SLAM! stands for Stereo Limiter And Micpre and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending– it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym. When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested We combined our favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, it just works quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Manley is excited to announce the SLAM! GET IN: The SLAM! starts with tube Mic Preamps on both channels with selectable phase reverse, high pass filter, and switchable phantom power (on the back panel). We’ve got plenty of gain for you in this new tube circuit, up to 60dB with 20dB more in the limiter– plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock ‘n’ rollers won’t cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the SLAM! for processing. The DI inputs have selectable input impedance, depending on how far you plug the 1/4 cable into the jack: push it in all the way and the input impedance is 100KOhms, pull it out half way and it becomes 20 megOhms which reduces pickup loading and allows all the highs to get through. Come on in! Get it LOUD... two different and distinct limiters per channel: The ELOP® LIMITER: Our beloved Electro-Optical Levelling Amplifier circuit, the ELOP®, still the favorite for vocal tracking, shows up here with its new switchable side-chain high pass filter making it much more useful for mixes and other tracks as well. One of the most appreciated aspects of our original ELOP® is the simplicity of a two knob limiter, which is optimum for demanding pro recording pressures. You can still grab two knobs and have complete control of level and dynamics and be ready to hit that record button. Intuitive controls and a straight ahead signal path through quality components simply work. The ELOP® limiter implementation is done like we did in our VOXBOX® which pioneered the idea of limiting the mic signal before it hits any active stage. The ELOP limiter moves to the line stage when LINE is selected. The ELOP sidechain provides different HP filters on a toggle. The 200 Hz setting has been tailored for vocals and adds a touch of de-essing.The FET LIMITER: Here’s a new fast FET based brick wall limiter that spans the range of clean predictable limiting to the grunge and gravel that other FET based limiters are desired for. The FET RELEASE control allows you to dial up a variety of colors. There is even a CLIP setting that provides as round a shape as has ever been available. (Read more below about the CLIP settings.) We aimed at sound first, then experimented with circuits until we heard what we wanted discovering fresh approaches that provide a very wide range of useful dynamic control. For example, you can set up for a fast brick wall limiter with slower releases for minimum artifacts, or go with the faster releases to get some crunch and then get extreme loudness. The Attack control is unusual too providing the sonic control common with its historic brothers but very unusually retaining the zero overshoot “none-shall-pass” brick wall that defines a real limiter. And it’s punchy! As the saying goes, “Louder is better.” The SLAM! optimizes levels to analog to digital converters with ballz, warmth and loudness verging on silly or just clean and safe. What is especially nifty is the ability to use the ELOP® and FET limiters together at the same time dialing in whatever amounts of each effect you like. Every limiter has its own character or sound and here we have combined two powerful world-class tools that can be uniquely blended and mixed to taste and purpose. Even the metering is appropriate for each limiter so you can easily see how each is contributing. Metering on the SLAM! is exceptional. The two full size real VU meters show you the raw input levels, the final output levels, and the ELOP® Limiter gain reduction in the traditionally preferred format for visually displaying apparent loudness. VU’s are cool. Noticing how mastering engineers often need a switchable pad on their VU's because the optimised levels tend to pin the needles in the red, the SLAM! VU’s also have a 0, -3dB, -6dB switch to help with this situation. There are also very fast and super accurate multi-color LED ladder peak meters that display the input and output levels and the FET gain reduction, and some combinations. They will do Peak, Peak Hold timed, and Peak Hold until reset, and also allow you to manually set where the individual bars change colors to match your other gear. And with maximum clean I/O levels of +30 dBu, it is a lot more likely you will use these meters to see what’s clipping downstream. It probably won’t be the Manley tube line drivers inside!The back panel should keep everybody happy. In the sea of jacks including the big power supply connector, you'll find all the usual XLR’s for transformer balanced I/O and 1/4 phone jacks for direct unbalanced I/O. Eight Bantam jacks in a mini-patchbay configuration handle the side-chain inserts and linking functions. You can insert EQs into the ELOP® and FET limiters, and there are more jacks for you to mix in an external signal into the side chains. Another pair of jacks provides for easy linking for 5.1 surround work if you have three or four SLAM!'s. It’s all here.Speaking of Linking... all previous Manley dynamics units require both channels to be setup fornear identical settings rather than the more common just set the Left side. The SLAM! lets you do it both ways. The L Side method is the STEREO LINK mode and is quick and convenient but, like others, uses a mono mix for the side-chain. The BOTH & EXT adds the rear panel link jacks to the link buss so you could chain up several SLAM!s for linked surround work. Both or all 6 channels should be set similarly. This mode is usually better for mastering as it responds to the true peak level of the channels rather than an artificial mono mix.Outside the Box, that's where the power supply is. The illuminated power switch turns on the external power supply. Keeping the power supply far away also keeps additional heat and magneticfields away from the precious audio. The power supply is housed in a sturdy cast aluminum 7 x 4 x 5 box that is easy to mount to or place in the bottom of a rack. A seriously humongous 16 pin connector, and 6' multicore cable connects the two boxes.The SLAM! also seems a natural as a mastering tool. The FET limiter works great on mixes, and the ELOP® now has a high pass filter switch that is spot-on for mastering. We offer a dedicated mastering version which eliminates the mic preamps, adds detented controls replacing the pots, and provides extra metering options. Manley compressors and EQs seem to be the most popular pieces of gear ever when it comes to mastering. The ultimate analog rack for the final important touches to the mix would have include the SLAM!, The Variable Mu® and The Massive Passive. Combine this with some digital processors of similar calibre and one has a respectable and very effective set of mastering tools. That Manley rack plus some Manley Microphones would make an ultimate stereo recording chain too. This is gear you’ll want to keep for a lifetime.

Evolution Of A Revolution Yet another quantum leap in tuning Positively PolyTune The original PolyTune rocked the world. It forever changed the way we look at tuning. The world s first polyphonic tuner took the hearts of guitarists by storm. Was it the jaw-droppingly awesome polyphonic tuning that made tuning much faster, easier and intuitive The bright LED matrix with auto-dimming that ensured maximum visibility Tuning Magnet, the slowing of the needle as you approached the correct pitch Maybe the MonoPoly technology that sensed whether you played one or six strings and instantly adjusted accordingly Like musicians who never really know how they wrote that number 1 hit, it was probably a combination of factors for us. Whatever it was, you loved it and we loved it! But at TC Electronic we re all about moving forward, so we ve improved on perfection and added some guitarist gems that cement PolyTune 2 as the leader of the pedal tuning pack. PolyTune® Technology Tune All Strings Simultaneously Retina-scorching Bright Display Ultra-precise Chromatic Strobe Tuner Polyphonic Perfection Unless you ve been living under a rock for the past few years, you ll know this. With PolyTune, you simply strum all strings on your guitar or bass at once and it will immediately tell you which strings need tuning! It really is as simple as strum - tune - rock! This way, you spend minimum time tuning and maximum time doing what you love the most - playing. And They Thought Einstein Was Bright! You ain t seen nothing yet! The display on PolyTune 2 is primed with some of the brightest LEDs you ve ever laid your eyes on. Remember when some tuners were really good for daytime gigs, and others excelled in dark clubs With PolyTune 2, you get an instant clear overview, no matter what the situation. And the ambient light sensor makes sure you get just the right amount of brightness. Every time. It s truly amazing how bright they get, so don t come complaining if planets want to orbit your pedalboard. The Strobe Is Strong With This One The original PolyTune was best in class when it came to precision. Great but why stop there We ve received many requests from the guitar community to add a strobe tuner a decision we d been debating internally as well. So let there be strobe! For fine-tuning your precious gear and giving it the care and attention it deserves, to super accurate tuning in the studio or by a roadie on stage. This strobe tuner is lightning fast and ultra precise. But how precise is it Well, let s just say if you tune and then put your pick on the fret-board you re going to see the difference (we re not even joking). PolyTune 2 FineTuning Innovation With PolyTune 2, we wanted enhanced performance and maximum precision, without getting away from what made the original PolyTune such a hit. Have a look at our feature list, which combines the revolutionary with a strong display of innovation. Full Strobe Ahead The strobe tuner in PolyTune 2 is super accurate and super fast. Finetune your instruments with surgical precision at blinding speeds. Sounds good, right We re talking /- 0.1Cent tuning accuracy and in case you don t really know what that means believe us there are atomic clocks that d kill for that accuracy. Tuning Magnet The tuner magnet feature slows down the needle once you get close to the desired pitch, delivering a quick and easy tuning experience any time, every time. MonoPoly MonoPoly instantly recognizes whether you play one or more strings and replies with the appropriate polyphonic or monophonic tuning mode. Total recall PolyTune 2 stores your preferences. From pitch reference to tuning mode, it hangs on to this information even after it is powered down, making sure you only have to set how you want things to happen once. Brighten Up Your Day This feature will make you smile. Basically, the new LEDs in PolyTune 2 are bright enough to be seen from space, but the ambient light sensor in PolyTune 2 ensures you always have the right brightness. The result A clear and pleasant visibility, no matter what situation you re in. True Bypass This allows for your carefully sculpted tone to flow unaffected when the pedal is bypassed and for silent tuning once engaged. PolyTune 2 Resume PolyTune® - Tune all strings simultaneously New chromatic strobe tuner - 0.1 cent tuning accuracy New bigger and brighter LED display with ambient light sensor Drop-D and capo tuning modes True bypass with silent tuning DC output for powering other pedals (power supply not included) 3M Velcro for pedal board attachment

OC-5 Octave The New Standard in Octave Pedals Next-generation BOSS octave pedal with vintage and polyphonic modes, lightning-fast tracking, and extended range. Fusing classic BOSS octave tones with the latest tracking technologies, the BOSS OC-5 sets a new standard in octave pedal performance. Vintage mode provides a spot-on recreation of the legendary mono OC-2 from 1982, while Poly mode offers numerous enhancements for extended-range playing. And with the addition of an octave-up feature, a span of three octaves is now available for creative exploration. From fat, low mono sounds to octave-shifted chords and more, the OC-5 delivers the widest range, finest sound quality, and best playability in any octave stomp to date. Bullets The industry-standard octave pedal, updated with enhanced features Newly developed tracking technology provides more accurate response and natural feel with no latency Vintage mode faithfully reproduces the mono sound of the original OC-2 Poly mode for chord playing; Range knob sets the note range where the effect is applied Lowest Range setting in Poly mode applies the octave effect to only the lowest note in a chord New octave-up effect, available on its own or blended with octave-down effects Mode switch optimizes the tracking engine for guitar or bass Direct out for wet/dry setups BOSS five-year warranty High-Octane Octave Performance Powered by the latest real-time processing technologies from BOSS, the OC-5 provides exceptional sound and playability for the most expressive octave experience ever. A key feature is the newly developed tracking engine, which delivers clean, accurate performance with no latency. The OC-5 also offers wider range and greater polyphonic capabilities than previous OC models, covering all your octave needs in one high-performance pedal. Classic Tones with Vintage Mode Introduced in 1982, the OC-2 was the world s first modern octave pedal for guitar and bass. Still loved by players everywhere, the stomp s warm-yet-present tone sits perfectly in a mix, and its characteristic voice can be heard in many famous songs. The OC-5 s Vintage mode brings you the OC-2 s iconic mono sound, coupled with improved response thanks to the new tracking engine. Dedicated level controls are provided for -1 and -2 octave effects and the direct sound, giving you quick access to an endless variety of sub-octave colors. Enhanced Poly Mode The OC-5 also features an evolved version of the smart Poly mode first introduced with the OC-3 Super Octave, letting you play full chords with octave effects. The variable Range knob restricts the effect to the lower notes on your instrument, perfect for playing octave bass lines alongside normal chords and melodies in the higher registers. And with the new tracking refinements, it s even possible to isolate the octave effect to the bottom note in a chord just turn the Range knob to the Lowest setting. Extended Range with Octave Up Another cool OC-5 enhancement is the new octave-up effect, which is available in both Vintage and Poly modes. Simply twist the dedicated 1 OCT knob to bring in the desired effect level. Use the octave-up effect on its own for faux 12-string sounds and unique solo tones, or blend it with the octave-down effects for extended chord voicings and super-fat leads. Guitar/Bass Switch and Direct Out The OC-5 lets you instantly optimize the performance of its tracking engine for either guitar or bass via a dedicated switch on the body of the pedal. And with the Direct Out jack, it s easy to route dry and effect sounds to different destinations, such as two stage amps or discrete channels on a mixer or audio interface. Specifications : -Nominal Input Level -20 dBu -Input Impedance 1 M ohm -Nominal Output Level -20 dBu -Output Impedance 1 k ohm -Recommended Load Impedance 10 k ohms or greater - Bypass Buffered bypass -Controls Pedal switch GUITAR/BASS switch VINTAGE/POLY switch DIRECT LEVEL knob 1OCT knob -1OCT knob -2OCT/RANGE knob -Indicator CHECK indicator (Serves also as battery check indicator) -Connectors INPUT jack: 1/4-inch phone type OUTPUT jack: 1/4-inch phone type DIRECT OUT jack: 1/4-inch phone type DC IN jack -Power Supply Alkaline battery (9 V, 6LR61 or 6LF22) AC adaptor (PSA series: sold separately) -Current Draw 55 mA -Expected battery life under continuous use (These figures will vary depending on the actual conditions of use.) Alkaline: Approx. 7 hours -Dimensions 73 (W) x 129 (D) x 59 (H) mm 2-7/8 (W) x 5-1/8 (D) x 2-3/8 (H) inches -Weight (including battery) 440 g 1 lb -Accessories Owner's Manual Leaflet (USING THE UNIT SAFELY, IMPORTANT NOTES, and Information) Alkaline battery (9 V, 6LR61 or 6LF22) -Options (sold separately) AC adaptor: PSA series * 0 dBu = 0.775 Vrms

Les Paul Standard 60s Double Trouble Vintage Cherry Sunburst GlossThe Les Paul Standard 60s Double Trouble delivers all of the features and performance of our regular Les Paul Standard 60s models but with even more vintage appeal. These limited-run Les Paul models differ from our standard Les Paul Standard 60s models in two respects. First, the Burstbucker 61R and Burstbucker 61T humbucker pickups are left uncovered, and each has Double Classic White bobbins and is fitted with the standard Alnico 5 magnets. The second difference is in the finish. The finish colors are Vintage variations on our standard nitrocellulose lacquer finishes. Our standard gloss nitrocellulose lacquer finishes represent the finishes on brand-new models from the 1950s, while the full-gloss nitrocellulose lacquer Vintage finishes on the Les Paul Standard 60s Double Trouble models are slightly faded when compared to the standard versions, like the subtly faded light vintage aging that occurs over several years. The burst patterns vary somewhat from guitar to guitar since each is individually hand-sprayed. Of course, all of the standard features that make the Les Paul Standard 60s models so widely loved are all still here, including a solid, non-weight-relieved mahogany body with an AA figured Of course, all of the standard features that make the Les Paul Standard 60s models so widely loved are all still here, including a solid, non-weight-relieved mahogany body with an AA figured maple top and a SlimTaper profile mahogany neck with a rosewood fretboard, 22 medium jumbo frets, and trapezoid inlays. The Les Paul Standard 60s Double Trouble is equipped with an ABR-1, the classic-style Tune-O-Matic bridge, an aluminum Stop Bar tailpiece, Grover® Rotomatic® tuners with Kidney buttons, and gold Top Hat knobs with silver reflectors and dial pointers. The uncovered Burstbucker 61R (neck) and Burstbucker 61T (bridge) pickups are internally the same as their standard Burstbucker counterparts, with the exception of the Double Classic White bobbins. They are handcrafted in the Gibson Pickup Shop, loaded with Alnico 5 magnets, and hand-wired with audio taper potentiometers and Orange Drop® capacitors. The Double Classic White pickup bobbins and Vintage finishes combine to give the Les Paul Standard 60s Double Trouble an elegant vintage vibe. While they have a vintage-style finish and an accessible price, production is limited to only 500 guitars in each color, meaning there s limited availability, so act fast and get your favorite now while you still can!CaractéristiquesCorpsCorps : AcajouTable : Érable figuré AAAllégement du corps : aucunVernis du corps : Laque nitrocellulosique brillante VintageFilet : CrèmeMancheMatériau du Manche : AcajouTouche : PalissandreFrettes : 22 Medium JumboRepères de touche : Trapézoïdes en acryliqueLargeur du sillet : 43mmSillet : GraphtechProfil du manche : Slim TaperDiapason : 628.65mmAccastillageAccastillage : NickelCordier : AluminiumChevalet : ABR-1 Tune-O-MaticMécaniques : Grover Rotomatics avec boutons KidneyBoutons de contrôle : Boutons en or avec réflecteur et pointeurs en argentPickguard : CrèmeRondelle de sélecteur : CrèmeElectroniqueContrôles : 2 Volumes, 2 Tonalités (Câblé à la main avec des condensateurs Orange Drop)Micro Chevalet : Burstbucker 61T ,Double Classic White BobbinsMicro manche : Burstbucker 61R ,Double Classic White BobbinsDiversÉtui : Étui rigide

Wagner completed the first version of the opera in 1845 during his tenure as Kapellmeister at the royal court of Dresden, but he continued to redraft and revise it for the rest of his life. The setting is medieval Germany: the minstrel Tannhauser has fallen into sin with the goddess Venus but after a year, in a moment of realisation he demands to leave. He finds himself near his home and is reunited with Elisabeth, a girl he once loved. Elisabeth's uncle, the landgrave, organises a singing competition between Tannhauser and Wolfram, who also loves her. Wolfram's song is simple and moving, while Tannhauser, confused by Venus, outrages the audience by singing of profane love. He is banished to Rome on a pilgrimage to seek redemption, and Elisabeth follows him with Wolfram. After much searching, she gives up and dies, just missing Tannhauser, who Wolfram discovers creeping back to Venus, the Pope having said that it was as impossible for him to be forgiven as for his staff to sprout flowers. Tannhauser sees Elisabeth and casts himself to die by her coffin, and the Pope's staff bursts into bloom. This is the Schirmer edition of the Vocal Score, edited and translated into English by Natalia MacFarren.

The legendary V846 is back, and it s better than ever. Introducing the V846-HW: The ultimate Wah Wah pedal for the tone enthusiast, featuring hand-wired turret board construction and premium components.Features and Highlights A premium rebirth of the classic VOX 846 Wah Wah. The pedal that continues to be loved by legendary guitarists around the world Hand-wired turret board construction uses absolutely no printed circuit boards True bypass circuit eliminates loss in audio quality when bypassed Vintage spec Halo type inductors reproduce the distinctive sound of the classic V846 New VOX potentiometer design provides precise control and excellent reliability Low-noise carbon composite resistors (made in Japan by KAMAYA ELECTRIC CO., LTD) High-quality polyester film capacitors Foot switch made by Carling Technology, chosen for its durability and unbeatable feel underfoot Solid and trustworthy jacks made by Switchcraft®VOX created the world's first wah-wah pedal back in the 1960s; forever changing the sound of rock music. In 1967, guitarists from around the world rushed to embrace the original V846 Wah Wah Pedal, known for its inimitable VOX sound. The V846 has more than earned its place in rock history, being used on countless legendary performances, including the famous playing of Voodoo chile at the Woodstock Music and Arts Fair in 1969.Now in 2011, over forty years later, the V846 has been reborn as the V846-HW Hand-Wired Wah Wah Pedal. While its classic tone is undeniable, the V846-HW was not created to simply repeat the history of the past, but to write new chapters in the future. As its name implies, the V846 Hand Wired boasts hand-wired turret board construction. But VOX didn t stop there. Every component, including the inductors, resistors, capacitors, and the potentiometer has been carefully selected for premium fidelity and tone. In fact, a tone-preserving true bypass has been added to the original design. Outside, the die-cast body features a sandblasted exterior with crepe finish. The V846-HW is a perfect combination of VOX's world-famous technology, with classical yet modern specifications, surpassing any previous Wah Wah pedal in history by delivering the purest sound.Hand Wired ArtistryThe internal circuitry of the V846-HW uses no printed circuit boards whatsoever; the hand-wired turret board construction requires a high level of craftsmanship, technical skill, and precise manual assembly. Labor intensive, this hand-wiring artistry creates an ideal and efficient signal path. Responding to every nuance of the guitarist's touch, the V846-HW is truly the ultimate Wah Wah pedal.True BypassDesigned as a premier pedal for the tone purist, the V846-HW provides a true bypass circuit to meet the needs of today's guitarist. Any coloration of the sound or loss in audio quality when the Wah Wah function is off has been totally removed.Vintage-Spec Inductor; Smooth PotentiometerThe inductor is the heart of every VOX Wah Wah pedal. The V846-HW uses a specially-voiced vintage-spec Halo type inductor. The carefully selected magnetic core material and winding ensures a perfect reproduction of the original V846's Wah sound, the sound sought after by guitarists around the world. The potentiometer is a VOX original that features a distinctive response, and is sealed for durability. Thanks to a remarkably smooth curve, the region at the very beginning of the pedal's travel a region difficult for conventional Wah Wah pedals is assured sensitive response with an unprecedentedly fine degree of control.Premium Components offer Maximum Sound PotentialCarbon composite resistors (made in Japan by KAMAYA ELECTRIC CO., LTD) are used for their extremely low noise and uncolored sound. As in the VOX Hand-Wired Series amps, high-spec polyester film capactitors are used. The high-quality footswitch made by Carling Technologies, was selected for both its reliability and its good feel underfoot. The Switchcraft® jacks are well-known and trusted for their sturdy bushings, simple construction, and high reliability. Together, these carefully selected components come together in the amazing V846-HW, the ideal embodiment of the Wah Wah pedal that only VOX can provide.VOX V846-HW Wah-Wah Specifications Terminals: Input (x1) Output (x1) Power supply: 9 Volt Battery (x1) Dimensions (W x D x H): 102 x 253 x 80 mm/ 4.02 x 9.96 x 3.15 inches Weight: 1,300 g/ 2.86 lbs. (not including battery) Standard Accessory: Special Soft Case

For soprano saxophones- High-tech carbon fibre with hollow fibres are brought into combination for a full sound, fast response and a radiant sound, already much loved by many pop and jazz saxophonists- Strength: Medium (corresponds to approx. 2.5)- Last 20-30x longer than a wooden reed- Are 100% ready to play from the first second- Warming-up/playing in the reed is no longer necessary- Extremely crack-resistant and stable- Does not dry out as it does not absorb moisture- Can be repurchased at any time in exactly the same strength- Easy to clean and hygienic- Odourless even after prolonged use