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Donner EC1335 White Tape Delay All in one Donner White Tape stereo delay pedal

Donner White Tape is an analog circuit stereo tape delay pedal that realistically emulates the sound of those legendary tape echo machines. White Tape provides the warm and organic tape delay sound and keeps decay of echo as natural as possible. The maximum delay length 1000ms can suit for most kind of guitar playing. Perfect for synthesizers, guitars, drum machines, and more.

White Tape Stereo Delay Features

Classic Tape Delay Sound Provides the sought-after timbre of the original tape echo machines complete with ‘wow’ and ‘flutter’ effects, and authentic bass drop-off on the repeats. White Tape provides the warm and organic tape delay sound and keeps decay of echo as natural as possible. Analog dry signal path and True bypass switch keep the nature tone. Stereo delay pedal Two independent delay channels and controls gives your tone a sense of space and substance in stereo setup. Provides the sought-after timbre of the original tape echo machines complete with ‘wow’ and ‘flutter’ effects, and authentic bass drop-off on the repeats. Analog dry signal path and True bypass switch keep the nature tone. Versatility delay pedal White Tape provides the warm and organic tape delay sound and keeps decay of echo as natural as possible. The maximum delay length 1000ms can suit for most kind of guitar playing. Perfect for synthesizers, guitars, drum machines, and more . White Tape Stereo Delay Controls 1. DC IN: Input for power supply, use a 9V DC regulated power supply 100mA, center pin negative. 2. Level knob: Adjusts the delay signal level of the left/right channel. Fully counterclockwise will give you dry guitar signal. Clockwise will increase the delay level. 3. Time knob: Adjusts the delay time from 25ms to 1000ms of the left/right channel. 4. Feedback knob: Controls the delay feedback of the left/right channel, Fully counterclockwise will give one repeat and at fully clockwise you get infinite feedback 5. LED: Indicates the effect on/off. 6. Input jack: 1/4" mono audio jack left/right input for connecting to the input device or instrument. When the mono input jack L is connected, it can output stereo signals. 7. Output jack: 1/4" mono audio jack of left/right output, effect output for connection to amp or other devices. 8. Foot switch: Engages and disengages the effect, true bypass.

Hiwatt Leeds 50R Guitar Combo:

Named after one of the most legendary live recordings in rock music, the Leeds 50 delivers classic Hiwatt tone using the chewy goodness of our carefully voiced analog MOSFET preamp paired with a beefy power amp. Feel the difference of big transformers for extended low output and precise response. Two channels with dedicated EQ sections to sculpt your tone, backed up with real spring reverb for ambience. The Leeds 50 combo is fully-loaded with our specially-voiced Octapulse 12" speaker. Specifications

Effects Loop: Send & Return

Channels

Clean Overdrive

Inputs

1/4" Clean/Overdrive (Channel Selector) 3.5mm AUX Input 1/4" Channel/Reverb Footswitch Input

Outputs

3.5mm Headphone Output 1/4" External Speaker 1/4" Direct Output

Controls

Reverb Level 3-Band Clean Channel EQ — Treble, Middle, Bass Clean Channel Volume Clean/Overdrive Channel Selector Overdrive Channel Volume 3-Band Overdrive Channel EQ — Treble, Middle, Bass Overdrive Channel Flavor Toggle Overdrive Channel Gain

The Sequential Circuits Pro-FX Model 500 Multi-Effects Unit Digital Delay + Reverb + Flanger / Chorus Sequential Circuits Instruments Pro-FX Model 500 including the System Controller module, Digital Delay Model 524, Reverb with 19" Reverb rack Model 518 and Flanger Chorus Model 522. The Pro-FX 500 from Sequential Circuits is a fully programmable, microprocessor-based, modular signal processing system. It consists of a mainframe 19" x 3U high, rack-mounting chassis containing the System Controller and space for up to six effects modules. It is capable of storing the control settings for every knob and switch as a 'program' in memory. Up to 64 such programs (eight banks of eight programs each) can be retained in non-volatile memory, as well as 64 user-created sequences.

Up to 30 effects modules can be controlled by one System Controller alone which only remembers and reprograms each module according to their slot location within the rack. All interconnections of modules are done using mono jack leads, and since modules only have one output you require 'Y' cords to patch one module to two destinations. Modules can be removed as long as their cage (chassis) slot remains vacant.

The System Controller front panel contains eight Program Select black pushbuttons below which is a two digit LED display. This shows the program number selected eg. 34, which describes bank 3, program 4 in memory.

The Pro-FX has three modes of operation: (1) Manual (2) Preset and (3) Edit; these shall now be described.

Manual

On power up the Controller defaults into Preset mode and the effects are programmed for the default (11) setting. Pressing the 'Preset' button to the left of the LED display once, disengages this mode returning all control settings to their current front panel status. In Preset mode the knobs do not indicate their value, so switching to Manual can be hazardous if you have a level control turned up full, for example.

Preset

The Pro-FX 500 stores settings of every front panel control as one 'program'. You can create Presets by setting your patch up in the Manual mode and recording them into the memory; or by editing an existing Preset, then recording your new version into the same location or a different one.

64 programs are available as eight banks of eight programs. To select one of them you press a combination of the Program Select buttons. The programs run from 11 to 18, 21 to 28 etc.

To record a program you first need to set the back panel slider to Enable, then press the red Record button — it should light. Select the location you wish to record in eg. 74, and it's recorded. You verify your program is safe by hitting 'Preset' and select 74. Switching back the slider to Disable prevents erasure of your data — it's ideal for live use where you don't want people fiddling with your control settings.

Edit

Any program can be selectively edited in Preset mode by adjusting any front panel controls, which remain 'active' all the time. If you get it wrong, pressing the Preset program number again restores the original values, as they weren't recorded.

If you move a control in Edit mode nothing happens. Edit is only activated by turning the control until it reaches the programmed knob setting, when the Preset button LED will blink and Edit LED lights up. That control only, is now in Edit mode. The idea is that slowly turning a control until the LED lights will then show you at what position the previous programmed control was left. Simply press 'Preset' to return to start if you turn the knob too far. To store that edited program, press Record plus the program number!

Sequences

Up to 64 sequences of program changes can be recorded then played back, advancing them one at a time via a footswitch or sync pulse from tape — superb for mixing, on stage or even in the studio. These sequences can be programmed in any order and then looped automatically to cycle through the changes. All sequences are saved and loaded along with the programs through the tape interface.

To record a sequence you need to connect the footswitch to the socket marked FTSW 2 on the back panel, then press and hold it down. Enter the required sequence number (the SEQ display will light), press the Record button and select the numbers of the programs, one after the other, and release the footswitch.

To playback that sequence you press and hold the footswitch, select the sequence number (display lights up) and release the switch. Now every time the footswitch is depressed the program will advance. A clever feature, enables you to manually select another program at anytime from the front panel without destroying the program running order.

It is, however, impossible to erase sequences; you have to overwrite a long sequence with a single program sequence in order to free extra program areas. If the sequence memory is full to capacity then the display will read 'FF' and no more sequences can be constructed.

The Pro-FX System is an extremely easy unit to get on with. There's even a self-diagnostic memory test procedure available if the System Controller refuses to obey commands, which makes troubleshooting so much more simple a task.

Rear Panel

This features a CV In socket. Connecting an external control voltage to this lets you programme those module functions having 'External' front panel switches. The Data jack socket is used to send and receive data between several 'slaved' System Controllers, whilst the 24 pin connector 'daisy-chains' the expansion cages of modules, so that they can all be controlled by the one overall System Controller. Lastly, there are the Record Enable/Disable switch and the XLR (FTSW 1) socket. The former allows you to write to the Controller memory locations or not, whilst the latter socket is for future connection to an 'intelligent' footswitch that will incorporate an LCD display and give access to programs.

Tape Interface

On the rear of the back panel are the To Tape and From Tape jack sockets which are used to store program/sequence data onto cassette or tape, thus allowing a library of effects patches to be maintained. These sockets also read sync pulses in/out from tape.

It's advisable to get into the habit of dumping all important programs and sequences to tape as soon as is convenient, thus safeguarding against computer failure. Tape sync pulses are designed to be recorded onto one track of a multitrack machine using the To Tape socket fed to the Mic or Line input of the recorder, and recorder output fed into the From Tape socket. Then, every time a program is advanced (either manually or automatically via the footswitch) a synctone is output to the tape recorder. However, this is not the case when reading pulses off tape; if it were, you'd end up with another (unwanted) pulse being recorded back onto the multitrack.

Right hand panel modules.

Modules

Now we shall take a look at the range of effects modules available for the Pro-FX.

Digital Delay

This unit offers a delay range of 0 to 1 second at 15 kHz bandwidth, or 666 milliseconds to 2 seconds at 7 kHz. It occupies three times the width of the usual module and has a 4 digit LED display for Delay Time. To the left of this are In and Out, 5 segment horizontal LED bargraphs giving indications of the system headroom.

Both input and output Levels are provided with a dry/delay Mix control for setting the balance of effect to original signal.

The Delay section has controls for Fine and Coarse tuning of the delay time, the latter selecting the delay in a 15 step range, whilst Fine is used to set precise times. Fine is adjustable over a 3:1 range set by the Coarse value. These control knobs were fairly jerky to use and prevented really accurate setting of a delay. Pressing in the External switch below the Fine knob effectively halved the overall delay time.

Regeneration Level sets the amount of signal being fed back into memory, resulting in multiple echoes at long delay and hard reverberation on faster delays. A novel feature is the inclusion of 24dB/octave high and low pass filters on the regeneration circuit which can be used to filter the echo/reverberation effects, creating the feel of various size rooms.

The modulation section is used to produce flanging, vibrato and chorus-type effects and has Rate, Depth and Shape controls. Depth is variable from 0 to 4:1 sweep of the delay time, Rate from 0.03 to 18Hz (a nice range), whilst Shape sets the type of modulation in use. Sine, square and envelope follower are all possible. Sine produces a very good chorus, and some weird vocal treatments, not too unlike a vocoder, can be produced on envelope follower with Depth and Rate near full.

The rear panel features a Repeat footswitch jack, which is extremely useful; an external modulation input, and Regeneration Input/Output sockets to allow external signal processors to be inserted in the Regeneration loop.

The sound quality from the unit is high; as expected from a 14-bit device. When you consider that every control is programmable and delay 'patches' can be stored and saved on cassette, you begin to realise how powerful this unit is and how useful it is. RRP £895 inc. VAT.

Parametric Equaliser

One of the best modules, having a comprehensive selection of dual controls that caters for almost all equalisation requirements. There are two overlapping frequency bands each with EQ cut and boost of 16dB, a bandwidth control adjustable from one-sixth to 2 octaves range and centre frequency can be adjusted from 20Hz-2kHz (Low Frequency) and 200Hz-20kHz (High Frequency). An overall Level cuts the input signal to prevent distortion, which is easy to produce when cutting or boosting levels by excessive amounts, and the peak LED indicator should prove helpful on this count.

LED switches change the high frequency band shape to a shelving response which gives a frequency cut-off on one side of the band only, whilst the HF/Filt switch converts the HF band into a tunable low-pass filter for removing top end hiss. In this mode, the bandwidth control functions as a resonance adjustment.

Using the CV input facility on this module lets you control the LF band externally from a synth to produce swept bandpass 'wah-wah' effects which were particularly appealing on a direct-injected bass guitar signal, for example.

Setting the exact amount of equalisation is always quite difficult, but one way of simplifying matters is to continually switch the EQ from effect to bypass after each adjustment in order to hear the difference. All in all a very versatile module that would provide a powerful EQ system for live work or even the studio. RRP £383 inc. VAT.

Transpose/Sync

This module provides synthesiser effects and is designed for guitars/basses. It will only accept a monophonic input signal, but by using the controls it can produce outputs one octave above and either 1 or 2 octaves below the original. The switch labelled 'Lower Fuzz' is used to boost the extremely low frequencies through distortion, which introduces an upper harmonic content boost to add a bit more definition to the bottom end.

A dual dry/effect control lets you mix the relative balance between the various signals. The upper voice can be selected to track the original at any interval between a -1 octave/+2 octave range when voltage controlled via the rear panel CV input, or made to sweep up and down in frequency. This was excellent on lead guitar, and utilising the upper sync LED switch, the upper voice could be 'hard synced' to the input producing timbral modulation effects that totally transformed vocals and virtually turned a rather thin Casio MT-30 into a Prophet 5! If this was polyphonic it would be tremendous. RRP £395 inc. VAT.

Distortion

Four rotary controls provide adjustments to Tone, amount of Distortion, input Level and Sustain. The latter controls a built-in compressor which can be used to obtain long, sustained guitar lines without the need to resort to distortion if required.

The Distortion is variable in depth and produces a smooth overdrive sound when set below halfway, and a warm raspy effect on full. External voltage control is possible of both Level and Distortion, but the CV input signal is the same for both parameters, so you need to alter the panel functions to vary the relative depths of each. Considering the price of this module it is the most disappointing with a limited range of sounds on its own. RRP £228 inc. VAT.

Reverb The unit utilises a 6-spring delay line, built into a 1U high, black 19" rackmounting case, with active limiting to help overcome the usual springline side-effects on transient material. The actual module houses controls for dry/effect Mix and there's a three band EQ which can be used to tune the reverb signal bandwidth to create different 'acoustical environments'. This has controls for Low Pass (200 Hz - 20 kHz) and High Pass filters (20 Hz - 2 kHz) and a Mid tone control whose frequency could be varied as well as the amount of signal cut and boost. Whatever you do don't mount the reverb on top of the System Controller as this tends to result in excessive 'hum'. A fairly versatile module. RRP £315 inc. VAT. 4x2 Mixer Each of the four programmable inputs have both Pan and Level controls with a peak LED indicator to help set mixing levels. The input is panned between outputs A and B which are available at the rear panel ¼" jack sockets. Also on the rear are two A and B input sockets which permit several 4x2 Mixers to be cascaded to increase the channel inputs. This module has no in/out switch, since it is the one unit that you'll always have need to use and so it's left permanently in circuit once patched. An interesting use of the unit is to provide a programmable level control for an external delay, for example, by patching the delay into a mixer channel and varying the mixer's Level control (and effectively altering that of the delay!). A basic module this one. RRP £290 inc. VAT. Phase Shifter Six 180° phase-shift networks are employed to produce three frequency notches which, when combined with the original input, produce phasing. A triangle wave LFO is used to sweep the notches up and down the frequency band set by the Range control. Regeneration is used to vary the intensity of the phasing, and controls are available for Speed and Depth of modulation which are indicated by a pulsing LED. Selecting Vibrato defeats the 'dry' signal completely to give a pleasant effect that resembles a Leslie speaker on faster Speed settings. A built-in noise gate helps clean up the background modulation noise leaving a clean signal. Voltage control of both Speed and Range is possible on this unit which can lead to some interesting treatments. RRP £290 inc. VAT. Flanger/Chorus A stereo module offering delay times ranging from 0.5mS to 38mS, Regeneration and four sources of modulation: LFO triangle waveshape, LFO sine, Envelope Follower and an External control voltage. The modulation sweep ranges from 0.05 Hz to 10 Hz and LED indicators display the signal peaks, depth and rate of modulation. Individual output levels for dry and effect help set up a wide range of flanging effects, and the Effect Invert pushbutton produces a 'hollow' colouration. The 12 kHz bandwidth ensures a bright, clear sound and a very rich chorus. RRP £448 inc. VAT. Conclusion The System Controller is a well designed, easy to operate device. Programmability is without doubt the plus factor of the whole Pro-FX system, and tied in with the modular format, makes this package highly desirable.

Morningstar Engineering MC6 Pro MIDI Controller With a massive display upgrade, an entirely new processor and a never-before-seen array of connections, MC6 Pro is by far the most powerful and user-centered MIDI controller yet. 128 Four-paged Banks of 6 Switches That’s 3,072 programmable preset slots. You'll never run out of space again. Creativity knows no bounds. Neither should your controller. Simultaneous MIDI Control Send up to 32 different MIDI messages with a single switch. Control up to 16 different MIDI devices via 16 unique selectable MIDI channels and the option to route messages only through specific MIDI outputs. Name your Switches and Banks All switches and banks can be named so you always know exactly what they do. 3 Full Color LCD Displays Experience enhanced visual feedback with a triple display. Get real-time visual feedback on important information such as current bank, active preset, expression pedal position and tempo BPM. All designed to help you perform better. Color Strips Color code your presets and switches to group or differentiate them. Color strips can also dim or brighten to show you the state of each preset. So you always know which preset is active, and which effects are engaged or bypassed. Shapes and Symbols Shapes and symbols can now be added to preset names, allowing for even quicker, more intuitive identification. 4 Omniports Four 1/4 inch ports that can be individually set to function as MIDI outputs, Aux switch inputs or Expression pedal inputs. 2 TRS Relay Control Ports Dual TRS relay ports enable amp switching, manipulation of non-MIDI tempo and control over any device that employs relay switching USB-C Ports: Device and Host Two USB-C ports each serve different purposes. The Device port connects to your computer to control your DAWs, music software and for use with the MC6 Pro Editor, which has been further enhanced for the best experience yet. The Host port is a built-in MIDI USB host. With this, MC6 Pro can directly control other USB devices such as the Source Audio C4 Synth, Line 6 Pod Go and Zoom Multistomps. No need for a separate MIDI USB host that is both costly and cumbersome. Dedicated 3.5mm MIDI In and Out An extra MIDI in and out never hurt. This one let's you connect and power a wireless MIDI adaptor such as the CME Pro WIDI Jack, while still preserving other MIDI ports available for simultaneous wired MIDI control.

Wireless MIDI Ready Connect a wireless MIDI adaptor to any of MC6 Pro’s MIDI ports (5-pin, 3.5mm and USB-C), and easily experience the freedom of wireless connectivity. Control your computer and mobile devices wirelessly, or any other wireless MIDI devices. User-Definable MIDI and Function Message Types Every switch is independently programmable. Choose to send various types of MIDI messages including PC, CC, Note, SysEx, MIDI Clock and many more. To navigate the Morningstar controller itself, you can also select device messages to bank up/down, jump to specific banks, engage multiple switches and much more. For the full list of MIDI and function message types click here. Send MIDI Clock Sync all your time-based effects via tap tempo or pre-set tempo with the built-in MIDI Clock function on MC6 Pro. This eliminates the need for a separate MIDI clock device. Action Based Control Send different messages with the same switch depending on what action you perform on it - Press, Release, Double Tap, Long Press and more. For the full list of action types click here. USB Class Compliant MIDI Control any of your favourite DAWs and music software. Compatible with Windows, Android, OSX and iOS. Sends MIDI to your PC, Mac, phone or tablet. Receive PC, CC, Note and MIDI Clock messages, and relay them through the 5-pin and TRS MIDI outputs. Desktop Editor Downloadable or Chrome browser-accessible editor allows you to program and name your switches and banks quickly and easily.

SPECIFICATIONS: Enclosure Dimensions: 180 x 100 x 50 mm , Hardware: Aluminium enclosure , 3x Color LCD Display, 6x soft touch foot switch, Memory , No. of banks: 128 , Pages per Bank: 4 , Presets per Page: 6 , Total number of Presets: 3,072 , Power Requirements: 9-12V DC center negative
 , Minimum 250mA
 , Minimum 350mA if using Relay Ports , USB Bus Power , Phantom Power via MIDI Out pins 6 & 7

The LTD MH Series combines design elements of ESP’s H/Horizon models, like its archtop body, and from the M/Mirage guitars, like its inline headstock and extra-thin u-shaped neck. The result is a guitar that can do no wrong for any style of music. The MH-1000 EverTune offers set-thru construction at 25.5” scale for smooth access to the highest frets, using a mahogany body with flamed maple top and a three-piece maple neck. This guitar includes the innovative EverTune constant tension bridge, ensuring that your instrument remains in perfect tune at all points of the fingerboard in nearly all conditions. Its Macassar ebony fingerboard offers a compound radius for great ergonomics, and includes offset bar inlays and 24 extra-jumbo stainless steel frets. In addition to its EverTune bridge, the MH-1000 comes with an awesome nickel/black set of hardware including precise Grover tuners. Pickups on the MH-1000 EverTune are Fishman’s innovative active Fishman Fluence Modern Humbucker active pickups (ceramic in the bridge and alnico in the neck), with push-pull control to select voicings and brushed stainless covers to match this guitar’s tasty aesthetics. Each pickup offers two voices. With the ceramic bridge pickup, Voice 1 is the ultimate high-output ceramic humbucker bridge pickup tone… crisp, searing crunch, tight bass with no mud, and a growl. Voice 2 delivers modern passive attack performance that has superbly organic distortion characteristics with outstanding dynamics and response. The alnico neck pickup’s Voice 1 is Fishman’s modern active high-output tone, offering the ideal active alnico sound: full, round, and boosted, but with unprecedented articulation and dynamics. Voice 2 gives you the crisp, clean and fluid neck humbucker tone you’ve always wanted. SPECIFICATIONS: CONSTRUCTION Set-Thru , SCALE: 25.5" , BODY: Mahogany , TOP: Flamed Maple , NECK: 3Pc Maple , FINGERBOARD: Macassar Ebony , FINGERBOARD RADIUS: 300-400mm , FINISH: CHARCOAL BURST , NUT WIDTH : 42mm , NUT TYPE: Molded , NECK CONTOUR : Extra Thin U , RETS/TYPE: 24 XJ Stainless , HARDWARE COLOR: Black + Nickel , STRAP BUTTON:Standard , TUNERS: Grover , BRIDGE : EverTune (F model) w/ Nickel Saddles , NECK PU: Fishman Fluence Modern Humbucker Alnico Brushed Stainless *(Pull Tone for Voice 2) , BRIDGE PU : Fishman Fluence Modern Humbucker Ceramic Brushed Stainless *(Pull Tone for Voice 2) ELECTRONICS LAYOUT , Volume/Tone(Push/Pull)/3-way Switch , STRINGS: D'Addario XL120 (.009/.011/.016/.024/.032/.042) , CASE: MH GUITAR FORM FIT CASE , ELECTRONICS : Active

X2.6FRGN+ – Green Neon Matte Created with the most demanding guitarists in mind, this premium feature-loaded guitar belongs to the Solar Type X2 top of the line range, offering outstanding elegance and performance.

SPECS: COLOR Green Neon (GN) MATERIAL BODY Mahogany BINDING BODY No TAIL & TAIL PIECE BODY Floyd Rose Special LEFT HANDED No PICKGUARD No END PIN Round Type PICKUP NECK Duncan Solar+ (Plus) PICKUP BRIDGE Duncan Solar+ (Plus)/Bridge CONTROL 1 volume & 1 tone with push/pull for coil split SWITCH 3-way Toggle CAPACITOR 473k JACK/COVER Mono 2P CJ Jack FB MATERIAL Stained Rosewood BINDING No FRETWIRE Nickel SCALE 24.75 FRETS 22 Super Jumbo RADIUS R350 = 13.78 TOP INLAY Solar Logo on 12th Fret POSITION MARKER DOTS No SIDE DOTS Array HEADSTOCK COLOR Green Neon (GN) MACHINE HEAD Solar 18:1 STRINGS Black Smith 0946 Nano Carbon Coated NUMBER OF STRINGS 6 STRING GUIDE No N MATERIAL Maple NECK PROFILE C Shape NUT Locking JOINING STYLE Set-Through TRUSSROD Dual Action TRUSSROD COVER With Engraved Solar Logo TRUSS ROD TOOL Included HARDCASE Included

The NUX DM-8 All Mesh Digital Drum Set A 12" INDEPENDENT SNARE DRUM The DM-8 snare pad authentically emulates the behaviors of a real acoustic snare drum with its rim and shell design. The triple zone enables you to play convincing rim shots/and cross sticks while adapting to the needs of most playing situations from rock/funk/to latin and the cross stick is great for ballads or bossa nova. The snare uses the latest three-point trigger technology, which makes the sound of each position on the drumhead more balanced. Also included is a very stable independent snare stand, for the best performance. A NEW 10" KICK The newly designed 10-inch independent kick drum can fully support a double bass pedal. The new kick pedal features a double chainstay and a thicker soleplate. The double chain design makes the beater swing more stable, while the thickened base plate keeps the entire pedal from moving freely. GROUP FADER The new DM-8 sound module is loaded with innovation and eye-catching features, including the Group Faders, which assigns audio levels to each individual pad. Create your own custom drum mixes easily!Also included are 30 sets of high-fidelity drum kits with different styles. No matter the drum style, you can get the sounds you want from it. Intuitive and powerful sound customization features allow users to freely edit their own drum kits. You can assign any sound to the rim or head. USB AUDIO I/O The DM-8 module is also an audio interface, with the ability to send stereo audio and MIDI data to a Mac or Windows computer via USB. This lets you record discrete audio and MIDI drum tracks in any DAW, or trigger sounds from software based drum instruments for studio or live playing. Want to record more than a stereo pair? No problem. You can record up to 14 separate audio tracks into your favorite DAW. IMPORT YOUR SAMPLES The DM-8 enables you to import your own WAV samples via a USB Flash Drive. Now you can build your dream kit with your favorite samples and assign to any pad to play. Think of the possibilities!

Want to customize your drum sounds even further? The DM-8 includes a selection of high-quality of effects that can be applied to each pad. Simply navigate to the EFFECT menu and select your effect. Add EQ, Compression, Overdrive, or Reverb to the individual pads, or add a Master Compression and/or EQ to your overall mix. JAMMING AND RECORDING Jam Away! The DM-8 has a great selection of built in songs that you can jam along with, including a dynamic variety of musical styles for every type of drummer. Practice makes perfect! Record your solo drum performances onto a USB memory stick or upload your favorite backing track, play along with it, and save it as a WAV file to analyze your playing by hearing the entire mix play back. And finally, an AUX IN port is provided to hard connect your preferred your playback device and create a solid mix between your backing tracks and your playing. This group is mainly for DM-8, DM-210, DM-7/7X users to share their experiences and discussion, you can also share your NUX e-drums playing video here. Don't hesitate, come to share with us!! Specifications 12” Snare*1, 10” Tom*3, 10” Kick drum*1, 12” Hi-hat cymbal*1, 12” Crash cymbal*2, 14” Ride cymbal*1, Snare stand*1, Hi-hat stand*1, Kick pedal*1, DM-8 module*1 Metronome, Coach, Effects, REC, Songs, Bluetooth, USB audio, WAV import, Group fader Headphone, DC-9V, USB, USB DISK, AUX IN, L/MONO R OUTPUT, MIDI OUT, TIRGGER IN*2 9 Piece Electric Drum Kit with Remo Mesh Heads

Rockville RMM-XLR Dynamic Cardioid Professional Metal Microphone W/10' XLR Cable The Rockville RMP-XLR is designed with the professional performer in mind. The RMP-XLR has excellent vocal reproduction and will sound great whether you are in the studio or on stage. The RMP-XLR is constructed with ergonomic rugged plastic for extra comfort. The RMP-XLR features XLR output which ensures the best sound quality possible.

Mic Features: *M-06 Cartridge *Rugged Molded Plastic Construction *The weight of the microphone feels great in your hands (not too heavy or too light) *Type: dynamic *Steel Mesh Grill *On/Off switch *Polar Pattern: Super Cardioid (uni-directional) *Natural sound reproduction *Beautiful Black Finish (The perfect combination of matte and shiny black finish) *Frequency Response: 125 – 9000Hz *Impedance: 600 Ohms ± 5% *Sensitivity: -78 ± 3dB

A stunning upright piano from a long tradition of piano-makers that spans three continents. The blush walnut finish is truly lovely giving this piano tremendous appeal. The leg design is a stylized, swept leg Queen Ann. The size of the piano, just a bit larger than typical counterparts, gives the player access to a resonance and fullness that approaches grand pianos. The key action is accurate and true and the large soundboard and long string, provide good sustain of note, and depth of tone.

A George Steck Console Upright Piano New York Paris London... A stunning upright piano from a long tradition of piano-makers that spans three continents. The blush walnut finish is truly lovely giving this piano tremendous appeal. The leg design is a stylized, swept leg Queen Ann. The size of the piano, just a bit larger than typical counterparts, gives the player access to a resonance and fullness that approaches grand pianos. The key action is accurate and true and the large soundboard and long string, provide good sustain of note, and depth of tone.

A stunning upright piano from a long tradition of piano-makers that spans three continents. The blush walnut finish is truly lovely giving this piano tremendous appeal. The leg design is a stylized, swept leg Queen Ann. The size of the piano, just a bit larger than typical counterparts, gives the player access to a resonance and fullness that approaches grand pianos. The key action is accurate and true and the large soundboard and long string, provide good sustain of note, and depth of tone.

Rediscover the roots of guitar effects with the DeArmond 800 Trem-Trol, a pioneering piece that transports your sound back to the dawn of the electric era. Unlike any other, its unique mechanism utilizes a small motor to sway a bottle of mercury, crafting a tremolo effect that’s as organic as it gets. Perfect for the purist seeking authenticity or the experimenter hungry for something distinct, the Trem-Trol offers a sonic experience that digital emulation simply can’t match. Dive into history and emerge with a sound that’s truly your own.

Key Features:

• Unique mercury-driven tremolo mechanism for an authentic, vintage sound
• Perfect for achieving a wide range of tremolo effects, from subtle waves to dramatic oscillations
• Simple, intuitive design for easy use and setup
• Durable construction designed to withstand the rigors of touring and studio sessions
• Compatible with a wide range of electric guitars and amplifiers

Rediscover the roots of guitar effects with the DeArmond 800 Trem-Trol, a pioneering piece that transports your sound back to the dawn of the electric era. Unlike any other, its unique mechanism utilizes a small motor to sway a bottle of mercury, crafting a tremolo effect that’s as organic as it gets. Perfect for the purist seeking authenticity or the experimenter hungry for something distinct, the Trem-Trol offers a sonic experience that digital emulation simply can’t match. Dive into history and emerge with a sound that’s truly your own. The DeArmond Trem Trol 800 is considered to be the first guitar pedal EVER created, after that comes the Maestro and Gibson FZ-1 Fuzz-Tone Guitar Pedal.

Key Features:

• Unique mercury-driven tremolo mechanism for an authentic, vintage sound
• Perfect for achieving a wide range of tremolo effects, from subtle waves to dramatic oscillations
• Simple, intuitive design for easy use and setup
• Durable construction designed to withstand the rigors of touring and studio sessions
• Compatible with a wide range of electric guitars and amplifiers

Unleash your inner rock legend with the Maestro FZ-1 Fuzz-Tone, a cornerstone of guitar effects that defined the sound of the '60s. This iconic pedal, known for its creamy, dreamy fuzz, catapulted the guitar riffs of Keith Richards and Pete Townshend into musical immortality. Compact, yet mighty, the FZ-1 offers an authentic vintage fuzz that's both raw and refined, perfect for those looking to inject their music with a touch of history's most celebrated tones.

Key Features:

• Iconic vintage fuzz effect that shaped the sound of the 60s.
• Original and rarest model of the Fuzz-Tone family, making it a collector's gem.
• Used by legendary guitarists including Keith Richards and Pete Townshend.
• Offers a creamy, dreamy fuzz tone ideal for classic rock and beyond.
• Evolved through the '60s with various enhancements, retaining its classic essence.

Unleash your inner rock legend with the Maestro FZ-1 Fuzz-Tone, a cornerstone of guitar effects that defined the sound of the '60s. This iconic pedal, known for its creamy, dreamy fuzz, catapulted the guitar riffs of Keith Richards and Pete Townshend into musical immortality. Compact, yet mighty, the FZ-1 offers an authentic vintage fuzz that's both raw and refined, perfect for those looking to inject their music with a touch of history's most celebrated tones. Technically, the DeArmond Trem Trol 800 is considered to be the first guitar pedal EVER created. But, Gibson was the first to make a stomp box that was suitable for commercial distribution!

Key Features:

• Iconic vintage fuzz effect that shaped the sound of the 60s.
• Original and rarest model of the Fuzz-Tone family, making it a collector's gem.
• Used by legendary guitarists including Keith Richards and Pete Townshend.
• Offers a creamy, dreamy fuzz tone ideal for classic rock and beyond.
• Evolved through the '60s with various enhancements, retaining its classic essence.

The Custom H/06R White from Aristides Guitars Finish (Raw): White Body Type: H - Headless Model Code: H/06r Bridge type: Trem Fret board: Richlite Black Hardware color: Black

Five years ago, we embarked on a groundbreaking journey with one of the most innovative and refreshing electric guitarists of our time, Plini. His remarkable sound, a blend of progressive, fusion, and metal styles, inspired us to create a plugin that could match his versatility and artistry. Plini's collaboration brought out the best in us as engineers and musicians, inspiring us to create a plugin equipped with cutting-edge technology. What emerged was Archetype: Plini, a sonic masterpiece that not only met Plini's exacting standards but set a new standard in the industry. Five years later, we’re pleased to introduce an evolution of our original masterpiece, providing artists with the modern tools they need to bring their musical visions to life, echoing the success and artistic growth that Plini has achieved over the past half-decade. It's a reflection of our commitment to enhancing the music-making experience and celebrating Plini's extraordinary contribution to the world of music. We proudly present to you, Archetype: Plini X. Pre Effects Compressor: A virtual-analog model of a widely used bus compressor. The compressor’s threshold control is linked to the makeup gain so that the output volume stays constant throughout different settings. Octaver new: A simple octaver provides a blendable octave above and octave below your guitar signal. Drive updated: A boost/overdrive pedal allows for further tone tweaking for tighter rhythms and saturated lead. The brand-new fuzz switch brings even more tonal variation with rich harmonic distortion.

Delay new: Experiment with depth and ambience using a rich delay pedal. Create unique textures and soundscapes, play with feedback and explore unconventional delay effects. Amps Clean Transparent, punchy, and crystal-clean. This amplifier embodies all the definition, size, and headroom of some of the most sought after and elusive boutique amplifiers in the world in a channel that sounds as distinguished and elegant as it looks. Amps Crunch The perfect mid-point between clean and high gain. Capturing the clarity and crisp sound of the best new-wave British tones with an added twist. Lead Building upon the Crunch amplifier with an additional triode gain stage, this amplifier was designed with leads and hot-rodded, heavy riffs in mind. It also works extremely well with extended range guitars. EQ One per amplifier, with high & low pass filters for total control over frequency response. Cabsim + IR Loader A comprehensive cabsim module with hundreds of IRs captured by Neural DSP and 6 virtual microphones that can be easily positioned around the speakers. This module also serves as a standard IR loader. Post Effects Chorus new: A deep modulation effect that can switch between a vintage option for traditional 80s swirls or a spatial option for a more modern, atmospheric effect. Delay updated: A simple and rich digital delay featuring our proprietary Tape Saturation algorithm for the perfect combination between cutting edge-technology and vintage warmth and color. A brand-new Tape Modulation algorithm provides nostalgic imperfections inherent in tape delay machines.

Reverb: The multidimensional reverb offers a huge, beautiful sound that takes you to wide and narrow dimensions with the Space and Decay controls. Transpose: Pitch your guitar up or down by a constant interval (+12/-12 semitones). Use this to easily change the tuning of your instrument. Doubler: Project your signal to a simulated stereo field giving you the sound of a double-tracked recording. Metronome To perfectly supplement your practice, the metronome allows you to control time signature, accent sounds, and note values (the metronome is only available in Standalone). Tuner Now featuring an additional live tuner that displays at the bottom of the UI. Standalone The Standalone feature in Archetype: Plini X allows you to quickly install, plug and play this versatile plugin suite! Standalone is perfect for practice on the go and live use. System Requirements: Archetype: Plini X comes in 64-bit VST2 / VST3 / AU / AAX / Standalone. Latest OS Compatibility for Windows & Mac, including Native Apple Silicon. For more information about system requirements visit our support page. Free iLok License Manager and iLok account needed.

The long-awaited Joe Dart Artist Series Bass is now ready for harvest. Featuring a fresh design with natural wood, passive electronics, and a simple volume control, it's plucked right from the funk farm. Each bass is made to order, with the “crop year” inscribed on the back of the headstock to mark this special release. Note: Natural wood will have variations in color and texture — no two pieces are exactly alike. The wood figuring may differ from this photo . CLEAN LOOK, CLEANER TONE

Designed for straightforward performance, this passive bass features a humbucking bridge pickup and a single toaster knob for volume control. Reliable with a classic tone, it's perfect for playing in the pocket. CUSTOM ARTIST DESIGN The Joe Dart Artist Series bass, a collaboration with Vulfpeck’s renowned bassist, pays homage to the original Ernie Ball Music Man model. It embodies many of the Dart’s distinguished features, from the minimalist aesthetic to the lightweight build. Plus, Ernie Ball Flatwounds for the smoothest cherry on top. EFFORTLESS PLAYABILITY Built from the vintage-inspired Sterling body, the Dart’s slightly smaller neck profile delivers a timeless tone in a comfortable package. The warmth and clarity of the soft maple wood perfectly complements the natural finish. Specifications Model DART Body Wood Soft Maple Body Color Natural (NT) Bridge Fixed Bridge Pickguard N/A Scale Length 34" (86.4cm) Neck Radius 9.5" (24cm) Frets 22 Frets, Medium Neck Width 1.5" (38mm) at Nut, 2.44" (62mm) at Last Fret Neck Wood Hard Maple Fingerboard Hard Maple Fret Markers Black Dot Markers Tuning Machines Open Gear Truss Rod Dual Action Neck Attachment 5 Bolt Pattern Controls 1 Volume Switching N/A Pickups H - 1 Ceramic Humbucker Strings Ernie Ball 2805 Flatwound Strings Gig Bag N/A

The D-X1 Black is an affordable acoustic Dreadnought model available in a striking all-black colorway. The body's top, back, and sides are made of high-pressure laminate (HPL), a durable material that doesn't sacrifice the classic Martin tone you know and love. This sleek, special addition to the remastered X Series lineup includes playability enhancements like a thinner fingerboard with a gently beveled comfort edge and refined string spacing, and a modernized bridge contour for a smooth and comfortable playing experience. Its iconic and versatile body size is loud and projective with strong bass, lending itself to any genre, from folk to bluegrass to rock to country and everything in between. It also features chrome closed gear tuning machines, a birch laminate neck with Richlite® fingerboard, and a herringbone pattern around the rosette. All X Series models come with a softshell case. Specification Body Size D-14 Fret Top Material Black HPL Brace Shape/Pattern Scalloped X-Brace Back & Sides Black HPL Neck Material Birch Laminate Neck Shape PA Profile Nut Material Black Corian Fingerboard Richlite® Scale Length 25.4" Number of Frets 20 Nut Width 1 3/4'' Bridge Material Richlite® Saddle Black Tusq Tuners hrome Closed Gear

The S-407 is a powerful, stylish yet understated 7 string guitar. Built for players who crave deep, rich tones with extended range capabilities. With a roasted poplar body and Canadian roasted maple neck, the S-407 offers outstanding playability and thunderous, defined low end. Its Ebony Tech fretboard, featuring 24 jumbo frets, ensures a smooth and responsive playing experience, perfect for advanced and complex techniques.

Loaded with a pair of Spira’s VillainTM 7 string humbuckers, the S-407 produces rich, powerful tones. The guitar’s streamlined design and high-quality hardware plus locking tuners provide exceptional tuning stability and precise intonation, making it an ideal instrument for both live performances and recording sessions.

Available finishes (Satin) – Black, White and Wine Red.

The S-400 is a sleek high-performance double cutaway shred machine designed for players who demand modern design with exceptional tone and playability. The S-400 features a roasted poplar body and a Canadian roasted maple neck, ensuring both durability and superior performance. Its Ebony Tech fretboard with 24 jumbo frets provides a silky smooth, responsive playing experience whatever the genre.

Equipped with Spira’s VillainTM custom humbucker set in an HH configuration; the S-400 delivers powerful yet articulate tones however high the gain levels. The guitar’s sleek design, precision hardware and locking tuners offer excellent tuning stability and intonation, making it a reliable choice for both stage and studio.

Available finishes (Satin) – Blue, Dark Green, White, Black, and Wine Red. Machine Head Black, Locking Neck Canadian Roasted Maple Shape Modern D Fretboard Hi graded Ebony Tech Radius 14″ Nut Width 43mm, 48mm on 7 string Nut Artificial Bone Truss Rod Double Action string Scale 25,5″ Number of frets 24 Jumbo Body Roasted Poplar Pickup HH, Spira Villain, Custom Made, 12k output, Ceramic Magnet Bridge Fixed Controls 1 Volume, 1 Tone Hardware Black Finish Satin

The Reverse Woolly Mammoth is a special edition pedal utilizing NOS 1960s germanium 2N404 transistors. These sound a bit smoother and creamier than a standard Woolly Mammoth. It also has reverse polarity, like many beloved fuzzes of the 1960s. Great on bass and guitar! Hand assembled in Minneapolis, MN, USA. Designed for bass, a favorite for guitar, this incredibly sub-frequency-preserving unit will hold on to the lowest lows like no fuzz ever heard before. It features a gentle gate for silencing your instrument between notes or phrases, and has an EQ control that smoothly selects between more bass and more treble. Designed for bass, a favorite for guitar, this incredibly sub-frequency-preserving unit will hold on to the lowest lows like no fuzz ever heard before. It features a gentle gate for silencing your instrument between notes or phrases, and has an EQ control that smoothly selects between more bass and more treble. ZVEX Effects Special Edition Reverse Woolly Mammoth™ features two NOS 1960’s 2n404 Germanium transistors. Sensitive and touchy, this bass fuzz has tremendous bottom end! Pedal Dimensions (LxWxH): 4.70" x 2.38" x 1.82"