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The Ibanez Analog Delay Mini Guitar Pedal is your golden ticket to a world of rich, vintage delay tones in a package that's as compact as it is practical. A modern day successor to the highly sought-after AD-9 Analog Delay, this pedal promises the same warm, organic delay tone, now miniaturized for the guitarist on the go. Its true bypass design ensures optimal signal integrity, while its intuitive three-knob control scheme (repeat, blend, and time) lets you craft your perfect soundscape effortlessly. This little powerhouse won't hog your pedalboard or your wallet, making it a must-have for any serious musician.

Key Features:

• Modeled after the classic Ibanez AD-9 Analog Delay
• Compact design for easy portability and minimal pedalboard space
• True bypass for pure, uncolored tone
• Three-knob control scheme (repeat, blend, and time) for versatile sound shaping
• Affordable, without compromising on quality or performance.

The Ibanez Analog Delay Mini Guitar Pedal is your golden ticket to a world of rich, vintage delay tones in a package that's as compact as it is practical. A modern day successor to the highly sought-after AD-9 Analog Delay, this pedal promises the same warm, organic delay tone, now miniaturized for the guitarist on the go. Its true bypass design ensures optimal signal integrity, while its intuitive three-knob control scheme (repeat, blend, and time) lets you craft your perfect soundscape effortlessly. This little powerhouse won't hog your pedalboard or your wallet, making it a must-have for any serious musician.

Key Features:

• Modeled after the classic Ibanez AD-9 Analog Delay
• Compact design for easy portability and minimal pedalboard space
• True bypass for pure, uncolored tone
• Three-knob control scheme (repeat, blend, and time) for versatile sound shaping
• Affordable, without compromising on quality or performance.

In 1969, Salvatore Martirano, along with a group of engineers and musicians at the University of Illinois, began work on the design and construction of a musical electronic instrument. The instrument, named the Sal-Mar Construction, is a hybrid system (both analog and digital) that the player can use interactively to produce real-time composition using up to 24 spatialized audio channels. It was created using parts from the aging ILLIAC II supercomputer.

The Sal-Mar is considered to be the world’s first composing machine and according to Composers’ Forum President Joel Chadabe, “The Sal-Mar Construction is an historically important musical event and a stunning and classical display of individual American invention. It must be seen and heard!”

[The image used was originally posted to Flickr by IllinoisLibrary at https://flickr.com/photos/45214447@N07/13433085173 and is available under a CC-by-2.0 license.]

In 1969, Salvatore Martirano, along with a group of engineers and musicians at the University of Illinois, began work on the design and construction of a musical electronic instrument. The instrument, named the Sal-Mar Construction, is a hybrid system (both analog and digital) that the player can use interactively to produce real-time composition using up to 24 spatialized audio channels. It was created using parts from the aging ILLIAC II supercomputer.

The Sal-Mar is considered to be the world’s first composing machine and according to Composers’ Forum President Joel Chadabe, “The Sal-Mar Construction is an historically important musical event and a stunning and classical display of individual American invention. It must be seen and heard!”

[The image used, photographed by C.E. Crane, was originally posted to Flickr by IllinoisLibrary at https://flickr.com/photos/45214447@N07/13433085173 and is available under a CC-by-2.0 license.]

In 1969, Salvatore Martirano, along with a group of engineers and musicians at the University of Illinois, began work on the design and construction of a musical electronic instrument. The instrument, named the Sal-Mar Construction, is a hybrid system (both analog and digital) that the player can use interactively to produce real-time composition using up to 24 spatialized audio channels. It was created using parts from the aging ILLIAC II supercomputer.

The Sal-Mar is considered to be the world’s first composing machine and according to Composers’ Forum President Joel Chadabe, “The Sal-Mar Construction is an historically important musical event and a stunning and classical display of individual American invention. It must be seen and heard!”

In 1969, Salvatore Martirano, along with a group of engineers and musicians at the University of Illinois, began work on the design and construction of a musical electronic instrument. The instrument, named the Sal-Mar Construction, is a hybrid system (both analog and digital) that the player can use interactively to produce real-time composition using up to 24 spatialized audio channels. It was created using parts from the aging ILLIAC II supercomputer.

The Sal-Mar is considered to be the world’s first composing machine and according to Composers’ Forum President Joel Chadabe, “The Sal-Mar Construction is an historically important musical event and a stunning and classical display of individual American invention. It must be seen and heard!”

[The image used was originally posted to Flickr by IllinoisLibrary at https://flickr.com/photos/45214447@N07/13433085173 and is available under a CC-by-2.0 license.]

In 1969, Salvatore Martirano, along with a group of engineers and musicians at the University of Illinois, began work on the design and construction of a musical electronic instrument. The instrument, named the Sal-Mar Construction, is a hybrid system (both analog and digital) that the player can use interactively to produce real-time composition using up to 24 spatialized audio channels. It was created using parts from the aging ILLIAC II supercomputer.

The Sal-Mar is considered to be the world’s first composing machine and according to Composers’ Forum President Joel Chadabe, “The Sal-Mar Construction is an historically important musical event and a stunning and classical display of individual American invention. It must be seen and heard!”

Unlock the full potential of your guitar rig with the MXR Timmy Overdrive Mini Pedal. This compact powerhouse, designed by veteran pedal builder Paul Cochrane, delivers a vast array of gritty and textured tones while preserving the fundamental character of your sound. Recognized by top-notch pros and working guitarists alike, this pedal is a testament to MXR's commitment to superior craftsmanship and unparalleled performance.

The magic lies in Paul's inventive implementation of a three-way Clip switch, providing three distinct clipping styles to suit a multitude of playing situations. Whether you crave an always-on, bold sound with plenty of headroom to drive your amp or a more compressed, saturated tone for fat chords, the MXR Timmy Overdrive has you covered.

Additionally, the cut-only Bass and Treble controls allow for precise refinement of your sonic profile. The Bass control adjusts your pre-Overdrive signal, ensuring you maintain low end at lower Gain settings. On the other hand, the Treble control modifies your post-Overdrive signal, helping you fine-tune the top end for smooth, musical dirty settings.

Key Features:

• Designed by renowned pedal builder Paul Cochrane
• Provides a wide range of overdrive tones in a compact, pedalboard-friendly size
• Preserves the fundamental character of your guitar rig
• Features a three-way Clip switch to select from different clipping styles
• Cut-only Bass and Treble controls for precise tonal shaping
• LF353 Op-Amp ensures high output, high gain, and hi-fi signal delivery
• True bypass for pure, uncolored signal when the pedal is not in use
• Requires a 9V DC power supply (not included)
• Metal housing for durability and longevity
• Independent Gain and Volume controls for flexible sound adjustment

This pedal provides a huge, responsive range of gritty and textured tones that enhance the sound of your rig while preserving its fundamental character—and in an MXR mini housing, this pedal will free up some serious pedalboard space.

This pedal can be powered by a Dunlop ECB003 9-volt adapter, or the DC Brick™, Iso-Brick™, and Mini Iso-Brick™ power supplies (not included).

THE LONG STORY

The MXR Timmy Overdrive provides a huge range of gritty, textured tones that enhance your rig's sound while preserving its fundamental voice—and in an MXR mini housing, it'll free up serious pedalboard space. The pedal's based on a design from veteran pedal builder Paul Cochrane that's widely celebrated among high level pros, from first-call Nashville player Kenny Greenberg to first-call L.A. player Lyle Workman to rockstar Brad Whitford. When Paul decided to bring his pedal to a wider audience, he chose to work with the MXR design team. "It's an honor to work with MXR," Paul says. "My first ever pedal was a Phase 90."

Thanks to Paul's inventive implementation of clipping options and tone controls, the Timmy Overdrive is a dream come true for working guitar players. The Clip switch provides three different clipping styles for a multitude of scenarios, whether you need a big, bold always-on sound with a ton of headroom to slam the front end of your amp, a more compressed and saturated sound for fat chords, or anything in between. The Bass and Treble controls offer further refinement in two key ways. First, they're cut-only, keeping your signal's character intact while making it super easy to dial in a clean boost. Second, Paul wired the Bass control to affect your pre-OD signal—so that you can maintain your low end at lower Gain settings—and the Treble control to affect your post-OD signal so that you can adjust the top end to keep dirty settings smooth and musical.

Finally, the MXR design team worked with Paul to select an op-amp that perfectly complements his expertly crafted design. They chose the LF353, a component well-respected by Dunlop engineers for providing high output, high gain, and hi-fi signal delivery. The resulting MXR Timmy Overdrive is a professional-grade must-have for players who want sweet, harmonic breakup that responds to playing dynamics and maintains a rig's personality at a fraction of the standard pedal size.

Dive into the world of music with the Selmer Bundy II Alto Saxophone, a beloved choice among beginners and student musicians. This instrument combines durability, playability, and a pleasant sound quality, making it an ideal companion for those embarking on their musical journey. Its robust construction ensures it stands up to the rigors of student use, while its ease of play allows for a smooth learning curve. Whether you're practicing in your room or performing in the school band, the Selmer Bundy II offers a reliable foundation for developing your skills. Not too flashy, yet consistently reliable, it strikes the perfect chord between quality and affordability.

Key Features:

• Optimized for beginners with easy playability
• Durable construction to withstand the demands of student use
• Pleasant sound quality, ideal for learning and practice
• Includes mouthpiece and case for a complete starter kit

Dive into the world of music with the Selmer Bundy II Alto Saxophone, a beloved choice among beginners and student musicians. This instrument combines durability, playability, and a pleasant sound quality, making it an ideal companion for those embarking on their musical journey. Its robust construction ensures it stands up to the rigors of student use, while its ease of play allows for a smooth learning curve. Whether you're practicing in your room or performing in the school band, the Selmer Bundy II offers a reliable foundation for developing your skills. Not too flashy, yet consistently reliable, it strikes the perfect chord between quality and affordability.

Key Features:

• Optimized for beginners with easy playability
• Durable construction to withstand the demands of student use
• Pleasant sound quality, ideal for learning and practice
• Includes mouthpiece and case for a complete starter kit

Are you the one in the band who never forgets their tuner and always has a spare cable? Do you sit in your bedroom for hours trying to dial in that perfect tone? The Deucetone RAT was made for the guitarist who is always prepared, and always searching for the holy grail of pedals. Your grail has arrived. This is the ultimate Swiss army knife for the analog guitarist. Consisting of two independent RAT units, each Deucetone channel can be used separately, in stereo, or cascaded together for the most insane distortion on earth.

As if that weren’t enough, each channel is switchable between three RAT settings. Channel A features the Vintage RAT, Turbo RAT, and Dirty RAT, while Channel B gives you the choice of Vintage RAT, Turbo RAT, or Clean RAT tones. The Clean RAT is a clean boost, a tone only available in the Deucetone RAT. That’s like having six RAT pedals in one unit. Used separately or cascaded, you have fifteen RAT tones at your feet.

The Deucetone RAT features the legendary RAT Filter control. Turn it to the right to roll off brittle high-end frequencies. Having trouble cutting through the mix? Turn the Filter down and allow the natural brightness of your instrument to shine through. The Distortion and Volume controls dial in the perfect amount of gain while keeping the level consistent with your clean tone. While there’s no mistaking the legendary RAT tone when the pedal is on, true bypass switching guarantees that no extra noise will creep into your signal when it’s turned off.

Are you the one in the band who never forgets their tuner and always has a spare cable? Do you sit in your bedroom for hours trying to dial in that perfect tone? The Deucetone RAT was made for the guitarist who is always prepared, and always searching for the holy grail of pedals. Your grail has arrived.

This is the ultimate Swiss army knife for the analog guitarist. Consisting of two independent RAT units, each Deucetone channel can be used separately, in stereo, or cascaded together for the most insane distortion on earth.

As if that weren’t enough, each channel is switchable between three RAT settings. Channel A features the Vintage RAT, Turbo RAT, and Dirty RAT, while Channel B gives you the choice of Vintage RAT, Turbo RAT, or Clean RAT tones. The Clean RAT is a clean boost, a tone only available in the Deucetone RAT. That’s like having six RAT pedals in one unit. Used separately or cascaded, you have fifteen RAT tones at your feet.

The Deucetone RAT features the legendary RAT Filter control. Turn it to the right to roll off brittle high-end frequencies. Having trouble cutting through the mix? Turn the Filter down and allow the natural brightness of your instrument to shine through. The Distortion and Volume controls dial in the perfect amount of gain while keeping the level consistent with your clean tone. While there’s no mistaking the legendary RAT tone when the pedal is on, true bypass switching guarantees that no extra noise will creep into your signal when it’s turned off.

Unleash your inner rockstar with the Pro Co Deucetone Rat. This dual distortion powerhouse offers a diverse palette of tones, ranging from a mild boost to a searing, gnarly assault. Equipped with two distinctive distortion circuits, each with three unique voicings, this pedal gives you the flexibility to shape your sound to perfection. With its analog signal path and robust steel enclosure, this pedal promises not just versatile tones, but also durability that stands the test of time.

Key Features:

• Dual Channel: Channel A/B stomp switches for versatile sound shaping
• Control Knobs: Distortion/Filter/Volume knobs on each channel for precise tone control
• Voicing Options: Channel A: Turbo Rat, Vintage Rat, Dirty Rat / Channel B: Turbo Rat, Vintage Rat, Clean Rat for a wide array of tones
• Durable and Reliable: Analog signal path, LED indicators, steel enclosure for long-lasting performance
• Unique Aesthetics: Glow-in-the-dark graphics that make it stand out on any pedalboard

Are you the one in the band who never forgets their tuner and always has a spare cable? Do you sit in your bedroom for hours trying to dial in that perfect tone? The Deucetone RAT was made for the guitarist who is always prepared, and always searching for the holy grail of pedals. Your grail has arrived. This is the ultimate Swiss army knife for the analog guitarist. Consisting of two independent RAT units, each Deucetone channel can be used separately, in stereo, or cascaded together for the most insane distortion on earth.

As if that weren’t enough, each channel is switchable between three RAT settings. Channel A features the Vintage RAT, Turbo RAT, and Dirty RAT, while Channel B gives you the choice of Vintage RAT, Turbo RAT, or Clean RAT tones. The Clean RAT is a clean boost, a tone only available in the Deucetone RAT. That’s like having six RAT pedals in one unit. Used separately or cascaded, you have fifteen RAT tones at your feet.

The Deucetone RAT features the legendary RAT Filter control. Turn it to the right to roll off brittle high-end frequencies. Having trouble cutting through the mix? Turn the Filter down and allow the natural brightness of your instrument to shine through. The Distortion and Volume controls dial in the perfect amount of gain while keeping the level consistent with your clean tone. While there’s no mistaking the legendary RAT tone when the pedal is on, true bypass switching guarantees that no extra noise will creep into your signal when it’s turned off.

The LP mountable Cyclops Tambourine is designed for the ultimate in playability for any drummer or percussionist. The durable frame is formulated to withstand the toughest beating while the rounded edges provide enhanced striking area. LP’s patented pinning system keeps jingles in place for years of great performances and LP's forged eye-bolt mounts to any 3/8" rod.

Introducing the Shure KSM44 Microphone, a premium studio-grade, large-diaphragm condenser microphone designed with the discerning musician in mind. Equipped with a dual-diaphragm, this versatile microphone is perfect for a wide range of applications, from vocals to instruments, both in the studio and on stage.

Perhaps the most impressive feature of the KSM44 is its switchable directional characteristics which include Omni, Cardioid and Figure-8, providing you with the flexibility to choose the pickup pattern that best suits your recording needs. The frequency range of 20 - 20,000 Hz ensures that every note is captured with crisp clarity, while the peak SPL of 131 dB can handle even the loudest of performances.

This microphone is not just about performance, it's also about durability. The 24k gold-plated Mylar membrane ensures longevity and reliability under rigorous use. The integrated pop protection and three-stage switchable low cut filter further enhance the sound quality, while the 15 dB attenuation element allows the microphone to handle very high sound pressure with ease.

Key Features:

• Dual diaphragm design for versatile recording applications
• Switchable directional characteristics: Omni, Cardioid, and Figure-8
• Frequency range: 20 - 20,000 Hz
• Peak SPL: 131 dB
• 24k gold-plated Mylar membrane for superior durability
• 15 dB attenuation element for handling high sound pressure
• Three-stage switchable low cut filter to reduce unwanted low-frequency noise
• Integrated pop protection for clear, plosive-free recording
• Includes spider and storage bag with zipper for easy transport and safe storage

Introducing the Shure KSM44 Microphone, a premium studio-grade, large-diaphragm condenser microphone designed with the discerning musician in mind. Equipped with a dual-diaphragm, this versatile microphone is perfect for a wide range of applications, from vocals to instruments, both in the studio and on stage.

Perhaps the most impressive feature of the KSM44 is its switchable directional characteristics which include Omni, Cardioid and Figure-8, providing you with the flexibility to choose the pickup pattern that best suits your recording needs. The frequency range of 20 - 20,000 Hz ensures that every note is captured with crisp clarity, while the peak SPL of 131 dB can handle even the loudest of performances.

This microphone is not just about performance, it's also about durability. The 24k gold-plated Mylar membrane ensures longevity and reliability under rigorous use. The integrated pop protection and three-stage switchable low cut filter further enhance the sound quality, while the 15 dB attenuation element allows the microphone to handle very high sound pressure with ease.

Key Features:

• Dual diaphragm design for versatile recording applications
• Switchable directional characteristics: Omni, Cardioid, and Figure-8
• Frequency range: 20 - 20,000 Hz
• Peak SPL: 131 dB
• 24k gold-plated Mylar membrane for superior durability
• 15 dB attenuation element for handling high sound pressure
• Three-stage switchable low cut filter to reduce unwanted low-frequency noise
• Integrated pop protection for clear, plosive-free recording
• Includes spider and storage bag with zipper for easy transport and safe storage

Unleash the power of versatile audio recording with the Shure KSM44A Multipattern Condenser Mic CRYSTAL, a premium large-diaphragm condenser microphone that's in a class of its own. Engineered for the meticulous musician or producer, this microphone offers a rich and detailed sound capture. The Shure KSM44A stands out with its dual diaphragm design and switchable directional characteristics, allowing you to seamlessly adjust between omni, cardioid, and eight patterns for the ideal recording scenario. With a frequency range of 20 - 20,000 Hz and a peak of 131 dB SPL, it's capable of handling a wide range of sonic textures and volumes.

The KSM44A isn't just a workhorse, it's a golden steed. Its 24k gold-plated Mylar membrane ensures longevity and high-quality performance, while the 15 dB attenuation element can handle very high sound pressure, making it an excellent choice for recording loud instruments or vocalists. To top it all off, it comes with an integrated pop protection and a three-stage switchable low cut filter, adding more versatility to your recordings.

Key Features:

• Premium large-diaphragm condenser microphone with dual diaphragm design
• Switchable directional characteristics: Omni, cardioid and eight
• Frequency range: 20 - 20,000 Hz
• Peak SPL: 131 dB
• 2 X 24k gold-plated Mylar membrane
• 15 dB attenuation element for handling high sound pressure
• Three-stage switchable low cut filter
• Integrated pop protection
• Includes spider and storage bag with zipper

Unleash the power of versatile audio recording with the Shure KSM44A Multipattern Condenser Mic CRYSTAL, a premium large-diaphragm condenser microphone that's in a class of its own. Engineered for the meticulous musician or producer, this microphone offers a rich and detailed sound capture. The Shure KSM44A stands out with its dual diaphragm design and switchable directional characteristics, allowing you to seamlessly adjust between omni, cardioid, and eight patterns for the ideal recording scenario. With a frequency range of 20 - 20,000 Hz and a peak of 131 dB SPL, it's capable of handling a wide range of sonic textures and volumes.

The KSM44A isn't just a workhorse, it's a golden steed. Its 24k gold-plated Mylar membrane ensures longevity and high-quality performance, while the 15 dB attenuation element can handle very high sound pressure, making it an excellent choice for recording loud instruments or vocalists. To top it all off, it comes with an integrated pop protection and a three-stage switchable low cut filter, adding more versatility to your recordings.

Key Features:

• Premium large-diaphragm condenser microphone with dual diaphragm design
• Switchable directional characteristics: Omni, cardioid and eight
• Frequency range: 20 - 20,000 Hz
• Peak SPL: 131 dB
• 2 X 24k gold-plated Mylar membrane
• 15 dB attenuation element for handling high sound pressure
• Three-stage switchable low cut filter
• Integrated pop protection
• Includes spider and storage bag with zipper

No. H64. Double Cutaway Electric with Bigsby True Vibrato Tailpiece. Hollow Arched body of laminated maple, double cutaway for easier fingering in higher registers. Richly polished shaded sunburst finish. Improved 4 way adjustable Double Pickup; has individual polepieces for balancing response. Professionally recognized Bigsby True Vibrato tailpiece for manually changing the tone above AND below pitch. Ultra Slim Neck with "Torque-Lok" adjustable reinforcing rod. Ultra-Slim fingerboard, short scale, with inlaid position markers on top and side. Celluloid edge bindings. Modern flatwound strings. Rim 2 in. deep.

No. H64. Size 15 3/4 x 40 1/2 $249.50 No. HC70-Carrying Case, keratol, plush lined $24.00

The Fat Bald Guy is Chicago Stompworks' take on the V3 Red & Black Big Muff Pi, handwired with true bypass switching.

"Fat Bald Guy"is our house blend Muff-style pedal - the component values don't exactly match any known variants, but electronically it's similar to the V3. Sonically, it's more a V5, it's got that "fuzz all the way down to the bottom" and really nails that Smashing Pumpkins, Dino Jr tone: completely over the top fuzz with a huge bottom end. It's THE cabinet rattler.

Now in 1590b size (4.37" X 2.37" X 1.07") , same as our whole lineup - more tone in less space! Super tough "black texture" finish.

• handbuilt boutique quality throughout
• true bypass wiring
• best in class Neutrik brand jacks, Alpha brand pots
• standard, center negative "Boss style"9v jack (or internal battery)

The "Octave Up" is a brand new, in stock, ready-to-ship "green ringer" clone octave up pedal from boutique builder Chicago Stompworks. The sound comes from a 60's era transistor circuit that recreates the "Purple Haze" solo effect. It's glitchy, dirty, vintage - not intended as a fuzz box although it can do some way-out transistor grind... This one is an all-out space cadet!

• handbuilt boutique quality throughout
• true bypass wiring
• best in class Neutrik brand jacks
• standard center negative "Boss style"9v jack or internal battery

The "Moose Pie" is the Chicago Stompworks clone of the original Ram Muff circuit as popularized by David Gilmour and others - check the schematic at www.bigmuffpage.com

This model is built with modern equivalent 2n5088 transistors, while all other elements of the build are accurate to the schematic values: carbon film resistors, good mix of mylar and ceramic capacitors as per the original.

• circuit is accurate to the original, down to the reverse "hi-cut" tone pot
• handbuilt boutique quality throughout
• true bypass, point-to-point wiring
• best in class Neutrik brand jacks, Alpha brand pots
• standard, center negative "Boss style"9v jack (or internal battery)

Uncover the vintage charm of the Harmony H162 Acoustic Guitar, a budget-friendly classic that doesn't compromise on sound quality. Renowned for its warm, resonant tone, this guitar has been enchanting musicians since the 1940s. Ideal for budding artists and seasoned players alike, the H162 offers a spruce or cedar top and a compact body for easy handling.

Key Features:

• Warm, resonant tone
• Spruce or cedar top
• Compact body construction
• Ideal for both newbies and experienced guitarists
• Offers value for money with vintage quality

[1940 catalog] Harmony "Master" Grand Concert size guitar with natural finish flat spruce top, bound with black celluloid. Honduras mahogany back and sides. Hardwood neck, vertical type machine heads; bone nut rosewood grained fingerboard, long scale, 14 frets clear of body. Large celluloid quardplate. Rosewood finish Spanish type bone-saddle pinless bridge. Full toned, fine appearing moderately priced instrument. Each : $13.50

[1957 catalog] SPANISH SOLO GUITARS HARMONY GRAND CONCERT Mahogany spruce top flat model. Back and sides of selected quality mahogany, top of resonant spruce. Durable natural color eggshell lacquer finish. Ovaled rosewood fingerboard. "Pin" rosewood bridge with bone saddle. Hardwood neck. Shell celluloid guardplate. Excellent tone quality. No. 162 Ea. $40.00

[1966 catalog] MAHOGANY WITH RESONANT SPRUCE TOP Grand Concert Size. Back and sides of selected quality mahogany; top of resonant spruce. Soundhole, top and back edges are celluloid bound, with inlay. Durable natural color eggshell lacquer finish. Ovalled rosewood fingerboard. Rosewood bridge, with bone saddle. Steel reinforced hardwood neck. Shell celluloid pick guard. Excellent tone quality. No. 162-Size 15 1/8 x 39 in. : $47.50

[1970 catalog] No. H162. Folk Guitar-Mahogany with Resonant Spruce Top. Grand Concert Size. Back and sides of selected quality mahogany; top of resonant spruce. Soundhole, top and back edges are celluloid bound, with inlay. Durable natural color eggshell lacquer finish. Ovalled rosewood fingerboard. Rosewood bridge, with bone saddle. Hardwood neck with Torque-Lok adjustable reinforcing rod. Shell celluloid pick guard. Excellent tone quality. A value stand-out. No. H162 - Size 15 1/8 x 39 in $64.50

Via Harmony Database [https://web.archive.org/web/20200806093209/http://harmony.demont.net/guitars/H162/87.htm]

Uncover the vintage charm of the Harmony H162 Acoustic Guitar, a budget-friendly classic that doesn't compromise on sound quality. Renowned for its warm, resonant tone, this guitar has been enchanting musicians since the 1940s. Ideal for budding artists and seasoned players alike, the H162 offers a spruce or cedar top and a compact body for easy handling.

Key Features:

• Warm, resonant tone
• Spruce or cedar top
• Compact body construction
• Ideal for both newbies and experienced guitarists
• Offers value for money with vintage quality

[1940 catalog] Harmony "Master" Grand Concert size guitar with natural finish flat spruce top, bound with black celluloid. Honduras mahogany back and sides. Hardwood neck, vertical type machine heads; bone nut rosewood grained fingerboard, long scale, 14 frets clear of body. Large celluloid quardplate. Rosewood finish Spanish type bone-saddle pinless bridge. Full toned, fine appearing moderately priced instrument. Each : $13.50

[1957 catalog] SPANISH SOLO GUITARS HARMONY GRAND CONCERT Mahogany spruce top flat model. Back and sides of selected quality mahogany, top of resonant spruce. Durable natural color eggshell lacquer finish. Ovaled rosewood fingerboard. "Pin" rosewood bridge with bone saddle. Hardwood neck. Shell celluloid guardplate. Excellent tone quality. No. 162 Ea. $40.00

[1966 catalog] MAHOGANY WITH RESONANT SPRUCE TOP Grand Concert Size. Back and sides of selected quality mahogany; top of resonant spruce. Soundhole, top and back edges are celluloid bound, with inlay. Durable natural color eggshell lacquer finish. Ovalled rosewood fingerboard. Rosewood bridge, with bone saddle. Steel reinforced hardwood neck. Shell celluloid pick guard. Excellent tone quality. No. 162-Size 15 1/8 x 39 in. : $47.50

[1970 catalog] No. H162. Folk Guitar-Mahogany with Resonant Spruce Top. Grand Concert Size. Back and sides of selected quality mahogany; top of resonant spruce. Soundhole, top and back edges are celluloid bound, with inlay. Durable natural color eggshell lacquer finish. Ovalled rosewood fingerboard. Rosewood bridge, with bone saddle. Hardwood neck with Torque-Lok adjustable reinforcing rod. Shell celluloid pick guard. Excellent tone quality. A value stand-out. No. H162 - Size 15 1/8 x 39 in $64.50

Via Harmony Database [http://harmony.demont.net/guitars/H162/87.htm]

Uncover the vintage charm of the Harmony H162 Acoustic Guitar, a budget-friendly classic that doesn't compromise on sound quality. Renowned for its warm, resonant tone, this guitar has been enchanting musicians since the 1940s. Ideal for budding artists and seasoned players alike, the H162 offers a spruce or cedar top and a compact body for easy handling.

Key Features:

• Warm, resonant tone
• Spruce or cedar top
• Compact body construction
• Ideal for both newbies and experienced guitarists
• Offers value for money with vintage quality

Uncover the vintage charm of the Harmony H162 Acoustic Guitar, a budget-friendly classic that doesn't compromise on sound quality. Renowned for its warm, resonant tone, this guitar has been enchanting musicians since the 1940s. Ideal for budding artists and seasoned players alike, the H162 offers a spruce or cedar top and a compact body for easy handling.

Key Features:

• Warm, resonant tone
• Spruce or cedar top
• Compact body construction
• Ideal for both newbies and experienced guitarists
• Offers value for money with vintage quality

[1940 catalog] Harmony "Master" Grand Concert size guitar with natural finish flat spruce top, bound with black celluloid. Honduras mahogany back and sides. Hardwood neck, vertical type machine heads; bone nut rosewood grained fingerboard, long scale, 14 frets clear of body. Large celluloid quardplate. Rosewood finish Spanish type bone-saddle pinless bridge. Full toned, fine appearing moderately priced instrument. Each : $13.50

[1957 catalog] SPANISH SOLO GUITARS HARMONY GRAND CONCERT Mahogany spruce top flat model. Back and sides of selected quality mahogany, top of resonant spruce. Durable natural color eggshell lacquer finish. Ovaled rosewood fingerboard. "Pin" rosewood bridge with bone saddle. Hardwood neck. Shell celluloid guardplate. Excellent tone quality. No. 162 Ea. $40.00

[1966 catalog] MAHOGANY WITH RESONANT SPRUCE TOP Grand Concert Size. Back and sides of selected quality mahogany; top of resonant spruce. Soundhole, top and back edges are celluloid bound, with inlay. Durable natural color eggshell lacquer finish. Ovalled rosewood fingerboard. Rosewood bridge, with bone saddle. Steel reinforced hardwood neck. Shell celluloid pick guard. Excellent tone quality. No. 162-Size 15 1/8 x 39 in. : $47.50

[1970 catalog] No. H162. Folk Guitar-Mahogany with Resonant Spruce Top. Grand Concert Size. Back and sides of selected quality mahogany; top of resonant spruce. Soundhole, top and back edges are celluloid bound, with inlay. Durable natural color eggshell lacquer finish. Ovalled rosewood fingerboard. Rosewood bridge, with bone saddle. Hardwood neck with Torque-Lok adjustable reinforcing rod. Shell celluloid pick guard. Excellent tone quality. A value stand-out. No. H162 - Size 15 1/8 x 39 in $64.50

Via Harmony Database [https://web.archive.org/web/20200806093209/http://harmony.demont.net/guitars/H162/87.htm]

Equipped with a set of snarling Seymour-Duncan® humbucking pickups, our Double Fat Strat is available with either a tremolo or hardtail bridge. If you play hard and like that creamy crunch of humbuckers, you owe it yourself to check this guitar out. The combination of playability and fat tone is unbelievable.

NOTE: this is for the version WITH tremolo arm, not the hardtail. The hardtail version has its own entry here.

FENDER SAYS: Equipped with a set of snarling Seymour Duncan humbucking pickups, our Double Fat Strat is available in either a tremolo or hard- tail bridge. If you play hard and like that creamy crunch of humbuckers, you owe it yourself to check this guitar out. The combination of playability and fat tone is unbelievable.

[NOTE: this is for the version WITH tremolo arm, not the hardtail. The hardtail version has its own entry here.]

Equipped with a set of snarling Seymour-Duncan® humbucking pickups, our Double Fat Strat is available with either a tremolo or hardtail bridge. If you play hard and like that creamy crunch of humbuckers, you owe it yourself to check this guitar out. The combination of playability and fat tone is unbelievable.

Omni-directional RF condenser microphone. Ideal as a main microphone for orchestras and solo instruments. Picks up the natural acoustics of the room. Exceptionally low inherent self-noise. Light metal body.

Overview

Omni-directional condenser microphone.

Features

• Microphone with omni-directional pick-up pattern
• Exceptionally low inherent self-noise
• Exceptionally flat frequency response, switchable for near and diffuse field applications
• High frequency response can be accentuated by means of a special pressure build-up ring
• Slightly increasing directivity at high frequencies to adjust tonal balance
• High sensitivity
• Switchable pre-attenuation

What's in the box?

• 1 MKH 20, 1 MZS 40 shock mount,
• 1 MZW 41 windshield, 1 pressure build-up ring