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Unveil the essence of tone refinement and dynamic control with the Demeter COMP-2 Compulator Pro, a true cornerstone in the realm of guitar effects. Crafted by the seasoned hands at Demeter, hailing from Van Nuys, California, this compressor pedal elevates the legacy of its predecessor, the Opto Compulator, to new heights. It stands out with its intuitive Attack, Release, Compression, and Volume dials, catering to the nuanced demands of every guitarist. Whether you're seeking to add a subtle polish or aiming for a more pronounced effect, the COMP-2's switchable high and low gain settings ensure your tone remains uncompromised, delivering sonic clarity and punch that can only be described as aural craftsmanship.

Key Features:

• Built upon the design of the Opto Compulator, enhancing its legacy
• Features intuitive controls for Attack, Release, Compression, and Volume
• Offers switchable high and low gain settings for versatile tonal shaping
• Engineered by James Demeter in Van Nuys, California, ensuring quality and reliability

Unveil the essence of tone refinement and dynamic control with the Demeter COMP-2 Compulator Pro, a true cornerstone in the realm of guitar effects. Crafted by the seasoned hands at Demeter, hailing from Van Nuys, California, this compressor pedal elevates the legacy of its predecessor, the Opto Compulator, to new heights. It stands out with its intuitive Attack, Release, Compression, and Volume dials, catering to the nuanced demands of every guitarist. Whether you're seeking to add a subtle polish or aiming for a more pronounced effect, the COMP-2's switchable high and low gain settings ensure your tone remains uncompromised, delivering sonic clarity and punch that can only be described as aural craftsmanship.

Key Features:

• Built upon the design of the Opto Compulator, enhancing its legacy
• Features intuitive controls for Attack, Release, Compression, and Volume
• Offers switchable high and low gain settings for versatile tonal shaping
• Engineered by James Demeter in Van Nuys, California, ensuring quality and reliability

Step into a realm where every nuance of your guitar's tone is preserved, while still achieving that sought-after sustain and compression with the Demeter COMP-1 Compulator. Perfect for those who cherish the tonal purity of their instrument, this compressor pedal is a bridge to the past, emulating the warm, smooth compression found in vintage optical compressors. Its straightforward controls and bright LED indicator ensure you sculpt your sound with precision, without ever feeling lost in translation. Whether you're laying down soulful solos or looking for that classic '60s warmth in your rhythm, the COMP-1 Compulator stands ready to elevate your performance, without sacrificing an ounce of your guitar's true voice.

Key Features:

• Internal trim pot for gain reduction up to 30dB, allowing for precise control over your sound's dynamics.
• Simple and intuitive compression and volume knobs for easy sound shaping.
• Bright LED indicator for high visibility, even on the darkest stages.
• Designed to emulate the coveted sound of vintage studio optical compression, providing clarity and warmth to your playing.
• Ideal for achieving that classic '60s warmth or enhancing solo picking with unprecedented clarity.

Step into a realm where every nuance of your guitar's tone is preserved, while still achieving that sought-after sustain and compression with the Demeter COMP-1 Compulator. Perfect for those who cherish the tonal purity of their instrument, this compressor pedal is a bridge to the past, emulating the warm, smooth compression found in vintage optical compressors. Its straightforward controls and bright LED indicator ensure you sculpt your sound with precision, without ever feeling lost in translation. Whether you're laying down soulful solos or looking for that classic '60s warmth in your rhythm, the COMP-1 Compulator stands ready to elevate your performance, without sacrificing an ounce of your guitar's true voice.

Key Features:

• Internal trim pot for gain reduction up to 30dB, allowing for precise control over your sound's dynamics.
• Simple and intuitive compression and volume knobs for easy sound shaping.
• Bright LED indicator for high visibility, even on the darkest stages.
• Designed to emulate the coveted sound of vintage studio optical compression, providing clarity and warmth to your playing.
• Ideal for achieving that classic '60s warmth or enhancing solo picking with unprecedented clarity.

The Demeter TRM-1 Tremulator is an iconic optical tremolo pedal that has become a go-to for discerning musicians. Taking its cue from the revered tremolo circuit in Ry Cooder's Fender Twin amplifier, the Tremulator delivers a warm and smooth tremolo effect. With easy-to-manage knobs for Depth and Speed, it allows for the precise shaping of your sound. In addition, it features a trim pot for biasing the optical circuit, ensuring a performance that is always on point. Renowned for its inherent 1 dB of boost, the Tremulator also boasts low impedance, drastically reducing noise in long cable runs.

Key Features:

• Optical tremolo pedal inspired by the tremolo circuit in Ry Cooder's Fender Twin amplifier
• Knobs for Depth and Speed allow for fine-tuning of effect
• Trim pot for biasing the optical circuit
• Provides inherent 1 dB of boost
• Low impedance for decreased noise in long cable runs

The Demeter TRM-1 Tremulator is an iconic optical tremolo pedal that has become a go-to for discerning musicians. Taking its cue from the revered tremolo circuit in Ry Cooder's Fender Twin amplifier, the Tremulator delivers a warm and smooth tremolo effect. With easy-to-manage knobs for Depth and Speed, it allows for the precise shaping of your sound. In addition, it features a trim pot for biasing the optical circuit, ensuring a performance that is always on point. Renowned for its inherent 1 dB of boost, the Tremulator also boasts low impedance, drastically reducing noise in long cable runs.

Key Features:

• Optical tremolo pedal inspired by the tremolo circuit in Ry Cooder's Fender Twin amplifier
• Knobs for Depth and Speed allow for fine-tuning of effect
• Trim pot for biasing the optical circuit
• Provides inherent 1 dB of boost
• Low impedance for decreased noise in long cable runs

Introducing the XL-305R Equally Tempered Stereo Reverb from AudioScape Engineering Co. A ground breaking design, 12 springs, all tuned together to make the Perfect Echo Chamber.

The XL-305R has its roots in the all analog XL-305 Spring Reverb from the 1980's. It’s been a Secret Weapon reverb over the years that has gained cult-like status. Unlike many spring reverbs, this Spring Assembly has 12 springs tuned together making it equally tempered, very similar to opening the lid of a piano, holding the damper open and singing into the strings . Working out from this core idea, we re-imagined the rest of the design from the ground up, from the electronics and spring decay times, to modern workflow and aesthetic improvements. With the direction of Wayne Kirkwood(XL-305 Original Designer) and 4 years of R & D, we were able to bring this GROUNDBREAKING design from the last century into the modern century. Simply put, we are incredibly proud to bring this to market.

The perfect balance of simplicity and flexibility round out the options of this verb. Here's a feature rundown from left to right:

Features:

2U, with an International external power supply for best noise specification

Input controls drive the signal to the tank, they have signal overload LEDs next to them to show when the signal is too hot going to the assembly.

Mix controls blends the dry signal with the wet signal.

4 band Center De-tent EQ controls per channel, for a multitude of tone shaping the wet signal.

Parallel/Wet toggle switches. Extremely handy to either have a full wet signal or parallel blend. With the parallel switches engaged and the mix controls maxed out the unit is operating at 50% wet signal.

Mono Drive Lighted Push-button Switch stereo links the channels together ,and makes it easier to bring the stereo image together

Mono Return Lighted Push-button Switch sends the signal from the Reverb assembly out, summed to mono

LED indicators on the right side of the unit allow the user to monitor the total output level of the Reverb itself

In short, it can sound more plate like with milder input settings, but can also do the spring thing if you drive it harder.

Attached is a Brief description of the History and Science behind the XL-305 design from Wayne Kirkwood, the original designer:

What makes the MasterRoom reverbs unique are the spring timings. They are "equally-tempered" following a log progression very similar to the musical scale.I have never seen another mechanical reverb system that worked this way - most get their diffusion from the material whether its a metal plate or the less-than-random delays of a single spring or 2 or 3 springs operating in parallel. The plate has a lot of diffusion - small numbers of springs don't and usually "boing."

I'm standing on the shoulders of its inventor William "Bill" Hall. The MasterRoom actually began life as an acoustic burglar alarm, a side project in the early days of MicMix. MicMix's first product was an industrial-strength field mixer in a deep drawn aluminum Halliburton case. They sold a few but it wasn't very successful. Thus the name "MicMix."The burglar alarm didn't work on the Doppler principle, it "pinged" the room, mapped the echo returns and then looked for changes. In order to test his research Bill needed a diffuse room which provided the most-difficult test. Bill was an amateur organist and knew about the Hammond spring system. Bill decided to use Hammond springs to provide his alarm's "test chamber." Using his math skills Bill determined that a log series would diverge and create a diffuse room. Once he pinged the "test chamber" he quickly realized what he had. The alarm project was dropped and the MasterRoom born by accident.

You can create a similar effect by opening the lid of a piano, holding the damper open and singing into the strings.

Bill after several years of success knew that digital reverbs would quickly come onto the scene and urged the co-founder, John Saul, to move in that direction. There was a lot of resistance and eventually Bill left the company. In the process I got handed several projects including the Time Warp, DynaFlanger and the XL-305. Before Bill left he called me in his office one afternoon and taught me how to calculate spring timings. I still have his and my original notes and draft copies of the patent application. While waiting for digital to mature I built an XL-305 clone out of Reticon BBDs as a proof-of-concept. I left MicMix in the early 1980s to go into speech recognition and then onto studio maintenance doing a brief stint with SSL. By the early 1980s the Rev7 killed spring reverbs and MicMix was gone. I'm glad we could bring a piece of it back.

A World-class Mastering EQ from SPL Get to know them! The SPL PQ Mastering Equalizer is one of the most powerful EQs we've seen at Sweetwater. The PQ is a fully parametric, dual-channel five-band affair in a 4RU chassis weighing in at robust 33.5 pounds. Typical for SPL, the precision build quality is exceptional, with detented potentiometers, buttons, and switches that feel smooth, solid, and precise. The PQ uses SPL's 120V Rail Technology for optimized dynamic range and headroom and effortless rendering of program material. And as SPL gear is often found in world-class mastering facilities, the impressive flexibility built into the PQ comes as no surprise. Mastering-grade flexibility and precision Each of the PQ's ten bands (five per channel) can each be separately activated and deactivated and each band allows you to switch between Constant and Proportional Q. Left-channel Bypass and constant Q can be controlled by the right side in Link mode. The 1/4 Gain Switch, reduces boost or attenuation amplitude by a factor of 3/4, which changes the potentiometer gain from a maximum of ±20dB to ±5dB. This makes it possible to perform minute corrections, as is common in Mastering. For precise recall, the PQ features stepped pots that are adjustable in 41 steps.

Auto Bypass for optimal A/B comparisons To be able to make an objective judgment about the processed material, it is best not to have to manually toggle between the original and processed signals by yourself, but rather have it done automatically — and that's with the PQ's Auto Bypass feature does. With Auto Bypass, not having to move from the sweet spot allows you to concentrate on the music to optimally assess your processing — a big advantage. The Interval control determines how often the compressor toggles between the processed and unprocessed signals, with hard left being the shortest setting. Turning the knob clockwise increases the interval. The benefits of 120V Rail Technology SPL's 120V Rail Technology lets the PQ Mastering Equalizer run on an operating voltage of 120 volts — twice that of discrete op-amps and four times that of semiconductor operational amplifiers — in order to achieve superior technical and sonic performance. On the technical side, 120V Rail Technology optimizes headroom and dynamic range — which manifests sonically in the effortless resolution of fine details and is overall a confident, relaxed rendition of program material. Music sounds completely natural, while listening fatigue is dramatically reduced. SPL PQ Mastering Equalizer Features: Fully parametric, dual-channel 5-band equalizer Frequency response: 10Hz–40kHz LF: 10Hz–330Hz LMF: 33Hz–1kHz MF: 128Hz–4,1kHz HMF: 310Hz–10kHz HF: 760Hz–24kHz Per-band EQ engage, Constant/Proportional Q switches 1/4 Gain Switch for making minute corrections Auto Bypass for optimal A/B evaluation Rugged 4RU chassis with high-precision pots, buttons, and switches 41-step detented potentiometers for precise recall SPL 120V Rail Technology for superior technical and sonic performance Dimensions: 19" x 7" x 12.25" Weight: 33.5 pounds

The Granophyre Single Channel 100W Guitar Amplifier The Granophyre amplifier was born from an idea of simplicity, ultimate reliability, and the purest tone. We used the already capable LEAD channel from the OBSIDIAN amplifier as a starting point, and altered the layout and design to deliver a unique, yet familiar tonal experience. While the preamp does share some similarities, this is a very different amplifier to the OBSIDIAN. Starting with an American voicing, we included design elements of classic British & European amplifiers to deliver something truly exceptional. This single channel design offers incredible versatility, handling dirty blues to technical death metal, to total sludge. Awesome touch sensitivity, incredible note recovery, and thick harmonic content make this amp a joy to play. Just the right amount of saturation, just the right balance in the EQ, and massive amounts of volume and tone to be had at nearly any volume. Fast tracking with incredible recovery from every pick stroke, this amp has the speed to keep up with ANY player. Very right hand dependant, it is easy to manipulate with different playing styles. VERSATILITY IN DESIGN. Low Gain Setting: While still offering a good amount of gain, the amp in this setting will respond a bit softer. The texture is thicker, the highs are a bit softer, and the lows are much more round and full. Strats and single coils are fat but responsive, with just the right amount of compression and punch. With humbuckers, you will get a more classic tone, especially with the mids pushed. Fans of heavy blues from the New Orleans area will love this setting with the gain cranked. If you enjoy using OD/boost pedals, we recommend trying them with this setting. It will keep all the lows (but tighten them up) not over compress the signal and give more clarity with string/chord progressions.

Low Gain Setting: While still offering a good amount of gain, the amp in this setting will respond a bit softer. The texture is thicker, the highs are a bit softer, and the lows are much more round and full. Strats and single coils are fat but responsive, with just the right amount of compression and punch. With humbuckers, you will get a more classic tone, especially with the mids pushed. Fans of heavy blues from the New Orleans area will love this setting with the gain cranked. If you enjoy using OD/boost pedals, we recommend trying them with this setting. It will keep all the lows (but tighten them up) not over compress the signal and give more clarity with string/chord progressions.

High Gain Setting: Tighter low end response, more saturation, slightly more upper mid focused voicing, and a whole lot of awesome. A boost is definitely not necessary, but we designed it to work well with your favorite overdrive for bringing your sound to a new level of heavy. So many styles of rock and metal can be dialed in here, and the gain control has a lot of range for dialing in just the right response. Crank the gain and get ready for the DOOM!

EQ: We are very proud of the range in the EQ and ask that you disregard what you currently know about setting up and amp, and use your ears not your eyes. With all controls at noon, you get a very modern sound with a near perfect balance. Crank the mids, dial back the highs, and increase the Detail for a tech/progressive tone. Scoop the mids (yes we said that), and be in thrash metal heaven. So many varieties of sounds, with an EQ that can handle nearly any setting.

Voice Switch: This switch changes the placement of the mid Q from more upper mid focused to more low mid focused. A VERY useful feature that further helps dial in your tone. Master: The Master Volume allows huge tones to be dialed in at low levels, and also allows for fine tuning of power section / preamp balance. The DEPTH control allows you to dial in the lows from the power section to match the speaker cab attached, while the DETAIL control lets you blend in the right amount of high frequency cut. Try altering the bass and depth for the right punch and frequency, and also try this with the treble and detail controls as you can dial in your ideal high frequency response. altering the bass and depth for the right punch and frequency, and also try this with the treble and detail controls as you can dial in your ideal high frequency response.

Kohler & Campbell KIG-54 Grand Piano 5′ 4″ Traditional Height: 40 ½” Width: 58 ?” Length: 63 ?” Weight: 683 lbs. Soundboard: 100% Spruce Cored Plate: Traditional Sand Cast Action: All Maple with Aluminum Rail Bridges: Maple with an extended cantilever bass bridge Hammers: German Wool 100%l Strings: Roslau Music Wire Pin Block: 16 Ply Laminated Maple Tuning Pins: Nickel Plated Agraffes: 50 in Bass and Tenor Section Keys: Full Length, Balanced and Weighted Beams: Laminated Hardwood Middle Pedal: Full Sostenuto Fallboard: Slow Close Available Finishes: Ebony, Mahogany, Walnut

Drawing inspiration from the beauty of Southern France, the birthplace of Lâg Guitars, the Tramontane guitars embody the philosophy of the company. A distinctive French approach to aesthetic beauty without compromising tonal performance which has propelled the Tramontane Series guitars to be the most popular Lâg Guitars ever made. From the practice room to the studio to the stage, Lâg Tramontane guitars can be found in the hands, homes, and hearts of some of the worlds most renowned guitarists. From the student falling in love with the guitar for the first time to the seasoned professional who demands only the best quality and tone, the Tramontane series has a something for everyone. With premium features such as graphite nut & saddle as standard, premium tone wood selections across the series and the consistent high-quality manufacturing for which the Lâg Factory has become synonymous, the Tramontane Series has established itself in the Lâg story and in the imagination of thousands of guitarists around the world. Headstock, fingerboard, bridge In perfect harmony, on each guitar, these three wooden elements are made of the same material, either Brown or Black Brankowood, with a gorgeous natural oiled finish. Headstock design The Tramontane headstock design takes its inspiration from an 18th century fireplace in a French chateau. That same idea gave birth to an original concept on our classical guitars, keeping its harmonious curves. Ovale rosette When Lâg Guitars started making instruments with an oval rosette it was an industry first. The oval inspiration came from similar forms which are commonly used by upmarket jewelry design houses. Each Lâg rosette tells the story of the guitar it adorns. Bridge Mirroring the shape of the headstock on our steel strings guitars, the headstock gives anelegant symmetry to the whole design.

Headstock design The Tramontane headstock design takes its inspiration from an 18th century fireplace in a French chateau. That same idea gave birth to an original concept on our classical guitars, keeping its harmonious curves. Quarter round bindings Another feature of the Tramontane Series is the quarter round body bindings inspired by early vintage guitars before straight edge plastic binding became ubiquitous in the guitar world. The quarter round body binding on the Tramontane guitars is undoubtably pleasing to look at but perhaps most importantly, it makes the guitars extremely comfortable to play as it softens an otherwise hard edge. Black tuners In another break from the traditions of acoustic guitar making, Lâg Guitars commonly feature black machine heads which were only found on hard rock electric guitars at the time when they were introduced. The black tuners may not be traditional on an acoustic guitar, but they evoke the ebony tuning pegs of baroque guitars and classical instruments. The Occitan cross Symbol of Occitanie, a region in the south of France, the Languedoc cross is the emblem of the Tramontane guitars, our iconic acoustic range. It has decorated the delicate rosettes of each of the Tramontane series with dignity since their creation. The cross represents the timelessness and the undeniable rooting of the Tramontane at Lâg through its 12 ends, representing the 12 months of the year and the 4 seasons through its 4 branches. By emphasizing the origins of the Lâg brand, it also embodies the identity of a warm region with plural landscapes and remarkable heritage, offering the Tramontane guitars character and authenticity. Spezification: Lag GLA TN 66 A Headstock Spruce Back / sides Mahogany Neck Mahogany Fingerboard Rosewood Cutaway No Number of strings 6 Electronics No Color Natural Finish High gloss Music styles Jazz, classical music

he Boya BY-M1000 is a large diaphragm condenser microphone, which is indispensable for sound recording in your studio. Do you want to record vocals, instruments, podcasts, voice-overs, or just a recording in your home studio? Then the Boya microphone is perfect!

The Boya microphone has a pop filter, which allows you to filter out loud speaking sounds (such as "S" and "P") and other background sounds. In atdition, this filter protects your microphone against saliva, for example, during vocal recordings. The anti-shock mount prevents vibratory sounds from being incorporated into the audio recording. The condenser microphone also has a low-cut filter, which allows you to filter out low-frequency sounds (e.g. noise and background noise). The BY-M1000 also has a pad-switch so as not to disturb your recording with loud sounds.

For an extremely reliable sound recording, you can rotate the microphone in the holder by 360 degrees. You can also select the desired directional characteristics yourself:

Cardioid: Records sounds from the front of the microphone. Suitable for sound recordings of e.g. vocals and acoustic instruments (guitar, piano, violin, etc.). Omni-directional: Records sounds equally from all directions. Suitable for applications where sound has to be recorded from multiple sides, such as a singer or choir with a background tape. Bi-directional: Records sounds from the front and back equally. Suitable for situations where people are facing each other, for example during interviews or presentations.

The BY-M1000 features a tiltable bracket with 3/8" and 5/8" female threaded connection. This allows you to place the condenser microphone on a tripod (also on tripods with 1/4" threaded connection using optional adapter nipple). The condenser microphone operates on the basis of phantom power: 24V or 48V. The included XLR cable provides this power supply. For high reliability, the housing is made of metal.

Broadcast-quality condenser microphone Cardioid, Omnidirectional and Bidirectional polar patterns Wide frequency range and ultra low noise Off-axis rejection for clean recordings Included shockmount & pop filter Controlled by low-cut filter switch 0dB ,-10 dB pad switch 3-Pin XLR plug 48V phantom power

Acoustic Principle Condenser Polar Pattern Cardioid, Omnidirectional, Bidirectional Diaphragm 1.3" (34mm) Frequency Response 20- 20,000 Hz Sensitivity -33 +/-3dB (0dB=1V/Pa @ 1KHz) SN 80dB and more Output Impedence 200 Ohm Length 10' (3m)

The T-407 is Spira’s contemporary seven stringed reimagining of the classic T-style guitar blending timeless design with Spira’s innovative approach resulting in a guitar that will satisfy the most demanding metal player.

Finished in satin black the T-407 features a roasted poplar body and Canadian roasted maple neck, providing exceptional durability and enhanced tonal properties. Its Ebony Tech fretboard, equipped with 24 jumbo frets, ensures a smooth and responsive playing experience suitable for a variety of advanced techniques. A pair of Spira’s VillainTM seven string humbuckers deliver authoritative, articulate tones that excel in high-gain settings. The guitar’s sleek design and premium hardware plus locking tuners offer excellent tuning stability and precise intonation, making it a dependable companion for both stage and studio use. Available finishes (Satin) – Black. 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 26,5″ 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 S-507 is Spira’s flagship 7 string model, lovingly crafted for players who expect the highest level of performance and aesthetics. The S-507 features a luxurious mahogany body with a stunning quilted maple top, delivering both exceptional resonance and eye-catching beauty. The roasted maple neck and fretboard offer unmatched stability and a smooth, responsive playing experience, ideal for advanced techniques.

Equipped with dual VillainTM seven string humbuckers, the S-507 provides powerful and articulate tones that excel in any genre, particularly rock and metal. The guitar boasts 24 jumbo frets, allowing for effortless playability and an expansive range. The premium components ensure superior tuning stability and precision, making the S-507 a reliable choice for both live performances and studio sessions. The S-507 combines top-tier craftsmanship with striking aesthetics combining to create the perfect blend of form and function, making it the ultimate choice for the most demanding seven string player. Available finishes (Gloss) – Fireburst or Trans Grey.

Machine Head Black, Locking Neck Canadian Roasted Maple Shape Modern D Fretboard Roasted Maple (QAB, QFB) or Ebony Tech (QGY E) Radius 14″ Nut Width 48mm Nut Bone Truss Rod Double Action string Scale 26,5″ Number of Frets 24 Jumbo Body Mahogany with Quilted Maple Top Pickup HH, Spira Villain, Custom Made, 12k output, Ceramic Magnet Bridge Fixed Controls 1 Volume, 1 Tone Hardware Black Finish Gloss

The Fuzz Pedal from Park Amplifiers UK During the late 1960s, Park Fuzz Sound pedals came with Tone Bender MKIII circuits, housed in ‘MKIII’-type enclosures. Unlike the version of the MKIII that Sola Sound was supplying to Vox and Rotosound, the very earliest of these ‘MKIII’ Fuzz Sounds were fitted with only two control knobs. The basic circuit & construction of these pedals was identical to the Tone Bender MKIII, but the amount of ‘fuzz’ was fixed at maximum, and the remaining two controls varied the volume & tone of the effect. Confusingly, the tone control on these two-knob Park Fuzz Sounds, with MKIII circuits, was misprinted as ‘fuzz’. (Photo credit: J. Roth/Jermsfuzz) Other examples of the ‘MKIII’ Park Fuzz Sound, dating approximately to the late 1960s/early 1970s, were built with the more conventional three-knob arrangement. These pedals were identical to the three-knob Tone Benders that Sola Sound was also manufacturing for companies like Vox & Rotosound at the same time. (Photo credit: Root Two Amplification)