Sounds can be played with up to voice polyphony for full, rich-sounding patches. And the sounds are equally impressive. From expressive string ensembles to spiritual tabla loops coupled with sitar-all with adjustable attack and release.
Want to create a sound that's all your own? Try blending the natural sound of your guitar pickups with the GR Thankfully, the GK-3 Divided Pickup makes this easy via a larger and smoother knob. Imagine playing chords and then slowly fading in a swirling, breathy pad to create intensity. Or how about playing a distorted lead on your guitar with a thick synth lead sound? Now take this a step further with the GR's Patch Link function. In other words, everything you need to start playing synth sounds is included!
The pickup includes an adjustable curve design to keep an even distance between the strings for better response the pickup cable length is also adjustable. Owners of LP-type guitars can install the GK-3 pickup safely using a special attachment plate included in the box. Affordable guitar synthesizer with new sounds, easy interface, and GK-3 pickup Easy to use: The Yamaha NSM studio reference monitor speaker aka NS10M is widely popular amongst audio professionals, and is notorious for its very flat frequency response.
The wants and needs of the audio engineer are different than the typical consumer, so this is a welcome thing as the NSM monitors will reveal the truth of mix. The NSM studio monitors have been an industry standard for mixing and are easily recognized by their standout white mid-range driver.
In spite of being discontinued, the NSM are still widely used in studios and even won Yamaha Corporation a Grammy in for their technical excellence and impact on the recording industry. Blue with slight amount of micro-flake and white gelcoat colors. Dashboard re-done with new speedometer, tach, temp, fuel, water, pressure and volts. Transom saver for towing with no engine bounce.
Very solid and rides like 19 foot boat. Can tow with most front wheel drive vehicles! Noise and hum dB aux, dB phono. Output impedance ohms. Center channel output 1. Bass trim controls boost up to 6dB below Hz. Voltage gain 20dB aux, 62dB phono.
Input selector with indicator lights: Mode selector with indicator lights: Volume with power switch. Separate treble and bass controls each channel. Pushbutton switches with indicator lights: Headphone jack, Tape input jack, Tape output jack. Bass trim, Headphone level, output level, phono 1 and phono 2 level controls, center channel level, power amp switch: Speaker remote control socket.
New retail price then. Bridge Pickup Position 2. Bridge and Neck Pickups Position 3. Neck Pickup , Volume 2. Not only does this driver deliver crystal clear highs, it beautifully reinforces the mid range frequencies as well. With the rear mounted L Pad turned to zero, the Nighthawk delivers a rich, smoky jazz tone, much like that of our Twin 8 cabinet. The tonal personality of the Nighthawk changes dramatically as the L Pad is dialed in.
In addition, you will smile every time you transport the Nighthawk. Here is your chance to buy one of the earlier models. It's been around the block with alot of paint chips on the edges of the pedal, but it works perfectly.
Early serial number, This is truely one pedal, that if you don't have with all your other favorites, your missing out. Owners manual can be viewed here: For Harmony Central Reviews: Pictures of each game box can be viewed at: A jumbo string that is balanced and resonant.
Upping the ante with a sleek Venetian cutaway and the Expression System pickup, the CE performs well onstage, in studio, or at home. The quick, articulate response of Sitka spruce is combined with the warmth and sparkle of ovangkol, giving this 12 string an expressive and pleasing tone. The Jumbo delivers the extra-deep resonance and volume that come with a larger sound chamber together with its own signature subtleties.
With a huge presence, the Jumbo is perfectly suited for aggressive strumming. The finish used to create this guitar's textured satin back and sides and lustrous gloss top was developed at Taylor for maximum durability and resistance to cold-checking.
This ultraviolet-cured finish is also more environmentally friendly than traditional lacquer finishes. Designed to faithfully reproduce your guitar's native tone, the Expression System utilizes patented Dynamic Sensors to capture top and string vibration like never before. Created in partnership with renowned audio pioneer Mr. Rupert Neve, the Taylor ES is seamlessly integrated into the design of the guitar from the ground up.
Onboard tone controls provide added flavor, or can be set flat for an uncolored, exceptionally clean amplified sound. The hood now sported a scoop, unique to There was also another feature added to the rear of the pickup.
A pocket was added to the underside rear of the bed that, when used with a pin, would hitch a trailer. The example on the left features the front end of the Hi-Way pickup.
Note the black bumper. Except for the Hi-Way series and the Allied Van Lines semi, all other trucks sported the familiar bright finish bumper. With its stunning good looks and poise, the GAM will simply take your breath away. Finished in luscious Amber Flame Maple Stain. Tiger Maple Amber Stain Category: Hollow Body Guitars Body Style: Single Cutaway Scale Length: Laminated Maple Body, 16" Wide, 2. Ebony, 12" Radius mm Bridge: Spruce top Gloss finish Black pick-guard Lacewood back and sides Rosewood fretboard with dot inlays Dreadnought body shape Hardshell case included http: The decades-long standard for bass tone and playability.
The Fender American Jazz Bass approaches Custom Shop quality with its premium ash or alder body, slim graphite-reinforced neck with rolled edges, highly detailed fret and nut work, and U. It also features an S-1 switch that changes the pickups from parallel to series when engaged, creating a fatter, wider, almost humbucking tone similar to that of a Precision bass. The bass has an alder body; the one-piece C-shaped maple neck thin has a maple fingerboard with black binding and black rectangular position markers.
Power at clipping, single channel, Hz: This special-edition Jazz Bass features a bound basswood body with a cream-bound carved top and no pickguard. The maple neck has a rosewood fingerboard, matching painted headstock and dot position inlays on the side only. Here are some great url's on this power amp: Here is a great url on this Marshall Pre Amp and Marshall in general!
Ibanez, new ideas for today musicians. Here a few of many great urls on this Ampeg V I will pack over the top for a safe and sound trip to you! More than ever before, musicians are mixing sounds and musical styles from all over the world. This often involves the mixing of Eastern and Western music, such as using a Sitar in a western musical setting or using western instruments to imitate the sounds in eastern music.
The Glissentar was inspired by a similar desire to mix elements of East and West, but in this case, in the instrument itself. The Western part of the equation is easy to recognize as a variation on the guitar. The Eastern influence in the Glissentar comes from the Oud, an ancestor of the Mandolin that dates back to the seventh century. The Oud is also an eleven-string fretless instrument and is still in use today primarily in Armenia and Egypt. Adapting to this new instrument is actually a great deal easier than it appears.
The shape and scale of the neck and the easily visible side position markers help to give the Glissentar a very familiar feel. The Glissentar opens the door to microtonal playing as well as some incredible and unique new sounds for adventurous guitar players. Rated continuous power output: Colors available constantly changing Pictured in: Unique styling and unprecedented access.
Sumptuous rosewood back and sides look fabulous and add sonic projection. Fishman Classic IV electronics provide amazingly accurate amplification with high feedback threshold.
A baritone electric guitar with retro looks and features. The Dead-On '67 Baritone Electric Guitar from Danelectro features a long scale length for lower tuning, a satin finish, nickel hardware, a truss rod that adjusts at the headstock, the original swivel rosewood bridge that intonates, and souped-up Lipstick pickups.
The "Dead-On 67" guitar also features the original Danelectro tremolo and split pickguard. Product Description The vintage sound of an analog OTA-based phaser melded with contemporary parameters out the wazoo. No doubt the Whetstone can do things that your current phaser can't.
That famous GK clean and GK chunk. Two channels, stereo output, watts per side, reverb, chorus and compression. Two space rackable, Includes 5 button footswitch. Room for that 5th peg, if you add one! A unique Tribute model with a lightweight body and a wide range of sounds.
The voice chamber in the guitar's semi-hollow body adds roundness of the tone that is great for playing jazz. Both pickups are operated by a 3-way selector switch, plus Volume and Tone controls. Other enhancements include Semi-hollow, single-cutaway Body wood: Swamp ash Neck wood: Hard rock maple with maple fingerboard Neck shape: Traditional boxed steel bridge with individual machined brass saddles Finish: Clear Orange with maple fingerboard Pickguard: Pearl Tortoise shell Other: Specifications for RT Name: AM Amber Body Body material: Gotoh 12 String Hardware color: Tortoise Neck Neck type: I appreciate all that are interested in this cool synth!
Sorry, the Ibanez RT string electric from is not included But it is for sale! I was not thinking this day when I launched this auction. But was notified by a kind e-mail that Gibson did not own Epiphone till the buy out in But they definitly were not "Gibson Owned" when this lap steel was made. And thanks for all the interest Before the bombing of Pearl Harbor in , Epiphone was a consumer favorite and industry leader.
By the end of the war in , the company had lost its greatest asset when Epi died of leukemia. Epiphone shares and control went to younger brothers Orphie and Frixo. Problems emerged slowly at first. Epiphone continued to clash with Gibson, each introducing electric cutaway versions of their top archtops. Pickups continued to be refined and players continued to appear onstage with Epiphone guitars. From the outside, it seemed to be business as usual.
But cracks soon appeared both on the production line and in the boardroom. The Stathopoulo brothers argued over the future of the company and in , Frixo sold his shares to Orphie. The company's reputation for craftsmanship and innovation that Epi had built in the '20s and '30s did not survive the war years. Tastes were changing and Epiphone's products seemed traditional and out of step.
The Epiphone factory moved from Manhattan to Philadelphia in to avoid a union clash but many of the company's craftsmen refused to leave New York. Les had been perfecting his solid body guitar design in the Epiphone factory and when Fender emerged with their Telecaster, Gibson President Ted McCarty made Les Gibson's first solid body electric guitar endorser. McCarty took the advice and reached out to Orphie, expressing Gibson's interest in Epiphone's critically acclaimed upright bass division which Gibson had not picked up again after World War II.
McCarty accepted on behalf of Gibson. The Stathopoulo family was out of the instrument business. Though McCarty's original intention was to bring the Epiphone bass models into the Gibson catalogue, by , he changed his mind.
Instead, as McCarty wrote in a memo that year, the Epiphone brand would be revived with a new line of instruments. McCarty's marketing plan was to offer Gibson-made Epiphones to dealers who were keen to win a Gibson contract, but had not yet proven themselves as profitable dealers. The right to sell Gibson models was hotly contested between dealerships at this time. It was the perfect solution. Dealers would get a Gibson-quality product without treading on the toes of dealers who already sold the Gibson line.
The entire Epiphone operation was relocated to Kalamazoo, Michigan. Epiphone was back in business. I got this strat in the early 90's. After playing it for awhile, I was curious what was under the blue finish. I removed the pickguard and was surprised to find not only the blue, but a yellow and a white. And then, Wow under that the knock out shimmering green.
I decided I wanted to see more, I had a feeling that the original green had not been sanded before other paint was added. I sanded a small spot on the back with grit wet sand paper, and after alot of work, there it was! I almost fell over and sanded for hours and hours, not wanting to damage that original paint. Most of the blue, yellow and white paint is now removed, and it wouldn't take long to finish the job and fully expose that beautiful green finish. The guitar is otherwise the way I got it, I never changed a thing.
It must have a history, I'd sure like to know it. This guitar plays fantastic and sounds absolutely tremendous. I am older now and my life has changed and decided to pass it on for others to enjoy and be inspired. Take to the skies! Battle-tinged fighter graphics with camo and bullet holes broadcast the fact that this is one screamin' demon. Duncan Designed pickups and 3-way electronics deliver a fierce sonic payload while Grover tuners keep it on course.
Raymond designed an electro-mechanical echo unit that used a rotating disc inside a small metal drum filled with electrostatic fluid. This echo unit made it possible for musical performers to re-create echo effects in a live performance without using echo chambers or unreliable tape devices. The Lubow brothers went into business as Tel-Ray Electronics, manufacturing their new "Adineko" echo device for many companies including Fender.
Raymond also designed another device that simulated the sound of a Leslie rotating speaker cabinet in use by organists and other musicians. Shortly thereafter, Tel-Ray shifted their emphasis away from OEM manufacturing and began marketing their own line of pedals under the Morley name. A new treadle and case design consisting of a rather large and industrial-looking chrome-plated housing and rubber-covered treadle was used universally throughout the entire Morley line, which included volume pedals, wah pedals, a Rotating Sound pedal the original "Morley" , and a pedal version of their echo device dubbed the Morley EVO Sound stacking, step editing, stereo samples with reverb and ambience Dynamic Articulation: All-analog bucket-brigade circuitry Create classically lush, liquid textures Ultimate tone control.
Rate, Level, and Depth controls, as well as knobs for cutting High and Low frequencies allow ultimate tone control. Like all MXR pedals, the M comes in a heavy-duty housing with durable jacks and switches for a lifetime on the road. The RY30 is an elegant Drum Machine with advanced synth-like features that give it a really great sound.
It's sounds are bit, 48kHz PCM with digital multimode filters. It can store up to user patterns and 20 songs, plus it comes with preset patterns in various styles for instant drum accompaniment. The RY30 has 90 waveforms, most of which are acoustic drum and percussion samples. There are an additional 6 analog waves including sine, triangle, and saw waves. Two oscillators can be layered per voice, and the voices can be pitched and played via MIDI.
It has note polyphony, but loses one voices to the metronome. There are eight touch sensitive pads dedicated to a certain type of drum sound. There are 96 drums sounds built-in 12 banks of eight. Additional sounds and patterns can be brought in via Sound Cards for the RY There are no effects except internal samples can be played in reverse.
It also has four outputs that you can assign any drum sound to kick, snare, hihat, etc. A nice little Modulation Wheel can adjust the pitch, decay time, pan, filter cutoff and the balance of the oscillators. As far as drum machines go, the RY30 is one of the nicest! Mullard Limited was a British manufacturer of electronic components. The Mullard Radio Valve Co. Mullard, who had previously designed valves for the Admiralty before becoming managing director of the Z Electric Lamp Co.
The company soon moved to Hammersmith, London and then in to Balham, London. The early versions of this tube had a metal collar around the base, and a mica spacer below the getter. These tubes are RARE and command high prices. Later versions had a brown micanol base, and a production series indicated by "XF" codes which are printed in black ink near the bottom of the glass. All of the Mullard tubes I have seen have a small hole in the very bottom of the octal centering pin.
This will be down low on the side, on the second line of code below the XF type designation, beginning with a capital letter "B".
Another trait is the often very dark top getter flashing, sometimes with a rainbow-hued "oil slick" appearance. This is normal, as the gettering was done at high temperature at the factory.
Some use will sometimes make the getter thin, brown, or patchy. This is also nothing to be concerned about, as these tubes will usually still test very good with no gas, and operate normally for years with faded getter patches.
These are, overall, just awesome tubes. These usually have the old "shield" logo, sometimes with the "BVA" in a circle below that. These are rare, and their scarcity has pushed up the price. They are worth seeking out! Again, these may be the "shield" logo, with or without the "BVA" logo.
These are still great tubes. These are not Mullard UK made tubes, although they were made in a Japanese factory that Mullard helped set up and are decent tubes. They are at an attractive price, and you may wish to try these fine tubes as a very cost effective way to get the Mullard sound without having to worry about finding pairs of vintage Mullard tubes that match, and being able to find spare tubes.
D Fret Cutaway Top: Solid Sitka Spruce Rosette: Two Ring Top Bracing Pattern: Hybrid ''X'' Scalloped Top Braces: Solid East Indian Rosewood Endpiece: White Boltaron Top Inlay Style: Select Hardwood Neck Shape: Performing Artist Profile Nut Material: Solid East Indian Rosewood Heelcap: Black Richlite Scale Length: Style 28 - White Corian Fingerboard Binding: Polished Gloss Finish Neck: Black Richlite Bridge Style: White with Black Dots Pickguard: Delmar Tortoise Color Case: Deluxe Hardshell Interior Label: Compact stereo acoustic amplifier with pure, natural tone and excellent projection 2-Channel design: The AC is a marvel of amplifier design, using the latest DSP technology to deliver a pure, rich acoustic sound with projection far beyond its compact size.
A Marvel of Convenience! This makes it the perfect companion for coffeehouses and small club gigs. The Guitar channel gives you a choice between piezo and magnetic pickup inputs, plus powerful Anti-Feedback controls.
Rounding out this package is a Mute switch for silent tuning and a Stereo Line Out for connection to mixing consoles and PA systems. Expression pedal, footswitch Display: SEP 21 S. The NF-1 is just a simple noise gate that cuts off the signal once the level falls below the threshold set. It's simple to use: Adjust the Sens ivity knob to the threshold level where you want the pedal to cut off and adjust the Decay knob to how fast you want the signal to fade out.
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