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The Stratosonic Jazz Bass by Giannini made in Brasil , is a Vintage J-Bass in a Strat Style made in the 90ties.

It is a Vintage Genuine Roger Junior from around 1958 ,...

the so called Mittenwald Era of Roger Guitars 1955 - 1960.

Jazz Hollow Body StrumGuitar = Schlaggitarre made in Germany by Roger Rossmeisl

Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958.

More Informations in the Manual PDF.

It is a Vintage Genuine Roger Junior from around 1958 ,...

the so called Mittenwald Era of Roger Guitars 1955 - 1960.

Jazz Hollow Body StrumGuitar = Schlaggitarre made in Germany by Roger Rossmeisl

Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958.

JUNIOR

the simplest and best-selling model

F-holes

simple binding on top, back and pickguard

no binding on neck and headstock

fingerboard with 5-7 pearloid bar inlays

R tailpiece not standard

Colors: shaded red-brown, natural

In 1957, a small series of 6 JUNIOR NON CUT models with a special black finish was produced.

More Informations in the Manual PDF.

It is a Vintage Genuine Roger Junior from around 1958 , the so called Mittenwald Era of Roger Guitars 1955 - 1960. Jazz Hollow Body StrumGuitar = Schlaggitarre made in Germany by Roger Rossmeisl. Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958. More Informations in the Manual PDF.

It is a Vintage Genuine Roger Junior from around 1958 ,...

the so called Mittenwald Era of Roger Guitars 1955 - 1960.

Jazz Hollow Body StrumGuitar = Schlaggitarre made in Germany by Roger Rossmeisl

Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958.

More Informations in the Manual PDF.

It is a Vinatage Genuine Roger Mittenwald Junior from around 1958. Jazz Hollow Body StrumGuitar = Schlaggitarre made in Germany. Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958.

It is a Vintage Genuine Roger Junior from around 1958 , the so called Mittenwald Era of Roger Guitars 1955 - 1960. Jazz Hollow Body StrumGuitar = Schlaggitarre made in Germany by Roger Rossmeisl. Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958. More Informations in the Manual PDF.

It is a genuine Roger Mittenwald Junior from around 1958. Jazz Hollow Body StrumGuitar = Schlaggitarre made in Germany. Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958.

It is a Vinatage Genuine Roger Mittenwald Junior from around 1958. Jazz Hollow Body StrumGuitar = Schlaggitarre made in Germany. Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958.

It is a genuine Roger Mittenwald Junior from around 1958. Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958.

It is a genuine Roger Mittenwald Junior from around 1958. Jazz Hollow Body StrumGuitar = Schlaggitarre made in Germany. Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958.

It is a genuine Roger Mittenwald Junior from around 1958. Type 5 unusual (hollow) bridge with one extension The Black logo on the headstock and the items mentioned already, suggest a date of 1958.

The Electro-Voice PXM-12MP is a Low-profile Stage Wedge/Mains Speaker with 700W Amp

Are you a performer who travels with your own PA? A guitarist looking for a better way to monitor your modeler onstage? Then the low-profile Electro-Voice PXM-12MP from Sweetwater is a smart multitasker that makes a sound investment. On the one hand, the PXM-12MP is a rock-solid wedge for traditional monitoring purposes. Its 12" coaxial driver and 55° firing angle supply a crisp full-range response in a wide arc, which means whether you're footing-up for a solo or heading downstage for a drink, you'll still be able to hear yourself clearly. But let's stay you're playing out and just want something easy you can throw up on a speaker stand. The PXM-12MP's pole mount lets you use this speaker as a short-throw mains speaker, with a robust 700-watt Class D power amp and powerful onboard DSP to deliver rich sound to all listeners in the first few rows. A rugged steel grille and integrated cable management round out the package.

Small footprint — perfect for players who pack their own PA gear Clean, robust 700-watt Class D internal power amp 12" coaxial speaker with coincident HF driver saves space and supplies flat, full-range (64Hz–20kHz, ±3dB) performance feedback Guitar Cab mode mimics the response of a traditional guitar cab — perfect for modelers 55° monitor angle delivers intelligibility up close or at a distance Rugged steel grille can take a boot without denting Doubles as a short-throw mains speaker Integrated pole mount for stand use 2 Mic/Line combo XLR-1/4" inputs, Stereo RCA Onboard DSP gives you five user presets and 3-band EQ

Flow! Is the multi-modulation by Kappa Electronics

Mode has 6 different modulation modes: Tremolo, Chorus, Flanger, Phaser, Filter and Vibrato.

Each mode has been specially defined and programmed to deliver maximum quality and versatility in each modulation. In addition to the classic “Rate” and “Depth” controls present in all modulations, Flow also has a “Wave” control that has a different function for each modulation option.

For example, in Tremolo mode, the “Wave” knob selects between 3 waveforms to generate the Tremolo volume variation (sinusoidal, triangular and square). In Filter mode, the “Wave” knob controls the sensitivity of the filter envelope, and can be used with rate and depth as an auto wah or dynamically as an envelope filter.

The “Level” knob, in addition to controlling the pedal’s output volume, also allows for a volume boost with 6 dB of gain. The "Mix" knob is responsible for dosing the pure guitar signal with the signal processed by the modulations.

The types of modulations and their respective "Wave" control are: - Tremolo (LFO waveform) - Chorus (Bass cut in the modulation) - Flanger (Range of emphasized frequencies) - Phaser (Rate and Depth of the Tremolo) - Filter (Sensitivity of the filter envelope) - Vibrato (Depth of a second slow vibrato)

Power supply: 9V negative center power supply (Boss standard), current consumption 70mA.

The Typhoon 3V by Egmond is a Vintage Offset Guitar made in the Netherlands from the 60ties.

Scale length: 24 1/2" Nut width: 1 11/16" String spacing at nut: 1 7/16" String spacing at bridge: 2" Lower bout width: 13" Body wood: plywood Neck wood: unsure Fretboard: rosewood, zero fret nut Bridge: adjustable height, comp'd Neck feel: medium C-shape, 10-12" compound board radius

The Egmond story, in short. To get the complete Egmond story, I recommend the books about Egmond, written by Wim Markenhof and Cees Bakker.

As a retired station-master, in 1932 Uilke Egmond (1878-1959) founded a music school and a music shop in Valkenswaard, that was named Musica. In the music school he gave violin lessons and in the shop he sold instruments that was, mainly, imported from the Eastern Europe.

In 1935 the business moved to Eindhoven. Uilke's sons, Gerard (1904-1974), Dick (1920-1992) and Jaap (1921-1993) joined the company during WWII. The import of instruments ended and they decided to make the instruments on their own.

In the early 50's there were 20 employees and 50 guitars a week, was made. Production of Banjos and Mandolins was added. In the early 60's there were 80 employees and 2000 guitars a week, was made. And the business moved to Best, a northern suburb of Eindhoven.

In the 60's the Egmond was the largest luthier in Europe and they were more known for quantity than quality. Cheap instruments was made in large numbers and, practically, everyone could afford to buy a guitar. The cheapest models had a price tag that was only 10% of the cost for a comparable model of a Gibson or a Fender.

The Alesis XT Vintage Digital Reverb from 1985 ....

offers fully variable decay times between 200ms and 10 seconds, and eight switchable parameters allow the creation of a great number of different reverb effects. You can probably tell from the photograph that this is a 1U device of standard 19 inch width and 9¼ inch depth so I won't even mention these facts - so now on to the interesting bits.

Front Panel Controls

With the exception of the defeat switch socket, all the controls are mounted on the black anodised front panel and as you might expect, the first one that you're likely to need is the input level control which works in conjunction with a six section LED ladder meter. The Mix and Output controls are fairly self explanatory, as is the Decay control which gives a maximum reverberation time of around ten seconds in a fully clockwise position.

Of course there is much more to simulating a specific reverb effect than simply altering the decay time; both the pattern of the initial reflections and the spectral content and density of all subsequent reflections play a vital role in giving an acoustic environment its identity. The simplest parameter to introduce is pre-delay, which creates an illusion of space by delaying the onset of the initial reflections for a finite time after the initiation of the original sound. The Alesis XT has a switchable pre-delay, the exact value of which depends on the setting of the Size control. This latter function gives a choice of two reverb algorithms, one for small rooms and one for large halls. The main difference between these settings is that a small room exhibits more pronounced resonances than a larger room, and as such generates a more coloured sound.

Slap Back is, as far as I know, unique to the Alesis XT - certainly at the budget end of the market and is an extra stage of pre-delay with feedback. This extends the duration and complexity of the reverb pattern and gives a bigger sound, though it does create a hint of a flutter at longer decay times.

In order to further extend the range of effects that can be produced, two rates of diffusion are selectable. With the button depressed, there are more reflections in any given period of time lending a smoother texture to the reverb decay. This is a particularly useful option for use with percussive sounds as the least diffuse setting can sound granular, particularly on low toms or bass drums.

The spectral content of the reverb can be modified by switching in a high-cut or a low-cut filter to emulate, the reflective qualities of various surfaces whilst the HF Damp option causes the high frequency component of the reverb tail to die away faster than the low and middle frequencies, thereby simulating the absorption characteristics of a typical room or hall.

Lastly comes the defeat button, which like all the other buttons has a status LED, and this cuts off the input to the reverb circuitry, allowing any sound already reverberating to die away naturally rather than be cut off abruptly. This function may also be controlled via an optional footswitch which is connected to a standard jack socket on the rear panel.

On the rear panel itself, the mono input and twin stereo outputs are quarter inch unbalanced jacks and an extra pair of sockets are wired as an effects loop after the input level control but before the level meter circuit. Extra delay or other signal processing equipment may be patched in at this point, though for most applications, nothing extra would be necessary.

The Arare Overdrive by KGR Harmony Pedal Effects

The Arare Overdrive from the Japanese brand KGR Harmony is an overdrive pedal that draws its inspiration from the famous Timmy by Paul Cochrane. However, it adds a midrange frequency adjustment for maximum versatility. In addition to being terribly effective whether in Boost, overdrive or Always On mode, the Arare Overdrive has a very original and never-before-seen look. The pedal's housing is in fact built using the Japanese Nanbu-tekki technique, a technique used in particular for the creation of very elegant typical Japanese teapots.

3-band overdrive in hailstone pattern Nanbu-tekki enclosure

ARARE SPECS Power supply: 2.1mm center minus 9V adapter Size: L: 120mm x W: 68mm x H: 55mm Weight: about 730g Controls: Gain/Volume/Low/Mid/High Input impedance: ~470kΩ Output impedance: >10kΩ Operating current: 8mA (DC9V) True bypass: YES

The Fender Richie Sambora Standard Stratocaster

Produced from 1994-2003, the Richie Sambora Standard Stratocaster® features a DiMarzio® Custom PAF humbucking pickup in the bridge paired with two specially designed single-coil Strat pickups. Other features include a Floyd Rose® tremolo system, locking nut and modern “C” shape neck profile with 21 medium jumbo frets.

Features

DiMarzio® Custom PAF humbucking pickup Floyd Rose® II Tremolo system Floyd Rose® locking nut 21 fret modern “C” shape neck

General Series: Artist Signature Series Orientation: Right-Hand Color: Arctic White Country Of Origin: MX Neck Neck Material: Maple Neck Finish: Satin Urethane Neck Shape: Modern “C” Fingerboard Radius: 9.5″ (241 mm) Fingerboard Material: Rosewood Position Inlays: White Dot Number of Frets: 21 String Nut: Floyd Rose® Locking Nut Width: 1.650″ (42 mm) Nut Material: Floyd Rose® Locking Fret Size: Medium Jumbo Scale Length: 25.5″ (64.77 cm) Body Body: Alder Body Finish: Gloss Polyester Body Shape: Stratocaster® Body Material: Alder Hardware Bridge: Floyd Rose® II Double Locking 2-Point Tremolo Pickguard: 3-Ply White Control Knobs: Aged White Plastic Hardware Finish: Chrome Tuning Machines: Standard Cast/Sealed Strings: Fender® USA 250L Nickel Plated Steel (.009-.042 Gauges), PN 0730250403 Neck Plate: 4-Bolt Strap Buttons: Standard Electronics Bridge Pickup: DiMarzio® PAF Pro® DP151 Middle Pickup: Special Design Single-Coil Strat® Neck Pickup: Special Design Single-Coil Strat® Pickup Configuration: HSS Controls: Master Volume, Tone 1. (Neck Pickup), Tone 2. (Middle Pickup) Switching: 5-Position Blade: Position 1. Bridge Pickup, Position 2. Bridge and Middle Pickup, Position 3. Middle Pickup, Position 4. Middle and Neck Pickup, Position 5. Neck Pickup

SQOE is a Spanish brand established in 1883. Their products are known for its sophistication and complex craftsmanship.

Specifications:

• Series/Shape: Stratocaster

• Body Wood: Basswood

• Bridge: Tremolo

• Fingerboard: Rosewood

• Fingerboard Radius: 12"

• Finish: Sunburst

• Frets: 22 Medium Jumbo

• Hardware: Nickel

• Neck Shape: Slim Taper

• Neck Wood: Mahogany

• Pickups: SQOE H-H

• Control: 1x Volume, 2x Tone

• Pickguard: 3 Ply Black

The RF-1 by ElectroGrave is an Insane sound based on Japanese fuzz made in Japan (MIJ).

“RIPPER” mode kills unnecessary noise.

This pedal can be used for not only Fuzz but also a kind of guitar synthesizer.

SIZE : 73mm(W)×123mm(H)×58mm(D)

WEIGHT : 300g

POWER : AC-DC9V Adapter（Sold separately）*Recommend to use BOSS PSA-100S