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OAMP is an output driver designed to replace a conventional output buffer or gain pedal at the end of your chain. If you’re familiar with EUNA, it’s a similar concept but with a few key differences. High headroom, clean gain, great drive capability. They key features are labeled below. There are subtle tonal variations in the gain settings. Maximum clean output level is 20dB. 29dB of gain available. OAMP makes enough gain to drive your amp into breakup without adding it’s own distortion, or you can use it to trim hot signals from your pedalboard. The insert loop is active when OAMP is OFF, so you can easily swap from clean drive to a dirt pedal, alternative preamp or anything you want really. With nothing plugged into the insert OAMP is True-Bypass when switched off. Specifications: Output linedriver/buffer, used end-of-chain before amp , Up to +20 dB clean boost, 29 dB available , Single 4 layer PCB with 2oz copper throughout , Power supply side completely isolated from audio signal , 1% thin-film resistors, WIMA film caps and other audiophile-grade components Handbuilt in USA , Bypass , True bypass , Power consumption 7.5-35V AC/DC, center negative or positive* (power supply sold separately) 100 mA , Just use 9V DC center negative, 100 mA if you're in doubt , Dimensions H: 5,3 cm (incl. switch) , W: 12,5 cm , D: 9,2 cm Weight 528 g. Controls: P - Presence - At fully clockwise there is a gentle shape to the tone - dial it back to add a subtle mid-scoop to the sound similar to an amplifier tone stack. L - Level - A trim control between the two gain stages. With both gain stages at low and Presence at full, gain is about 6dB. With both gain stages at high, gain is about 29dB. I - Input gain stage - Settings for High, Low and Bright. Bright adds top-end to the Low setting. This stage is before the Level fader. O - Output gain stage - Settings for Low, High and Dark. Dark cuts top-end from the High setting. This stage is after the level fader.

Bose S1 Pro+ portable Bluetooth® speaker system Specs: Speaker: 33.2 cm x 23.8 cm x 27.9 cm (HxWxD) (6.5 kg) , Material: Aluminum & polypropylene Battery life: up to 11 hours , Charging method: USB-A , Battery type: Rechargeable lithium-ion battery , As with any battery-powered device, battery life depends on a number of factors, including the type of content being played, playback volume and ambient temperature. The Bose S1 Pro+ Wireless PA System has been extensively tested. Playing Spotify's Global Top 50 at room volume at room temperature can provide up to 11 hours of battery life. A singer performing in a venue for up to 100 people can expect a battery life of 5 hours or more at appropriate volume levels. Bluetooth range: up to 9 meters , Bluetooth version: 5.0 , 2 balanced/unbalanced 1/4" XLR combo jacks , TRS 1/4" AUX input , AUX input (3.5 mm) , XLR line output , USB-C for system updates

Dive into a world where iconic design meets affordability with the Epiphone ES-335 Figured in the stunning Blueberry Burst finish. This semi-hollowbody guitar, inspired by the legendary Gibson, strikes the perfect chord between classic tones and modern aesthetics. With a '60s-style Kalamazoo headstock and a solid maple center block, it offers increased sustain and feedback resistance, catering to the discerning player. Its figured top not only commands attention but adds a layer of visual flair, making it a standout piece on any stage. Whether you're a gigging musician or a bedroom player, this Epiphone ES-335 brings the essence of a Gibson into a more accessible realm without compromising on style or sound.

Key Features:

• '60s-style Kalamazoo headstock for a classic aesthetic
• Solid maple center block for enhanced sustain and reduced feedback
• Figured top in Blueberry Burst finish for eye-catching stage presence
• Semi-hollowbody design, balancing resonance and playability

Dive into a world where iconic design meets affordability with the Epiphone ES-335 Figured in the stunning Blueberry Burst finish. This semi-hollowbody guitar, inspired by the legendary Gibson, strikes the perfect chord between classic tones and modern aesthetics. With a '60s-style Kalamazoo headstock and a solid maple center block, it offers increased sustain and feedback resistance, catering to the discerning player. Its figured top not only commands attention but adds a layer of visual flair, making it a standout piece on any stage. Whether you're a gigging musician or a bedroom player, this Epiphone ES-335 brings the essence of a Gibson into a more accessible realm without compromising on style or sound.

Key Features:

• '60s-style Kalamazoo headstock for a classic aesthetic
• Solid maple center block for enhanced sustain and reduced feedback
• Figured top in Blueberry Burst finish for eye-catching stage presence
• Semi-hollowbody design, balancing resonance and playability

The K2VX is Part of the K2000 Series. The K2000 uses V.A.S.T. (Variable Architecture Synthesis Technology) which allows you to take any multi-sample, noise or waveform and process it using just about any synthesis technique. The source of these multi-samples are from the 8MB of ROM which hold tons of authentic and superb quality samples. The internal processing is 32-bit with 18-bit DACs. The K2000 uses 31 sound-shaping algorithms to provide a variety of resonant filters, EQs, continuous panning, amplitude modulation, crossfade, distortion, digital wrap, waveshaper, pulse width modulation, high frequency enhancement, low frequency oscillators, hard sync oscillators and mixing oscillators, all with real-time MIDI control. It's a beautiful synth with an elegant and organized layout and very high quality pitch and mod wheels! Not to mention a 61-note velocity & aftertouch sensitive keyboard with a quality feel and response to playing. The K2000s adds a quality sampler with standard 2MB RAM that can be expanded to 64MB. Sample in stereo or mono, via analog or digital inputs and you have all the sample edit functions you'll need to create some of your own sounds. Use the built-in 3.5" disk drive or connect an external drive to the SCSI port for limitless sample storage (an internal SCSI connection also allows for a hard disk drive inside). Other professional features include stereo multi-effects capable of four simultaneous effects including reverb, chorus, delay, multi-tap delay, flange, rotary simulation and more. Up to six polyphonic audio outputs. There's also the 32-Track sequencer, fully editable, with features like 768 ppq resolution and nondestructive track editing and groove quantizing.

The K2000rs is the rack-mount version of the K2000s. Offering all of the same great sounds, power and features as the keyboard version. The K2000's keyboard is excellent and feels great to play, but if you don't need the extra keys the 3-space rack-module is an excellent instrument. The K2000's have been used by Robert Miles, Pink Floyd, Jean Michel Jarre, Depeche Mode, Hardfloor, Tori Amos, Stevie Wonder, Nick Rhodes (Duran Duran), Bon Harris (Nitzer Ebb), Front Line Assembly, KMFDM, LTJ Bukem, Nine Inch Nails, Massive Attack, Vangelis, Tangerine Dream, Laurent Garnier, and Luther Vandross. Upgrades include the Orchestral Expansion Board (8 Mb) and Contemporary Expansion Board (8 Mb). A full 16-bit sampler with analog/digital sampling options (SMP-K) and AES/EBU and S/PDIF digital I/O ports. The 2MB sampler RAM is expandable to 64 MB for upwards of 19 minutes of sampling time. Sequencer's capacity is expandable from 30,000 events to 190,000. The operating systems can easily be upgraded too.

Weight 10 lbs 4.5 oz / 4.66 kg. Nut width: 44.6 mm. Depth at 1st fret: 21.2 mm. String spacing: 38 mm at the nut / 69 mm at the bridge. It boasts a lightweight body, dramatic styling, and state-of-the-art electronics. These basses were built for a limited time in 2009. With its design incorporating both form and function, this Music Man anniversary bass offers a wide array of distinctive sounds. Using a cutting-edge push-button system, you can combine active, passive, series, and parallel modes; creating endless tonal combinations. The Music Man design team has engineered optimal contours, weight, and balance, making the 5-string 25th anniversary bass very comfortable to play. This stunning Music Man electric bass has a classic bolt-on design with an ash body, mahogany tone block, and bound premium maple top, together providing maximum resonance and massive low end. Comes with 25th anniversary Music Man hard-case. Specs: Colour: Venetian Redburst , Body Wood: Ash with book-matched quilted maple top and mahogany tone block , Body Finish: High-gloss polyester , Body Bindings: Cream binding , Bridge: Standard Music Man chrome-plated, hardened steel bridge plate with stainless steel saddles , Neck Wood: Select maple neck , Fingerboard: Maple , Fret Markers: Mother-of-pearl dots , Neck Finish: Gunstock oil and hand-rubbed special wax blend , Neck Colours: Matching painted headstock , Tuning Machines: Custom Music Man with tapered string posts , Truss Rod: Adjustable - no component or string removal , Neck Attachment: 5 bolts - perfect alignment with no shifting; sculpted neck joint allows smooth access to higher frets , Electronic Shielding: Graphite acrylic resin coated body cavity and aluminium control cover , Controls: Passive preamp: 500kOhm volume and 250kOhm tone - .047mF tone capacitor; Active preamp: 4-band EQ”25kOhm volume, treble, high-mid, low-mid, bass , Switching: Dual Pickup”2 x 2-way push button pickup selector, 2-way push button active/passive selector, 2-way push button series/parallel selector , Pickups: Dual hum-bucking with ceramic magnets Size: 12-7/8" W x 43-7/8" H x 1-3/4" D (32.7cm X 11.4cm x 4.5cm) , Weight: 10 lb 4.5 oz. (4.66kg), v Headstock Size: Only 8" (20.3cm) long , Frets: 22”High profile, wide , Neck Width: 1-3/4" (44.5 mm) at nut 2-13/16" (71.4 mm) at last fret , Scale Length: 34" (86.4cm) , Neck Radius: 11" (27.9cm)

1960s Premier Multivox Scroll Bass "Mark Sandman" 2-String 1960s Premier Multivox scroll bass , modified to match Mark Sandman's 2-string slide bass he made famous playing with Morphine. Like Sandman's bass, separated P-Bass pickups were installed as well as updated electronics. The middle two strings were left on and I have been tuning them to octave Ds. The bridge and neck were set up to get the higher action Sandman used for his unique slide style. Several dot markers are missing, which is also consistent with Sandman's bass. Premier basses from this era are extremely rare and the scroll carving adds a lot of character. Kelvin Daly, right-hand man to Carl Thompson, did the modification work to get to the Mark Sandman specs. It's really cool to play it in the Sandman slide style, even if you are not trying to cover Morphine songs.

Maton EG75 Goldline Black from 1960. Featuring very light weight solid Australian mahogany body and neck, 3 line headstock with early heritage Maton logo on headstock.

Andy Mason Luthiers made Parlour Guitars Small bodied 12 fret guitar modelled on typical 19th century instruments.

Kalani Tribes series ukulele, tenor, made of sapele and comes with bag. It is his turn to meet her, his soul, and now he knows KALANI TRIBES. She begins her discovery of new songs, rhythms and musical genres accompanied by beautiful accordion music and a lovely acoustic performance brought to you by the best woods in the tropical forests of Africa. Come on, your musical day, be part of our TRIBO. Specs: Tenor size: 26″ , Tempo wood: Sapele tobacco , Body wood: Sapele tobacco , Arm wood: Okoumé , Scale wood: Blackwood , Cavale wood: Blackwood , Accompaniment: Bag

Build to Order M•2500 Three decades ago, the G&L L•2000 bass served notice that company founder Leo Fender† was ready to disrupt the status quo. The bold, brash L•2000 has always been an exhilarating experience for players with the skill to pull it off. Now the new M•2000 and M•2500 harness that power with a sonic palate that will surprise and delight new and die-hard G&L fans alike. Leo’s MFD humbuckers have always been the heart of the iconic L-Series. In the all-new M-Series, these powerhouses are voiced to fully exploit a studio-quality 18v preamp system specially designed for them. With an LF442 chip, 100v poly caps, 1% metal film resistors and big, fat signal traces on the mil-spec circuit board, this preamp reveals everything the player and the instrument have to offer. And there’s even more: Primary volume and pan controls to explore the full range of sounds available between the two pickups 3-band EQ with peripherally placed, center-detent, reduced-diameter knobs An impeccable, familiar “feel” of the instrument in the hands and on the shoulder The return of the classic “C”-shape 1 5/8” neck, discontinued by G&L in the 1980s For slapping, rolling back some highs and dialing up some lows, coupled with a mid-range boost, magnifies the intensity that Leo’s humbuckers are famous for. Need more definition for fingerstyle? Just bring up the treble and roll off the bass for a nuanced and detailed sound. Headroom? The new M-Series preamp harnesses the power of those meaty MFD humbuckers without a hint of clipping. The best tools are simple, intuitive and easy to use, and that’s exactly what you’ll find in the new M-Series package. Truly, it’s the evolution of Leo’s revolution. Founded by Leo Fender in 1980, G&L USA instruments continue to be made in the historic G&L facility on Fender Avenue in Fullerton, California, the Birthplace of Bolt-on. The G&L name, stylized G&L logo, distinctive “hook” headstock design, ASAT, Magnetic Field Design and MFD are registered trademarks or trademarks of G&L Musical Instruments / BBE Sound, Inc. † The personal name, likeness and signature of Mr. Clarence Leo Fender are property of G&L Musical Instruments / BBE Sound, Inc. and may not be used in any commercial capacity without prior approval. For enquiries regarding the use of the “Leo Fender” name, likeness or signature, please contact us. G&L is not associated with Fender Musical Instruments Corporation. Specifications: ICKUPS: Two M-spec G&L; Magnetic Field humbucking pickups , BODY WOOD: Alder on Standard and all solid finishes, Swamp Ash on , Premier Finishes , NECK WOOD: Hard Rock Maple with Rosewood or Maple fingerboard , NECK PROFILE: G&L; 1.750" nut width Medium C with 12" radius, FRETS: Medium Jumbo, Jescar 57110 18% nickel silver , TUNING KEYS: Custom G&L; "Ultra-Lite" with aluminum tapered string posts , BRIDGE: Leo Fender-designed G&L; Saddle Lock with chrome-plated brass saddles , ELECTRONICS: G&L; M-spec 18v preamp, volume, pan, 3-band boost/cut EQ with center detents , INCLUDES: G&L Deluxe Gig Bag

This unique instrument features custom upgrades including a side sound port and a cantilevered fretboard. It has the most loved tone woods, Spruce & Rosewood, and will include an Oahu Hard wood case. We guarantee you will love this beautiful new tenor from Rick Turner's Compass Rose line. Specs: 14-Fret to body tenor Model , Solid Spruce Top , Solid quilted Cherry Back & Sides , Side Port , Cantilever Fretboard , 1 3/8" Nut Width , 17" Scale Length , Oahu Hardshell Case Options: We are including an Oahu Hard case at no extra cost. Put a note in the special instructions if you want it strung with a low G at no extra charge or any specific setup instructions(i.e. string for left-handed, I play light and like very low action etc....) Aloha If you simply want your instrument to be a low g instead of high, it is no extra charge. If you are not sure, then check out this video blog - Comparing Hi G with Low G.

Specifications: Type of Drivers: Dynamic , Frequency response: 10Hz-30kHz , Sensitivity: 125dB , Impedance: 8Ω , Transparent resin capsules , Jack connector: 3.5mm angled , Cable length: 1.2m , Capsule connection type: MMCX The Paiaudio DR2 have been built entirely in transparent resin, of high hardness. Inside you can see the great dynamic driver. The nozzles are metallic and gold-plated. They also have a metallic filter, of a fine grid. The outer faces of each IEM are translucent, red for the right channel, blue for the left. In the middle of the outer faces you can see the symbol π inside a circle. The gold-plated MMCX connections are completely embedded in the resin. The set is very compact, strong and durable in appearance, as well as beautiful and very attractive. The adjustment is simple and excellent. The nozzles are long, allowing you to play with multiple tips to find the best seal and sound. Depending on the size of the tips used, the insertion can be superficial or medium, adapting to the taste of each one. All this thanks to the construction of the nozzles. Due to the highly ergonomic design of the capsules, the fit is outstanding and movement is minimal. In addition, the level of insulation is remarkable. he profile of the Paiaudio DR2 is in clear V, focused on the sub-basses and in the high mids. The highs are really smooth, but sharp and detailed, although the roll-off from 4.5kHz is noticeable. Then there is a slight rise above 9kHz that brings air and clarity to the whole. The focus is clearly located in the sub-bass zone, as from 40Hz the curve gradually descends to 700Hz. The result is a markedly deep sound, which enjoys a very important sub-bass hit. The rest of the area doesn’t feel so powerful, yet the bass doesn’t sound orphaned or incomplete, but is very enjoyable. The speed of the lows is remarkable for the price range. The color is also very realistic and the body it provides is very suitable, meddling little in the mids, due to its special focus on the lower area. It is true that the width of the area is not large, compared to other IEMs with more punch in the center of the bass. But its special characteristic shines in many genres, it is surprising how the DR2 provide depth in musical pieces where the basses are even subtle. As I have already commented before, the low mids go down to 700Hz, to go up as a W between 2kHz and 4kHz. With this profile the DR2 suffer from a certain body in the lower part of the mids, sounding somewhat backward or sunken, but never dark or congested. Thus, male voices can be perceived somewhat more distant and thin, even something similar can happen with female voices. But luckily the clarity and naturalness is quite good, although the relative loss of power in the final area of the bass, makes this area sound slightly hollow. However, the rest of the mids shines clearly, with a good cleanliness and clarity, remarkable level of detail and separation. The clear enhancement between 2 and 4kHz makes the mids sound more coherent than its graphics might initially suggest. The definition and resolution of the area is even surprising, despite the a priori imbalance. In short, mids are better than one might expect by looking at the frequency response. The treble is smooth, without obvious enhancement, with a slight peak above 9kHz that provides brightness and air, without causing stridency or wheezing. The resolution and definition is remarkable and gives the whole a good level of separation and clarity. Suitable for all those who are looking for a sound with «safe» treble, without losing detail or clarity. Pure V-sound doesn’t have to be at odds with a lack of scene or separation, even if the price range is the current one, around $50. The scene enjoys a good width and depth, propitiated by the excellence of the sub-bass. The cleanliness and clarity of the sound, as well as the lack of congestion, produces an almost remarkable separation. The instrumental recreation is shown at the same level and the feeling of three-dimensionality is perceptible without a hint of doubt.

The Ibanez S370 (2001–2002) , For the earlier Japanese S370, see S370 (1994–1998). The S370 is an S series solid body electric guitar model introduced by Ibanez in 2001. It was one of the more affordable S models, made in Korea and with more basic features. This S370 was sold in Europe and the USA. An earlier model with the same name was produced and sold only in Japan. This S370 was offered in 2001 with a Wizard III neck, Ibanez Axis pickups and a TRS-101 tremolo bridge. These components were changed for 2002 to a Wizard II neck, Ibanez Powersound pickups and an ILT1 tremolo. Features common across both years include a sculpted mahogany body, a 22-fret rosewood fingerboard with special "S wave" position markers and a locking nut. The S370L is a left-handed version and the S370DX is a "deluxe" version with a bound fretboard and a special textured finish. The S370 was replaced for 2003 by the S470 with the new ZR tremolo. Specifications: Related content: S series | Models-icon , Specifications for S370 , Model name: S370 , Year(s) offered: 2001–2002 , Sold in: Europe / USA , Made in: Korea , Finish(es): BK (Black) / DVF (Deep Violet Flat) / GP (Gray Pewter) 2002 / RRF (Red Rock Flat) , Body material: Mahogany , Neck joint: AANJ , Bridge: 2001: TRS-101 tremolo , 2002: ILT1 tremolo , Hardware color: Black , Neck type: 2001: Wizard III , 2002: Wizard II , Neck material: 3-piece maple , Fingerboard material: Rosewood , Fingerboard inlays: S Waves ,Frets: 22 / jumbo , Nut: Locking , Pickup configuration: HSH , Bridge pickup: 2001: Ibanez AH4 (H) , 2002: Ibanez PSND2 (H) , Middle pickup: 2001: Ibanez AS1 (S) , 2002: Ibanez PSNDS (S) , Neck pickup: 2001: Ibanez AH3 (H) , 2002: Ibanez PSND1 (H) , Controls: Master volume / master tone / 5-way lever pickup selector

Introducing the Marshall JCM800 2203, a legendary guitar amplifier head that has earned its place in musical history. This all-tube guitar amplifier is the epitome of rock 'n' roll, associated with some of the most iconic sounds in music. Its simplicity and distinctive roar set the standard for rock amplifiers and became the industry benchmark for over 16 years. The JCM800 2203 is a single-channel amplifier, delivering a robust 100 watts of power. It doesn't just sound good - it feels good. The moment you strike a chord, you'll feel that familiar tingling sensation that signals the birth of a rock anthem. This is the tone that shaped the sound of modern rock, the tone that filled stadiums worldwide in the late '70s and early '80s. In this updated version of the legendary amplifier, Marshall has added a series FX loop with true bypass operation, a feature not found on the original JCM800. This means your pedals won't color the tone of the JCM800 2203, preserving its original sound.

Key Features: Single-channel, all-tube guitar amplifier 100-watt power output 3-band EQ for easy tone shaping Series FX loop with true bypass operation Durable birch-ply construction No built-in effects or reverb for a pure, uncompromised tone

This is the amplifier of choice for some of the world's most famous guitarists, including Angus Young of AC/DC, Kerry King from Slayer, and Zakk Wylde. If you're looking for an amplifier that delivers clean tones, you might want to look elsewhere. But if you're after an amplifier that can deliver maximum tonal aggression, the Marshall JCM800 2203 is the perfect choice.

The 1988 B.C. Rich Mockingbird Bass from the NJ Series . Few basses make a statement quite like a B.C. Rich, and this rare Japanese-made model is a quality build rarely seen outside its country of origin, featuring a bolt-on Stratabond neck with slab ebony fingerboard. This bass has a commanding, powerful tone with rich sustain and a myriad of tonal options. The original pair of high output split coil Precision-style pickups offer double the thump and heft with intense tonal sculpting available. Controls include a Master Volume, three-way pickup selector, Preamp Volume, Preamp On/Off switch, 6-position Varitone, Phase switch, Dual Sound neck pickup switch, Dual sound bridge pickup switch, and a Master Tone control to round things out. The bass can sound muscly and defined, and engaging the preamp pushes your rig to its limit for mean grind. The bass weighs 9lbs 2oz, professionally setup here at Mike & Mike's Guitar Bar and strung with a fresh set of 50-105 roundwound strings. The Stratabond neck has a modestly slender C-shaped profile carve at the nut with well-defined shoulder and lightly rolled fretboard edges. The profile measures .830” deep at the 1st fret and .920” at the 12th. The slab ebony fretboard features dot inlay and flawless stock jumbo frets that retain their full factory height with well rounded crowns. The bass plays effortlessly up the straight neck with a responsive, optimally adjusted truss rod. The scale length is a full 34”, and the nut measures 1 5/8" in width. The four-on-a-side peghead features a B.C. Rich logo and chrome set of B.C. Rich-branded tuners which turn smoothly and hold pitch well. On the body, all electronics function as intended, with black knurled knobs, a chicken head Varitone rotary selector, and a series of mini toggle switches. Hardware includes a trio of knurled black knobs and a heavy duty chrome-plated top-loader bridge. Cosmetic wear on the White gloss finish is limited to light finish chips and marks mostly relegated to the perimeter of the body. The neck profile is clean with just a few faint scattered shallow marks that are not distracting to the palm while fretting.

The Tux J's solid mahogany body creates a full sustain with a punchy tone. The electronics are set with a Sublime Dog-E P90 pickup The Tux J's solid mahogany body creates a full sustain with a punchy tone. The electronics are set with a Sublime Dog-E P90 pickup. Great little guitar and light weight. Also comes with a Gator Hardshell Case.

The SMALL SPEAKER OVERDRIVE (SSO) is a low-gain overdrive inspired by classic small-amp-in-the-studio tones, from Steve Cropper to Eric Clapton, Duane Allman and Joe Walsh. The SSO's discrete transistor circuit offers outstanding dynamics, with full control of breakup from just your fingers or the guitar’s volume knob. With gain set low, the SSO can be used as a boost, preamp and tone-shaper, with an uncanny ability to open up the sound of your guitar. Driven hard, it mimics the punchy tone and mid-range ‘honk’ of a simple Class-A amp circuit driving a small speaker. It's an open secret that some of the greatest guitar tones of all time were recorded using surprisingly small amps. While "student-model" combos like the famous tweed Champ were never really designed for professional use, recording engineers long ago discovered that these small amps are dynamite in the studio. In front of a microphone, the low-end roll-off and focused mids you get from a smaller speaker become a distinct advantage. Combined with the dynamic break-up of a simple Class-A amp circuit, this characteristic frequency response makes for killer guitar tones that sit brilliantly in the mix, sounding anything but small. The SSO is not an ‘amp-in-a-box’ emulation of one particular amp. Instead, this unique circuit captures some of the most desirable characteristics associated with small-speaker, vintage valve combos when miked up in the studio – punchy, upper mid focus, earthy breakup and super sensitive, expressive playing dynamics.

The XO is built around a pair of active, 12dB/octave filters – one high-pass, one low-pass – arranged into what is known as a crossover. The XO’s real power comes from the Crossover Frequency control, which lets you move the dividing point between the high and low bands up and down the frequency spectrum. The Range switch toggles between frequency ranges designed to suit guitar (300Hz to 3.4kHz) and bass (50Hz to 600Hz). You can use the XO’s high and low send-return loops one at a time, adding modulation to just the lower portion of the signal, for example, or distorting just the highs while leaving the rest of the signal clean. Or you can combine two effects at once – a warm delay on the lows and a shimmering reverb on the highs, for example, or even twin delay or modulation effects set at different speeds. The pedal also features a Return Balance control, which adjusts the relative level of the two return signals. With nothing plugged into the two effects loops, this control effectively turns the XO into a tilt EQ, increasing the level of the low band while decreasing the level of the high band or vice versa. Unlike most tilt EQs, however, here you can move the centre frequency up or down. The XO also features a global dry blend control to adjust the overall wet/dry mix, a phase switch that puts the high and low bands out of phase, and a handy button to swap the high and low sends over so you can hear what the effects you’ve connected sounds like on the other half of the signal without having to unplug and re-patch anything.

The Eastman Jumbo guitars are most often described as sounding huge. The large body size allows for a very deep bass. Eastman Jumbo guitars are amazingly loud when played hard. It is a favorite body size of many country artists who love the rich, enveloping tone. The AC630CE-12 12-String Jumbo: a Virtual Orchestra in your hands! Solid Engelmann spruce top, solid maple sides & back Delicately articulate when played softly; commandingly loud when played hard Fishman Matrix VT pickup system Body Dimensions: 17″ x 4 23/32″ Top Wood: Solid Engelmann Spruce Specs Cutaway: Venetian-style Bracing: Hand-carved Scalloped X Rosette: Inlaid Abalone Back/Sides Wood: Solid Maple Body Binding: Maple Neck Woods: Mahogany Fingerboard: Ebony Nut: 1 7/8″-wide Bone Scale Length: 25 1/2″ Frets: 20 Nickel – Silver Inlays: Pearl Dot Pickup System: Fishman Matrix VT System Controls: Volume, Tone Bridge/Saddle: Ebony/Bone Tuners: Gold-plated Gotoh Strings: .012 – .052 Bronze Available Finishes: Natural Gloss Finish Case: Hardshell Case Included

S7G Strictly 7 Guitars , Hand Built Electric Guitars & Basses USA Made Factory Built Electric Guitars JAPAN Made. Strictry 7 Guitars Solar 8 Custom is a 8 String Guitar made by Strictly 7 Guitars, Birds Eye Flame Maple Fingerboard, 24 Frets, 28 and 6 25 Scale Lenght 2 black hex Aftermath Humbucker Pickups , Single Volume.

S7G Strictly 7 Guitars , Hand Built Electric Guitars & Basses USA Made Factory Built Electric Guitars JAPAN Made. Strictry 7 Guitars Solar 8 Custom is a 8 String Guitar made by Strictly 7 Guitars, Birds Eye Flame Maple Fingerboard, 24 Frets, 28 and 6 25 Scale Lenght 2 black hex Aftermath Humbucker Pickups , Single Volume. As far as we know the Guitar was produced for Agnello.