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The Mini Chorus DemonFX Based on Analogman Mini Chorus

This Mini Chorus pedal is a fabulously warm, shimmery chorus with a distinct voice.

It offers controls for Speed and Depth on all models, with an optional Mix knob and Depth toggle switch. S-speed controls the rate if the chorus. D-depth" controls the width of the chorus, from pretty shallow and subtle to super deep, weird and wacky pitch craziness.

mix(blend)" controls the wet/dry blend between your dry signal and the chorused signal;

mix" has a detente at noon because that's a 50/50 blend, but as others have mentioned, playing with the mix knob allows you to mix in a very subtle chorus by backing it down from noon. I've found that by maxing out the "mix" control you can even achieve a really neat vibrato effect.

In addition, you can switch between normal and deep with a toggle switch, enabling a deeper chorus sound. Depth Option: Depth Toggle Switch options

3-position toggle switch - thick sound - thin sound - and regular

Effect Pedal for Guitar Chorus True Bypass Controls for speed, depth, mix(blend),Depth Toggle Switch Dimensions: 115 x 64 x 36 mm Design by Japan Powered by DC9V ,Negative Centre (not including)

The Octatron by Seamoon FX is a Funky Guitar and Bass Octave Down Pedal

And the party does not stop …Ever!!! Essential to keeping the groove moving is bass. Lots and lots of bass. Can’t have too much, just not possible. And from this universal truth the Octatron was born. Bringing one million years of cosmic funk into a compact pedal capable of creating the eternal groove. All analog, all the time. From deep dub to smooth grooves, the Octatron is the magical box for all things bass.

Features: All Analog Design Sub Function Mix Control One/Two Octave Down Control Groovy Yellow Finish

A SG Custom by Bell & Hern Custom Guitars. Bell & Hern is a Guitar and Bass Brand of Guitars West a Guitar Dealer in Southern California. Bell & Hern Guitars are Custom made in California USA. Mahogany body with a Rosewood fretboard. It comes with the new USA Made side-by-side Tremolo. It has Kluson hardware and a set of Seymour Duncan's Saturday Night Specials' installed. Bell & Hern can install any pickups you want. She has a 24 3/4" scale. 1 11/16" at the nut, She weighs in at 6.14 lbs. Super lightweight. It also has a custom made white-black-white pickguard. Which sets this guitar on fire with CAR body. Bell & Hern also made a BWB pickguard that come with the guitar that's in the case. Next, Bell & Hern ran it through a Marshall half stack, a '65 Vibrolux Reverb and this B & H went off the charts. All in all, this guitar is an exceptional Bell & Hern Custom. They have made plenty of Bell & Hern Customs, built right here in good 'ol So. Cal.

A SG Custom by Bell & Hern Custom Guitars. Bell & Hern is a Guitar and Bass Brand of Guitars West a Guitar Dealer in Southern California. Bell & Hern Guitars are Custom made in California USA.

Mahogany body with a Rosewood fretboard. It comes with the new USA Made side-by-side Tremolo.

It has Kluson hardware and a set of Seymour Duncan's Saturday Night Specials' installed.

Bell & Hern can install any pickups you want. She has a 24 3/4" scale. 1 11/16" at the nut, She weighs in at 6.14 lbs. Super lightweight.

It also has a custom made white-black-white pickguard. Which sets this guitar on fire with CAR body. Bell & Hern also made a BWB pickguard that come with the guitar that's in the case.

Next, Bell & Hern ran it through a Marshall half stack, a '65 Vibrolux Reverb and this B & H went off the charts.

All in all, this guitar is an exceptional Bell & Hern Custom.

They have made plenty of Bell & Hern Customs, built right here in good 'ol So. Cal.

A SG Custom by Bell & Hern Custom Guitars. Bell & Hern is a Guitar and Bass Brand of Guitars West a Guitar Dealer in Southern California. Bell & Hern Guitars are Custom made in California USA. Mahogany body with a Rosewood fretboard. It comes with the new USA Made side-by-side Tremolo. It has Kluson hardware and a set of Seymour Duncan's Saturday Night Specials' installed. Bell & Hern can install any pickups you want. She has a 24 3/4" scale. 1 11/16" at the nut, She weighs in at 6.14 lbs. Super lightweight. It also has a custom made white-black-white pickguard. Which sets this guitar on fire with CAR body. Bell & Hern also made a BWB pickguard that come with the guitar that's in the case. Next, Bell & Hern ran it through a Marshall half stack, a '65 Vibrolux Reverb and this B & H went off the charts. All in all, this guitar is an exceptional Bell & Hern Custom. They have made plenty of Bell & Hern Customs, built right here in good 'ol So. Cal.

The OLP Tony Levin Signature 5-String Bass by Ernie Ball.

Over the years Tony Levin has played a lot of bass parts across a wide range of genres. That's why it's important that his bass guitar is just as versatile. Despite its single humbucker, so is the OLP Tony Levin Signature. But this bass guitar, thanks to its tone control and high output, is especially suitable for the progressive rock that Tony Levin is known for. Think of bands like King Crimson, Yes and Pink Floyd.

High output humbucker pickup Three band equalizer Volume control

The Frank Bello Signature Pro-Mod So-Cal Bass PJ IV in Gloss Black by Charvel

Frank Bello, hard-hitting bassist for thrash metal legends Anthrax and New York alternative favorites Helmet, is known for his dynamic, energetic stage presence and inventive bass style.

Primed to thrash, the Frank Bello Signature Pro-Mod So-Cal Bass PJ IV features a poplar body paired to a bolt-on maple neck with rock-solid graphite-reinforcement rods to withstand extreme climate changes, a heel-mount truss rod adjustment wheel for pain-free neck relief tweaks. Engineered to deliver unrivaled playability, the 12"-16" compound radius maple fingerboard with rolled edges and 20 jumbo frets allows for effortlessly fast playing and comfortable chording and bending.

A set of EMG® Frank Bello Signature P/J pickups serves up warmth and low-end punch, along with tight mids and dynamic high-end. The no-nonsense control layout consists of individual volume knobs for the bridge and middle pickups.

A Charvel HiMass™ bridge, Graph Tech® TUSQ® XL nut and open-gear tuners combine for stellar tuning stability with improved note punch and sustain.

This head-turning signature bass is cloaked in Gloss Black and comes with a mirror pickguard, black block fingerboard inlays and chrome hardware.

General Model Number 2975008503 Series Artist Signature Color Gloss Black Number of Strings 4 Orientation Right-Hand Electronics Bridge Pickup EMG® Frank Bello Signature J Middle Pickup EMG® Frank Bello Signature P Pickup Color Black Controls Volume 1. (Middle Pickup), Volume 2. (Bridge Pickup) Pickup Switching None Special Electronics Active Electronics Pickup Configuration PJ Body Cutaway Single Cutaway Body Finish Gloss Body Shape San Dimas® Bass Body Material Poplar Hardware Bridge Charvel® HiMass™ Hardware Finish Chrome Tuning Machines Charvel® Open-Gear Pickguard 1-Ply Mirror Control Knobs Dome-Style Neck Neck Material Maple Neck Construction Bolt-On with Graphite Reinforcement Neck Finish Satin Scale Length 34" (86.36 cm) Fingerboard Radius 12"-16" Compound Radius (304.8 mm to 406.4 mm) Fingerboard Material Maple Number of Frets 20 Fret Size Jumbo Nut Material Graph Tech TUSQ XL Nut Width 1.5" (38.1 mm) Position Inlays Black Block Side Dots Black Truss Rod Nut Heel-Mount Truss Rod Adjustment Wheel String Trees Vintage-Style Disc Headstock Licensed Fender® Precision Bass® Neck Plate 4-Bolt Charvel® Miscellaneous Strings Nickel Plated Steel (.045-.105 Gauges) Strap Buttons Standard Case/Gig Bag None

The Martin F-55 is a rare Vintage Holly Body Thinline Guitar Made in the USA in the 60ties.

C. F. Martin F-55 Model Thinline Hollow Body Electric Guitar (1961), made in Nazareth, PA, sunburst lacquer finish, laminated maple body, mahogany neck, came with a black tolex hard shell case.

A great example of one of C.F. Martin and Co's more unusual creations. Although busy building flat tops for the folk boom, Martin must have felt an urge to get into the electric market, and after a stab at fitting DeArmond pickups to Dreadnoughts, came out with this thin hollowbody series in 1961.

The F-55 is the middle of a three model line, a single cutaway guitar with two pickups. This guitar is one of the first 15 production models recorded as having been built during 1961, the debut year.

The slim sunburst-finished body is triple bound; the dot-inlayed fingerboard is unbound. The neck is slim and comfortable, with typical Martin contours and single enclosed metal-button Kluson tuners. The wiring rig with a switch and individual tone and volume knobs is standard Gibson style, and the pickups are even wired in phase (unlike Guild practice). The chrome stamped metal vaguely "M" shaped tailpiece is the guitar's raciest feature.

While these guitars have been ignored and generally derided since their short production run ('61-'65), perhaps the joke's on us, because viewed without prejudice, this is actually quite a good instrument! The craftsmanship is as good as you'd expect from Martin, it's a comfortable thin body design, and the DeArmond "Dynasonic" pickups are the same as those on some of the greatest-sounding Gretsch and Guild guitars, albiet in a slightly different cover.

While the styling might be best described as "conservative" (it comes mostly from Martin's 1930's archtops), in sound and playability this is fully the equivalent guitar to a Guild Starfire, Gretsch Anniversary of Gibson ES-225. Maybe Johnny "Guitar" Watson, Skip Spence, and the Music Machine's Sean Bonniwell knew something after all.

Overall length is 40 1/4 in. (102.2 cm.), 16 1/16 in. (40.8 cm.) wide at lower bout, and 2 in. (5.1 cm.) in depth, measured at side of rim. Scale length is 24 3/4 in. (629 mm.).

The ĒMI is a full custominzed 8-String Guitar by Abasi Concepts Made in Japan.

ēmi ™ is basically the sibling to the Larada. It retains the elegant and ergonomic form of the single cut variant, while offering a more aggressive shape for those who prefer double cut-away body styles. The design is highlighted by the asymmetrical, subtle teardrop-shaped OVIFORM + - ™ neck profile. The ēmi line features a range of Fishman Fluence pickup configurations, including a unique H-S-S configuration on the ēmi 8, designed specifically for this instrument. We even threw in a tone knob! While ABASI extended range instruments typically feature a multi-scale design with individual string bridges, the 'ēmi 7' is the answer for the players who prefer a uniform scale length and Gotoh 510 floating tremolo.

OVIFORM + - ™ neck profile

The ēmi design is highlighted by an asymmetrical, subtle teardrop-shaped OVIFORM + - ™ neck profile. The ergonomic shape provides thickness where needed and gets out of the way where not needed for added comfort. It is especially effective on extended range instruments where a wider neck is required to accommodate for additional strings. abasi-concept-emi-features-02.png_PID:12eff6c3-31f6-46a6-85a8-7bfe99aa985f abasi-concept-emi-features-03-1.png_PID:f6c331f6-46a6-45a8-bbfe-99aa985ffa98 Double Cut

ēmi retains the elegance and ergonomic form of its sibling Larada, but offers a more aggressive shape for those who prefer double cut-away body styles. FIND THE PERFECT ĒMI Available in 6 / 7 / 8 Strings abasi-concept-emi-specs-01-all.png__PID:ed7fdf6d-4831-4a28-87a1-f94d7705f7a9

Set-neck construction oviform + - neck profile Jescar stainless steel frets Hipshot locking tuners Graphtech nut

oviform + - neck profile

ēmi 6: Fishman Fluence S-S-S Pickups ēmi 7: Fishman Fluence H-H Tosin Abasi Pickups ēmi 8s: Fishman Fluence H-S-S Custom Pickups

ēmi 6: 25.5" scale, 20" radius ēmi 7: 25.5" scale, 20" radius ēmi 8: 25.5"-27.5" scale, 16"-21.5" radius

The Costum build J-Larada 8 by Abasi Concepts Made in Japan at Dyna Gakki with the passion and precision that Japanese craft is renowned for worldwide.

The bolt-on construction brings a snappiness and resonant character that is a welcome addition to the Larada family. These guitars feature the original specs of the first iteration of the Larada prototype: basswood bodies, wenge necks, maple and ebony fingerboards, and the oviform + - asymmetrical neck design.

Bolt-on construction Basswood body Roasted maple neck/Ebony fingerboard 25.5” - 27.63” scale Stainless steel frets Individual string saddles Gotoh Locking Tuners Fishman Fluence Tosin Abasi Pickups 5-way switch D'Addario NYXL 9.5 2-Sheen finish 9V Battery Abasi Concepts Hardshell Case

The 5002T Barney Kessel by Aria is a japanese Vintage Holy Body Guitar produced in the 70ties. Brand name: Aria (Pro II) Series name: ARIA Hollow Body Electric Guitars (ThinLine - 1970s) Dates of manufacture: 1970 to 1973

The Aria 5002T was a double Florentine cutaway thinline hollow bodied electric - with a design based on the Gibson Barney Kessel signature model. Apart from the cutaways it was very similar to the Aria 5102T model. The 5002T had a bolt-on maple neck, rosewood fingerboard with block inlays, tune-o-matic style rocker bridge (with Teflon covered rollers) and vibrato tail-piece (with wood-insert).

General: Dimensions: 41.5 × 15.75 × 2 in

Finish colors Three tone sunburst, red finish

Finish effects sunburst finish

Made in Japan

Binding body binding, neck binding

Number of strings 6 strings

Scale length 25.5 inches scale-length

Controls material black controls

Controls shape top hat controls

Number of control knobs 4 control knobs

Pickup selector controls 3-way selector switch

Tone controls 2 tone controls

Volume controls 2 volume controls

Pickups configuration 2 humbucker pickups

Bridge tune-o-matic bridge

Hardware color chrome hardware

Tailpiece Vibrato tailpiece

Fingerboard inlay material pearloid fingerboard inlays

Fingerboard material rosewood fingerboard

Fingerboard position markers block fingerboard position markers

Hollow body hollow body

Pickguard material black pickguard

Soundhole 2 f-holes

Neck joint bolt on neck

Neck material maple neck

Number of frets 21 fret

Tuner layout three-each-side

Takamine is pleased to introduce the FN15 AR dreadnought.

The FN15 AR originates from Takamine's Natural series, combining a solid cedar top and spectacular Amazon rosewood for a powerfully musical combination. It features a new rosette pattern and satin finish recalling the essence of the Natural series guitars. Ease of amplification is achieved with the retro inspired CTF-2N preamp. FN15 AR is manufactured in limited numbers, capping at 300 pieces worldwide.

Specifications:

Body Shape Dreadnought

Top Solid Cedar

Back Amazon Rosewood

Sides Amazon Rosewood

Neck Mahogany

Fingerboard Rosewood

Finish Satin Natural

Electronics CTF-2N

Nut Width 42.5mm

Scale Length 644mm

Length 1045mm

Width 402mm

Depth At End 126mm

Case SH200A

Case Included Yes

The 360 Systems is a four-octave digital keyboard which can reproduce the sounds of real instruments stored in banks of EPROMs within its circuitry.

Up to 32 different voices may be installed in the instrument at any one time, and the keyboard may be split so that two voices can be played simultaneously. The system is eight-note polyphonic, and Moog-style performance wheels allow some degree of expression to be imparted to appropriate voices. Likewise, these controls allow you to do outlandish things such as pitch-bending a grand piano, an effect that is normally impossible without hydraulic jacks and a sympathetic insurance company.

Construction:

The 360 is an unremarkable looking machine, having a simple wooden case and a row of rather unimpressive controls. Appearances can be deceptive, however, and the inside reveals a veritable sea of chips.

When we looked at the original - prototype - 360 last year, the circuitry ran rather hot, and a cooling fan has now been fitted to alleviate this situation. A lot of the internal space is taken up by voice cards, and the most impressive of these contains the piano samples, amounting to about 50 EPROMs in all. The reason for using so many memory chips is that each voice is built up from several samples, so that no note is transposed by more than a tone either way from its original pitch.

Output of the 360 is in stereo and, where appropriate for a particular instrument, the sampled sounds are split where the original instrument has a natural range less than the keyboard span. A good example of this is the saxophone setting which has baritone, alto and tenor samples to cover a four-octave range.

The bass guitar sound uses a similar trick, whereby pulled notes are available to the right of the keyboard and slapped notes are to the left, and in the hands of a sympathetic player, the 360 can make an excellent impersonation of a funk bassist.

On the rear panel there is provision to connect a sustain pedal, a foot pedal for control of dynamics or brightness, and of course the stereo output.

The 360 weighs 43 lbs and measures 5¼" x 32" x 22".

Controls:

The row of instrument selectors allows any voice to be placed instantly under keyboard control, and the split point may be set wherever the user wishes for dual voice operation, a Swap button changing the voices to opposite sides of the keyboard when needed. In addition, a stack switch lets you play two voices together for a fatter sound - though this limits the system to four-note polyphony - and the transpose facility lets you set any interval between sounds within the limits of the individual voice capacities. The two voices may be mixed by means of the balance control, while a filter circuit permits independent tonal modifications to be made to each voice. Lastly, notes may be set to last their full duration once keyed, or to end as soon as the key is released.

Sounds:

360 Systems' internal layout

The only real limitations imposed by the 360 are its four-octave keyboard and lack of touch-sensitivity. As with any synth that attempts to replicate a traditional instrumental sound, the 360 must be played in something approximating the manner of the instrument being imitated in order to be convincing.

All the samples are beautifully recorded, and some of them last up to eight seconds so that the full natural decay of the original instrument can be reproduced. The acoustic guitar sample is particularly impressive, and once you've heard the string sound produced by the 360, conventional synths or string machines become more than a little artificial. The sound requiring the most memory is the grand piano, and as a result of this the piano voice card costs around £700. Mind you, it is superb.

"Once you've heard the string sound produced by the 360, conventional synths or string machines become more than a little artificial."

All the voicings are good (some are exceptional) and unlike our August '83 reviewer, I could detect no quantisation noise or other nasties in the final output, which was monitored at quite a high level via a pair of Tannoy studio monitors.

There is of course some compromise caused by the 360's lack of touch-sensitivity but, in any event, this probably wouldn't sound right even if it was fitted since the timbre of a conventional instrument changes with playing intensity, and this effect would be difficult to duplicate authentically by purely electronic means. Another point worth considering is that when a musician records a touch-sensitive instrument, there's more often than not some wretched engineer compressing it flat again just to keep the VU meters happy.

Although the review model's MIDI sockets were unsupported internally, it appears that all new production instruments have their MIDI sockets fully functional, with all the usual features. As already mentioned, the keyboard is not velocity sensitive but the voices will apparently receive the relevant MIDI data from a controlling velocity-sensitive MIDI synth, thereby eliminating one of its weaknesses.

The Vintage Harmony Stella H928 ParlorGuitar Ivory blonde paint with faux tiger stripe made in 1956-1957 some till 62.