge pickup cover, if Iām not mistaken.ā Regarding the pickups we can see, Mascis tried several setsāincluding Fender Eric Johnson signature single-coils (middle and neck) matched with a Seymour Duncan Stra-Bro 90 (bridge)ābefore landing on a trio of Fender Noiseless single-coils. The guitar rides in open-G tuning and is used on āI Ainātā from their new album Sweep It Into Space.
All of Jās guitars take Ernie Ball Regular Slinkys (.010ā.046) and he shreds with Dunlop Tortex 1.14 mm picks.
Full-On Phantom
Hereās a head-to-toe shot of the marvelous mash-up.
Déjà Blue
āIāve started seeing it in guitar shops, and itās weird because itās like, āwhy is my guitar up on the wall?ā,ā jokes Mascis. āItās not a guitar I designed, like with my signature Jazzmasters, so seeing a copy of a guitar Iāve had for decades is weird.ā Mascis sort of fell into the Telecaster world by way of Fort Apache Studios owner Joe Harvard, who sold J the 1958 top-loading Tele that his new signature is based on.
Mascis played that ā58 while producing Buffalo Tomās 1990 album Birdbrain at Fort Apache. Mascis let Harvard know that if he ever wanted to part ways with the Tele, he should call him first. Harvard swore heād never break ties with the guitar, but only a few months later Mascis got the fateful call. In the Rundown, he mentions that since owning the ā58 it has appeared on almost every solo heās recorded, because he tends to like what he plays on that Tele more than anything else he owns.
In our November 2021 cover story, J elaborated on what makes the blue-sparkle T so special: āOn that Tele, I find my solos are more interesting. If I play the same solo on a Strat, it just sounds like a Strat to me. Itās slightly more boring somehow? I donāt know where my brain or fingers go or why that happens, but I usually find that if I play solos on different guitars for the same song, the stuff I play on that Tele is always more interesting. The top-loader was the first Tele I really bonded with, and it was about the feel. When I pick up Teles with string-through-body bridges, the strings are a little harder to bend. People say the top-loaders donāt have as much sustain, but I never thought of a Tele as a sustain guitar anyway, and when you hit a Big Muff, every guitar has sustain. So that argument doesn't really work for me.ā
Notable ingredients for the production model include an alder body covered with a dashing bottle-rocket blue-flake finish (offset with a mirrored pickguard), a custom J Mascis C-profile maple neck thatās paired with a maple fretboard pocketing 21 jumbo frets, and J Mascis Custom ā58 Tele Single-Coil pickups. However, in the signature guitar he showed us, he swapped out the stock Fender pickups for a Seymour Duncan BG1400 Lead Stack Telecaster (bridge) and McNelly A2 or A5 T-style (neck). (The neck and hardware feature Fenderās āroad-wornā treatment, too.) So far, heās been using it on āFeel the Painā and āStart Choppinā.ā
Sparkle Spank
Prior to getting his signature Tele, this Fender Custom Shop Deluxe Telecaster Thinline was his favorite live T. The purple-sparkle axe features many of Jās go-to specs, like jumbo frets on a worn-down, C-profile maple neck and a top-loader bridge. (Although Fender delivered the guitar with a string-through setup, forgetting his request for a top-loading bridge, J quickly swapped one onto it.) As of filming, it had a Seymour Duncan BG1400 Lead Stack Telecaster (bridge) and TV Jones Starwood (neck).
JM Thinline for J
To match his Custom Shop Tele Thinline, Mascis requested a Jazzmaster Thinline semi-hollow in the hopes itād be a lightweight option for extended practice jams, but the finished product came out heavier than J imagined. The Custom Shop JM-style pickups were spray painted by his tech.
A St. Vincent Jazzmaster?
While recording Sweep It Into Space, J experimented with different sounds and tunings. One pairing that yielded a raucous result was using an Ernie Ball Music Man St. Vincent guitar in C#-tuning, which delivered the gnarly āI Met the Stones.ā The foundation of the beefy track is the St. Vincentās DiMarzio mini humbuckers into a Fender tweed. J shared this with PG in November 2021: āIt [EBMM St. Vincent] seemed to play in tune well at that pitch. A lot of those rhythm parts are on that guitar through a tweed Fender Bandmaster. I think the sound on that song is mostly from the amp and the mini-humbuckers in that guitar.ā So, his road-take on that instrument is a Jazzmaster with the neck pickup disconnected, blasting through the same DiMarzio bridge mini-humbucker thatās in the St. Vincent.
Tuxedo Tele
āI asked Fender if they had any guitars that would stay in tune in C#, and they sent this to me,ā says Mascis. The Fender American Ultra Luxe Telecaster Floyd Rose HH is Jās first 6-string with a Floyd Rose trem and, noted in the Rundown, he eyed āMountain Manā (from 1985ās Dinosaur) for its maiden voyage.
The snazzy Telecaster is constructed with an alder body, Fenderās augmented-D-shaped maple neck, a maple fretboard and 22 jumbo frets, Ultra Double Tap humbuckers (splitable via Fenderās S-1 switch), and a Floyd Rose Original Double-Locking 2-Point Tremolo bridge.
J For Jazzmaster
Weād be remised if we didnāt feature Jās longtime live No. 1āa sunburst ā63 Fender Jazzmaster with its original neck and pickups. He replaced the pickup covers and knobs, put in jumbo frets, subbed in a Tune-o-matic-style bridge, and since our 2017 episode, he upgraded the stock Fender vibrato to a Mastery.
Tone ⦠Deaf
Anyone who has witnessed Dinosaur Jr. live recognizes these towers of tone. For years, Mascis has been flanked by the same three stacks and sidestage combo. Here we see three-fourths of Jās jumbo setup: two late-ā60s Marshall Super Bass full-stacks and a vintage Hiwatt DR-103 head driving two Marshall 4x12s.
Close Ups
Vintage Hiwatt DR-103
1960s Marshall Super Bass
Another 1960s Marshall Super Bass
Fender Makes Four
In the 2012 episode, Mascis was using a Victoria 80212 tweed Twin clone, but in 2017, and again in late 2021, he was using the same vintage Fender Twin Reverb.
More For Mascis
For at least 10-plus years, J Mascis has used a Bob Bradshaw-built Custom Audio Electronics switcher as his mission control. The standout stomps that were seen in the 2012 and 2017 editions include a Tone Bender MkI/Rangemaster-clone combo pedal made by Built to Spillās Jim Roth (bottom right cornerāin a third new enclosure since the 2012 and 2017 videos, each showing a different box), Mascisā first Electro-Harmonix āRamās Headā Big Muff (top right), a vintage EHX Electric Mistress, an MC-FX clone of a Univox Super-Fuzz (lower right, blue box), a pair of ZVEX pedalsāa Double Rock (two Box of Rock stomps in one) and a Lo-Fi Loop Junky (both bottom left), a Tube Works Real Tube Overdrive, a Moog MF Delay, and a Boss TU-3S Tuner. The new pedals not featured in the last two videos are a Homebrew Electronics Germania 44 treble booster (lower right), a JAM Pedals RetroVibe MkII, an Xotic SL Drive, a Suhr Jack Rabbit tremolo, a Dr. Scientist Frazz Dazzler fuzz, an EHX Oceans 11, and a (Dunlop) Jimi Hendrix ā69 Psych Series Uni-Vibe chorus/vibrato. Everything receives juice from either an MXR MC403 Power System or an MXR M237 DC Brick.
- What Happened to J Mascis' Jazzmaster Addiction? - Premier Guitar āŗ
- J Mascis Keeps It Loud! - Premier Guitar āŗ
- Rig Rundown: Dinosaur Jr.'s J Mascis and Lou Barlow [2017 ... āŗ
- Electro-Harmonix J Mascis Ram's Head Big Muff Pi Pedal - Premier Guitar āŗ
- Electro-Harmonix J Mascis Ram's Head Big Muff Pi Pedal - Premier Guitar āŗ
- MJ Lenderman: Wind Rig Rundown Revealed - Premier Guitar āŗ
- Michael Imperioli's āVery Strange Connectionsā - Premier Guitar āŗ
- J Mascis: Legendarily Loud | 100 Guitarists Podcast - Premier Guitar āŗ
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).
The Oceans Abyss expands on Electro-Harmonixās 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 weāve 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