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The Noise is a violently destructive pitch shifter designed in collaboration with Scottie Simpson and Sabian Lynch of ALPHA WOLF. Bring back the NOISE. Technical Specs: Soft touch momentary footswitches 9v DC, 2.1mm center negative power. Does not accept batteries. Power consumption: 198mA Enclosure size: 4.7" x 3.75" x 1.75" POWER SUPPLY NOT INCLUDED This pedal accepts industry standard 9VDC, center negative power supplies with a current rating of at least 200mA. Using the wrong power supply (i.e. higher than 9v, AC instead of DC, reverse polarity) will result in damage to the pedal.

The Freedom II 4-String Bass Guitar from the Mid and Late 80s

Alamo Music Products holds a unique place in the history of electric guitars and basses. The Houston-based company began its journey in the early ’80s as Robin Guitars, importing retro-influenced instruments from Japan. By the end of the decade, it began U.S. production of instruments and soon after changed its name as it began making instruments carrying the Metropolitan and Alamo brands, along with Rio Grande pickups. Robin produced basses for 15 years, and company co-founder David Wintz recently rummaged his archives and offered us a look at what he found. While the Robin guitar brand’s reverse “imported then domestic” chronology has been documented in this space, the basses shown here are the first import models marketed by the company (and one of them is from the very first shipment).

Robin guitars were marketed beginning in 1982, and basses (all manufactured by ESP in Japan) followed the next year. The company’s ’83 catalog announced two 34″ scale basses – the single-pickup Freedom and the two-pickup Freedom II – as well as the 32″-scale Ranger as the company’s first entries in the bass market. The Ranger was matched with a guitar, but the Freedoms had no six-string counterpart. All three had maple necks, and fretboards were maple (part of the actual neck) or a rosewood cap. In spite of the differences in scale length, both had 21 frets.

The headstock vaguely resembled an upside-down Fender headstock, and had a two-plus-two tuner configuration. It also had an unusual/centered “tree” to guide the A and D strings.

The contoured body was usually made of ash or alder, and the oversized pickguard gave a retro nod to the Fender Precision Bass of the early/mid ’50s.

The Freedom was given humbucking pickups and initially had active circuitry, while passive versions were later available. They also had a “high-mass” bridge/tailpiece combination. Controls were a master Volume, Bass, and Treble, and the Freedom II had a three-way toggle for pickup selection.

Curiously, the Ranger Bass’ debut catalog photo shows a single straight-bar pickup, but according to David Wintz, president of Robin’s parent company, Alamo Music Products, that instrument photographed was a one-off prototype; production Rangers had a split P-Bass-style pickup as well as a standard bridge/tailpiece, and simple Volume and Tone controls.

The first color options for the Freedom and Freedom II were White, Black, three-tone Sunburst, Natural, Metallic Red, and Old Blonde. The Ranger Bass was available in Black, two-tone Sunburst, Metallic Red, and Old Blonde. The Freedom shown here in Old Blonde is from the first shipment of basses ESP sent to Houston; its neck width at the nut is 13/4″ (a la the P-Bass), and its neck has a walnut “skunk stripe” running down its back. “The very first Freedoms had wide necks,” Wintz recounted. “Too wide, in fact – wider than we requested. As soon as we got them, we changed (the specifications) for future production.” Wintz estimated that 25 to 50 of the wide-neck Freedoms were made in ’83. The Ranger’s neck was 15/8″ wide at the nut. Later-model Freedoms were 11/2″ wide at the nut, their necks didn’t have a skunk stripe, and their headstocks had a bar-type string retainer that was installed in Texas. “Once we realized that three strings could use some help, we installed the bars here in Houston, using the hole from the round two-string tree, and drilling another hole for the bar,” said Wintz. The Freedom and Freedom II later were given black hardware. The Ranger, on the other hand, kept its retro-vibe aesthetic, though alternate colors were offered, such as Light Blue and Pink Pearl. The Japanese-made basses last appeared in the company’s 1988 catalog, by which time Robin was in the initial stages of domestic production. And while the Freedom Bass was discontinued in ’89, the Ranger was held over in name only, as the domestic version was a full-scale instrument with an upside-down headstock, tuners all in a row (a longtime configuration of Ranger guitars), and two pickups in a “P/J” configuration (VG, February ’07). Robin exited the bass market in 1997, but not before crafting 20 domestic Freedom II models, using imported necks discovered in storage. The first example was profiled in VG‘s June ’05 issue. Along the way, notable players were spotted plunking imported Robin basses, including Tommy Shannon (Double Trouble) and Brad Houser.

The Freedom I 4-String Bass Guitar from the 80s Alamo Music Products holds a unique place in the history of electric guitars and basses. The Houston-based company began its journey in the early ’80s as Robin Guitars, importing retro-influenced instruments from Japan. By the end of the decade, it began U.S. production of instruments and soon after changed its name as it began making instruments carrying the Metropolitan and Alamo brands, along with Rio Grande pickups. Robin produced basses for 15 years, and company co-founder David Wintz recently rummaged his archives and offered us a look at what he found.

The Freedom I 4-String Bass Guitar from the 80s Alamo Music Products holds a unique place in the history of electric guitars and basses. The Houston-based company began its journey in the early ’80s as Robin Guitars, importing retro-influenced instruments from Japan. By the end of the decade, it began U.S. production of instruments and soon after changed its name as it began making instruments carrying the Metropolitan and Alamo brands, along with Rio Grande pickups. Robin produced basses for 15 years, and company co-founder David Wintz recently rummaged his archives and offered us a look at what he found. While the Robin guitar brand’s reverse “imported then domestic” chronology has been documented in this space, the basses shown here are the first import models marketed by the company (and one of them is from the very first shipment).

Robin guitars were marketed beginning in 1982, and basses (all manufactured by ESP in Japan) followed the next year. The company’s ’83 catalog announced two 34″ scale basses – the single-pickup Freedom and the two-pickup Freedom II – as well as the 32″-scale Ranger as the company’s first entries in the bass market. The Ranger was matched with a guitar, but the Freedoms had no six-string counterpart. All three had maple necks, and fretboards were maple (part of the actual neck) or a rosewood cap. In spite of the differences in scale length, both had 21 frets.

The headstock vaguely resembled an upside-down Fender headstock, and had a two-plus-two tuner configuration. It also had an unusual/centered “tree” to guide the A and D strings.

The contoured body was usually made of ash or alder, and the oversized pickguard gave a retro nod to the Fender Precision Bass of the early/mid ’50s.

The Freedom was given humbucking pickups and initially had active circuitry, while passive versions were later available. They also had a “high-mass” bridge/tailpiece combination. Controls were a master Volume, Bass, and Treble, and the Freedom II had a three-way toggle for pickup selection.

Curiously, the Ranger Bass’ debut catalog photo shows a single straight-bar pickup, but according to David Wintz, president of Robin’s parent company, Alamo Music Products, that instrument photographed was a one-off prototype; production Rangers had a split P-Bass-style pickup as well as a standard bridge/tailpiece, and simple Volume and Tone controls.

The first color options for the Freedom and Freedom II were White, Black, three-tone Sunburst, Natural, Metallic Red, and Old Blonde. The Ranger Bass was available in Black, two-tone Sunburst, Metallic Red, and Old Blonde. The Freedom shown here in Old Blonde is from the first shipment of basses ESP sent to Houston; its neck width at the nut is 13/4″ (a la the P-Bass), and its neck has a walnut “skunk stripe” running down its back. “The very first Freedoms had wide necks,” Wintz recounted. “Too wide, in fact – wider than we requested. As soon as we got them, we changed (the specifications) for future production.” Wintz estimated that 25 to 50 of the wide-neck Freedoms were made in ’83. The Ranger’s neck was 15/8″ wide at the nut. Later-model Freedoms were 11/2″ wide at the nut, their necks didn’t have a skunk stripe, and their headstocks had a bar-type string retainer that was installed in Texas. “Once we realized that three strings could use some help, we installed the bars here in Houston, using the hole from the round two-string tree, and drilling another hole for the bar,” said Wintz. The Freedom and Freedom II later were given black hardware. The Ranger, on the other hand, kept its retro-vibe aesthetic, though alternate colors were offered, such as Light Blue and Pink Pearl. The Japanese-made basses last appeared in the company’s 1988 catalog, by which time Robin was in the initial stages of domestic production. And while the Freedom Bass was discontinued in ’89, the Ranger was held over in name only, as the domestic version was a full-scale instrument with an upside-down headstock, tuners all in a row (a longtime configuration of Ranger guitars), and two pickups in a “P/J” configuration (VG, February ’07). Robin exited the bass market in 1997, but not before crafting 20 domestic Freedom II models, using imported necks discovered in storage. The first example was profiled in VG‘s June ’05 issue. Along the way, notable players were spotted plunking imported Robin basses, including Tommy Shannon (Double Trouble) and Brad Houser.

The Freedom I 4-String Bass Guitar from the 80s Alamo Music Products holds a unique place in the history of electric guitars and basses. The Houston-based company began its journey in the early ’80s as Robin Guitars, importing retro-influenced instruments from Japan. By the end of the decade, it began U.S. production of instruments and soon after changed its name as it began making instruments carrying the Metropolitan and Alamo brands, along with Rio Grande pickups. Robin produced basses for 15 years, and company co-founder David Wintz recently rummaged his archives and offered us a look at what he found.

Introducing the world's first tube-based data clocking device: the SuperTubeClock™

By incorporating a low-noise mini-triode vacuum tube into the digital clock, this boldly conceived design provides vastly superior resolution, detail retrieval, improved clarity, increased definition and detail from top to bottom. Dare to Compare

Compare PrimaLuna construction to any other brand, at any price. You'll be amazed. offset_killer.jpg AC OFFSET KILLER

AC Offset Killer is about goose bumps. The ones you get when music comes out of a background so quiet, you may say to yourself “Just how is this possible?” PrimaLuna custom-winds our own massive toroidal power transformers that are low in hum and EMI. But we wanted more. Our engineers designed the AC Offset Killer to lower transformer noise to a place no other manufacturer dreams of going, regardless of how bad your electricity is. The result? Sense of space. Texture. The resonance of an acoustic guitar or violin string that seems to trail on forever. The AC Offset Killer will amaze you.
Premium Parts

Premium parts including polypropylene coupling caps, triple pi power supply filters, custom designed isolation transformers which separate the analog and digital devices, resulting in decreased signal degradation and improved sonics from top to bottom. Many DACs weigh in at ten pounds or less. The EVO 100 Tube DAC weighs nearly 29 pounds! Point To Point Wiring

You spend a lot of money on interconnects. So why have the signal go right from the RCA jacks or speaker terminals into circuit boards with copper traces so thin you can hardly see them? What’s high-end about that?

PrimaLuna employs Point to Point Wiring on all products. The entire signal path, including resistors and capacitors, is painstakingly hand wired with heavy-gauge cable by craftsman.

Dual Mono Topology

Per channel dedicated tubes. While it is fine to use a single tube as a buffer for both channels and claim your DAC is "tube", it can't be compared to the PrimaLuna design and what it does for the music.

Vacuum Tube Rectified

Vacuum tube rectified power supply incorporates eleven separate power supply regulation circuits. Tube rectification is synonymous with organic sound, especially when compared to DACs being known as sounding like "a computer". USB Digital Input

USB digital input allows using your computer for storage and playback of your music with all the benefits of features like playlists and easier access to your whole music library. Rather than just add in an USB input as an afterthought, PrimaLuna engineers searched endlessly looking for the best-sounding USB interface we could find. Our USB input converts the jitter-filled USB digital signal to S/PDIF, dramatically improving the digital signal quality before it gets to the SuperTubeClock. This USB input is a true high-resolution digital input. Our Digital Difference The SuperTubeClock™

This is where the magic happens... the SuperTubeClock™ replaces the solid state oscillator normally found in a DAC with a mini triode vacuum tube. By using a tube, we have significantly lowered the amount of jitter and noise, resulting in superior detail retrieval. This in turn yields superior detail and dynamics from top to bottom, and improved overall musicality.

First a note on the tube itself: The tube is a very rugged, long-life Russian military Triode specifically designed for oscillation purposes... which is its function here. It is running very conservatively so life expectancy is roughly 5 to 10 years of operating time. The small glass envelope guarantees very low microphonics.

Triode tubes are inherently low noise devices, and extremely linear when used properly. This means that the oscillation frequency wave it produces is very pure and clean. The noise in the sidebands, from 10Hz to 100kHz on either side of the oscillation frequency, is extremely low. This is the important spectrum for audio. Everything below and beyond that can be ignored.

When you reclock the inputs, any noise that is generated here appears unfiltered and unattenuated at the input of the conversion chip, and injects jitter, which from then on is an indistinguishable part of the digital audio stream. No amount of cleaning will ever be able to remove this noise once it reaches this point; it has become part of the audio signal. This noise "rides" on the audio signal, so you do not hear it as noise, but as smearing of notes and masking of detail. There is a distinctive loss of dynamics, tonal purity, inter-transient silence, and sense of timing. We call this "noise modulation."

This is why the low noise, especially in the 10Hz-100kHz sidebands of the oscillator, is so crucial. Again: below and beyond these frequency extremes is trivial, because it will not affect the audio, and will not reach the analog outputs.

When the clock is used to clock the DAC chip, a similar situation occurs as described above: the noise appears at the location where the digital audio stream is converted to successive steps in a staircase wave, which represents the analog audio signal. Each step has to be EXACTLY 1/441000th, 1/96000th, 1/176400th, or 1/192000th. The injected noise introduces a deviation in time which is the exact replica of that noise. This means that the audio signal at the outputs of the DAC chip has the noise riding on it, again as an inherent part of the signal. No amount of filtering will remove the noise once it reaches this step. Again we experience that smear and detail masking, with that distinctive loss of dynamics, tonal purity, inter-transient silence, and sense of timing. Here you see how much sense it makes to reclock BOTH the inputs AND the DAC chip.

The oscillation frequency wave a tube produces is a sine wave. That's no good: It has to be converted to a square wave. This is a very delicate procedure: when the rising and falling edges of a square wave are not steep enough, there exists a certain window during which the actual transition of the data bit is not exactly time-defined. It leaves room to be either too late or too early. This is a partly random process, and partly dependent on surrounding conditions; such as power supply voltage variations, ground noise, inherent CMOS or chip crosstalk in the decoder or DAC chip, etc. All these timing variations are noise, and are called jitter from various sources. The steeper the edges, the more exactly defined the transition moment will be, resulting in less noise (jitter). When a clock produces a very stable frequency with such low jitter, there will be a more accurate reproduction of the original analog waveform of the music.

Here are a few real SuperTubeClock™ pictures of what it can do: experts will certainly like them. No other commercial clock on earth will produce a square wave as this one.

Each square wave seen below is measured on a Philips PM3295A analog 400MHz oscilloscope using LeCroy 10:1 probes. These probes attenuate the signal by a factor of 10, in order to not load the device under test with any load, resistive or capacitive. So the vertical resolution on the scope image has to be multiplied by 10. For instance when you see ~0.1V, then it is in reality measuring ~1V(AC).

The SuperTubeClock™ generating a square wave at 8.4672mHz. The vertical slope is measured at ~500mV (each black horizontal line represents 500mV counting from top to bottom). The vertical peak-to-peak travel of the square wave at this frequency is 3.5 Volts, which is excellent.

Each black vertical line going from left to right represents 10 nanoseconds. The faster a clock can go from peak to peak, the better.

Square waves present themselves more and more like sine waves the higher you go in frequency. So an 8.4672mHz wave like the one above is still identifiable as a square wave, but as we approach 42.2mHz, typically a square wave will be almost fully rounded off and appear as a sine wave. As a square wave begins to round off, it means the timing of the digital transmissions has become more insecure, allowing for the introduction of more noise and jitter that is then presented to the DAC.

Here we see the square wave generated by the SuperTubeClock™ at 42.2mHz. As you can see, the square wave still has a very discernible square shape. This means the clock is VERY fast, leaving very little time to introduce jitter and noise which can interfere with sound quality as mentioned above. Look closely at the image on the left. Each black vertical line running from left to right represents 5 nanoseconds. The time it takes the slope to go from the top bar to the bottom takes up roughly 1/3 of that black square, which is about 1.67 nanoseconds.

Think about it.. that's 1.6 BILLIONTHS of a second. Each black horizontal line in this measurement represent ~1V from top to bottom. Just as in the first wave above, the peak-to-peak travel at 42.2mHz is about 3.6 Volts, which again is excellent.

This kind of speed is crucial to ensure accuracy in detail retrieval. This in turn introduces less noise and jitter, resulting in better transients, increased clarity, improved dynamics, and a pure, musical tonality.

The PrimaLuna Evo 300 Integrated Dare to Compare Compare PrimaLuna construction to any other brand, at any price. You'll be amazed. Evo-300-HeadphoneAmp.jpg All Tube Output Transformer-Coupled Headphone Amplifier

One of the best headphone amps in the world. And the only amp that lets you listen with either the warmth of Triode or the wide-bandwidth of Ultra-linear operation at the push of a button! Most tube integrated amps and preamps use a solid state op-amp chip for running headphones. Stand alone tube headphone amps will vary in quality like any other tube amp. Headphones are simply small speakers that require less power. Some amps will use smaller output tubes that groan to have enough dissipation to run power-hungry planar headphones. Other brands, including those costing $5,000 or more like Mal Valve, will use larger output tubes, then use a voltage divider network to drop the power down to an acceptable level for headphones. This is how we do it. We simply took advantage of the fact that we make the best tube integrated amplifiers. Now you don't have to pay for a separate state of the art headphone amp. PrimaLuna integrateds are the favorite of owners who use everything from Audeze to Hifiman to Sennheiser! PL-Features_0000_tube rectified.jpg BAD TUBE INDICATOR

PrimaLuna engineers wanted to make owning a tube amp so simple you would have no excuse not to have your tube dreams come true.

If a tube fails, Adaptive AutoBias will instantly put the amplifier into protection mode so no parts can get damaged. A red LED will light up in front of the tube that needs replacing. Simply plug in another tube, and listen. No guesswork. No smoking amp. No getting out the soldering iron or dropping your amp off at UPS. EVO-sub-out.jpg PL-Features_0005_remote 1.jpg Transformer-coupled Subwoofer Out

The number one problem people face when adding a subwoofer is integration to the main speakers. When you run the subwoofer at “line level” while your main speakers are hooked up to the amplifier, the signals have a different character or “transfer”. That’s why REL, the premier manufacturer of subwoofers, prefers using a “Speakon” connector hooking up their subwoofers to the same terminals the speakers are hooked up to. Now both speakers and sub get the same “flavor” and are easier to integrate together. In addition, most integrated amps have a subwoofer out that is not as robust as using the line out from a preamp. The result? Reduced dynamics.

But there are some very good subwoofers that only have an RCA line-level input. That’s why the subwoofer out on the EVO300 and 400 integrated amplifiers are transformer coupled.

Switchable from stereo to mono, we run right off the speaker taps of our amazing wide-bandwidth output transformers to a voltage-divider network and lower output to line level. Now your subwoofer and speakers are seeing the exact same signal, singing the exact same tune, for perfect coherence. PLUS you get the benefit of increased dynamics. No other brand offers this feature. Only PrimaLuna. REMOTE CONTROLLED TRIODE/ULTRA-LINEAR SWITCHING

Do you have some classic rock albums you used to love so much that have now ended up left on the shelf, un-played for years? How about jazz or classical recordings from the 60’s? Every audiophile has albums that they used to play, but stopped because they are harsh, brittle, or bright. There is a solution.

Triode and Single Ended Triode (SET) amps are popular for their warmer, fuller, and easy to settle into sound. But triode amps have limitations! Ultra-linear has more extension on the top and bottom, not to mention greater power. They have greater “pop” with a bigger difference between light and dark, and loud and soft. Having triode only is VERY limiting.

The best option is to have both triode and ultra-linear. PrimaLuna engineers in Holland designed an ingenious circuit that lets you change from triode to ultra-linear with a push of a button on the supplied remote control. No need to get up and stop the music. Make an instant comparison while you listen and choose what you like best for that song or album. AC OFFSET KILLER - A PRIMALUNA EXCLUSIVE

AC Offset Killer is about goose bumps. The ones you get when music comes out of a background so quiet, you may say to yourself “Just how is this possible?” PrimaLuna custom-winds our own massive toroidal power transformers that are low in hum and EMI. But we wanted more. Our engineers designed the AC Offset Killer to lower transformer noise to a place no other manufacturer dreams of going, regardless of how bad your electricity is. The result? Sense of space. Texture. The resonance of an acoustic guitar or violin string that seems to trail on forever. The AC Offset Killer will amaze you.
PL-Features_0003_takman resistors.jpg TAKMAN RESISTORS

If you bought a lesser amplifier, you would pay hundreds to make this upgrade. Easy to identify through their pink color, these premium resistors from Japan are popular with those who rebuild and upgrade their gear. "Modders" love TAKMAN for their low noise, linearity, and musicality. PL-Features_0002_resistors.jpg CUSTOM TOROIDAL POWER TRANSFORMER

Power transformers generate two types of noise, magnetic and acoustic. That's why toroidal power transformers are used in the very best audio products. Compared to standard transformers, toroids radiate about 1/10 the magnetic field that pollutes music and obscures detail. Additionally, the absence of an air gap typically means toroids have an 8:1 reduction of acoustic noise. As transformers are the most expensive components in any audio product, manufacturers will even house cheaper C-core and EI-core transformers in an outboard power supply box with an umbilical cable rather than upgrade to an expensive toroid. The increased cost is significant, but PrimaLuna doesn’t cut corners. All PrimaLuna products use massive, potted toroidal transformers. PrimaLuna transformers are enclosed in a metal housing and then potted in a non-microphonic resin to further reduce noise and to protect the windings from moisture and deterioration forever. PL-Features_0001_transformers.jpg CUSTOM SUPER-WIDE-BANDWIDTH OUTPUT TRANSFORMERS

Output transformers are the most important part of any tube amp. They determine how low the bass will reach and how high the top end goes. 250 watts of power will have no top and bottom extension if the output transformers don't have the bandwidth. We use lower power to extend tube life, and bandwidth to give you slam. Transformers are the most expensive components in an amplifier, so manufacturers save money by using ‘off the shelf’ units available on the market. PrimaLuna output transformers are custom-designed, wound in-house, and massive. One reason why no other brand sounds like a PrimaLuna. "The flat tops and bottoms of these squarewaves correlate with the amplifier's extended low-frequency response; PrimaLuna's output transformers are of excellent quality." -John Atkinson, Stereophile Magazine PL-Features_0009_line inputs.jpg SuperQuiet Line Inputs

Input selector switches leak noise and signals from other sources, as they never turn off the other inputs completely. And, they deteriorate with age, requiring the use of cleaners. Many are mounted on the front panel requiring long runs of wires to the back panel inputs. These wires pick up stray noise from RF and EMI.

PrimaLuna has a better way. Instead of a switch, input selection is done using premium quality sealed relays mounted in the rear where you plug in your components. When an input is selected, that relay closes giving you the best connection possible. All the other relays are left open, so noise and signals from other sources can’t leak in. The signal path is now almost non-existent, so there are no wires to pick up noise. PL-Features_0011_adaptive audiobias.jpg ADAPTIVE AUTOBIAS

What most companies call Auto Bias is actually "Cathode Bias"- A commonly used method that is cheap to make, and often found in guitar amps, but also $20,000 high end audio amps. It reduces the available power of the amp and runs the tubes hard, meaning shorter tube life and failures via "shorts".

PrimaLuna's Adaptive AutoBias is a true, smart technology employing an array of sensors to monitor tubes and make adjustments seamlessly in real time. More important, it is the ONLY circuit of its kind that is truly "adaptive" by addressing "tube pinch off" at higher volumes, therefore reducing distortion by over 50% and greatly extending tube life. Adaptive AutoBias is completely passive and NOT in the signal path. The result is low to no maintenance, long tube life, and the lowest possible distortion for amazing sound.

Adaptive AutoBias also provides unparalleled flexibility by allowing use of almost any tube on the market today. It even has a fine-tuning switch for EL-34 and KT88/KT120/KT150 tube types. PL-Features_0008_p2p wiring.jpg POINT TO POINT WIRING W/ Swiss Made Wire

You spend a lot of money on interconnects. So why have the signal go right from the RCA jacks or speaker terminals into circuit boards with copper traces so thin you can hardly see them? What’s high-end about that?

PrimaLuna employs Point to Point Wiring on all products. The entire signal path, including resistors and capacitors, is painstakingly hand wired with heavy-gauge cable by craftsman.

EVO 300 and EVO 400 models use Swiss-made, silver-plated, oxygen-free continuous crystal (OCC) copper with a Teflon dielectric in the critical signal path for superior signal speed and increased clarity.

NO INTERNAL DAC / NO INTERNAL PHONOSTAGE

Never buy an integrated amp with an internal DAC. Why? Because digital changes, and history shows that integrated amps with “old” digital become unwanted and have almost no resale value.

Built in phonostages are “throw in” and are rarely good quality because manufacturers assume 90% of buyers won’t use them. The external phonostage market is very competitive. You can get something much better for as little as $200, and buy one that actually meets your cartridges needs and YOUR budget. SMARTWATTS - EXTENDED TUBE LIFE

Tube life is simply a matter of how hard you run the tubes. That’s it. The only way to extend tube life is to run them as close to zero as you possible can, making sure it is not so low you go into crossover distortion. The life of a tube will depend on two things: Plate and screen voltage.

If the plate and screen voltage is high, you are more likely to get tube shorts when you turn the amp on and you get cathode stripping which greatly effects the cathodes ability to spit out electrons. Manufacturers that run the hell out of tubes to pump up their power ratings will never tell you what voltages they use. They’ll say it’s “proprietary” as if it’s some secret sauce. There is no such thing. But if they told you that they used 575, 600, or even 625 volts you probably wouldn’t buy. We proudly tell you our tubes run at just about 417 volts for the plates and screens.

PrimaLuna runs their output tubes at a minimum dissipation without going into crossover distortion. When you look at our amps, they provide less power from each tube. With KT-120’s as an example, a PrimaLuna will give you only 21 watts per tube. So running a pair of them you get 42 watts. That’s a lot of power, but the demands per tube are a fraction of some manufacturers that give you 100 watts from a pair of KT-120’s. It’s a cheap way to get big power, and it’s cheap. In fact, free. To get more power the right way is expensive. It requires bigger transformers, sockets, wiring, resistors, capacitors, and the tubes to do it. Which is exactly what PrimaLuna did. But we didn’t stop there.

Read this carefully: Power has nothing to do with sound quality. Or bass slam. You can buy a 200 watt receiver for $299, and it will even have surround sound. Do you think for a minute it will sound better than a 50 or 100 watts high end amp costing $10,000? Of course not. Only first-time buyers think that way. Experienced audiophiles know that for the majority of listening sessions, you use maybe 10 watts of power.

OUR AMPS ARE PERFECT. BUT YOUR SYSTEM MAY NOT BE

Ask any seasoned tube-head what the most musical output tube is and they will most certainly declare it the EL34. Other amp manufacturers would love to use it. Only PrimaLuna, through our proprietary output transformer designs, can give you EL34 midrange beauty with top-end air that goes on forever. And, bass extension with so much slam, our amps are used to power subwoofers. However, every system is different. What if you bought a speaker with bass that overloads the room? Or, that is too dark? Or, too bright? What if you just want to have fun trying the different colors of sound from a vast pallet of tubes? With other manufacturers' products, you're stuck. They're a one-trick pony. How are you going to fine-tune your sound? Buy some different cables?! With PrimaLuna, you get to choose. Go for it. 6L6G, 6L6GC, 7581A, EL34, EL37, 6550, KT66, KT77, KT88, KT90, KT120, even the monstrous KT150. A future-proof design, PrimaLuna is compatible with NEW tube types not even thought of today!

The Threshold of Excellence in Sound Reproduction As the next generation of the original LL2 LAMM vacuum tube preamplifiers, a main distinction of the LL2.1 is its almost inaudible sonic signature. When connected to the right LAMM amplifiers, it recreates a three-dimensional soundstage in the comfort of your own home. LL 2.1 atop a beige pillar against a black background
Product Details: Technical Specs and Measurements Critic Reviews, Press & Awards FAQs & Support LL2.1 Regular & Deluxe: Line Level Tube Preamplifier Design Elements The LL2.1 features a topology that brings out the most natural sound performance in the audio path, employing a pure class A operation from input to output; all stages are single-ended. The preamplifier’s audibly neutral power supply features a full-wave vacuum rectifier. This rectifier, together with a choke-containing filter, helps reduce the hum and buzz to almost negligible levels and ensures a variety of dynamic range without coloration.
Other features include 3 inputs; 1 tape loop; 2 sets of outputs; front panel muting switch; attenuator for gain reduction by 15 dB; built-in remote on/off for LAMM power amplifiers; protection circuitry coupled with automatic mute at turn on/off. LL 2.1 inner workings Components: Each preamplifier is hand-crafted with the highest quality materials, including military grade low noise Dale metal film resistors; Noble potentiometers; Electrocube and Roederstein film capacitors; high frequency switching grade Cornell Dubilier electrolytic capacitors; and specially selected long life vacuum tubes. The LL2.1 features a custom-designed power transformer. The LL2.1 is available in two versions: standard and deluxe, both of which utilize identical chassis, PC-board and parts. In the deluxe version, the power supply energy storage is approximately twice that of the standard version (four identical light-blue capacitors next to the choke; only two of these are installed in the regular version — see first detail image insert). Also, in the deluxe version, all film capacitors in critical pathways are situated next to polystyrene capacitors of the highest quality (see: yellow capacitors on two images — right and below). Features: Unique topology Brings out the most natural sound performance in the audio path Standard and Deluxe models available Deluxe model offers approximately twice the power supply energy storage as the Standard model. Additionally in the Deluxe model, all film capacitors in critical paths are paralleled by polystyrene capacitors of the highest available quality Pure class A vacuum tube design All stages are single-ended. Drives any cable and any reasonable real world load High-current drive capability, in combination with unique single-ended class A circuitry, allow the LL 2.1 to maintain its practically inaudible sonic signature.

Pure class A operation All stages are single-ended Dual-mono preamplifier with 3 inputs and 1 tape loop; 2 sets of single-ended outputs Connected in parallel Two 12AU7A/ECC82 tubes Two 6922/ECC88 tubes One 6X4/6202 tube Audibly neutral power supply Featuring a full-wave VACUUM rectifier with a choke-containing filter, and one solid-state low-voltage analogue regulator used as the heater supply Attenuator for gain reduction by 15 dB 1.5-400,000 Hz (-3dB) Frequency response Remote on/off switch For Lamm M1.2 Reference, M2.2, ML2.2 and ML3 Signature amplifiers Operates on all world AC line voltages Height: 4.5" (11.43cm) Width: 19" (48.26cm) Depth: 13.875" (35.25cm) Add 1.375 inches for front handles Weight: 20lbs (9.1kg)

The V3A from AudioScape Engeneering Co. is a 1:1 CIRCUIT RECREATION OF THE ORIGINAL - FINALLY ADAPTED TO THE 500-SERIES FORMAT! AudioScape V3A LEVELING AMPLIFIER: A Compelling Compressor with A Dramatic Mid-Forward Color
Our newest addition to the AudioScape lineup, the V3A is an uncompromising, authentically Made-in-USA recreation of the timeless and enormously popular optical limiter from the 1970s known for its fierce midrange color & girth, characterful compression, and simplicity of operation. And in true Audioscape fashion, an extraordinary amount of time, passion and obsessive attention to detail was spent refining and perfecting our take on this legendary circuit to ensure every unit behaves and performs just like the original - all at a peerless price point within reach of engineers working at any level. Painstaking Circuit Design & Carefully Selected, Period-Correct Components The V3A is a sonically period-correct recreation of the venerable LA3-AYYYY and has every ounce of the original unit’s aggression, impact, and gusto - all without the drawbacks of an awkward 1/2 RU format, not to mention the sky-high prices demanded by the current vintage market! You too can now have a piece of sonic history in YOUR studio - all in a manageable and convenient 500-series format! Modifications, Handcrafted T4B Opto-Attenuator & Custom, Hand-Wound Transformers

Any GREAT piece of gear is truly the sum of its parts - not just a handful of “buzzword” capacitors, resistors, and transformers. The V3A features the “Clearmount Mod” fully integrated into its circuit - helping to lower the overall noise-floor and broaden the versatility of the Gain control amongst other things, making the V3A an extraordinary, sonically multi-faceted compressor and tone box! The 500-series V3A module has been built from the ground up accurately and faithfully, with no component compromises or gratuitous enhancements to completely and faithfully capture the shockingly vivid, detailed, and elegant character of this classic optical compressor. We've invested an immense amount of time testing and refining this unit to produce the same jaw-dropping, awe-inspiring reaction engineers around the world have felt when using a vintage unit, every time the circuit is engaged or a setting is changed. And we're confident you'll feel the same! Our Philosophy - Recreating the Euphonic Sonics of a Bygone Era Like every AudioScape product, the V3A was designed and built with one of many core principles in mind: We ARE the UPGRADE™! We're proud to offer you a unit that we feel truly replicates the magic, mojo, and character of such a classic piece of recording history. We managed to cleverly squeeze this quintessential circuit into a compact 500-series format - all while staying true to our ultimate goal of achieving total SONIC TRUTH Handcrafted in the USA - Legendary Circuits deserve Legendary Craftsmanship

We build and assemble each of our products by hand here at our workshop in Florida, using NOS and USA-made components wherever possible, and never compromising or making concessions to any aspect of the build or more importantly, the sonics for the sake of profit margins or simple convenience. We strongly believe this is the right way - if not the only way - to produce these units at the level of quality we strive for, while still making them available to as many of our customers as possible. Every product comes with a HASSLE-FREE TWO-YEAR WARRANTY, and we pride ourselves on providing the best customer service in the biz! If you have any questions, concerns, or just want to talk shop, please reach out to us!

WHY SHOULD YOU BUY A V3A? - Proudly built in small-batches from end to end on site, in the USA by a small team of skilled assemblers. Each assembler is assigned 2 products, making them masters of their craft! - Know where your hard-earned money is going and feel good about any purchase made from us! Every dollar spent helps feed a family, fund college tuition and supports new product development / R & D! - Our margins are very tight. But, this sacrifice allows us full control over every aspect of the manufacturing and assembly process. - We are able to capitalize on the USA surplus market and use NOS parts where it matters and most importantly, we are able to offer a product that is (in our biased opinions), simply a step above the competition.

FEATURES: Handcrafted in the USA in Small Batches Rugged, Fully-Enclosed, USA Made Steel Chassis Fully Integrated, Unique Circuit Modification, Made Popular by One of the World’s most ESTEEMED Mix Engineers AudioScape’s own Authentic, Sonically Period-Correct, and Handcrafted T4B Opto-Attenuator Exclusive, Custom-Wound Input Transformer (an exacting replica of the original) Exclusive, Custom-Wound Autoformer (an exacting replica of the original) Exclusive, Custom-Wound Output Transformer (an exacting replica of the original) Cornell Dubilier Polypropylene Axial Capacitors NOS Metal-Can Transistors HF Emphasis Control (Fully Variable) - Allows you to FOCUS the Compression to a Specific Area of the Frequency Spectrum Stereo Link Control - Center Detended and Fully Variable (this control is a LOAD of fun when using the V3A on mono-sources or unlinked) Bypass Switch Stereo-Link Switch Illuminated, Custom AudioScape VU Meter (Switches Between Output Level +4dB and Gain-Reduction) Allen-Bradley Carbon Film Resistors in Key Areas of the Signal Path Alpha Potentiometers

V3A FAQ & CONTROLS (Switches - IN vs. OUT):

Is it in bypass when the button is pressed? BUTTON IN = Unit Engaged BYPASS BUTTON OUT = Bypass

Is it in comp or limit when the button is pressed? BUTTON IN = COMP BUTTON OUT = LIMIT

Is the HPF all the way off when turned clockwise or counterclockwise? HF Control all the way COUNTER-CLOCKWISE means you're getting full-frequency compression (FLAT) as you turn the HF knob CLOCKWISE, more and more high-end gets COMPRESSED (this control works in an OPPOSITE manner to the HF EMPHASIS control on our OPTO COMP )

Metering button: +4dB and GR Button: BUTTON IN = Output Level BUTTON OUT = Gain Reduction

Is clockwise more compression or less? GAIN and COMP work as you'd expect, as you turn them CLOCKWISE, you get MORE (be it GAIN or COMPRESSION)

How does the stereo linking work - mechanical telepathy or is there a physical connection somewhere? Mwhahaha, love this one. Stereo Linking is achieved if your chassis allows it (usually there is a jumper inside (near the edge connectors) with a little jumper that will "link" Slots 1/2 or 3/4, etc...

What does the stereo adjust knob do? THIS is a REALLY cool control - it will have an effect whether the STEREO LINK button is pressed in or not. It's "technical" purpose is to match the gain reduction between two units via the meter BUT it also has this BADASS, easter egg effect of allowing you EXTREME compression the more it's turned CLOCKWISE (and LESS when turned COUNTER-CLOCKWISE below the center detent). It's usually best left at 12 o'clock (center detented) but PLEASE experiment and let us know what you come up with!

A SWEET trick is to turn up the STEREO ADJUST knob as you turn up the COMP knob to get some INSANE compression happening - THEN simply turn the STEREO ADJUST KNOB counter-clockwise from where it's at to "ease off" of the amount of compression. It's easier to play with it than describe it but if you don't want to think about it just leave it at high-noon (again, center detent).

An easy way to remember what the buttons do is to press the METERING button and look at how it's labeled, with +4dB on top and GR below it. Button IN = +4dB (output level) Button OUT = Amount of Compression To Surmise: IN = Top Option (COMP or +4) OUT = Bottom Option (LIMIT or GR) When there is only ONE option labeled (in the case of BYPASS and STEREO LINK): BYPASS: IN =Engaged OUT = Bypass STEREO LINK: IN = Stereo Link OUT = Bypass Link (if two units are in use)

The MD 211 is a dynamic studio microphone with an omnidirectional characteristic. Due to its qualities such as low handling noise sensitivity, no proximity effect even at very short distances, no distortions at very high sound pressure levels, flat frequency response and small dimensions the MD 211 has earned the reputation of being a high quality studio microphone. High-quality dynamic omnidirectional microphone with an almost linear frequency response

known as the "Tom Jones microphone". Named after his television series "This is Tom Jones" (1968-1971) convincing answer to Beyerdynamic's M100 elegant, cylindrical housing very large transmission range optimized for close-up recording (free-field equalized) only a moderate mid-range boost compared to the MD21 bass reduction below 150 Hz insensitive to structure-borne noise distortion-free transmission even at very high sound pressure rental copies have the model version MD211U (XLR) period of manufacture: 1962-1988 the original brochure from 1962 is available in the Sennheiser archive in our library Preferred areas of use: close-up miking of acoustic instruments, bass drum, speech, singing Dimensions (W x H x D) 22 x 22 x 120 mm / 0.9 x 0.9 x 4.7 inch

Dimensions (W x H x D) 22 x 22 x 120 mm / 0.9 x 0.9 x 4.7 inch

Note: Dynamic microphone as a pressure receiver. Transmission range 50 to 20,000 Hz, omnidirectional, sensitivity 1.6 mV/Pa, impedance 200 ohms. No proximity effect, therefore suitable for reporters. Connection plug DIN or XLR depending on the variant. Versions: MD 211 N = low-impedance MD 211 U = low-impedance, with XLR-3 connector Net weight 0.1 kg / 0 lb 3.5 oz (0.22 lb) VDRG manual 1975/1976 Radio technology (FT) (18/1962, p. 616 / description) Original prospect or advert (Sennheiser Revue, Aug. 1979 + Sept. 1981)

The Solis Ventus by GFI System is a Reverb + Reverb, Delay + Delay, or Delay + Reverb, in any order Solis Ventus is a dual‐engine Delay and Reverb pedal, able to run two algorithms at once, with arbitrary pairings, ordering, and routings. A special 'Stompbox Mode' dedicates one footswitch to control the on/off state of each engine, effectively turning the Solis Ventus into a quick and dirty two-stompbox setup. And as always, external control devices may be used to open up even more interactive possibilities. 15 Delays, 9 Reverbs, 96 Presets In addition to several new exciting algorithms, the entire algorithms library from the Specular Tempus have been brought back, improved and expanded, for the Solis Ventus. Routing.gif Flexible Routings Stack your delay and reverb, combine them in parallel, or run them independently in dual mono channels, and then swap them around on the fly, Solis Ventus has all your wild ideas covered. Routing, ordering, and on/off state information are clearly displayed at all times so you will never get lost. Stereo Looper A 40 second stereo looper is available that works independently from the Delay and Reverb engines, either before (Pre) or after (Post). A perfect tool for creating a sound-on-sound style loops. The layering of sounds didn't stop there: the playback effects cover standard and experimental application, from speed manipulation, sound reversal, to an ever increasing pitch transposition. edited 12.jpg Midi, Exp, AUX.jpg Expansive External Control Expression - 2 expression pedal inputs (with CV compatibility).​​ Aux Switches - accepts up to 3 external switches for additional control (bank up/down, tap tempo, etc). MIDI In / MIDI Thru/Clock - nearly all features and functionalities of the pedal are opened to MIDI access. Dynamics Engine Independent dynamics processing engines, placed post DSP X and DSP Y, enable dynamic effects (ducking or gating) to be applied to any delay or any reverb algorithms in the Solis Ventus. Both DSP X and and DSP Y have their own dynamics engine, bringing an unprecedented flexibility and precision in sculpting your dynamic delay and reverb soundscape. Crossover Engine A switchable crossover filter allows you to split the input signals into two frequency bands, one frequency band is routed to DSP X and the other band is routed to DSP Y. This band splitting allows the X and Y engines to run the algorithms on different frequency bands, a wonderfully effective tool for creating unique moods and textures. You can even modulate the cutoff frequency via MIDI for an otherwordly effects! Specification: Input impedance: 1 MOhm. Output impedance: 500 Ohm. Volume trim: +/- 3dB. Max input level: +7.23 dBV = 9.45 dBu = 6.5 Vpp. SNR: 115 dB typical. AD/DA: 24-bit, 40 KHz. Bypass: Buffered or True Bypass (selectable). Output jacks : 1/4 inch TS. Input jacks: 1/4 inch TS. MIDI Input / MIDI Thru jacks: 1/4 inch TRS. USB connector : Type C Dimension : 17 x 12 cm (6.7 x 4.6 inch) Power requirement : 9V DC / < 350mA, negative-center plug (power supply is not included).

Key Features Dual engine Delays and Reverbs. Runs two algorithms simultaneously.

Achieve any delay-delay, reverb-reverb, or delay-reverb pairing, in any order. Analog dry-through. 96 presets. True spillover and bypass trails. Flexible routing: Series, Parallel, and Dual Mono. Flexible usage: Preset Mode or Stompbox Mode. Stereo Looper (40 seconds). Instrument Level and Line Level. Aux switches control input. 2 expression pedal inputs (with CV compatibility). MIDI Input and MIDI Thru/Clock. High-contrast OLED display.

The FET120 can be used as an overdrive pedal to drive your amp and other pedals, or you can run it as a preamp style pedal into the FX return of an amplifier to get your amp voiced for doom. Between the powerful Active Baxandal tone stack and the wide gain range the FET120 is a versatile tool on any pedalboard. Vintage amp overdrive tones based off of the classic 70s OR series amplifiers. This pedal utilizes FET based op amps to emulate the sound of the famous tube preamps in a compact pedalboard format. Voiced to work well for down-tuned guitars and bass covering clean boosted tones as well as huge saturated fuzz tones. The Bass/Treble tone stack gives you complete control over your sound. The Active Baxandall stack can boost/cut 20dB and are very powerful for guitar or bass players when dialing in their live sound. Tons of output volume available to boost the front end of your amplifier or your amps FX return to make the FET120 take the place of your amplifers preamp section.

Volume: Adjust the overall output level of the pedal. Plenty of output available to push your amp further into overdrive Bass: Active Baxandall circuit provides +/-20dB boost or cut Treble: Active Baxandall circuit provides +/-20dB boost or cut Gain: Adjust the amount of internal gain/overdrive Power: Use only a 9v center negative 2.1mm power supply. We recommend using an isolated power supply to avoid noise issues. Dimensions: 120 x 94 x 42.5 mm Switching: True bypass soft switching Current Draw: 45mA Artwork from Steven Yoyada Use of an isolated 9-volt, center negative (-) DC power supply is recommended for optimal performance. Power supply not included.

The Super Festival Series 800 Booster by Peavey is a Power Amp and Slave from the 70ties The 800 Booster features our. field proven 800 module deliver- ing 400 Watts RMS @ 0.2% THD. The 800 module uses ten high. ... The input circuit of the 800. Booster provides paralleled inputs. for both balanced and unbalanced. ... for balancing the system or moni- toring the amplifier's output sig- nal.

The Sony DTC-A7 is a neat DAT deck capable of recording at 44.1 kHz with analog input. It allows you to choose from three sampling frequencies (48 kHz, 44.1 kHz, and 32 kHz) when recording in standard mode and is even equipped with a date function that can automatically record the date/time of recording on the tape A DAT deck capable of recording at 44.1 kHz with analog input. When recording in Standard mode, you can select from three sampling frequencies : 48 kHz, 44.1 kHz, and 32 kHz. By using LP mode, long recording of up to 4 hours (when using DT 120) is possible. With the subcode function, you can write / erase the program No., etc. in any place, and it is possible to quickly start and repeat playback. It is equipped with a date function that can automatically record the date and time of recording on the tape, and a アブソリュー and time function that can continuously record the absolute time from the tape top. It uses 1-bit A / D and D/A converters. It also uses a second generation LSI for signal processing and a 2D. D. + 1 reel motor mechanism for the mechanism. The SCMS-compatible digital input / output terminal enables digital recording of one generation from CDs. A 19 inch rack-mount adapter is included. Wireless remote control is included. Type DAT deck Sampling frequency 48 kHz, 44.1 kHz, 32 kHz Dynamic range 90 dB or more (EIAJ) Signal-to-noise ratio 90 dB or more (EIAJ) Frequency characteristic 2 Hz to 22 kHz ± 0.5 dB Wow flutter (EIAJ) Measurement limit (± 0.001% W. peak) or less Total harmonic distortion factor 0.005% or Less (1 kHz, EIAJ) Input-output Analog Line in/out Digital In / Out Power consumption 24W External dimensions Width 430x Height 128x Depth 325 mm Weight 7kg Attachment Wireless Remote Control RM-D70 19-inch rack-mount adapter Pin Plug to Standard Jack Adapter plug

Its a LP recording copy, made in Japan in the 70ties by Buck & Ricket

The Buck & Ricket LP Recording is a Vintage LP Recording Copy, (MIJ) Made in Japan in the 70ties by Buck & Ricket

Its a LP recording copy, made in Japan in the 70ties by Buck & Ricket

The Danelectro DB604 in Black Burst Doubleneck Electric Guitar/Electric Bass 6-String guitar neck 4-String bass neck Body: Frame and central block made of poplar with Masonite top and back Bolted maple necks Pau Ferro fretboards Neck profiles: C Scale Bass: Long Scale Colour Black Soundboard Plywood Neck Maple Fretboard Pau Ferro Frets 21 Scale 622 mm Pickup System Miscellaneous Design Doubleneck Body Plywood Top Masonite Elektronic Passive

21 Frets Pickup: 2 Lipstick single coils per neck 1 Volume control (stacked) 1 Tone control (stacked) 2x 3-Way minitoggle switches Chrome-plated brass saddles Colour: Black Burst

The Danelectro DB604 in Black Burst Danelectro presents Miscellaneous Basses DB604 Black Burst. If you are on the lookout for electric basses or guitars and basses in general, then this may be a fitting choice. Make sure to check out the reviews but first of all press the red button below to see if it fits your music taste.

Doubleneck Electric Guitar/Electric Bass 6-String guitar neck 4-String bass neck Body: Frame and central block made of poplar with Masonite top and back Bolted maple necks Pau Ferro fretboards Neck profiles: C Scale Bass: Long Scale Colour Black Soundboard Plywood Neck Maple Fretboard Pau Ferro Frets 21 Scale 622 mm Pickup System Miscellaneous Design Doubleneck Body Plywood Top Masonite Elektronic Passive Doubleneck: Shorthorn shape Scale length: 25″ Number of frets: 21 Fretboard material: Rosewood Fully adjustable 6 string and 12 string bridges 6 string: 2 Lipstick® pickups 12 string: 2 Lipstick® pickups 2 stacked volume/tone knobs 3-way pickup selector switch 2-way guitar selector switch 21 Frets Pickup: 2 Lipstick single coils per neck 1 Volume control (stacked) 1 Tone control (stacked) 2x 3-Way minitoggle switches Chrome-plated brass saddles Colour: Black Burst

The Danelectro DB604 in Black Burst Doubleneck Electric Guitar/Electric Bass 6-String guitar neck 4-String bass neck Body: Frame and central block made of poplar with Masonite top and back Bolted maple necks Pau Ferro fretboards Neck profiles: C Scale Bass: Long Scale Colour Black Soundboard Plywood Neck Maple Fretboard Pau Ferro Frets 21 Scale 622 mm Pickup System Miscellaneous Design Doubleneck Body Plywood Top Masonite Elektronic Passive

21 Frets Pickup: 2 Lipstick single coils per neck 1 Volume control (stacked) 1 Tone control (stacked) 2x 3-Way minitoggle switches Chrome-plated brass saddles Colour: Black Burst

EG540SSC

6 String Acoustic/Electric - DISCONTINUED Specifications Top Solid Spruce Back Nato Sides Nato Finger Board Rosewood Electronics TK40 Finish Gloss Natural NEX Body This original Takamine body is a scaled-down Jumbo at heart. The NEX has a silky balance to the tone that supports vocals beautifully.

The EG540SSC by Takamine 6 String Acoustic/Electric - DISCONTINUED Specifications: Top : Solid Spruce , Back: Nato , Sides: Nato , Finger Board: Rosewood , Electronics: TK40 , Finish: Gloss Natural , NEX Body This original Takamine body is a scaled-down Jumbo at heart. The NEX has a silky balance to the tone that supports vocals beautifully.