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The Race strap has a classic design that reminds us of the old racing cars, and vintage colors, vintage guitars, speed, checkered flags, straight lines. Simple, smart and vegan strap. This strap is 6 cm wide. And has a long range of 95-145 cm with the exclusive RAS (Righton Adjustment System) to adjust the strap to the desired Length. The Race strap is made of high-tech synthetic materials. The materials have been tested, so we can ensure the durability of them. As in all the MOJO Collection, this strap is a vegan strap made without any cruelty to animals. It also has a microfiber lining that doesn't slip or stick. This strap is padded with 5 mm latex, which makes it very comfortable and lightweight. In the front end, it has two small pockets for the picks, and in the back end has three cuts as "Fast pick dispenser". The Mojo Race series is inspired by classic racing designs that emphasize bold colors and clean lines. Made completely by hand, each Race strap is made from durable and comfortable materials and sports a classic, eye-catching color. Additionally, this Race strap, like all straps in the Mojo series, is completely vegan! Width: 2 3/8 '' - 6 cm Color: Black Instrument: Guitar , Acoustic Guitar, Bass Guitar, Mandolin, Banjo, Bass guitar, Electric guitar Material: Vegan Leather Minimum Size: 39,37 in - 100 cm Adjustable to: 57,08 in - 145 cm Padding: Padding 5 mm

B85 audio FUZZ MACHINE, is a floor, hybrid (silicon / germanium) effect, (inspirated Smallsound / Bigsound team awesome fuzz),type fuzz, with mixing clean tracks. It is primarily designed for bass guitar, but will not get lost with the guitar either. The effect has Fuzz control, changes the amount of fuzz and harmonic structure. Shape, changes the shape of the filter. Fuzz vol, changes the gain of the Fuzz potentiometer. Clean, changes the net ratio and distortion. Pregain, changes the rate of profit in the entry stage. The Phase switch, which works well with the Pregain potentiometer when the switch is down, acts as the pregain potentiometer saturation, and when it is up, it acts as a fuzz overload. We also have a Mids switch to set the center frequencies. Bypass foot switch, turns the whole effect on and off. The Gate switch adds an upper harmonic, so you can get a very aggressive sound. The whole effect is handmade and this also applies to the printed circuit board. The front plate is engraved in two-layer plastic. Parametry a specifikace: Type: FUZZ Controls: Fuzz, Shape, Fuzz vol, Clean, Pregain, Phase and Mids switches True bypass: Yes Input: Mono Output: Mono Power: Adapter 9V DC Center negative

B85 audio Germanium overdrive is a floor effect based on the connection of the Tube Screamer 808 with an added two-band equalizer and a pair of germanium diodes. The Overdrive has the classic Level controls for volume adjustment, Bass for bass adjustment (+/- 15 dB at 85 Hz), Treble for treble adjustment (+/- 15 dB at 8800 Hz) and Drive for distortion level adjustment. The highest quality components such as Alpha-Pots potentiometers, Neutrik jack connectors or the GØRVA design footswitch with a service life of 30,000 switchings were used to build the overdriver. Overdrive can be powered by a 9V battery or an adapter from 9 to 12 V DC, for use with a bass guitar, I recommend powering with 12V. The whole effect is handmade and this also applies to the printed circuit board. Germanium overdrive is suitable for both guitar and bass. Compared to the classic B85 audio Germanium Overdrive, the Deluxe version has an improved appearance and a better operational amplifier (chip) located on the printed circuit board. Parametry a specification: Type: Overdrive Ovládání: Level, Bass, Treble, Drive True bypass: Ano Vstup: Mono Výstup: Mono Napájení: 9V Battery without adapter 9V to 12V DC Center negative

Clipmax is a hard / brickwall clipper. Use Pre Gain to tame the signal before it hits the ceiling, or to boost right into it. Set a ceiling value to cut off anything that would peak above it. The more the little LED to the right of the ceiling knob flickers, the more clipping is happening. Auto engages automatic make-up gain calculation. This doesn't just boost everything up to the max, it tries to maintain a fairly natural volume level similar to the un-clipped source. Use Post Gain to adjust the volume after the clipping stage and auto make-up gain. Be careful how far you boost this...

THE BEST FREE LOUDNESS METER ON THE MARKET Youlean Loudness Meter helps you find the true perceived loudness of your audio and prepares it for TV or streaming services release. Join the thousands of recording studios that already use it. DAW plugin & APP Works in almost any DAW: FL Studio, Logic Pro X, Final Cut Pro X, Ableton Live, Reaper, Cubase, Pro Tools… Available as application, VST2, VST3, AU and AAX plugin formats, Windows and macOS operating systems. Measure Loudness Helps you comply with strict loudness requirements for the Film and TV industry. Helps you get the correct loudness levels for upload to Spotify, YouTube, Apple Music, Apple Podcast, Amazon Alexa, Amazon Music, Tidal, Deezer, Netflix, HBO, and Disney+. Measure Dynamics Prevent your mix sounding crushed and unprofessional. Get the most out of your mix, make any track sound great on all streaming platforms! KVR Developer Challenge WINNER Youlean Loudness Meter was the winner of KVR Developer Challenge 2016. As one of the prizes, the plugin was presented on NAMM Show 2017 in Los Angeles. Youlean (Julijan Nikolic) is also part of the FL Studio alpha team, and many of his work like Patcher presets and ZGameEditor Visualizer effects are already part of FL Studio.

Fender American Vintage II 60 P Bass RW DPB - Daphne Blue The Fender American Vintage II series presents a remarkably accurate take on the revolutionary designs that altered the course of musical history. Built with period-accurate bodies, necks and hardware, premium finishes and meticulously voiced, year-specific pickups, each instrument captures the essence of authentic Fender craftsmanship and tone. The late ‘50s to the early ‘60s was a watershed period in the development of the Precision Bass, a time of transition that would see the introduction of many new appointments that would become synonymous with the P-Bass. By 1960, the design of the P-bass had eclipsed the earlier cues culled from the Telecaster - now the P-bass had a Strat-style headstock shape, comfort-contours, pickguard mounted electronics and 4-saddle bridge. Adorned in 3-Color Sunburst and topped with a 4-ply tortoiseshell pickguard, the 1960 Precision Bass represented a more refined, enduring aesthetic for the model.

Featuring a premium alder body, Pure Vintage ‘60 Split-Coil P-Bass pickup and a substantial “C” shape hard rock maple neck mated with a 7.25” radius slab rosewood fingerboard, the American Vintage II 1960 Precision Bass reproduces the quintessential tone and feel of the original. The instruments in the American Vintage II series are direct descendants of the original Fenders: designed for players with a fine appreciation for vintage Fender tone and feel and built with unmatched quality, down to the last screw. These are Fender electrics in their purest form: Fender American Vintage II, the stuff of legends. Alder Body Gloss Nitrocellulose Lacquer Finish Pure Vintage '60 Split-Coil Precision Pickups “C”-Shaped Neck Profile Slab Rosewood Fingerboard Pure Vintage Reverse Open-Gear Tuners

Body Finish: Gloss Nitrocellulose Lacquer Body Material: Alder Body Shape: Precision Bass Bridge Cover/Tailpiece: Includes Chrome Bridge Cover Bridge Mounting: 5-Screw Vintage-Style Bridge: Pure Vintage 4-Saddle with Threaded Steel Saddles Case/Gig Bag: Vintage-Style Brown (Orange Interior) Color: Daphne Blue Configuration: Split Single-Coil Control Knobs: Knurled Flat-Top Controls: Master Volume, Master Tone Fingerboard Material: Slab Rosewood Fingerboard Radius: 7.25" (184.1 mm) Fret Size: Vintage Tall Hardware Finish: Nickel/Chrome Headstock: Precision Bass Middle Pickup: Pure Vintage '60 Split-Coil Precision Neck Finish: Gloss Nitrocellulose Lacquer Neck Material: Maple Neck Plate: 4-Bolt Serialized Neck Shape: 1960 "C" Number of Frets: 20 Nut Material: Bone Nut Width: 1.70" (43.2 mm) Orientation: Right-Handed Pickguard: 3-Ply Tortoiseshell Position Inlays: Clay Dot Position Inlays: Clay Dot Strings: Fender USA 7250M Nickel Plated Steel (.045-.105 Gauges), PN 0737250406 Style: 1 Single-Coil Switching: None Truss Rod Nut: Vintage-Style Butt Adjust Truss Rod: Vintage-Style Butt Adjust Tuning Machines: Pure Vintage Reverse Open-Gear Type: Electric Bass

G&L SB2 JJ 1983 The G&L MFD J type pickups are big, clear and hot: a lot of output, with broad even response. Controls are volume and tone, with a Stratocaster-esque pickup selector for neck only/both/bridge only.

Fender American Vintage II 60 P Bass RW DPB - Daphne Blue The Fender American Vintage II series presents a remarkably accurate take on the revolutionary designs that altered the course of musical history. Built with period-accurate bodies, necks and hardware, premium finishes and meticulously voiced, year-specific pickups, each instrument captures the essence of authentic Fender craftsmanship and tone. The late ‘50s to the early ‘60s was a watershed period in the development of the Precision Bass, a time of transition that would see the introduction of many new appointments that would become synonymous with the P-Bass. By 1960, the design of the P-bass had eclipsed the earlier cues culled from the Telecaster - now the P-bass had a Strat-style headstock shape, comfort-contours, pickguard mounted electronics and 4-saddle bridge. Adorned in 3-Color Sunburst and topped with a 4-ply tortoiseshell pickguard, the 1960 Precision Bass represented a more refined, enduring aesthetic for the model.

Featuring a premium alder body, Pure Vintage ‘60 Split-Coil P-Bass pickup and a substantial “C” shape hard rock maple neck mated with a 7.25” radius slab rosewood fingerboard, the American Vintage II 1960 Precision Bass reproduces the quintessential tone and feel of the original. The instruments in the American Vintage II series are direct descendants of the original Fenders: designed for players with a fine appreciation for vintage Fender tone and feel and built with unmatched quality, down to the last screw. These are Fender electrics in their purest form: Fender American Vintage II, the stuff of legends. Alder Body Gloss Nitrocellulose Lacquer Finish Pure Vintage '60 Split-Coil Precision Pickups “C”-Shaped Neck Profile Slab Rosewood Fingerboard Pure Vintage Reverse Open-Gear Tuners

Body Finish: Gloss Nitrocellulose Lacquer Body Material: Alder Body Shape: Precision Bass Bridge Cover/Tailpiece: Includes Chrome Bridge Cover Bridge Mounting: 5-Screw Vintage-Style Bridge: Pure Vintage 4-Saddle with Threaded Steel Saddles Case/Gig Bag: Vintage-Style Brown (Orange Interior) Color: Daphne Blue Configuration: Split Single-Coil Control Knobs: Knurled Flat-Top Controls: Master Volume, Master Tone Fingerboard Material: Slab Rosewood Fingerboard Radius: 7.25" (184.1 mm) Fret Size: Vintage Tall Hardware Finish: Nickel/Chrome Headstock: Precision Bass Middle Pickup: Pure Vintage '60 Split-Coil Precision Neck Finish: Gloss Nitrocellulose Lacquer Neck Material: Maple Neck Plate: 4-Bolt Serialized Neck Shape: 1960 "C" Number of Frets: 20 Nut Material: Bone Nut Width: 1.70" (43.2 mm) Orientation: Right-Handed Pickguard: 3-Ply Tortoiseshell Position Inlays: Clay Dot Position Inlays: Clay Dot Strings: Fender USA 7250M Nickel Plated Steel (.045-.105 Gauges), PN 0737250406 Style: 1 Single-Coil Switching: None Truss Rod Nut: Vintage-Style Butt Adjust Truss Rod: Vintage-Style Butt Adjust Tuning Machines: Pure Vintage Reverse Open-Gear Type: Electric Bass

The Sony CDR-W33 is a compact disc recorder developed with the achievement of outstanding sound quality as a central design objective. Through the use of Super Bit Mapping recording technology and 24-bit A to D and D to A conversion, the CDR-W33 meets this target and is able to achieve high sound quality approaching that of 20-bit recording quality. SBM has been a feature of Sony DAT recorders for many years, and is also adopted in the CDR-W33 to provide high sound quality equivalent to a 20-bit digital recording from an analog input source. 24-bit A/D and D/A conversion the A/D and D/A converters of the CDR-W33 operate at a resolution of 24 bits, maximizing the advantages of the SBM process. Digital Limiter and Equalizer A digital limiter and equalizer are available for use when the input signal is from an analog source. Digital Limiter The algorithm of the digital limiter increases the average signal level and smoothly limits signal peaks. The limiting ratio is adjustable up to 100%, at which setting the gain is increased by 6 dB. Digital Equalizer , A 3-band(Bass/Mid/Treble)parametric equalizer provides up to ±6 dB of correction (in 1 dB steps) , Alternative digital inputs Both coaxial and optical inputs are provided. Super Bit Mapping (SBM) Technology CD Text entry A CD Text function allows disc and track titles to be entered using an optional PC , keyboard, supplied remote control unit or buttons and rotary encoder of the front panel. This text can be read on any CD Text capable player.

This heavy-duty second tier for the Proline PL4KD Double X-Braced keyboard stand attaches to the PL4KD so that a second keyboard can be placed on a single stand. Like all ProLine keyboard stands it's extremely sturdy. Proline Add-On Tier for PL4KD Keyboard Stand Proline Add-On Tier for PL4KD Keyboard Stand collapse expand iconFeatures , Second tier for ProLine PL4KD , Heavy-duty construction , Supports second keyboard

If you’ve been looking for that elusive Dingwall tone in your favorite conventional bass, now you can have it! Intended for parallel fret basses, designed for 18mm to 19mm bridge spacing. This pickup emits a neutral, even, and clean tone—a sound that sits well with the Dingwall bass design. With Dingwall specs filtered through Nordstrand production, these pickups will satisfy your Dingwall craving. Technical Details: Offset split coil pickups. Neodymium disc magnets. Each individual coil is copper shielded. Laser cut, fiber bobbins. Wax-potted to contain any unruly frequency that may attempt to desecrate your desired tone. Closed, black covers. Cover Options: Bartolini® P2 (4.27″ x 1.27″) EMG40® (1.51″ x 4.02″) History: These pickups are a result of a conversation Carey had with Sheldon Dingwall shortly after the 2013 NAMM show. The idea was to offer the great unique pickups that Dingwall has been making in house for use on their stellar fan fret basses to the general public. Dingwall was flirting with selling them direct at one point, but Sheldon decided he was better off focusing on the production and marketing of his basses than to really get involved in selling pickups. This is where Nordstrand comes in. That conversation mentioned above led to the establishment of a working relationship whereby Nordstrand Pickups makes the FD3 pickup to Sheldon's exacting specifications and offers them to the boutique pickup market at a reasonable price. That said, be sure to note that these are not a Nordstrand design, and we don't offer customization. BC Shape: Length: 3.99” (101.35 mm) , Width: 1.27” (32.36 mm) , EMG35 Shape: Length: 3.52” (89.41 mm) Width: 1.51” (38.35 mm)

A straightforward, get-the-job-done workhorse, the Limited Edition '58 Precision Bass is crafted for the studio and the stage. The two-piece alder body and tinted, one-piece quartersawn maple neck ensure this bass thumps like no other, and the single-ply black-anodized aluminum pickguard increases resonance while looking fantastic. The hand-wound Custom Shop '62 P Bass split-coil pickup has the authentic, seismic tone that made the P Bass famous. Ultra-stable and highly resonant, the quartersawn maple neck sports a '57 "Soft V" profile that nestles comfortably in the hand while the maple fingerboard sports twenty 6105 frets. The Journeyman lacquer finish grants this instrument the look and feel of an instrument that's seen many a stage over the course of its service life. Other features include bone nut, vintage-style P Bass tuning machines and a round string tree. Includes deluxe hardshell case, strap and Certificate of Authenticity. Specifications: Series: Custom Limited , Body Shape: Precision Bass , Neck Material: 1-Piece Quartersawn Maple , Neck Shape: 1957 Soft "V" Scale Length: 25.5" (648 mm) , Fingerboard Radius: 9.5" (241 mm) , Number of Frets: 20 , Frets Size: 6105 Narrow Jumbo , String Nut: Bone Nut Width: 1.75" (44.45 mm) , Truss Rods: Vintage-Style Butt Adjust , Bridge Pickup: Custom Shop Hand-Wound '62 Precision Bass , Controls: Volume, Tone Pickup Switching: None , Pickup Configuration: Split Single-Coil , Bridge: 4-Saddle Vintage Style with Threaded Steel Saddles , Tuning Machines: Vintage-Style Open-Back , Strings: Fender USA, NPS, (.010-.046 Gauges) , Included Accessories: Deluxe Hardshell Case, Strap, Certificate of Authenticity

The Ozark 2105G is a good starter 5 string resonator banjo. It has a high standard of construction with wood shell, 24 plated brackets and a single co-ordinator rod. The tailpiece, machine heads and armrest have good quality chrome plating. The detachable wood resonator has an attractive mahogany finish and the banjo is fitted with a Remo head. This affordable banjo also comes in a protective padded gig bag. scale length: 697mm 24 plated brackets , Single co-ordinator rod , Plated tailpiece & machineheads , Mahogany finish , Detachable wood resonator , REMO head

The Paul Stanley (KISS) PS80 Signature electric guitar from Washburn features a mahogany neck, a rosewood fingerboard, 2 humbucker pickups and a tune-o-matic bridge with Black Gloss Finish. Specs: Black gloss finish , Select wood body , 2 humbucker pickups , Tune-o-matic bridge ., Stop bar tailpiece , One volume, one tone control. 3-way troggle switch , Paul Stanley signature pickguard , Mahogany neck , Rosewood fingerboard , 22 frets

Numark recognizes your need for a professional turntable that capitalizes on the resurgent popularity of vinyl for DJ gigs. But we’re mindful that you need for both versatility and value. The NTX1000 gives you everything you’re looking for. It’s a no-compromise direct-drive turntable that has all the features and performance demanded by you—the professional DJ. It has incredible start-up torque (4.0 kg), an S-shaped tonearm with height adjustment, damped cueing and anti-skate controls that ensure accurate tracking and precise song selection. You can customize your performance with an adjustable start/stop control. The variable pitch range of ± 8, 16, and 50% enables you to create the perfect effect. Plus, the NTX1000’s special isolation design easily resists feedback and external vibrations, even in the loud, bass-heavy environment where you perform, every night. Full-size platter with high-torque direct-drive motor , 2-speed design: 33 1/3 and 45 RPM , S-shaped tonearm for accurate tracking (Cartridge not included) , Tonearm with height adjustment, damped cueing and anti-skate control , Pitch range adjustable to ±8%, ±16%, and ±50% , Adjustable counterweight for perfect tonearm balance , Pitch fader with reset button , Start and stop time knobs for adjustable time ramping , 45 RPM adapter included , Turntable platter: die-cast aluminum , Drive Method: Quartz Servo Direct Drive , Motor: 3-phase brushless DC motor , Starting Torque: 4 kgf-cm , Pitch Range: +/- 8%, 16%, 50% , Speed: 33 1/3 RPM, 45 RPM , Wow and flutter: < 0.05% , Tone Arm: Universal S Shape, gimble supported with variable balance system , Switching Power: AC100~230V, 50~60Hz

Vestax PMC-25 is a DJ mixer with three band isolators per channel.

Epiphone Les Paul Custom 3-Plus Trans Black , Year 1996 - 2008 , Korea, Solid Body Electric Guitars , 22 Frets , 24,75" , HHH , limited edition

This G&L Interceptor Bass was made in the USA in 1984. This is a rare model. It plays and sounds great. This example show some play wear including dings and dents and scratches, but there are no breaks or repairs of any kind. It has been pro-setup and it plays great. It comes with a non original hard shell case in rough shape.

Inspired by vintage saturated tones of early fuzz pedals, tweed amps, and abused recording consoles, the Missionary Fuzz satisfies all your needs and more. It’s versatile enough to be an amp punishing fuzz, a tweedy overdrive, or an always on preamp. While inspired by vintage tone, it boasts a modern feature set. The Missionary Fuzz has an onboard pickup simulator or “buffer breaker” that allows it to be placed anywhere in your chain without worrying about impedance mismatch so common in many vintage style pedals. Use the Pregain control to recreate the covetable overdrive tones of rolling down your guitar’s volume knob. The Fuzz knob adjusts the saturation of the main gain stage by controlling how much signal is fed back into the start of the gain section. In the quest to make the Missionary Fuzz as versatile as possible, we have added pre and post gain EQ options. The Bass knob is before the gain section allowing you to dial in how much bass enters the circuit. All the way down is perfect for mid-forward overdrive, while turning it clockwise adds huge low end saturation and fuzz. After the gain section, comes the Body control. This is a midrange filter that can go from scooped into oblivion, to totally flat. The Missionary Fuzz comes equipped with discrete transistors throughout for warm, crumbly texture, and rich saturation. And you won’t find any clipping diodes here, just pure transistor magic. Controls: Level: Controls overall output level. Pregain: Controls the amount of signal going into the fuzz. This comes after the pickup emulator and simulates rolling your guitar volume knob down. Body: Controls the mids notch in the pedal. All the way clockwise is flat, all the way counter-clockwise is scooped into oblivion. Fuzz: Controls the fuzz saturation. Works in tandem with Pregain control for a full range of sounds. Bass: Controls the amount of bass entering the circuit. This control is pre-fuzz to prevent low end blow out, and maintain articulation. Internal Switch: This slide switch controls whether the transformer simulates the impedance of a single coil pickup or a humbucker. Left is single coil (stock), right is humbucker. The difference is subtle, but it’s there for you to experiment with. Back cover must be removed to access this switch. Power: Standard 2.1mm center negative power only. 9V DC ONLY! Do not run at higher voltages. Current Draw: 45mA. Use an isolated pedal board power supply.

Small Fracture is a lo-fi distortion/fuzz based on preamp of a classic one-knob chorus pedal. It's circuit has been stripped from modulation parts and redesigned to provide distortion by brutal overload of the operational amplifier. This yields in a truly decomposed sounds which are surprisingly 'musical' and inspiring.

There are some ordinary settings on tap, including tight diode-clipper distortions or fat sludgy fuzz sounds, but what's especially interesting in this pedal is the odd stuff. All controls are highly interactive and work for great variety of accessible textures, dirt layers, behaviour and feel. Some settings make your instrument bloom, some gate, some squish and burst, others favour noise, clang or general sonic annihilation. Guitar, bass, cello, whatever you play, you can make it sound broken.

Controls: filter - boosts treble content blast - boosts low-end and provides additional overload distortion - yes level - output volume clip - produces distortion by clipping signal - left setting is low compression, middle is off, right is high compression litter - produces distortion by adding kind of sonic garbage - left setting is 'high content', center is off, right is 'gradual content' (this switch is bypassed at distortion knob 100% maxed) NO BATTERY OPERATION POSSIBLE WITH THIS PEDAL. Feed it only with standard 9V DC negative center power supply.