Pickup for Electric Guitar- Slash signature humbucker- For bridge position- Output: Medium- Shielded connections: 4-Conductor- DC resistance: 9.38 kOhm- Magnet material: Alnico II - Rough Cast- Dual coil- Same tonality and clarity as the APH-2, but more power thanks to hotter winding- Maple spacer- Paper tape and wax potted- Short mounting legs- Handcrafted using traditional methods: nickel silver base plate- Colour: Black- Made in USA

Pickup for Electric Guitar- Slash (Guns N’ Roses) Signature Humbucker- For neck position- Same tonality and clarity as the APH-2, but more power thanks to ‘hotter’ wind- Handcrafted using traditional methods: nickel silver base plate, maple spacers, paper tape and wax potting- Output: Medium- Shielded connections: 4-conductor- DC resistance 8.8 kOhm- Magnet material: Alnico II - Rough Cast- Short mounting legs- Colour: Black- Made in USA

Harley Benton D-120CE BK Steel-String Guitar- Type: Dreadnought with cutaway- Spruce top- Mahogany body- Mahogany neck- Roseacer fingerboard- C-neck profile- Dot fingerboard inlays- Cream coloured bindings on body and neck- Scale length: 650 mm- Nut width: 42.5 mm- 20 Frets- Roseacer bridge- Pickup with pre-amp with volume control and 4-band EQ- Chrome-plated DieCast machine heads- String gauge ex works: .010 - .047- Colour: black high gloss- Includes 2 pickguards in black and tortoise Edition Carisch Methode Pour Guitare Coursebook for Acoustic or Electric Guitar- With songs and exercises from rock, folk, blues, reggae, swing, flamenco and more- By Laurent Huet- In standard notation and tablature- With chords- ISBN: 9788882918712, Publisher's no. MF1628- Format: DIN A4- 190 Pages- In French language- Includes CD with audio and MIDI files Thomann Acoustic-Steel Gigbag Eco Gig Bag- For steel string guitars- Standard version- With large pocket for accessories/sheet music- Backpack straps- Inner dimensions: (L x W x D): 111 x 42 x 13 cm- Guitar not included Thomann CTG-10 Clip Tuner Clip Tuner for Guitar and Bass- Chromatic- Tuning via vibration sensor- Large backlit display- Two-tone display for showing the correct tuning- Rotates 360°- Includes battery (CR2032) Harley Benton Nylon Player Pick Set Mixed Guitar Pick Set- 12 Picks of various thicknesses- Material: Nylon- Thickness: 2x each of 0.58 mm, 0.71 mm, 0.81 mm, 0.96 mm, 1.2 mm, 1.5 mm

Seymour Duncan Slash 3.0 Humbucker Set 4 BL, Signature humbucker guitar pickup set, highest output and most aggressive tone in the Slash series, while maintaining clarity and signature sound, hand-built using classic methods: wood spacers, traditional components, and vacuum wax potting, dual coil, rough cast Alnico V magnet, DC resistance bridge 9.62 kOhm, DC resistance neck 8.8 kOhm, shielded 4-conductor hook-up cable, short mounting legs, medium output, black, made in USA,

Pickup for Electric Guitar- Slash (Guns N’ Roses) Signature Humbucker- For neck position- Same tonality and clarity as the APH-2, but more power thanks to ‘hotter’ wind- Handcrafted using traditional methods: nickel silver base plate, maple spacers, paper tape and wax potting- Output: Medium- Shielded connections: 4-conductor- DC resistance 8.8 kOhm- Magnet material: Alnico II - Rough Cast- Short mounting legs- Finish: Black Nickel- Made in USA

Set of Pickups for Electric Guitar- 2 Slash (Guns N’ Roses) Signature Humbucker- Same tonality and clarity as the APH-2, but more power thanks to ‘hotter’ wind- Handcrafted using traditional methods: nickel silver base plate, maple spacers, paper tape and wax potting- Output: Medium- Shielded connection: 4-conductor- DC resistance neck: 8.8 kOhm- DC resistance bridge: 9.38 kOhm- Magnet material: Alnico 2 - Rough Cast- Short legs- Colour: Zebra- Made in USA

Pickup Set for Electric Guitar- Slash signature humbucker set- Tuned to deliver Slash's characteristic sustain, crunch and midrange character of the original Derrig LP- Handmade using traditional methods: Nickel silver base plate, maple spacers, paper tape and wax potting- Output: Medium- Shielded 4-conductor connection cable- Dual coil- DC resistance (bridge): 8.9 kOhm- DC resistance (neck): 8.3 kOhm- Alnico II magnet- Short mounting legs- Colour: Zebra- Made in USA

Pedalboard Mounting Solution- For attaching larger Radial devices to pedalboards- Compatible with selected modular pedalboard systems such as Pedaltrain Pedalboards Classic JR and larger- Maintains easy access to XLR and jack connections and controls- Secure mounting via existing screw points- Replaces temporary mounting methods- Material: Steel- 2 x 5/16" hex screws- 2 x washers- 4 x self-tapping screws- 2 x machine screws- 2 x hex nuts- Allen key

With the finest ingredients from SPL, the new flagship of SPL's channel strips establishes the basis for world-class recordings and each of its particular processing stages can be inserted into studio environments or DAWs like analog plug-ins! The brand-new Frontliner has all tools on board to record vocals and instruments in perfect quality: it merges a preamp, a de-esser, an EQ and a compressor. Thanks to it's individual analog I/Os, all these powerful, hi-end analog processors can be inserted into any studio by the Frontliner pilot, i. e. to use them also during mixing and mastering. Thus it appears that the Frontliner is not reduced to a frontend device especially DAW based studios get the chance to integrate high-grade analog processing at any stage of the audio production process. The hybrid preamp with discrete transistor stage and separate tube stage combines high performance and neutrality with the option for sound coloration by enhancing the harmonic content with the switchable tube drive. The unique one-knob de-esser employs a phase cancelling technique to reduce sibilants. With three bands, the EQ section covers the complete frequency spectrum efficiently, and a tube saturation control allows to apply distortion to any signal from subtle to reckless levels. The compressor offers all classic parameters and a controllable automation of attack and release which adjusts the setting of time constants to the input signal pretty much like a cruise control. Three separate, individually optimized inputs for microphones, line signals and instruments. Discrete semiconductor/tube hybrid preamplifier to combine the advantages high dynamic range and low noise operation of semiconductors with the musical qualities of tube sounds (appealing top end, beautiful spacial impression). Discrete construction is based upon single transistors instead of integrated circuits (ICs) from industrial production and ensures a higher level of optimization. 250 volts tube circuits in the preamplifier and for tube saturation stages. High-grade operational amplifiers from Burr-Brown at critical positions. The SPL De-Esser applies the method of phase cancellation for reducing sibilants. This innovative approach works much more neutral than traditional compression methods a unique method for unobtrusive results and extremely fast operation. The compressor is operated by SPL s double VCA drive circuitry. A differential stage eliminates side effects and the half load per VCA dramatically reduces THD. The operational amplifiers for the compressor circuitry meet military specifications. Therefore the regulating voltages are extremely precise a precondition for high signal processing quality. Selected condensers for the EQ filters with pleasant sound characteristics. Especially with vocals, amplified frequencies are not sounding too bright, and on the other hand reductions can tame harsh sounds without sounding dull. Central star ground wiring scheme minimizes influences that could affect the ground paths. The audio ground is separated from the ground of the remaining equipment. This leads, in the truest sense of the word clean , to considerably improved tonal quality. The power supply is built around two toroidal transformers, one for the audio voltages and one for the other supply voltages (tube heating, LEDs, micro controller etc.) Mutual interferences are excluded and lavishly over-dimensioned capacities ensure absolutely stable supplies for all audio circuitries.

Ear Training Software (download)- Helps to better understand equalizers and frequencies- Recommended for producers, sound engineers and engineers, whether professional or beginners- Exercise Designer to select or create exercises on frequencies, filter types, gain and filter quality- 11 Pre-configured exercises which can be tweaked to taste- 7 Exercise packages created by external teacher- 2 Training methods: guess and correct- Guess method: listen to the original and equalised signals, and guess which parameters were changed- Correct method: utilizing an EQ to match the equalised signal to the specified signal- Noise generator with pink and white noise- Live input to use other sources like iTunes or Spotify- Clearly arranged and intuitive user interface- Documentation online or available as PDF- Assisted training to guide with suggestions on each step of the quiz- Language selection between English, Spanish, German, French, Russian, Italian and Dutch- Supported audio formats: WAV, AIFF, MP3, Ogg-Vorbis, M4A

Ear Training Software (Download)- Helps to better understand equalizers and frequencies- Recommended for producers, sound engineers and engineers, whether professional or novice- Exercise Designer to select or create exercises on frequencies, filter types, gain and filter quality- 11 Preconfigured exercises that can be adapted at will- 7 Training packages prepared by external lecturers- 2 Training methods: Guessing and correction- Estimation method: Comparison of original and equalized signal and estimation of changed parameters- Correction Method: Use an EQ to match the practice signal to the given signal- Noise generator with pink and white noise- Live input to use other sources like iTunes or Spotify- Clear and intuitive user interface- Documentation online or as PDF available- Support the training with suggestions for each step- Language selection between English, Spanish, German, French, Russian, Italian and Dutch- Supported audio formats: WAV, AIFF, MP3, Ogg-Vorbis, M4A- Supported plugin formats: VST2 / AU- System requirements: WinXP, Mac OSX 10.5, 1 GB RAM, Internet connection

The Roland GR-55 is a revolution in guitar synthesis, with features never before available in any guitar processor. In terms of speed, it s the fastest ever. It s also the most accurate, thanks to newly developed pitch-detection technology. As for sound, the triple-core generator houses a world-class array of virtual guitars, basses, amps, and synth voices, enabling tones and textures that have never been heard before. Onstage or in the studio, you can instantly access the GR-55 s huge library of ready-to-use sounds, from pop to rock and beyond, with quick-access category buttons. Welcome to a groundbreaking new era in guitar synthesis! * A revolutionary fusion of guitar synthesis and powerful COSM guitar modeling * Up to four sound sources at a time: two PCM synth tones, plus COSM guitar modeling and normal guitar input * Easy to use and easy to play with hundreds of great, ready-to-use sounds for rock or pop guitarists * Advanced Roland technology provides superb sound quality and lightning-fast processing * Over 900 of Roland s latest fully editable PCM sounds, including pianos, organs, strings, vintage synths, and much more * COSM guitar and amp modeling * Two types of multi-effects engines, plus global reverb, chorus, and delay effects, and an onboard looper * Built-in USB audio player with foot control * GR-55GK is sold with GK-3 pickup inluded New Sound Possibilities The GR-55 s powerful triple-core engine comprises two PCM synthesizers (with over 900 tones powered by the latest Roland synthesis technology) and COSM guitar modeling, featuring a virtual treasure trove of guitar, bass, amp, and synth models. Together, these combined technologies allow you to create unique, revolutionary sounds. The Metal Synth Lead preset, for example, combines two types of thick, brilliant synth textures with an overdriven solid-body/humbucking tone for incredible punch and power. Lightning-Fast Tracking Thanks to Roland s decades of research and dedication to guitar synthesizers and powerful new pitch detection technology, the GR-55 is far and away the fastest guitar synth ever. Furthermore, the COSM guitar-modeling engine needs zero detection time, allowing the GR-55 to respond instantly and exactly as you play. The GR-55 detects pitch, velocity, and behavior for unprecedented response to your performance. Instant Gratification Get ready to rock ... and fast! The GR-55 puts you instantly in touch with a huge library of amazing sounds, no editing required. The onboard lineup of ready-to-use presets (270, plus 297 user) takes the pain out of the process, with simple category buttons for finding the perfect sound fast. Choose from hundreds of great presets for pop, rock, and beyond, and kick-start your song or jam with unique, powerful sounds that will turn heads and raise fists. Easy to Use If you re new to the world of technology, fear not. The GR-55 is powerful yet extremely friendly. For customizing sounds, the EZ Edit feature (made famous in the GT-10) and large LCD takes the guesswork out of the process. And for those who want to go deep, the GR-55 offers huge array of controllable parameters. Pros will appreciate the power of the GR-55 while beginners will love how quick and easy the unit is to operate. USB Connectivity The GR-55 conveniently bridges the guitarist to the desktop music production world with its two USB ports. The rear-panel port can be used one for MIDI/Audio data communication; the side-panel port is dedicated to real-time playback of audio files from a USB memory device (sold separately). The GR-55 provides foot control of USB audio playback so your hands never need to leave the guitar. * Sound Generator PCM: 2 tones, Modeling: 1 tone * Tones PCM: 910 types, Modeling: 23 types (guitar mode), 17 types (bass mode) * Effects MFX (Multi-Effects): 20 types, AMP (Preamp): 42 types, MOD (Modulation): 14 types, DELAY: 7 types, REVERB: 5 types, CHORUS: 4 types, EQ: 1 type * Patch Memory Guitar mode: Preset: 270 User: 297, Bass mode: Preset: 90 User: 297 * AD Conversion: 24-bit (GK Pickup), 24-bit AF method (Normal Pickup) * AF method (Adaptive Focus method) / This is a proprietary method from Roland and BOSS that vastly improves the signal-to-noise (S/N) ratio of the A/D and D/Aconverters. * DA Conversion: 24-bit * Sampling Frequency: 44.1 kHz * Nominal Output Level OUTPUT jacks: -10 dBu, GUITAR OUT jack: -10 dBu * Output Impedance: OUTPUT jacks: 2 k , GUITAR OUT jack: 2 k * USB Memory Audio Player File Format: WAV, AIFF * Display: Graphic LCD 240 x 64 dots * Connectors: GK IN connector (13-pin DIN type), GUITAR OUT jack (1/4-inch phone type), OUTPUT L/MONO, R jacks * (1/4-inch phone type), PHONES jack (Stereo 1/4-inch phone type), MIDI connectors (IN, OUT) (5-pin DIN type), USB COMPUTER connector (supports Hi-Speed USB, USB MIDI and USB Audio), USB MEMORY connector (supports Hi-Speed USB Flash Memory), DC IN jack * Power Supply: DC 9 V * Current Draw: 700 mA * Dimensions: 405 (W) x 244 (D) x 78 (H) mm / 16 (W) x 9-5/8 (D) x 3-1/8 (H) inches, Maximum height: 405 (W) x 244 (D) x 106 (H) mm / 16 (W) x 9-5/8 (D) x 4-3/16 (H) inches * Weight: 3.3 kg / 7 lbs 5 oz (excluding AC adaptor) * Included Accessories: AC adaptor, Owner s manual, Divided pickup (GK-3) (only for GK included model), GK cable (5 m) (only for GK included model) * Options: Divided pickup: GK-3 (for guitar), GK-3B (for bass guitar), GK cable: GKC-5 (5 m), GKC-10 (10 m), MIDI foot controller: FC-300, Unit selector: US-20 * 0 dBu = 0.775 Vrms * The specifications are subject to change without notice

The 543 Mono Compressor delivers the unobtrusive, musical-sounding dynamic control and brick-wall limiting made famous in the Portico 5043 to the 500 series format. The 543 features a fully controllable compressor-limiter with feed-forward / feedback modes, Peak / RMS detection and a built in side chain high pass filter. With an unrivaled heritage and a tremendous feature set, the 543 yields a combination of rich warmth, flexibility and precision that is sure to resonate in the ears of sound engineers the world over. Built around Mr. Rupert Neve s custom transformer designs, each 543 module encompasses individually controllable threshold, attack, release, makeup gain, ratio, side chain HPF, Feed-Forward / Feed-back selection and Peak/RMS detection modes. With the compressor inactive, the 543 may be used as a transformer-coupled, high-performance line amplifier, and two 543 may be linked for stereo operation as well. The chassis is built to standard 500 series specifications, with power and I/O provided by the rack. How the Compressor Works In order to control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of V.C. including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not! The 543 makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no signature of its own. A part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A. which has to respond very quickly and have low distortion. If the response is too fast, low frequency signals will themselves, be gain controlled! If the response is too slow, the signal will overshoot and the first few cycles will not get compressed. The speed and accuracy of the response, known as the attack , and the time frame that gain remains under the initial control, known as release or recovery and plays a large part in the way a compressor sounds. Feed-Forward or Feed-Back The 543 also has the ability to switch between feed-forward and feed-back modes. If the V.C.A. Control voltage is taken from the 543 output, (i.e. after the V.C.A.) it cannot act immediately on the V.C.A. because it has already been modified by settings of the V.C.A. and circuits through which it has passed. This is known as a Feed-Back compressor. The two compression characteristics are quite different; there is more Overshoot and both the attack and recovery ramps are changed, providing the user with powerful choices. In most of Mr. Rupert Neve earliest designs, feed-back detection controlling the VCA with a rectified voltage from the unit output was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit. To offer faster, more technically accurate response times, feed-forward detection was implemented on Mr. Rupert Neve s more modern designs. With the FF / FB switch, both classic and modern VCA responses are available. RMS or Peak One of the more unique features of the 543 is the new Peak / RMS mode also found in the Portico II Channel. This switch allows the VCA (voltage control amplifier) to respond to both RMS (Root Mean Square) and peak levels. RMS circuits are considered to better mimic the way the ears perceive apparent loudness, while peak circuits tend to directly respond to the waveform voltage which may be more of a concern for prevention of clipping and maximizing levels. In this case, peak mode uses a combination of both methods to get the best of both worlds, and avoids the drawbacks of each method on its own. Ratio and Threshold Above a given THRESHOLD signals are reduced by an adjustable amount ranging from 1:1, (which is linear, or no reduction at all), to more than 40:1 which is a very high ratio, equivalent to that of a Limiter. RATIO is sometimes referred to as Slope because when depicted on a graph, the slope of the graph representing Output versus Input, is what changes. Ratio and Threshold are closely inter-dependent. If a RATIO as high as 40:1 has been set, then if the THRESHOLD is set at 0 dBu, even when a massive signal of 40 dBu (unlikely!) is presented to the input, the output signal will only be 1 dBu. RATIOS as high as this would normally be set somewhere above 0 dBu say at 14 dBu, in order to prevent the output signal level exceeding just over 14 dBu to protect, for example, a digital recorder. Similarly, if a RATIO of 5:1 has been set, an input signal which is 10dB above THRESHOLD will only rise by 2dB above that THRESHOLD at the output. THRESHOLD control covers the Range from below -30dB to 22dBu. When THRESHOLD set at a low level, with a fairly high RATIO the amount of gain reduction will be considerable and it may be necessary to use some GAIN after the compressor to restore the apparent signal level. Attack Time The ATTACK time is the time taken for the compression circuits to start compressing. A long ATTACK time allows short duration peaks to escape and go through uncompressed. This may cause overload on subsequent digital circuits. A very short attack time sounds un-natural and robs the signal of life by removing transients. Some transients are extremely fast and have little effect on the sound quality. Setting a long attack time often means that almost no gain reduction occurs because the transient is history (!) before compression has had time to operate. However, even the fastest circuits take time to operate which means that there is always some Overshoot . Small amounts of Overshoot are musically desirable there are exceptions, of course. Setting the right values of RELEASE and ATTACK is what compression is all about! Once the principles are understood a Compressor-Limiter such as the 543 provides a powerful tool that actually appears to enhance the dynamic range of a recording and so provide greater musical enjoyment. Release / Recovery The notes above explain how the 543 handles signals of constant amplitude such as pure tones. Real program signals, however, are continually changing in level. The way in which a compressor deals with actual program material depends upon the magnitude and duration of peaks in the program level. If the RELEASE TIME is set to be very short, a short duration signal will be compressed but the gain will return to normal very quickly, giving a fluctuating and un-natural sound known as Pumping when the background, or other signals, are forced up and down. The gain will also tend to follow the wave form of low frequency signals. RELEASE TIME should be set long enough for the gain to remain reasonably constant between each bass note or between speech syllables.

Music Workstation with 88 Keys- RH3 - hammer action keyboard- Sound generation: 9 synthesis methods SGX-2, EP-1, HD-1, AL-1, CX-3, STR-1, MOD-7, MS-20EX and PolysixEX- Polyphony: up to max. 200 voices (depending on the synthesis method)- 7" TouchView display (800 x 480 pixels) with dark mode- Real-time controller (retractable) for sound processing- Polyphonic arpeggiator- Drum track and step sequencer (4 scenes each)- Set list function- Search and preview function for sounds and combinations- Favorite sound function- 3-Band EQ for individual tracks (midi and audio)- Smooth Sound Transition (prevents dropouts when changing sounds)- Dynamics control for expressive sound settings- With mode and quick access buttons- Sampling function- 16-Track MIDI sequencer- 16-Track audio recorder (24-bit / 48kHz)- 16 Effects processors- 2 Master effects paths and 2 total effects- USB type A for midi controller and keyboard connection- USB type B for USB midi and audio- Outputs: 2x 6.3 mm jack (L / Mono, R)- 4 x Individual outputs: 6.3 mm jack symmetrical- Headphone output: 6.3 mm stereo jack- Inputs: 2x 6.3 mm jack balanced (mic / line)- MIDI In / Out / Thru- Connections for pedals: damper pedal (stepless recognition), freely definable foot switch and pedal- Integrated 60 GB SSD (2.5") drive- Dimensions (W x D x H): 1437 x 387 x 139 mm- Weight: 23.1 kg- Includes software bundle (download): KORG software instruments, Reason Lite, Ozone Elements, Skoove

Music Workstation with 73 Keys- Slightly weighted "semi-weighted" keyboard with velocity- Sound generation: 9 Synthesis methods SGX-2, EP-1, HD-1, AL-1, CX-3, STR-1, MOD-7, MS-20EX and PolysixEX- Polyphony: up to max. 200 voices (depending on the synthesis method)- 7" TouchView display (800 x 480 pixels) with dark mode- Real-time controller (retractable) for sound processing- Polyphonic arpeggiator- Drum track and step sequencer (4 scenes each)- Set list function- Search and preview function for sounds and combinations- Favorite sound function- 3-Band EQ for individual tracks (midi and audio)- Smooth Sound Transition (prevents dropouts when changing sounds)- Dynamics control for expressive sound settings- With mode and quick access buttons- Sampling function- 16-Track MIDI sequencer- 16-Track audio recorder (24-bit / 48kHz)- 16 Effects processors- 2 Master effects paths and 2 total effects- USB type A for midi controller and keyboard connection- USB type B for USB midi and audio- Outputs: 2x 6.3 mm jack (L / Mono, R)- 4x Individual outputs: 6.3 mm jack symmetrical- Headphone output: 6.3 mm stereo jack- Inputs: 2x 6.3 mm jack balanced (mic / line)- MIDI In / Out / Thru- Connections for pedals: damper pedal (stepless recognition), freely definable foot switch and pedal- Integrated 60 GB SSD (2.5 ") drive- Dimensions (W x D x H): 1227 x 386 x 116 mm- Weight: 14.6 kg- Includes software bundle (download): KORG software instruments, Reason Lite, Ozone Elements, Skoove

Music Workstation with 61 Keys- Slightly weighted "semi-weighted" keyboard with velocity- Sound generation: 9 Synthesis methods SGX-2, EP-1, HD-1, AL-1, CX-3, STR-1, MOD-7, MS-20EX and PolysixEX- Polyphony: Up to max. 200 voices (depending on the synthesis method)- 7" TouchView display (800 x 480 pixels) with dark mode- Real-time controller (retractable) for sound processing- Polyphonic arpeggiator- Drum track and step sequencer (4 scenes each)- Set list function- Search and preview function for sounds and combinations- Favorite sound function- 3-Band EQ for individual tracks (midi and audio)- Smooth Sound Transition (prevents dropouts when changing sounds)- Dynamics control for expressive sound settings- With mode and quick access buttons- Sampling function- 16-Track MIDI sequencer- 16-Track audio recorder (24-bit / 48kHz)- 16 Effects processors- 2 Master effects paths and 2 total effects- USB type A for midi controller and keyboard connection- USB type B for USB midi and audio- Outputs: 2x 6.3 mm jack (L / Mono, R)- 4 x Individual outputs: 6.3 mm jack symmetrical- Headphone output: 6.3 mm stereo jack- Inputs: 2x 6.3 mm jack balanced (mic / line)- MIDI In / Out / Thru- Connections for pedals: damper pedal (stepless recognition), freely definable foot switch and pedal- Integrated 60 GB SSD (2.5") drive- Dimensions (W x D x H): 1062 x 386 x 116 mm- Weight: 13 kg- Includes software bundle (download): KORG software instruments, Reason Lite, Ozone Elements, Skoove

The grenadilla wood is chosen with great care for its acoustic and aesthetic qualities. The wood is polished with care and retains its natural colour. The mechanical elements are prepared and finished with extreme precision: internal polishing of the tone holes is done in line with Buffet Crampon s high standards, developed with their expertise over the decades. The individual parts are set and protected by metal rings in order to limit any risk of splitting or cracking. The keys in maillechort (an alloy of copper, zinc and nickel) are cold-forged, and are copper and silver plated. The mechanical elements are carefully assembled and adjusted by expert technicians. Key : D Pitch : 440/442 Hz Body : natural African blackwood Bore : poly-cylindrical according to the Buffet Crampon method Bore : special Prestige bore Tenons : metal-capped Keys : 17 Rings : 6 Thumb rest : adjustable Eb lever : included Keywork finish : silver plated Keywork and mecanic : forged keys, copper plated then silver plated according the Buffet Crampon method Springs : blue steel springs for ease and accuracy of key movement

The LD Systems MEI 1000 G2 is an advanced LICENSE FREE* 96 channel UHF in-ear monitoring system delivering natural sound with extended dynamics and low crosstalk in both the 823 - 832 and 863 - 865 MHz bands. Switchable mono, stereo and focus modes select the perfect monitoring applications while adjustable EQ and limiterfunctions have been integrated for consistent sound reproduction from 60Hz - 16 kHz with a high S/N ratio and low THD. The LD MEI 1000 G2 allows the use of up to 5 systems simultaneously. The earphones have been designed for a high wearing comfort, and a multifunction display provides all the relevant system information. Operation time exceeds 12h with high quality batteries. A 19 rackmount kit and a rugged ABS plastic carrying case complete the MEI 1000 G2 package. * license free: ISM-Band license free in Europe, please check duplex gap on a country-by-country basis Specifications Model name: LDMEI1000G2BPR Product type: Belt pack receiver Radio frequency range: 823 - 832 and 863 - 865 MHz Channels: 96 (8 groups of 12 channels) Transmission method: FM, stereo Frequency response: 60 Hz - 16 kHz S/N ratio: 80 dB THD: 13 hrs., battery-dependent Width: 65 mm Height: 90 mm Depth: 24 mm Model name: LDMEI1000G2T Product type: Transmitter Radio frequency range: 823 - 832 and 863 - 865 MHz Channels: 96 (8 groups of 12 channels) Transmission method: FM, stereo RF output: 10 mW Frequency response: 60 Hz - 16 kHz S/N ratio: 85 dB Inputs: 2 Input connections: XLR/ 6.3 mm jack (combo) Input impedance: 14 kOhm Antenna connector: TNC Controls: up, down, set, power, volume headphone, input level, pad Indicators: LC display Power supply: 12 - 18 V DC Width: 200 mm Height: 44 mm Depth: 96 mm Accessories (included): Antenna, power supply, headphones

GT-1000CORE Guitar Effects Processor The Core of Your Creative Vision The complete amp and effects processing of the flagship GT-1000 in a compact and portable stompbox. Amazingly powerful and ultra-versatile, GT-1000CORE delivers the most complete guitar and bass processing experience available in a single stompbox. The full DSP muscle of the flagship GT-1000 lives inside this mini juggernaut, driving class-leading sound quality, advanced AIRD technology, 24 simultaneous effects blocks, and over 140 unique amp/effect types for unlimited creative expression. GT-1000CORE fits into any pedalboard setup and works equally well as a standalone processor for playing live and in the studio. And with flexible I/O and vast control support, it s right at home as the core of any rig. The complete internal tone processing of the GT-1000 in a compact and portable stompbox Unlimited sound creation with 24 simultaneous effects blocks including two different amps and numerous series/parallel routing options Unmatched sound quality with 32-bit AD/DA, 32-bit floating-point processing, and 96 kHz sampling rate AIRD (Augmented Impulse Response Dynamics) technology delivers natural feel and optimized integration with all types of external devices Includes classic BOSS effects, vintage stomps, MDP effects, and algorithms directly ported from the DD-500, MD-500, and RV-500 pedals Ultra-fast patch switching and delay carryover Innovative Stompbox feature simplifies using common effects settings in many different patches Looper for practicing, developing ideas, and enhancing live performances High-resolution tuner with mono and polyphonic displays Two send/return loops for external effects, four-cable method, or separate direct outputs 16 slots for onboard user IRs Supports external control via footswitches, expression pedals, USB, and TRS MIDI Control out function for switching amp channels USB audio/MIDI interface for computer-based recording and editing Dedicated mode for bass guitar applications Supercharge Your Pedalboard GT-1000CORE brings next-level creative versatility to any pedalboard, big or small. Toggle between Memory and Manual modes to recall presets or kick effects on/off, and easily integrate with other stomps via mono or stereo I/O. Use the dual send/return jacks for external effects, four-cable method, or separate feeds to a PA or recorder. Access deeper control with external footswitches and expressions pedals, or remotely switch channels on your amp. And with MIDI I/O on space-saving TRS jacks, GT-1000CORE can control or be controlled by other MIDI devices in your rig. Mega Stomp Offering a complete sound processing solution in an ultra-portable package, GT-1000CORE lets you travel light and tackle any professional playing situation with no additional pedals. In a single patch, you have access to 24 simultaneous effects, including two amps at once. And with 250 user patches, there s ample room to store sound creations for every type of gig. The impressive DSP engine delivers on-demand power for all available effects, so you ll never worry about running out of processing while building sounds. The Hub of Your Home Studio GT-1000CORE is a perfect companion for recording and playing at home. It s a multi-channel USB audio/MIDI interface for flexible DAW production and efficient re-amping. Recording mode allows you to choose from a variety of built-in speaker and microphone types, and it s also possible to import 16 of your favorite WAV-format speaker impulse responses. The onboard looper is a great tool for practice, building sounds, and developing ideas. And with BOSS Tone Studio s intuitive user interface, it s easy to craft sounds on a Mac or Windows computer. AIRD: A Revolution in Digital Amp Processing GT-1000CORE harnesses BOSS s breakthrough AIRD technology for a new level of performance, flexibility, and usability. AIRD is an evolution of the comprehensive Tube Logic concept behind the Katana, Waza, and Blues Cube amplifiers, adapted to provide consistent response across the many different scenarios where an amp processor might be used. AIRD enables GT-1000CORE to smoothly flow into any creative setup, providing great tone and natural tube amp feel with minimal adjustments. A large selection of AIRD Output Select types let you tailor the sound for any destination, whether it s a guitar amp input, a power amp driving guitar speakers, or a full-range monitoring system or all of them at once. AIRD is fully integrated into GT-1000CORE s amps at every level, so you ll always experience their authentic sound and response, no matter what you re plugged into. Premium Amps and Effects GT-1000CORE is loaded with expressive guitar amplifiers, all meticulously crafted with AIRD. There are BOSS original amps suitable for all guitar styles, plus famous tube amps from coveted vintage combos to modern high-gain heads. A massive range of effects options are also on board, including BOSS classics, retro stompboxes, MDP effects, and advanced algorithms from the BOSS 500 series. Multiple series and parallel routings are easy to set up with the intuitive interface. And with the clever Stompbox feature, commonly used amp and effects settings can be adjusted across multiple patches at once. Top-Flight Bass Processor GT-1000CORE is a bass processing powerhouse, offering exceptional sound processing and versatile DI capabilities in a grab-and-go package. Three AIRD bass preamps are provided for shaping your core tone, and eight different overdrive/distortion effects are available for additional color. There s an MDP bass compressor too, plus chorus, flanger, touch wah, and many other effects specially tuned for bass. - Sampling frequency 96 kHz - AD/DA conversion 32 bits - Processing 32-bit floating point - Memory 250 (User) 250 (Preset) - Phrase loop 38 sec. (MONO) 19 sec. (STEREO) - Tuner internal detection /- 0.1 cent - Normal input level INPUT L/MONO, R: -10 dBu RETURN 1, RETURN 2: -10 dBu - Maximum input level INPUT L/MONO, R: 12 dBu RETURN 1, RETURN 2: 12 dBu - Input impedance INPUT L/MONO, R: 2 M ohms RETURN 1, RETURN 2: 1 M ohm - Normal output level OUTPUT L/PHONES, R/MONO: -10 dBu SEND 1, SEND 2: -10 dBu - Maximum output level OUTPUT L/PHONES, R/MONO: 12 dBu SEND 1, SEND 2: 12 dBu - Output impedance OUTPUT L/PHONES, R/MONO: 44 ohms SEND 1, SEND 2: 1 k ohm - Recommended load impedance OUTPUT L/PHONES, R/MONO: 10 k ohms or greater (Phones: 44 ohms or greater) SEND 1, SEND 2: 10 k ohms or greater - Controls DOWN switch, UP switch, CTL 1 switch EFFECT button, MENU button, EXIT button, WRITE button, PAGE button 1-5 knobs, SELECT knob, OUTPUT LEVEL knob - Display Graphic LCD 256 x 80 dots - Indicators UP indicator, DOWN indicator, CTL 1 indicator - Connectors INPUT (L/MONO, R), OUTPUT (R/MONO) jacks: 1/4-inch phone type OUTPUT (L/PHONES) jack: 1/4-inch TRS phone type CTL 2, 3/EXP 1 CTL 4, 5/EXP 2 jacks: 1/4-inch TRS phone type MIDI (IN, OUT) connectors: Stereo miniature phone type USB COMPUTER port: USB Micro-B type DC IN jack - Power supply AC adaptor - Current draw 670 mA - Dimensions 173 (W) x 135 (D) x 63 (H) mm / 6-13/16 (W) x 5-3/8 (D) x 2-12 (H) inches 173 (W) x 135 (D) x 65 (H) mm / 6-13/16 (W) x 5-3/8 (D) x 2-9/16 (H) inches (including rubber foot) - Weight 920 g / 2 lbs 1 oz - Accessories AC adaptor Owner's Manual Leaflet USING THE UNIT SAFELY Rubber foot x 4 - Options (sold separately) Footswitch: FS-5U Dual footswitch: : FS-6, FS-7 Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5 TRS/MIDI cable: BMIDI-5-35 * 0 dBu = 0.775 Vrms