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What is it?
The first thing most players will likely note about the Cort KX507MS Pale Moon, is the striking top from which it gets its name. The precision-playing multi-scale seven-string guitar has a look that steps away from the usual djent-friendly guitar aesthetic, but the South Korean firm is also eager to reinforce that the guitar is “more than a pretty face.”
Cort is perhaps better known for its factory – which churns out quality builds for the likes of Squier, Schecter and Ibanez – more than its own creations. But the tides of its reputation are starting to turn. From out of its Indonesian facility its builds throw top-end specs into very competitively priced instruments. More and more players are realizing how well they play for the price, and so the KX507MS can rightly be seen as a potential rival to some of the industry mainstays.
Cort has a rich history to lean upon too. Having built for Kramer and Hohner in the ‘80s, right through to Strandberg’s futuristic headless guitar offerings today, it has had a plethora of designs and production lines in its charge. Here, it aims to put its learning into a guitar that can pull heavy riffers away from the more obvious brands.
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It’s invested in Fishman’s hugely popular Fluence Modern humbuckers set, complete with its multi-voice capabilities, to power its tones
Away from its snazzy top wood, there’s a mahogany body, a five-piece maple and purpleheart neck, carved into a fast-playing, Ibanez-reminiscent D-profile neck. That’s capped with a 24-fret stainless steel macassar ebony fretboard.
Hardware, from its individually saddled hardtail bridge to its locking tuners and truss rod spoke wheel, are Cort-branded, but it’s invested in Fishman’s hugely popular Fluence Modern humbuckers set, complete with its multi-voice capabilities, to power its tones.
So, in a corner of the market dominated by the likes of Ibanez, Strandberg and Schecter, can this multi-scale seven-string strike fear in its opposition?
Specs
- Launch price: $999 | £799
- Made: Indonesia
- Type: Seven-string electric guitar
- Body: Mahogany with a pale moon ebony top
- Neck: Five-piece maple and purpleheart
- Fingerboard: Macassar ebony
- Scale length: 25.5”-27” multi-scale (648mm-686mm)
- Nut/width: 2 1/16″ (52.3mm)
- Frets: 24, jumbo stainless steel
- Hardware: Cort string-through-body hardtail with individual string saddles, Cort locking tuners, black PPS nut, two-way adjustable truss rod wheel
- Electrics: Two Fishman Fluence Modern humbuckers, 1 x master volume control and 1 x master tone, both with push-pull, and a three-way switch
- Left-handed options: No
- Finish: Natural Black Burst
- Case/gig bag: No
- Contact: Cort
Build quality
Build quality rating: ★★★★☆
It certainly holds its tuning well enough, thanks to the locking tuners, but the pegs themselves leave a lot to be desired
Given just how littered the extended-range guitar market is with S-types, Cort wins no points for imagination when it comes to its silhouette. Like its other S-types, it is mildly contoured without it feeling too luxurious or fitting like a glove – far more emphasis has been placed on its back.
Its horns, meanwhile, give way to decent access to the upper frets, and the neck joint is pretty smooth. The look does a fair degree of heavy lifting in that regard. The open-pore finish, and the striking quality of the guitar’s top on the whole, is very nice. But it has to do far more than look pretty to stand out here.
After having this guitar in my lap for mere minutes, one issue becomes clear: neck dive. This is something I’ve found particularly bothersome about some its seven- and eight-string models I’ve tried, and I actually owned a KX508 for a while, so I can speak from experience.
The neck dive here, to put it bluntly, is brutal. Owners of these guitars need to be careful or, like my KX508, you may lose a chunk off the headstock. It’s a real nuisance.
One big positive is the bridge
As someone who believes in maple fingerboard supremacy – it’s an aesthetic more than a tonal choice in all honesty – the macassar ebony ‘board helps maintain a dark look and sound, but gives it a little more nuance and a hint of maple ‘board goodness. I really enjoy the novelty of that.
The neck’s finish, meanwhile, is satin, but still has a little roughness to it which I also quite enjoy. It reminds me that I’m running my hands across a piece of wood; heavily finished necks can feel disappointingly artificial to me.
I do find the tuner action to be somewhat lacking, unfortunately. The D string especially is pretty unresponsive to a lot of turns. It certainly holds its tuning well enough, thanks to the locking tuners, but the pegs themselves leave a lot to be desired.
One big positive is the bridge. On the KX500 Pale Moon – its six-string sister – the Cort-branded hardtail felt like a cheap afterthought to me. Here, it feels a far more considered choice. Each string gets its own adjustable saddle, and it fills me with far more confidence from the off; a confidence which is never tarnished during my time with the guitar.
Elsewhere, it might seem like splitting hairs, but the edging on the headstock finish looks a little rough to me, and a couple of the frets are a little scratchy when playing vibrato. The omission of glow-in-the-dark side dots, especially considering how many low-mid-priced guitars come with them these days, is a disappointment too.
Playability
Playability rating: ★★★★☆
For all intents and purposes, Cort has angled the neck profile of this range of builds towards Ibanez’s D-shaped necks, combining flatness at the mid point with a shred-happy playability that isn’t too thin. In fact, I find there to be a bit of chunkiness to the neck that makes me want to really dig in. That extra bit of chunk is more than welcome.
It is by no means a difficult guitar to play, but I do feel I have to wrestle with it; it doesn’t just roll over and submit. That, actually, is one of the best aspects of the guitar to me. I will caveat this by saying that the flatter, D-profile Ibanez-style necks not to everyone’s tastes, but I’ve certainly played worse in this vein, even if I’m not madly in love with it.
Its multi-scale system means that, for leads, it feels like business as usual – especially if this is your first seven-string playing experience. Big fret jumps are no more difficult, and the slanted frets certainly help with that. There are faster-playing guitars out there, for sure. But it strives to be a solo machine without ending up in an extreme territory.
It is by no means a difficult guitar to play, but I do feel I have to wrestle with it; it doesn’t just roll over and submit
The 27” scaling on the lower end is enough to take the guitar as low as drop F# without needing strings thicker than tree trunks. It too replicates Ibanez’s go-to recipe for this scaling, making it a longer player offerings from the likes of Strandberg, which caps it at a fairly stunted 26.25”.
For multi-scale sevens, 27” is very much the industry standard, and so, perhaps the fact that my other sevens are a Strandberg Boden N2 Standard, and a straight-fret Chapman ML1-7, it does feel noticeably larger.
Still, I wouldn’t say it feels cumbersome; but I think newcomers to this type of guitar will have to accept that an adjustment period is part of the process.
The ninth fret is straight, which is also in keeping with standard industry practice, and so really, anyone with experience in playing metal-minded six- and seven-string guitars won’t find getting acquainted with the KX507MS all too difficult. Does it go one better than the big names it’s looking to out gun? Not for my money, but it does a very good job of getting into the same ballpark. It’s a more than respectable showing.
Sounds
Sounds rating: ★★★★½
The Fishman Fluence Modern humbuckers are wound to sound modern, and have a glistening quality to them that stops the lows from muddying up the mix, and the highs from piercing my eardrums
What immediately strikes me here is just how molten-hot the Fishman Fluence Modern humbuckers are. I’ve played countless guitars with this same set, from six-string Charvels to eight-string Strandbergs and plenty in between – including several of its main competitors in the Ibanez Iron Label and Axoim ranges. So I assure you that this isn’t hyperbole: this Cort feels like it packs more heat than the lot.
That isn’t, I hasten to add, necessarily a plus point for everyone. I often find myself dialling back the amps I use – including a raft of high-gain Neural DSP plugins for my rhythm tones – to keep its bark under control. Once the gain drifts too far past around 2 or 3 o’clock on any remotely hot amp, things can get messy if I’m not careful
Find the sweet spot, though, like I did with the hot amp from Archetype: Gojira (which is based on an EVH5150) and with a moderate amount of noise gate (I have mine set to 11 o’clock), it can be a real monster.
As the pickups’ name suggests, they’re wound to sound modern, and have a glistening quality to them that stops the lows from muddying up the mix, and the highs from piercing my eardrums. There’s a reason these pickups have been adopted for factory models and signature guitars for pretty much every big-name player in the heavy music world – including Ibanez, Jackson, Strandberg, ESP, Schecter, and Strandberg.
The KX507MS is very much architected to be a riff machine above all else
They can handle the most earthquakingly-low tunings and they clean up really well – although here I found its mid-gain tones a little meek on this particular guitar. I feel the lower gain and clean tones on the whole are really a “they’ll get me by” job because the KX507MS is very much architected to be a riff machine above all else.
The push-pull features do, however, help me get even more out of them. Pulling up the Tone dial offers a more “organic” sounding tone. Even if it’s subtle, I do regularly A/B test sections and lean into one mode or the other and find it a useful addition to the guitar’s sonic palette.
Doing the same with the Volume gives me a split coil, and don’t get me wrong, it does the trick, but these high-output active beasts will never snap like a passive equivalent to my ears. If I move my hand closer to the bridge, it definitely makes a difference, and with more bass-forward tones and ultra-low tunings, it becomes far more effective. But Seymour Duncan and Bare Knuckle still have the upper hand as far as my tastes are concerned.
Verdict
Puts up a fight against the competition and stands as a respectable leftfield choice for under $1,000
The market of extended-range guitars for heavy playing has been dominated by the big guns through the years. With the KX507MS, Cort is proving that there is much more value beyond those household names, with impressive specs at very competitive prices.
This guitar very much angles itself towards Ibanez’s playability, and the modern, Fishman Fluence-powered sounds heard on countless records and stages in 2026. It’s doing it with a real aesthetic flair too – the Pale Moon top is a beauty.
This riff beast more than puts up a fight against the competition and stands as a respectable leftfield choice for under $1,000. However, it isn’t flawless, and with the pros and cons fairly well-balanced, it might be hard-pressed to convince some players of those well-known brands to jump ship.
Guitar World verdict: A fine blend of price, playability, and punching tones, for rock and metal needs, the Cort KX507MS has firepower for days. Away from those realms, it does enough to get by. The neck dive on this example is a pretty big issue, but when it comes to making ground-shaking noise, it’s a hell of a lot of fun.
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Test |
Results |
Score |
|---|---|---|
|
Build quality |
Its conservative silhouette is compensated for with a lovely finish, and though the neck dive issue and a few blemishes threaten to spoil the party, it is still solidly assembled. |
★★★★☆ |
|
Playability |
The neck isn’t super smooth or brittly thin, meaning it has a good bit of fight in it. That, in my opinion, helps the cause here, but there are more premium-feeling guitars available. |
★★★★☆ |
|
Sounds |
For rock and metal, the Fishman Fluence Modern humbuckers have a lot of bark, and their push-pull features keeps its sounds diverse. Cleaner tones leave a little to be desired here, though. |
★★★★½ |
|
Overall |
There are minor setbacks, but there is still a lot of value in its price tag, and it might just convert a few Ibanez riffers. |
★★★★☆ |
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