Adio Air BS 50W amp that outperforms its size Though it is compact and lightweight, the Adio is equipped with a high-wattage power amp boasting 50W of stereo output. It delivers a startling sense of volume that outperforms other amps in its class. The 2 x 3 stereo speaker system makes for an incredible playing and listening experience. Because it is capable of such high-output, the Adio is equally effective as an at-home practice amp as it is a full-fledged performing amp. Proprietary chassis design ensures powerful and clear sound Adio provides both the hard-hitting cabinet resonance of a guitar/bass amp, and the high fidelity of home audio speakers. Thanks to new concepts used in its cabinet structure, the multi-purpose Adio excels in both scenarios. It features a bass reflex structure that delivers a sound density far exceeding the unit's size, and an inner box that emanates the sense of spatiality and depth you expect from stereo speakers. The speakers are contained in a sophisticated slant-body design, creating powerful and high-quality sound that shines for both performance and listening. A divided cabinet design To prevent unwanted cabinet resonance, the inner box that secures the speakers is completely separated from the rear cabinet. Additionally, the inner box separates L and R into independent spaces to produce stereo playback with an enhanced sense of spatiality. Rigidity is enhanced by a chassis design that minimizes parallel surfaces, suppressing unwanted vibration that would adversely affect the quality of the sound. Honeycomb-structure speaker frame The front grille uses a honeycomb structure that perforates the speaker area with a set of hexagons. This efficiently maintains strength, yet ensures maximum space. The high ratio of openness means that the speaker is not obstructed, allowing the sound to be clear and direct. Ported design further enhances low-frequency playback The bass reflex section uses a flair component that creates a smooth widening at the entry and exit of the cabinet s port. This minimizes unwanted noise and also enhances the bass reflex efficiency to further boost the low-frequency playback. Unique shape allows for enhanced listening experience The unique slanted design of the Adio allows you to position it with the speakers pointing diagonally upward so that the output reaches your ears directly even at short distances. This means that you can enjoy always performing or listening in the sweet spot. The chassis is designed to minimize parallel surfaces, delivering a smooth sound that suppresses any internal resonances. A handle that's integrated with the cabinet With a recessed slot built into the back of the cabinet, the Adio combines sleek looks with convenient portability. Battery-powered with eight hours of continuous operation Lightweight body is only 2.9 kg / 6.39 lb. In spite of its high output power, the Adio can also operate on batteries. Eight AA batteries allow up to eight hours of continuous operation. At a mere 2.9 kg / 6.39 lb. in weight, the Adio is also highly portable. You can take it with you to enjoy performing or listening anywhere. VOX's proprietary VET (Virtual Element Technology) modeling technology The Adio uses VET (Virtual Elements Technology). Instead of simply imitating the output sound of the original amp, VET meticulously models even its components and circuit design. Without relying on the ears of individual engineers, and without being influenced by the condition of a specific amp unit, VET perfectly reproduces the characteristics of the original amp. And it's equipped with a high-performance DSP to ensure high sound quality. In addition, the distortion algorithms on the Adio Air GT have been refined, allowing you to enjoy the ultimate touch response that reflects your finest picking nuances without obscuring them. Up to 17 types of realistic and wide-ranging amp models The total of 11 amp models includes not only classic amps, but also slap, rock, and modern. We have included only truly usable amp models that have been tuned to maximize the potential of the compact Adio. By using the Tone Room software, you can choose from a total of 17 types of amp model. From a bass synthesizer to guitar amp models that you can enjoy when playing guitars, this single unit lets you enjoy a variety of amp sounds. A full complement of effects is also provided: four types of effects such as compressor and auto-wah (FX1) and four ambience-type effects such as delay and reverb (FX2). Appropriately for the Adio with its stereo speakers, it is also equipped with high-quality effects, and you can simultaneously use a total of three effects including noise reduction. As with the amp models, using the Tone Room software lets you choose from a total of 19 types of effect: 11 for FX1 and 8 for FX2. Via Bluetooth, via USB Tone Room software draws out the essence of the Adio Tone Room editor/librarian software is provided, which lets you choose from an even richer selection of amp models and effects, and also lets you take advantage of the Adio's full potential by customizing detailed parameters and audio EQ settings. Up to eight customized amps and effects can be saved in the Adio. Tone Room runs on multiple platforms: Windows, Mac, iOS, and Android. The Adio Air additionally supports Bluetooth MIDI, so you can control parameters wirelessly, allowing you to effortlessly design your sound using your favorite device. Via Bluetooth, via AUX Superb performance as a speaker for listening The Adio performs equally as well as an audio speaker, delivering pure, analog-quality sound. With a high output of 50W, the Adio gives you an extremely clear sound that's well balanced from the low to the high ranges The Adio Air also supports Bluetooth audio. You can connect it to your computer or smartphone via Bluetooth, and use it to play back your favorite music from either device. Whether for personal enjoyment in your living room or bedroom, for playing background music in a store, or for outdoor use, you can enjoy the ultimate listening experience in a variety of situations that take advantage of this unit's high output power, battery operation, and compact size. Of course, an AUX input jack is also provided. This is a convenient way to enjoy jam sessions while you listen to your favorite songs. Experience virtual surround with Acoustage The Adio is equipped with Acoustage virtual surround technology. Simply by turning on this function, you can obtain a startlingly wide stereo effect. This function is particularly impressive when used in conjunction with a stereo effect, giving you a guitar/bass amp that lets you feel as though you're on a wide stage, or experience an unmatched surround space as if you're inside a lavish multi-channel audio speaker setup. * What is Acoustage (Virtual Surround Technology by KORG) This is revolutionary virtual surround technology developed by KORG, allowing the creation of a unique personal acoustic space. Using just front stereo speakers, it can produce an unprecedented three-dimensional acoustic experience. It provides the best possible result because it performs an acoustical analysis of the actual playback system, and optimizes various aspects of the system accordingly. Multiple functions to support the player Audio equalizer The unit provides four preset EQ settings for you to select as desired. Additionally, you can use the Tone Room software to make detailed adjustments to each frequency band of the parametric equalizer. Furthermore, you can use Tone Room to make settings for VOX's original Bassilator circuit which covers the low-frequency range not reached by the EQ, letting you enjoy ultra-low sounds that you would not expect from a unit of this size. Up to four of the EQ settings you've made can be stored onboard. Noise reduction A noise reduction function is provided to reduce unwanted noise when using high-gain sounds. This can be adjusted in five steps. Auto tuner that also supports dropped tunings The Adio also provides a tuning function that's indispensable for guitar/bass playing. The tuner also supports half-down tuning mode. USB audio interface Since the Adio is equipped with a USB port, you can connect it to your computer or tablet and use Tone Room software, or use the Adio as a USB audio interface to record and play back your performance. The Tone Room software lets you switch between three types of routing: monaural/stereo recording or re-amp. JamVOX III modeling software is bundled Since JamVOX III modeling software is bundled, you can take advantage of the GXT function that lets you cancel or extract/emphasize a specific part from an existing song; you can also use the music player function to play back a loop from a song that you're learning or practicing, and even change its tempo. Although this software is designed for guitar, the bassist will also find it convenient. Number of Amp Models 11 (17 when using Tone Room) Number of Effects Effects 1 types: 4 (11 when using Tone Room) Effects 2 types Delay/Reverb: 4 (8 when using Tone Room) Number of User Programs 8 (two banks x four programs) Wide Stereo Effect (Virtual Surround) Off, On Noise Reduction Off, 1 - 4 steps Audio Equalizer Off, Loud, Bass Boost, Mid Boost, Treble Boost Input/Output Jacks INPUT Jack, AUX IN Jack, PHONES Jack, USB (Type B) Port Wireless Method Bluetooth (A2DP Sink) Bluetooth low energy (MIDI) Power Amp Output Maximum approx. 25 W x 2 RMS @ 8 ohms When Using Batteries: Maximum approx. 2.5 W x 2 @ 8 ohms Speakers 3, 8 ohms x 2 Signal Processing Sample Rate: 44.1 kHz A/D Conversion: 24-bit D/A Conversion: 24-bit Power Supply AA batteries (alkaline batteries or nickel hydride batteries): 8 batteries Or the included AC adapter (DC 19V) Current Consumption 3.42 A When Using Batteries: 200 mA Battery Life Maximum 8 hours (when using alkaline batteries) Dimensions (W x D x H) 360 x 165 x 163 mm / 14.17 x 6.50 x 6.42 Weight 2.9 kg / 6.39 lb. (excluding batteries) Included Items AC adapter, Power cord, JamVOX III download card Amp Models (Total 17 types) When Using Alone (11 types): CLASSIC (NORMAL), SLAP, ROCK (1), MODERN, DEEP, TIGHT SYNTH, DIRTY SYNTH, DELUXE CL, AC30TB, DOUBLE REC, FLAT When Using Tone Room (6 types added): CLASSIC BRIGHT, ROCK 2, PUNCHY SYNTH, AC30, BRIT 800, ERUPT III CH3 Effect 1 Types (Total 11 types) When Using Alone (4 types): COMPRESSOR, T.WAH, FUZZ, CHORUS (STEREO CHORUS) When Using Tone Room (7 types added): CE CHORUS, BLACK FLANGER, STEREO FLANGER, ORG PHASER, SMALL PHASE, TWIN TREM, HARMONIC TREM Effect 2 Types Delay/Reverb (Total 8 types) When Using Alone (4 types): ANALOG DELAY, WIDE DELAY, SPRING, HALL When Using Tone Room (4 types added): TAPE, CROSS DELAY, ROOM, PLATE * Bluetooth is a registered trademark of Bluetooth SIG, Inc. * Apple, Mac, iPad, iPhone, iPod touch, iTunes and Mac are registered trademarks of Apple Inc. * Android and Google Play are registered trademarks of Google Inc. * All product, company, and standard names are trademarks or registered trademarks of their respective holders. * Appearance and specifications of products are subject to change without notice.

Taylor - Koa 700 Series - 724ceHawaiian koa s seductive charms are legendary. With the new all-koa 700 Series, Taylor masterdesigner Andy Powers has embraced koa s natural beauty and sonic virtues in a fresh way thatreveals a distinctive musical personality compared to Taylor s Koa Series. Where the Koa Seriesshowcases an ultra-refined look and sound, with figured wood, rich appointments, gloss finishand a smooth voice, the new 700 Series channels more of koa s natural character in look, feeland sound. Select-grade koa boasts rich color variegation and straight grain structure.A newback bracing pattern, together with ultra-thin matte finish, coaxes a livelier, punchier, moredirect response from the guitar, making it exceptionally player-reflective. The thin finish alsocreates a warm and inviting tactile sensation with the natural wood texture, making players feeleven more connected to the guitar. A new suite of appointments includes mother-of-pearlFountain fretboard/inlays, rosewood binding (including soundhole), maple/rosewood top edgetrim, a paua/rosewood rosette, a dark-stained maple pickguard and Taylor polished bronzetuners. Model offerings include the Grand Auditorium 724ce and Grand Concert 722ce.Timeless koa appeal reimagined with a vibrant new voice.With the new, all-solid-koa 700 Series, Taylor master designer Andy Powers has embraced Hawaiian koa s natural beauty and sonic virtues in a fresh way that brings a distinctive musical personality to the Taylor line.Compared to our established Koa Series, which showcases an ultra-refined look and sound, featuringfigured koa, rich appointments, gloss finish and a smooth voice, the koa 700 Series channels more of koa s natural character in look, feel and sound.How the Series Was BornBack in 2015, Taylor formed a Hawaii-based partnership with tonewood supplier Pacific Rim Tonewoods to supply and grow Hawaiian koa for the future. (The company is called Siglo Tonewoods.)Part of our commitment is to contribute to current forest restoration efforts in Hawaii on a project basis through contracts with Hawaiian landowners.As specified in these stewardship agreements, Siglo is permitted to cut a select number of designated koa trees, and in exchange, we invest dollar for dollar in a host of forest improvement projects.These arrangements have enabled us to cut into more koa logs ourselves and discover far more varieties of koa wood, featuring a rich palette of colors with beautiful striping. (We hadn t previously been exposed to this type of koa in dealing with suppliers.) We gave this wood its own classification as Select-grade.Taylor master builder Andy Powers was excited by the new opportunities this wood presented. It inspired him to design what became the Koa 700 Series. He wanted to honor the unique characteristics of this wood by offering players another compelling koa playing experience.Unique Design FeaturesSelect-grade koa: Boasts rich color variegation and straight grain structureUltra-thin matte finish :Feel: The thin open-pore finish creates a warm and inviting tactile sensation; you can feel the natural wood texture, creating a more intimate connection to the guitarSound: Together with slightly altered back bracing, the voicing is different from our KoaSeries: a livelier, punchier, more direct response, making it exceptionally player-reflectiveAppointmentsFretboard/Peghead Inlay: New Fountain design in mother-of-pearlBody Edge Treatment: Indian rosewood binding (including soundhole)Rosette: Single ring, paua and rosewoodTuners: Taylor polished bronzeOther Unique Features: Maple/black/rosewood top edge trim, dark-stained maple pickguard I wanted to offer traditional appointments, with a focus on natural materials like wood and shell. I wanted the inlay to be unobtrusive and not too heavy in its ornamentation. Andy Powers These guitars retain the unique sweetness we associate with a koa guitar especially that beautiful midrange but with a more direct, punchier attack. Andy PowersAn expanded family of koa beauty. An expanded palette of koa sound.Players can choose from an array of koa models offered across the Taylor line, from the all-solid-wood Koa and 700 Series to select models within the 200 and 200 Deluxe Series to GS Mini and Baby Taylor models.Specifications : Body Wood:Solid Select-Grade Hawaiian KoaTop Wood:Solid Select-Grade Hawaiian KoaNeck:Neo-Tropical MahoganyFretboard:West African EbonyNut Width:1-3/4 Scale Length:25-1/2 (724ce), 24-7/8 (722ce)Electronics:ES2Case:Taylor Deluxe Hardshell Case

The Dangerous D-BOX is a ground-up dramatic redesign of the award-winning controller and summing mixer that provided countless studios the superior sound and versatile control of an analog mixer, all in just one rack space. The newly designed 8-channel summing mixer and D-A stereo converter provide Dangerous Music s bold and clear sound, while newly added features like Bluetooth connectivity and an app for remote control of all major functions unleash a cutting edge feature set that puts the D-BOX far ahead of the competition. As with all Dangerous Music products, the D-BOX is proudly made to exacting audiophile standards in the USA. TOTAL CONTROL Like a large console s center section, the D-BOX provides elaborate routing and switching of your studio s inputs and outputs, both analog and digital. At the push of a button, you can select from five input sources: analog stereo, the onboard analog summing mixer, USB, AES/SPDIF and brand new for the D-BOX a wireless Bluetooth stream from any Bluetooth-enabled device. Outputs include three stereo speaker ports, and these can be programmed to be mono and/or to include a subwoofer. Further, you can use output 3 as source for an independent sub with individual level and mute control. VERSATILE MONITORING OF MULTIPLE SOURCES Any studio situation, but especially tracking sessions, call for independent monitor routing for artist and engineer. With the D-BOX you have two totally independent monitoring sections: Control Room and Headphones. With the simple push of a button, you can assign any of the five input sources to either of these monitoring paths, making what would otherwise be elaborate patches into instant choices. Want to check on your monitors what your artist is hearing in their headphones Seamless source switching is simple. REMOTE CONTROL VIA BLUETOOTH AND THE D-BOX APP Using the new D-BOX Bluetooth app, on any current phone, tablet, or computer, you are no longer bound to your chair when you need control your studio. All major functions of the D-BOX show up in the highly intuitive and rock solid program, providing limitless new solutions to age-old studio problems. Want to listen to an artist s instrument in the live room while switching monitoring sources in their headphones No problem. Want to give a couch-bound producer control over the talkback mic through their phone Simple. Want to listen to your mixes from the hallway while still swapping monitors or switching a sub in and out You got it. If you can dream it up, the D-BOX app will deliver. THREE MASTERING GRADE DIGITAL-TO-ANALOG STEREO CONVERTERS Our D-A converters have been at the heart of award winning tracking, mixing, and mastering studios for decades. Advanced clock stabilization, top-of-class chip sets, and our uncompromising analog signal path add up to a D-A that s as powerful as it is nuanced. Clarity and musicality of your digital sources are no longer trade-offs, but will come together for the best possible monitoring available in any price category and the D-BOX is loaded with three: USB, AES/SPDIF and Bluetooth. TWO POTENT HEADPHONE AMPS A great session requires a great headphone mix, and a great headphone mix requires a great headphone amp. With the D-BOX you get two of them. These potent amps are so clean, powerful, and accurate that many engineers use them exclusively for fine-grained quality control listening right before delivering a record to market. With the easy yet elaborate routing capabilities of the D-BOX , you ll be able to send any source to either headphone amp from either the front panel or remotely from within the D-BOX app. TALKBACK FROM ANYWHERE DAWs are incredible tools, but they don t offer all the tools you need to make your studio sessions run like clockwork. The onboard talkback mic of the D-BOX offers a simple, time-honored solution to one of a studio s most basic needs. Now that you can control that talkback mic from anywhere via the D-BOX app, you ll find yourself waving your arms far less and communicating more effectively with your collaborators. ROCK SOLID USB CONNECTIVITY FOR WINDOWS AND MAC USB audio connectivity has come a long way over the past decade, and Dangerous has been at the forefront of its development the entire time. With the D-BOX you not only get an ultra-fast, low-latency USB port, you also get the latest driverless connectivity on macOS and flawless driver support on current Windows computers. Say goodbye to fussing around with software just to get up and running, and say hello to plug-and-play connectivity. AN UPGRADED EIGHT-CHANNEL SUMMING MIXER Anyone who has heard what a Dangerous summing mixer can do to improve the sonic impact, panning, depth, and width of a mix knows that there s no substitute for analog summing when its done right. We ve heard stellar results from traditional routing of subgroups to separate analog channels all the way to routing multiple effects returns to their own analog paths for unrivaled dimensionality. Mixing is an art form, and our analog summing mixer will help you create masterpieces. FEATURES Newly upgraded 8-channel analog summing mixer delivers enormous soundstage and superior sonic impact Five analog and digital inputs at your fingertips (analog stereo, analog sum, USB, AES/SPDIF, Bluetooth) Bluetooth wireless audio streaming Free D-BOX app offers remote control of all major functions (volume, dim, talkback, I/O select, and more) Dedicated app runs on current macOS, Windows, IOS and Android devices and computers Driverless USB connectivity for macOS; simple USB driver installation for Windows On-board talkback mic with push-button activation (on front panel or remotely from app) Dual best-in-class headphone amplifiers with independent source selection and level control (front panel or app) Three independent speaker outputs (selected from front panel or from app) Programmable speaker selector allows for dedicated mono and/or sub inclusion on all outputs

The 18-inch K Constantinople crash features a unique hammering technique that gives it more dark overtones and more personality and musicality than any other Zildjian cymbal! A remarkable arrival. Marketed in the early 2000s, the Constantinople brought a much awaited response to the demand for cymbals in the vein of those used by jazz drummers of the sixties, like the great Elvin Jones. At the beginning of this century, when fusion music was in full swing, Zildjian heard the lament of these orphaned jazzmen in the face of a production that seemed to have simply forgotten them. This series alone symbolizes the rebirth of instruments for more acoustic music, cymbals necessarily richer, a little more dark, but losing nothing in articulation or definition. A very identity series. A K Constantinople cymbal can be recognized in a second! Its somewhat domed and hammered appearance, from the edge to the top of the bell, this smooth, satiny patina, and these hammer imprints that show here and there a rough part of the metal, make each ride of this series an instrument unique and identifiable. Similarly, the blind, the amateur (and a fortiori the connoisseur) can not be wrong, both the balance and the length of the sound halo speak for themselves. A real tour de force that has spawned many others since then. A very precise name. Creating a cymbal close to a Grail a priori unattainable was not enough. The craftsmen Zildjian wanted to specify the name that we see affixed a few inches from the bell. A rather general disposition for this series, although other Constantinople are more fine and sharp. Two of them (the Renaissance and the Bounce) have even been designed with the help of renowned contemporary jazzmen, so as to emulate the style of Elvin Jones or Jimmy Cobb. Two legends that had the honor of playing with John Coltrane ... A myth come true! A journey through the centuries ... Made with the ancestral methods of Turkish master craftsmen, these dark and deep cymbals offer unique harmonies. The art of making handmade cymbals is pushed to its climax. Do not look elsewhere, they are the best cymbals in the world: simply historic ... Category: crash Material: bronze Cymbal diameter: 18.00 Thickness: Thin Hammering: yes Sound: dark / medium Finishing: traditional

Ramon “Mongo” Santamaria was without a doubt one of the most respected conga players ever and a pioneer of modern Latin Jazz. During the 50´s his band Black Cuban Diamonds laid down the foundation for an outstanding career. He has recorded dozens of legendary percussion albums. Worldwide Jazz hits, such as Watermelon Man in 1963 and the album Summertime from 1980 are only two of the many recordings from this great master percussionist. Mongo has inspired more percussionists around the globe than any other conguero.Mongo Santamaria died at the Baptist Hospital in Miami, USA in February 2003. He was 85 years old.It is with great appreciation and deepest respect that we honour our friend and his life’s work with his MEINL Artist Series Mongo Santamaria Congas.Size 11” Quinto 30” tall (76 cm)Material Two ply American White Ash (Fraxinus americana L.)Features True Skin Buffalo Heads 10 mm strong tuning lugs 4 mm rounded SSR-Rims Gold tone hardwareIncludes MEINL Conga Saver (patented) MEINL Soundpads Accessory pouch L-shaped tuning key Tune Up Oil

Ramon “Mongo” Santamaria was without a doubt one of the most respected conga players ever and a pioneer of modern Latin Jazz. During the 50´s his band Black Cuban Diamonds laid down the foundation for an outstanding career. He has recorded dozens of legendary percussion albums. Worldwide Jazz hits, such as Watermelon Man in 1963 and the album Summertime from 1980 are only two of the many recordings from this great master percussionist. Mongo has inspired more percussionists around the globe than any other conguero.Mongo Santamaria died at the Baptist Hospital in Miami, USA in February 2003. He was 85 years old.It is with great appreciation and deepest respect that we honour our friend and his life’s work with his MEINL Artist Series Mongo Santamaria Congas.Size 11” 3/4 Conga 30” tall (76 cm)Material Two ply American White Ash (Fraxinus americana L.)Features True Skin Buffalo Heads 10 mm strong tuning lugs 4 mm rounded SSR-Rims Gold tone hardwareIncludes MEINL Conga Saver (patented) MEINL Soundpads Accessory pouch L-shaped tuning key Tune Up Oil

Ramon “Mongo” Santamaria was without a doubt one of the most respected conga players ever and a pioneer of modern Latin Jazz. During the 50´s his band Black Cuban Diamonds laid down the foundation for an outstanding career. He has recorded dozens of legendary percussion albums. Worldwide Jazz hits, such as Watermelon Man in 1963 and the album Summertime from 1980 are only two of the many recordings from this great master percussionist. Mongo has inspired more percussionists around the globe than any other conguero.Mongo Santamaria died at the Baptist Hospital in Miami, USA in February 2003. He was 85 years old.It is with great appreciation and deepest respect that we honour our friend and his life’s work with his MEINL Artist Series Mongo Santamaria Congas.Size 12 1/2” Tumba 30” tall (76 cm)Material Two ply American White Ash (Fraxinus americana L.)Features True Skin Buffalo Heads 10 mm strong tuning lugs 4 mm rounded SSR-Rims Gold tone hardwareIncludes MEINL Conga Saver (patented) MEINL Soundpads Accessory pouch L-shaped tuning key Tune Up Oil

The NiCompresor (pronounced Nigh Compressor) offers distinctive tone shaping capabilities. It achieves exceptional compression dynamics while keeping higher-frequencies intact, making your guitar sound incredibly full and fat, without compromising your tone. In seeking to honor, improve, and expand this concept, Catalinbread developed a broader range of functionality and finely-tuned controls. Bass and Treble Expanding on the concept of uncompromising tone, these knobs boost desired frequencies, bringing them to the surface. The Treble brightens your tone, making it sparkle, even when compressed. The Bass enhances the lower-frequencies and increases sustain when turned up. Gain The Gain allows you to experiment by adding some grit or grain to your sound. Compression Staying true to its inspiration, this single knob design allows you to find the sweet spot and make adjustments simply and effectively. Volume When turned up, the compressor sends out a hot signal, boosting from within. When turned down, the next effects in the chain boost the compression. Available in Black and Silver (fond noir), or White Soft Pearl (fond gris) enclosures.

Ditto X4 Looper is the pedal that'll let you turn a single moment in time into something truly spectacular. By perfectly merging ease of use with stellar creative features like dual loop tracks, 7 loop FX, loop decay and MIDI sync, Ditto X4 Looper will instantly become the canvas on which you paint your multi-layered sonic masterpieces. If you can dream it, you can loop it! Still Simple, Still Mind-Blowing Even though Ditto X4 Looper basically offers endless creative possibilities, it still honors the core principle of our famed Ditto Looper. Simplicity! No drum-machines, no deep-editing menus or other time consuming tech-nonsense, only immediate unfiltered fun. So all you have to think about is - What will you create today Loop De Loop If you thought that having one loop track was fun, then wait until you try running two interweaving and perfectly synced tracks at once. It will blow you away! Run a 4 bar percussive beat in loop 1 and a 16 bar chord progression with endless layers of ambient textures underneath in loop 2, or simply have your verse and chorus set up in each track and seamlessly switch between them for an unforgettable on-stage performance. You're the aural architect, and with Ditto X4 Looper you'll finally have the tool to realize the sonic wonders inside your head. FX On The Fly Imagine this: You got a cool dual loop going, and you can see the crowd is loving it. Out of the blue you engage the Hold FX for a cool rhythmic stutter. The crowd is baffled. Then you reverse your loop and throw them into an otherworldly trance. Finally you hit that Tape Stop FX for a unique jaw-dropping finish to your piece. You look up. The crowd is dumbstruck and smoke is rising from their heads, 'cause you literally just blew their minds! This scenario (which may or may not have happened) just scratches the surface of what can be done with the 7 on-board FX. Now throw loop decay and external MIDI control into the mix, and you have a pedal that will continue to inspire you for years to come. Ditto X4 Looper - Resume The guitar player's looper - made for guitarists by guitarists Dual loop tracks - create evolving multi-track compositions or fully fledged songs 7 loop FX - endless creative potential MIDI sync - for perfectly timed live loops Loop decay True bypass and analog dry-through Stereo In/Out StarJam - Import free loops made by music's finest 9V DC/300mA

G6120T-BSSMK BRIAN SETZER SIGNATURE NASHVILLE HOLLOW BODY '59 SMOKE WITH BIGSBY EB SMOKE ORANGE Description : You gotta jump, jive, and then you wail away! Without a doubt, Brian Setzer is one of the most exciting and impressive musicians of our time. He created a remarkable and lasting legacy from spearheading the rockabilly revival with the Stray Cats and jump-starting Big Band Swing with the Brian Setzer Orchestra. Throughout his decorated and storied career, he has sold over 13 million records, won three Grammy awards and received the Orville H. Gibson Lifetime Achievement Award for his work as a guitarist. Honoring a pivotal rock ‘n' roll legend, the G6120T-BSSMK Brian Setzer Signature Nashville Hollow Body '59 Smoke with Bigsby is a recreation of Brian's main stage guitar since retiring the famed ‘Stray Cat.' A painstaking homage to one of Brian's most treasured guitars, Smoke delivers vintage '59 vibe with powerhouse performance. Period-correct details abound including the '59 headstock shape and logo, pickguard shape, size, and bracket, volume, tone and switch locations and a beautifully rich Smoke Orange semi-gloss lacquer finish. Beneath its vintage cloak however, Smoke is a true workhorse with features accumulated over a prolific span of Brian's career. Stage-veteran specs include a single-cutaway hollow body with arched laminated maple top, 1959 trestle bracing and oversized F-holes for improved sonic projection. The maple neck has a 9.5-12 compound radius ebony fingerboard and a vintage ‘V' neck shape for comfortable chording or lightning leads. The rolled fingerboard and body edges couple with the semi-gloss finish to create an unparalleled broken-in feel found only in the prized G6120s from the 1950s. Dual TV Jones Ray Butts Ful-Fidelity pickups provide timeless tone with excellent bass response and shimmering Filter'Tron™ sparkle. For complete roadworthy stability, Smoke is equipped with an Adjusto-Matic™ bridge with pinned rosewood base, Bigsby B6CGH vibrato tailpiece, Delrin nut and Gotoh locking tuning machines. Feature Bullets : 2.5 single cutaway body with rolled edges and aged white body binding Arched laminated maple top with 1959 trestle bracing 9.5 – 12 compound radius ebony fingerboard with vintage ‘V’ neck shape and rolled edges Period-correct headstock shape and logo TV Jones Ray Butts Ful-Fidelity pickups Master volume with treble bleed circuit, neck pickup volume, bridge pickup volume, three-position pickup toggle switch and three-position tone switch, each in period-correct locations Adjusto-Matic bridge with pinned rosewood base Bigsby B6CGH tailpiece with black handle screw Gotoh locking tuning machines Delrin nut Mother of pearl Neo-Classic thumbnail inlays Nickel hardware Period-correct pickguard shape, size and bracket Available in Smoke Orange lacquer Body Binding : Aged White with B/W Purfling Body Depth : 2.5 (63.5 mm) Body Finish : Semi-Gloss Lacquer Body Material : Laminated Maple Body Shape : Nashville / G6120 Body Style : Gretsch Hollow Body Guitars Bracing : 1959 Trestle Bracing Bridge Cover/Tailpiece : Bigsby B6CGH Bridge Mounting : Pinned Bridge Pickup : TV Jones Ray Butts Ful-Fidelity Bridge : Adjusto-Matic with Pinned Rosewood Base Case/Gig Bag : Included G6241 Gretsch 16 Deluxe Hollow Body Hardshell (p/n 099-6411-000); Optional G2162 Gretsch Hollow Body Gig Bag (p/n 099-6458-000) Color : Smoke Orange Configuration : Filter'Tron / Filter'Tron Control Knobs : G-Arrow Controls : Volume 1. (Neck Pickup), Volume 2. (Bridge Pickup), Master Volume Fingerboard Material : Ebony Fingerboard Radius : 9.5-12 Compound Radius (241mm-305mm) Fret Size : Medium Jumbo Hardware Finish : Nickel Neck Binding : Aged White Neck Finish : Semi-Gloss Lacquer Neck Material : Maple Neck Mounting : Dovetail Neck Pickup : TV Jones Ray Butts Ful-Fidelity Neck Shape : Vintage V Number of Frets : 22 Nut Material : Delrin Nut Width : 1.685 (42.8 mm) Orientation : Right-Hand Pickguard : Gold Plexi Pickguard with Artist Signature and Gretsch Logo Position Inlays : Neo-Classic Thumbnail Strings : Nickel Plated Steel .010-.046 Gauges Switching : 3-Position Toggle: Position 1. Bridge Pickup, Position 2. Bridge And Neck Pickups, Position 3. Neck Pickup, 3-Position Tone Switch Tuning Machines : Gotoh Locking

The NiCompresor (pronounced Nigh Compressor) offers distinctive tone shaping capabilities. It achieves exceptional compression dynamics while keeping higher-frequencies intact, making your guitar sound incredibly full and fat, without compromising your tone. In seeking to honor, improve, and expand this concept, Catalinbread developed a broader range of functionality and finely-tuned controls. Bass and Treble Expanding on the concept of uncompromising tone, these knobs boost desired frequencies, bringing them to the surface. The Treble brightens your tone, making it sparkle, even when compressed. The Bass enhances the lower-frequencies and increases sustain when turned up. Gain The Gain allows you to experiment by adding some grit or grain to your sound. Compression Staying true to its inspiration, this single knob design allows you to find the sweet spot and make adjustments simply and effectively. Volume When turned up, the compressor sends out a hot signal, boosting from within. When turned down, the next effects in the chain boost the compression. Available in Black and Silver (fond noir), or White Soft Pearl (fond gris) enclosures.

Tito Puente (1923-2000): PART OF THE LP INNER CIRCLE Elvis may have been known as The King of Rock and Roll, but to fans of Latin music icon, the late Tito Puente will always be remembered as El Rey del Timbal (The King of the Timbale). Puente was responsible for bringing timbales from the rear to the forefront of the band in Latin dance music and Latin jazz. He was the winner of four Grammy Awards, has a star on Hollywood s Walk of Fame and received the National Endowment of the Arts Award from President Clinton. Puente s craving for innovation and perfection helped lead to the design of LP s Tito Puente Model Timbales. Tito was honored when a set of his namesake Timbales was placed into the Smithsonian Institute s permanent collection. All LP Tito Puente Timbales, Thunder Timbs, and Timbalitos are sold complete with a chrome plated, heavy duty, steel Timbale Stand. The stand has a die cast, geared tilter that locks in tight for either straight or tilted playing. It is height adjustable, and also has an anti-rattle sleeve. It comes complete with an adjustable cowbell holder made from welded steel and features LP s superior eye-bolt assembly. LP Timbale Shells are available in genuine stainless steel, solid brass, or bronze; each possessing its own distinct sound. The genuine stainless steel shells produce very bright and crisp, loud sounds; the solid brass shells produce warmer sounds; the bronze produces a superior and distinctive cutting cascara sound. * Tito Puente began incorporating LP Timbalitos into his set up in 1979 after an LP sponsored world tour. * They have a distinct sound and provide a great contrast to other timbales. * The shells are 9 1/4 and 10 1/4 in diameter, with a depth of 6 1/2 in solid brass. * A heavy duty, fully height adjustable tilting timbale stand. * A cowbell bracket, a pair of timbale sticks and a tuning wrench is included.

D-19 190th AnniversaryIl y a cent quatre-vingt-dix ans, le 6 novembre, mon arrière, arrière, arrière grand-père, ma grand-mère et leurs deux enfants sont arrivés à New York en provenance d'Allemagne.Ils sont venus en Amérique à la recherche d'opportunités et de liberté. Ils se sont d'abord installés au 196 Hudson Street et ont ouvert le premier atelier de fabrication de guitares Martin dans le Nouveau Monde. Je cherchais un moyen de célébrer cette étape importante.En 1976 (date anniversaire de la fondation de notre nation), nous avons lancé la D-19. Elle a été conçue comme une D-18 haut de gamme. Nous avons teinté la table d'harmonie pour utiliser de l'épicéa qui présentait des problèmes esthétiques. Il s'agissait d'un premier clin d' il à la durabilité. J'ai pensé qu'il serait approprié de dépoussiérer cette désignation de modèle et de fabriquer 190 D-19 contemporains pour honorer notre 190e anniversaire.Ce modèle s'inscrit également dans une démarche de développement durable en utilisant des tables en épicéa des Adirondacks présentant des défauts esthétiques, que nous avions en stock depuis un certain temps. Nous les avons fait passer par notre imprimante Mimaki pour obtenir un aspect acajou figuré pour la table.J'espère qu'elle vous plaira.- C.F. Martin IVCaractéristiquesFormat : Dreadnought D-14 FretDiapason : 25,4(645,16mm)TableTable : épicéa d'AdirondackBarrage : X sculpté décalé vers l'avantFilet : écaille de tortue marronPickguard : écaille de tortue marronForme du chevalet : Modern BellyChevalet : Palissandre du GuatemalaEcartement des cordes au chevalet : 2 5/32(54,76mm)Chevilles : plastique noir avec points blancSillet : os compenséRadius : 16(406,4mm)Finition de la table : brillanteCorpsDos et éclisses : acajouFinition du corps : brillanteBarrage : épicéa d'AdirondackTaille du barrage : 5/16(127mm)MancheFinition du manche : SatinéeFrettes : 20Profil du manche : Modified Low OvalConicité du manche : High-Performance TaperJonction corps-manche : Queue d'aronde à la 14ème frettesRepères de touche : Abalone Blanc old style 18Largeur au sillet : 1 3/4(44,45mm)Touche : Palissandre du GuatemalaLargeur de touche à la 12ème frettes : 2 1/8(53,97mm)Mécaniques : Nickel ouvertes avec papillon ButterbeanDiversLivrée en étuiCertificat signée par Chris F Martin IV, numérotée.

Tito Puente (1923-2000): PART OF THE LP INNER CIRCLEElvis may have been known as The King of Rock and Roll, but to fans of Latin music icon, the late Tito Puente will always be remembered as El Rey del Timbal (The King of the Timbale). Puente was responsible for bringing timbales from the rear to the forefront of the band in Latin dance music and Latin jazz. He was the winner of four Grammy Awards, has a star on Hollywood s Walk of Fame and received the National Endowment of the Arts Award from President Clinton. Puente s craving for innovation and perfection helped lead to the design of LP s Tito Puente Model Timbales. Tito was honored when a set of his namesake Timbales was placed into the Smithsonian Institute s permanent collection.All LP Tito Puente Timbales, Thunder Timbs, and Timbalitos are sold complete with a chrome plated, heavy duty, steel Timbale Stand. The stand has a die cast, geared tilter that locks in tight for either straight or tilted playing. It is height adjustable, and also has an anti-rattle sleeve. It comes complete with an adjustable cowbell holder made from welded steel and features LP s superior eye-bolt assembly. LP Timbale Shells are available in genuine stainless steel, solid brass, or bronze; each possessing its own distinct sound. The genuine stainless steel shells produce very bright and crisp, loud sounds; the solid brass shells produce warmer sounds; the bronze produces a superior and distinctive cutting cascara sound.* 12 and 13* A heavy duty, fully height adjustable, tilting timbale stand, a cowbell bracket, a pair of timbale sticks, and a tuning wrench is included with every set of LP Tito Puente Timbales.

BOSS AND JHS PEDALS JOIN FORCES TO CREATE A NEW DRIVE PEDAL WITH MASSIVE TONAL RANGE To celebrate the 40th anniversary of BOSS compact pedals, BOSS and JHS Pedals have come together in a historic creative collaboration between the two industry leaders. Housed in the classic BOSS compact design, the JB-2 Angry Driver pairs the tones of the iconic BOSS BD-2 Blues Driver with JHS Pedals popular Angry Charlie. Working closely together, the two pedal innovators have developed an all-new combined circuit with refined sound and performance perfectly tuned for dual-mode drive operation. The JB-2 Angry Driver features three dual-concentric knobs that provide independent drive, tone, and level control for each overdrive type. Via a six-position mode selector, you can use each overdrive independently, or combine them together in series and parallel configurations. With the ability to blend the Blues Driver s famously expressive low-to-mid gain tones with the Angry Charlie s aggressive rock voice in any combination, the JB-2 Angry Driver delivers unmatched range and versatility from a single overdrive pedal. All-new overdrive pedal with massive tonal range, jointly developed by BOSS and JHS Pedals Combines the voices of the BD-2 Blues Driver from BOSS and Angry Charlie from JHS Pedals Three dual-concentric knobs provide independent drive, tone, and level control for each overdrive type Mode selector for choosing individual overdrive types, two series connections for stacking, or parallel connection for unique new sounds Also includes a mode for toggling between BOSS and JHS overdrives with the built-in pedal switch Remote switch jack for controlling pedal modes and bypass from an optional footswitch or effects switching system Multi-color LED indicator shows BOSS mode (blue), JHS mode (red), and both together (purple) BOSS five-year warranty Two Industry Leaders Unite for the 40th Anniversary of BOSS Compact Pedals The idea to develop the JB-2 pedal was born of the friendship between BOSS President Yoshi Ikegami and JHS Pedals founder Josh Scott, and their shared passion for innovative pedal design. The Blues Driver has long been a favorite pedal for Josh, and he credits it for leading him into designing his own pedals and starting his own company. I got into pedals because, as a player, I used two Blues Drivers together for years and years. One day, one of them broke. I opened it up and realized it was just a simple soldering fix. It really sparked my curiosity and that just took over my life, and JHS pedals came into existence out of repairing that pedal. Yoshi and Josh regularly visit with each other at the yearly NAMM shows, and they had discussed the idea of a collaboration a number of times. With BOSS celebrating the 40th anniversary of the introduction of the compact pedal design throughout 2017, Yoshi felt the time was right to develop a new pedal together. In the 40 years of BOSS compact pedal history, this is a first, Yoshi said. I think it's a wonderful thing that two companies have collaborated based on a great mutual respect for each other. We re very excited to collaborate with BOSS, one of our heroes, with the JB-2, Josh relates. I've said for years and years that BOSS pedals are my favorite pedals. For JHS to jump into the story of what BOSS has done for 40 years is a real honor, and really beyond anything I would have ever imagined. Partners in Tone After discussing a number of ideas, BOSS and JHS Pedals ultimately felt that combining the Blues Driver and Angry Charlie would be the ideal match. When this plan came up, we used the ES-8 switching system to try numerous combinations of our pedals with the JHS Angry Charlie, Yoshi relates. I thought a combination allowing each pedal to complement the other would be interesting to try. The sound of the Angry Charlie is exactly what BOSS didn't have. It stacks amazingly with the Blues Driver, Josh adds. What's great about the Blues Driver is it covers low gain phenomenally, and it does boost really well, and that accents what the Angry Charlie is. The Angry Charlie is always angry, so the Blues Driver helps mellow it out and do different things. To experience working on a product with a company that has done this thing so well for so long has been really inspiring, Josh continues. It s just amazing to see such talented people that love what they do. Josh is very pleased with the way the JB-2 turned out, saying, I am 150-percent satisfied. I love it. For several years, we have been continuing to take on new challenges with the keyword Breakthrough, Yoshi said. I think it's very refreshing and thought-provoking for our engineers to work with such an up-and-coming company and get inspired. A Diverse Range of Drive Sounds in a Compact Footprint With its two drive types, dual-concentric knobs, and six modes, the JB-2 packs an enormous amount of overdrive range in a single-space pedal. The Blues Driver is the lower-gain side, carrying everything from boost to overdrive, and the Angry Charlie carries the medium-high overdrive all the way to distortion. The six-position mode selector provides flexibility to use the overdrives in numerous creative ways, from individual operation to series stacking and even parallel operation. In series mode, one overdrive works as a booster for the other, while in parallel mode, the overdrive character expressively changes in response to picking nuance. A remote jack extends the pedal s versatility even further with control from an external footswitch or pedal switcher. In this small format, you get this amazing switching system that is out of this world with series and parallel, Josh relates. You have six controls for two pedals, but the six controls in parallel become six controls for one new pedal, and that is very, very cool. So you have the Angry Charlie that people know, and the Blues Driver that people know. But when you put them together, the six controls all interact and there are hundreds of sounds. I think that's a fantastic product.

A contemporary development of the legendary U 67. K 67 capsule, new circuit design, which closely reproduces the U 67 sound characteristics, three directional pattern, pre-attenuation and high-pass filter. Novel Neumann dual-color design. In the world of studio microphones, the numbers 47 , 67 and 87 have associations that inspire enthusiasm among professionals in the field. It is of course no coincidence that the name of the new TLM 67* contains the number 67 . In many respects, the TLM 67 is based on the workhorse of the 1960s, the legendary U 67. Like the U 67, the TLM 67 incorporates the K 67 capsule. In addition, the special new circuit design closely reproduces the sound characteristics of the classic U 67, without the use of tubes. Similar Neumann circuit technology has already proved very successful in the TLM 49.The TLM 67 is extremely versatile. Its three switchable directional characteristics (omnidirectional, cardioid and figure-8), selectable 10 dB pre-attenuation and high-pass filter permit detailed adjustments to be made, depending upon the specific recording situation.Exterior designThe TLM 67 is a large-diaphragm condenser microphone in the classic Neumann style, with a unique dual-color design. The stylish pearl-gray of the microphone body combined with the classic Neumann nickel lends the microphone a touch of distinctive individuality.The legendary, frequently imitated design of the Neumann U 67 was the first to be developed by Neumann employees in collaboration with the famous German designer, Wilhelm Braun-Feldweg. The design of the TLM 67 represents a contemporary development of that of the U 67, transferring its positive impact to the present era. The enhanced exterior design thus links past and future microphone design trends.On the occasion of its 80th anniversary, the Neumann company is honoring its founder, Georg Neumann, with a three-dimensional metal emblem on the front of the TLM 67. The distinctive Neumann attraction is conveyed in every detail of the microphone.ApplicationsDue to its extensive control features, the TLM 67 is suitable for a wide range of applications. In addition to its primary role as a vocal microphone for all types of music and spoken voice, in orchestral recordings the TLM 67 can be used as a main microphone and as a spot microphone for individual instruments.Acoustic featuresThe microphone is addressed from the side on which the Neumann logo is located.A large wire mesh grille encloses the elastically mounted double diaphragm capsule. The directional characteristics omnidirectional, cardioid or figure-8 can be selected via a switch below the grille. The selected setting is indicated by a symbol shown in a window above the switch.Electrical featuresThe letters TLM stand for transformerless microphone . In the TLM 67, an electronic circuit is used rather than a conventional output transformer. Like a transformer, the circuit ensures good common mode rejection, effectively suppressing interference signals that affect the balanced modulation line. The microphone can operate at sound pressure levels of up to 105 dB without distortion, and has a dynamic range of 94 dB (A-weighted), without the use of the pre-attenuation switch.Filter and pre-attenuationThe pre-attenuation switch on the back of the microphone can be used to reduce transmission levels by approx. 10 dB. It should be used only when there is a risk of overloading following devices due to very high sound pressure levels. Use of the switch does not increase the dynamic range of the microphone, but rather shifts it by 10 dB, to higher sound pressure levels. The other switch on the back of the microphone can be used to change the cutoff frequency of the built-in high-pass filter, so as to suppress the effects of impact sound and wind noise, or to compensate for the proximity effect.Operational reliabilityElastic mounting of the capsule supplies protection from the transmission of structure-borne noise. If required, the EA 87 elastic suspension and WS 87 windscreen are available as accessories, for further suppression of structure-borne and wind noise. The PS 15 or PS 20 a popscreen can be used if the microphone is to be addressed at close range. SpecificationsAcoustical operating principle Pressure gradient transducerDirectional pattern Omni/cardioid/figure-8Frequency range 20 Hz ... 20 kHzSensitivity at 1 kHz into 1 kohm 10/18/9 mV/PaRated impedance 50 ohmsRated load impedance 1 kohmsEquivalent noise level, CCIR1) 29/24/30 dBEquivalent noise level, A-weighted1) 16/11/17 dB-ASignal-to-noise ratio, CCIR1) (rel. 94 dB SPL) 65/70/64 dBSignal-to-noise ratio, A-weighted1) (rel. 94 dB SPL) 78/83/77 dB-AMaximum SPL (tube characteristic) for THD < 0.5 %2) 110/105/111 dBMaximum SPL (tube characteristic) for THD < 5 %2) 130/125/131 dBMaximum output voltage -1 dBuDyn. range of the mic. amplifier (A-weighted, 0.5 %2)) 94 dBDyn. range of the mic. amplifier (A-weighted, 5 %2)) 114 dBPower supply P48Matching connector XLR 3FWeight 490 gDiameter 56 mmLength 200 mm

Live and loud, Electromatic® Center Block Jr. guitars are designed for that pure and powerful Gretsch® sound at high volume. Painstakingly crafted with essential Gretsch sound, style and playability, these all-new models deliver the fearless and electrifying authenticity that has set Gretsch apart for decades. It s the sound of honor itself play proud. The G5655TG Electromatic® Center Block Jr. Single-Cut with Bigsby® and Gold Hardware features a smaller-sized body with a chambered spruce center block for dynamic resonance, high gain power and lightweight comfort. Offering excellent playability, the 12 -radius laurel fingerboard hosts 22 medium jumbo frets and NeoClassic thumbnail inlays. Its dual Black Top Broad Tron humbucking pickups deliver bold, dynamic and articulate tone with enhanced sonic punch. This guitar boasts stage-stealing style with three stunning finishes Azure Metallic, Cadillac Green and Orange Stain and gleaming gold hardware, including the Bigsby® B70 vibrato tailpiece, anchored Adjusto-Matic bridge and G-arrow knobs. Body : Laminated Maple Finishing of the body: Gloss Control buttons : G-Arrow Fingerboard : Laurel Finishing of the deck fittings: Gold Finishing the neck: Gloss Urethane Plate : Gold Plexi w/ Black Gretsch Logo Fingerboard Inlays : Pearloid Neo-Classic Thumbnail Body shape : Electromatic® Center Block Neck material: Maple Shape of the Neck: Thin U Scale: 24.6 (625 mm) Radius: 12 (305 mm) Frets : 22 Type of frets: Medium Jumbo Nut : Graph Tech® NuBone Nut width : 1.6875 (42.86 mm) Bridge pickup: Black Top Broad Tron Middle pickup : N/A Neck pickup : Black Top Broad'Tron Controls : Volume 1. (Neck Pickup), Volume 2. (Bridge Pickup), Master Volume, Master Tone Pickup switch: 3-Position Toggle: Position 1. Bridge Pickup, Position 2. Bridge And Neck Pickups, Position 3. Neck Pickup Pickup configuration : HH Bridge: Adjusto-Matic Tuning machines : Die-Cast, Gold Strings : NPS, .010-.046 Gauges Case / Cover: Optional: Gig Bag 0996460000 / Hardshell Case 0996412000

The KU4 has the unmistakable characteristics of a smooth ribbon sound, yet it is uniquely different. Like other ribbons, its lightly-tensioned, ultra low mass ribbon has a frequency response beyond 20 kHz, an accurate transient response, and no upper midrange resonances common to large condenser mics. Having a supercardioid instead of a figure-eight polar response pattern mics sets it apart from other ribbon mics. The KU4's suppressed rear lobe reduces the pickup of room ambience and is especially useful when the rear of a figure-eight pattern would pick up undesirable sounds. The KU4's reduced bass proximity effect facilitates closer miking, while its low-tuned ribbon does not exhibit bass distortion. These characteristics make the KU4 well-suited for the modern studio. It is currently the only supercardioid ribbon microphone in commercial production. The KU4 is a re-vision of the legendary RCA KU3A, a unidirectional microphone originally designed for the Hollywood movie studios. Also known as the 10001 (for its RCA manufacturing number), it was RCA s most expensive ribbon microphone and fewer than 600 units were ever manufactured. The KU3A combined the smooth ribbon sound of a 44 with a unidirectional pattern, a wide sweet spot, and reduced proximity bass boost. Expanding an engineer's range of placement choices, it became a standard at film studios around the world. Today, however, the KU3A is a rare collector's item, and only a handful of studios or rental houses own them. The few lucky owners of vintage KU3As in great condition like Grammy-winning producer/engineer Kevin Augunas (Sound City Studios) treat their mics as little treasures. Original KU3As are notorious for their sonic inconsistencies due to production tolerances, so with the KU4, we at AEA engineered the microphone from the ground up in order to recreate this seminal design while ensuring flawless consistency from unit to unit. AEA is proud to put this microphone back into the hands of modern users. The KU4 is your ticket to discovering why RCA unidirectional ribbon microphones have been used in professional studios for over 60 years. AEA is honored to play a part in its history, and invites you to listen to the KU4 and claim your part of this legacy. The KU4 utilizes a medium sized ribbon unlike all other AEA mics. While AEA s Large Ribbon Geometry TM design offers advantages like extended bass response and maximum SPL level, the KU4 s shorter and narrower ribbon is characterized by a unique upper midrange presence that is particularly interesting for vocals and acoustic stringed instruments. Because of the shorter ribbon, the KU4 is much more similar to the venerable RCA 77 type microphone rather than the RCA 44. By comparison to the 77, the KU4 has a slightly longer ribbon, a fixed polar pattern, and a more natural sounding unidirectional mode. Compared to other non-bidirectional ribbon mics like the Beyer M160, the KU4 s ribbon is 50% longer providing better bass response and higher SPL handling capabilities. - Unidirectional (supercardioid) pickup pattern - Reduced proximity effect and room ambience - Extended top end with classic ribbon smoothness - Modern, consistent version of the RCA KU3A

Legacy 714ceCette collection rétrospective de guitares rend hommage à l'héritage des fondateurs de Taylor, Bob Taylor et Kurt Listug, et à leurs contributions au monde de la fabrication de guitares avec des modèles qui canalisent les premières inspirations et innovations de conception de Bob.La collection Legacy de Taylor Guitars célèbre un demi-siècle d'innovation musicale de Taylor.Nous sommes ravis de lancer notre collection avec cinq modèles acoustiques qui honorent notre héritage. Trois sont des modèles réimaginés en palissandre/épicéa de notre emblématique série 800, qui remontent à certaines des premières guitares de Bob Taylor. Les deux autres mettent en lumière le style de corps Grand Auditorium de Bob, qui est devenu la définition du son moderne de Taylor. Inspirés par les constructions originales de Bob, ces modèles rétrospectifs reflètent l'ensemble de notre histoire en mélangeant des éléments de conception fondamentaux avec des développements clés au fil du temps. Les 100 premières guitares construites de chaque modèle comportent une étiquette intérieure signée personnellement par les fondateurs de Taylor, Bob Taylor et Kurt Listug.Un mélange d'ancien et de nouveauCes guitares ne sont pas de simples rééditions des originales. Mais elles reflètent les qualités fondamentales des constructions originales, tout en mettant à jour certaines caractéristiques lorsque cela est approprié. Bob Taylor a personnellement supervisé le développement de ces guitares, en sélectionnant les éléments de conception et en s'inspirant de son histoire personnelle avec elles. Le résultat est une collection avec l'apparence, la sensation et le son de véritables guitareslegacy, mais subtilement réimaginées avec des raffinements esthétiques et des améliorations de performance introduites au cours du mandat de Bob en tant que concepteur de guitares Taylor (avant l'arrivée d'Andy Powers).Grand Auditorium avec pan coupé : Les modèles Legacy 514ce en acajou/cèdre et Legacy 714ce en palissandre/cèdre rendent hommage au style de corps emblématique Grand Auditorium qui célèbre cette année son 30e anniversaire, avec deux modèles GA classiques avec pan coupé qui ne sont actuellement pas disponibles dans la gamme Taylor.Tables en cèdre rouge de l'Ouest : Offrant une chaleur et une sensibilité au toucher que les joueurs de fingerstyle et les strummers légers à modérés adoreront, ces guitares s'enregistrent très bien. Ces modèles offrent aux joueurs un choix entre les saveurs tonales de l'acajou et du palissandre.X-Bracing : Ces guitares sont accordées comme les modèles originaux des années 90 et 2000.Manche breveté TaylorÉlectronique embarquée : LR Baggs Element VTC (volume, tonalité, compression), avec un micro sous le sillet et un préampli entièrement discret de classe A qui comprend un contrôle de volume et de tonalité monté dans la rosace.Particularités : Legacy 714ce : Binding en plastique noir avec des rayures noires et blanches sur le dessus, les côtés et le dos, et des incrustations de points en abalone vert sur la touche (6,3 mm) .Rosace à trois anneaux en abalone vert, chevilles de pont en ébène avec points en abalone vert, corps finition brillante et manche finition satinée, pickguard en faux écaille de tortue et mécaniques dorées Taylor.CaractéristiquesCorpsForme du corps : Cutaway Grand AuditoriumBois du dos/des éclisses : Palissandre indienBois de la table : Cèdre rouge de l'OuestBarrage : X-ClassMancheManche : AcajouTouche : Ébène Crelicam d'Afrique de l'OuestLargeur du sillet : 44.45 mmDiapason : 647.7 mmÉlectroniqueÉlectronique : LR Baggs Element VTCDiversProtection de la guitare : Étui rigide de luxe, marronCordes : D'Addario XS Coated Phosphor Bronze Medium

Tito Puente (1923-2000): PART OF THE LP INNER CIRCLE Elvis may have been known as The King of Rock and Roll, but to fans of Latin music icon, the late Tito Puente will always be remembered as El Rey del Timbal (The King of the Timbale). Puente was responsible for bringing timbales from the rear to the forefront of the band in Latin dance music and Latin jazz. He was the winner of four Grammy Awards, has a star on Hollywood s Walk of Fame and received the National Endowment of the Arts Award from President Clinton. Puente s craving for innovation and perfection helped lead to the design of LP s Tito Puente Model Timbales. Tito was honored when a set of his namesake Timbales was placed into the Smithsonian Institute s permanent collection. All LP Tito Puente Timbales, Thunder Timbs, and Timbalitos are sold complete with a chrome plated, heavy duty, steel Timbale Stand. The stand has a die cast, geared tilter that locks in tight for either straight or tilted playing. It is height adjustable, and also has an anti-rattle sleeve. It comes complete with an adjustable cowbell holder made from welded steel and features LP s superior eye-bolt assembly. LP Timbale Shells are available in genuine stainless steel, solid brass, or bronze; each possessing its own distinct sound. The genuine stainless steel shells produce very bright and crisp, loud sounds; the solid brass shells produce warmer sounds; the bronze produces a superior and distinctive cutting cascara sound. * Tito Puente began incorporating LP Timbalitos into his set up in 1979 after an LP sponsored world tour. * They have a distinct sound and provide a great contrast to other timbales. * The shells are 9 1/4 and 10 1/4 in diameter, with a depth of 6 1/2 and are available in genuine stainless steel or solid brass. * A heavy duty, fully height adjustable tilting timbale stand. * A cowbell bracket, a pair of timbale sticks and a tuning wrench is included.