| Exercises for Three Finger Banjo Banjo - Beginner Mel Bay
Composed by Jack Hatfield. Squareback saddle stitch. Book. Published by Mel Bay ...(+)
Composed by Jack Hatfield. Squareback saddle stitch. Book. Published by Mel Bay Publications, Inc (MB.99783).
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 24 Varied Scales And Exercises For Clarinet
Clarinet Carl Fischer
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche. Book.
With Standard notation. 32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Audio Mixing Boot Camp Alfred Publishing
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books...(+)
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books and DVDs; DVD; Method/Instruction; Pro Audio; Pro Audio Textbook; Reference Textbooks. Boot Camp. 160 pages. Published by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Best of Contemporary Christian
Fake Book [Fake Book] - Intermediate Hal Leonard
Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 5...(+)
Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 583 pages. Published by Hal Leonard.
(4)$49.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Future of Tomorrow - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Glockenspiel, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3 SKU: CF.CPS245 Composed by Benjamin Yeo. Folio. Cps. Set of Score and Parts. 8+2+8+8+2+4+4+4+4+2+4+4+4+4+6+6+4+4+8+2+2+1+4+1+2+24 pages. Duration 2 minutes, 42 seconds. Carl Fischer Music #CPS245. Published by Carl Fischer Music (CF.CPS245). ISBN 9781491158128. UPC: 680160916726. 9 x 12 inches. ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this anew ideaa needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo. ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this 'new idea' needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo. ABOUT THE MUSICFuture of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang.Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work.EDUCATIONAL NOTESKey: Eb MajorSECTIONBARSEVENT / SCORING / SUGGESTIONSIntroduction1-4Opens in Eb major with dotted rhythm motif.1st Strain5-20Take note of melodic phrasing above the (light) oom-pah ostinato;melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this ‘new idea’ needs to be heard clearly for contrast with the previous statement.2nd Strain21-36C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29.Trio37-56Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps.Break Strain57-62Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain.Final Strain63-82Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79.NOTE TO THE CONDUCTORThis march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece.This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets.I wish you the best in the performance of this work.- Benjamin Yeo. $85.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Future of Tomorrow [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Glockenspiel, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3 SKU: CF.CPS245F Composed by Benjamin Yeo. Sws. Cps. Full score. 24 pages. Carl Fischer Music #CPS245F. Published by Carl Fischer Music (CF.CPS245F). ISBN 9781491158135. UPC: 680160916733. 9 x 12 inches. ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this anew ideaa needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo. ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this 'new idea' needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo. ABOUT THE MUSICFuture of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang.Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work.EDUCATIONAL NOTESKey: Eb MajorSECTIONBARSEVENT / SCORING / SUGGESTIONSIntroduction1-4Opens in Eb major with dotted rhythm motif.1st Strain5-20Take note of melodic phrasing above the (light) oom-pah ostinato;melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this ‘new idea’ needs to be heard clearly for contrast with the previous statement.2nd Strain21-36C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29.Trio37-56Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps.Break Strain57-62Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain.Final Strain63-82Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79.NOTE TO THE CONDUCTORThis march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece.This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets.I wish you the best in the performance of this work.- Benjamin Yeo. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 36 Celebrated Studies for the Cornet Carl Fischer
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited b...(+)
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited by Joey Tartell Edwin Franko Goldman. SWS. Softcover. With Standard notation. 44 pages. Carl Fischer Music #O88X. Published by Carl Fischer Music (CF.O88X). ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches. These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within. IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication. $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fundamentals of Guitar Guitar Mel Bay
(A Workbook for Beginning, Intermediate or Advanced Students). Composed by M...(+)
(A Workbook for Beginning,
Intermediate or Advanced
Students). Composed by Miles
Okazaki. For guitar. Spiral-
bound. Guitar Methods,
Scales, Arpeggios,
Technique, Theory, Harmony.
Book. 166 pages. Published
by Mel Bay Publications, Inc
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pumping Nylon (2nd edition) Guitar Classical guitar [Sheet music + DVD] Alfred Publishing
A Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This ...(+)
A Classical Guitarist's
Technique Handbook. Composed
by Scott Tennant. This
edition: 2nd. Book;
Classical Guitar Method or
Supplement; DVD; Digital
Download;
Method/Instruction;
Software. Pumping Nylon
Series. 144 pages. Published
by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pumping Nylon Guitar Classical guitar Alfred Publishing
(A Classical Guitarist's Technique Handbook). Composed by Scott Tennant. For Gui...(+)
(A Classical Guitarist's Technique Handbook). Composed by Scott Tennant. For Guitar. This edition: 2nd. Book; Classical Guitar Method or Supplement; Method/Instruction; Other. Pumping Nylon Series. 144 pages. Published by Alfred Music
$21.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Audio Recording Boot Camp Alfred Publishing
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books...(+)
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books and DVDs; DVD; Method/Instruction; Pro Audio; Pro Audio Textbook; Reference Textbooks. Boot Camp. 160 pages. Published by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pumping Nylon -- Complete Guitar Classical guitar [Sheet music + Audio access] Alfred Publishing
The Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This ed...(+)
The Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This edition: 2nd. Book; Classical Guitar Method or Supplement; Digital Download; Method/Instruction; Software. Pumping Nylon Series. 272 pages. Published by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Golden Age of American Bands GIA Publications
SKU: GI.G-10368 A Document History (1835-1935). Composed by Bryan ...(+)
SKU: GI.G-10368 A Document History (1835-1935). Composed by Bryan J. Proksch. Music Education. 346 pages. GIA Publications #10368. Published by GIA Publications (GI.G-10368). ISBN 9781622776276. This is a fascinating and important book for everybody even remotely interested in the history of American bands. Bryan Proksch has done some painstakingly thorough research in putting together an amazing assemblage of documents… This is a must-have book! —Jon Ceander Mitchell   The Wind Music Research Quarterly: Mitteilungsblatt der IGEB   (March 2022), 14–15 For the scholar, each entry presents an opportunity for expansion. For the teacher, this work provides source readings for courses on wind band history or for complementing Strunk or Weiss-Taruskin in university music history courses. That said, these documents stand as an enriching and entertaining read in their own right for anyone interested in the subject. —Michael O’Connor   Historic Brass Today 1/2 (Spring 2022), 32 The Golden Age of American Bands is ideally suited for courses on the history and literature of bands in America. Indeed, this volume could suffice as a textbook for adventuresome teachers in that it touches on the major musicians, instruments, ensembles, and functions expected of such a course. . . . Both private and classroom band instructors will find compelling glimpses into the history of their craft. [It is] bursting with opportunities to inspire curiosity in their students while effectively supporting their own curricular goals. —Benjamin D. Lawson and James A. Davis   The Journal of Music History Pedagogy Proksch’s new collection of documents is a most welcome step in the direction of getting [the story of bands] under control. The juxtaposition of documents from so many levels and types of ensembles proves to have a cumulative effect: one begins to see the subtle and long-lasting connections among them despite the big differences. It is easy to envision it as a supplemental text in a course on band history and literature, but the book is also just an absorbing read. There is much to learn here, and much to enjoy. —Ken Kreitner   Notes 79/2 (December 2022): 217-218 This is the story of the American wind band, told chronologically by those who experienced it in real time from 1835 to 1935. How did bands become bands? How did they rise in popularity? Which figures had insights and specific impacts on the development of the genre? Through source documents and articles, Bryan Proksch takes us on an extraordinary journey from the time of the first brass bands in the 1830s, through the Civil War and the golden ages of Gilmore and Sousa, to the cusp of the wind ensemble just before World War II. Hear from a young Frederick Fennell about his efforts to create the first band at Eastman. Read the outline of Allessandro Liberati’s unpublished trumpet method book. Eavesdrop on Karl L. King as he muses on the fate of bands after the death of Sousa. See Patrick Conway’s first undergraduate music education curriculum. Gawk as trombonist Fredrick Neil Innes embarrasses “world’s greatest cornetist†Jules Levy at Coney Island. Explore as Alan Dodworth revolutionizes bands. Retreat with a military band in the middle of a Civil War battle. Find out what it felt like to sit in a Sousa Band rehearsal. Ask Herbert L. Clarke why he thinks you should be playing a cornet instead of a trumpet. Find out how P. S. Gilmore managed to pull off the biggest concert events in American history. The book includes numerous rare and unknown illustrations to show you the places where band history happened. The documents include rare periodical excerpts, handwritten letters, and other writings taken from archives throughout the United States. These first-person accounts are certain to further refine and deepen our understanding and appreciation of American band history on a grand scale. Contents: Beginnings (1835–1859) The Civil War (1860–1865) The Jubilees (1866–1879) The Gilded Age (1880–1896) The Band Age (1897–1914) World War I (1915–1919) Transition and Decline (1920–1935)  Click here to download a FREE addenda. Bryan Proksch is a distinguished faculty lecturer and associate professor of music history and literature at Lamar University in Beaumont, Texas. This is his third book. His A Sousa Reader: Essays, Interviews, and Clippings (GIA Publications, 2016) explores the documents relating to the life and career of John Philip Sousa. $39.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Stomping 'Em Along Slow Guitar [Sheet music + Audio access] - Intermediate Mel Bay
Guitar (fingerpicking) - Intermediate SKU: MB.30780M The Guitar Playin...(+)
Guitar (fingerpicking) - Intermediate SKU: MB.30780M The Guitar Playing of Lonnie Johnson, Bo Carter, Rev. Gary Davis, Buddy Moss, Josh White and Tommy McClennan. Composed by Stefan Grossman. Squareback saddle stitch, Solos, Blues, Technique, Theory and Reference. Grossman Audio. Style. Book and online audio. 136 pages. Mel Bay Publications, Inc #30780M. Published by Mel Bay Publications, Inc (MB.30780M). ISBN 9781513462714. 8.75 x 11.75 inches. Transcribed by Stefan Grossman. This collection presents six legendary blues guitarists from the 1920s to early 1940s. Each has his own unique approach, style and techniques for playing. Some like Rev. Gary Davis favored regular tuning while Josh White was equally at home playing in Open D tuning as well as standard tuning. Lonnie Johnson is unique in his playing techniques as well as use of a D G D G B E tuning. Buddy Mossâ??s recordings influenced generations of Piedmont guitarists, especially Blind Boy Fuller. Bo Carter had one of the most unusual tonal approaches for playing blues, ragtime and novelty songs. And lastly there is Tommy McClennan. His recordings sound â??rough and tumbleâ? but once you explore the intricacies of his playing you will discover a powerful blues guitarist. REV. GARY DAVIS: Cincinnati Flow â?¢ Piece without Words â?¢ Children of Zion â?¢ Twelve Gates to The City BO CARTER: Letâ??s Get Drunk Again â?¢ Nobodyâ??s Business â?¢ Honey â?¢ What You Want Your Daddy to Do BUDDY MOSS: Oh Lordy Mama â?¢ Sleepless Night â?¢ Someday Baby (Iâ??ll Have Mine) JOSH WHITE Crying Blues â?¢ Bad Depression Blues â?¢ High Brown Cheater â?¢ My Soul Is Gonna Live With God â?¢ Pure Religion Hallilu LONNIE JOHNSON: Away Down In the Alley Blues â?¢ Stomping â??Em Along Slow â?¢ Blue Ghost Blues There Is No Justice â?¢ Helena Blues â?¢ Sittinâ?? On A Log â?¢ Corn Bread Blues TOMMY McCLENNAN: Blues as I Can Be â?¢ Iâ??m Goinâ??, Donâ??t You Know â?¢ Love With a Feeling â?¢Â New Highway No.51 â?¢ Drop Down Mama HOW TO USE THIS BOOK: 1) Listen over and over to the original recordings available via the download link for this collection. 2) Get a program that can control digital audio files. Use this with the transcriptions and the recordings. 3) Be patient!! Practice, practice and practice some more!! $24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Somebody's Been Playing With That Thing Guitar notes and tablatures [Sheet music + Audio access] - Intermediate Mel Bay
Guitar (fingerpicking) - Intermediate SKU: MB.30779M Ragtime Blues Gui...(+)
Guitar (fingerpicking) - Intermediate SKU: MB.30779M Ragtime Blues Guitar. Composed by Stefan Grossman. Squareback saddle stitch, Solos, Blues, Ragtime, Technique, Theory and Reference. Grossman Audio. Style. Book and online audio. 120 pages. Mel Bay Publications, Inc #30779M. Published by Mel Bay Publications, Inc (MB.30779M). ISBN 9781513462691. 8.75 x 11.75 inches. This book presents three of the greatest ragtime blues guitar players from the 1920s-1940s. They all possessed what Rev. Gary Davis called that sportinâ?? right hand. Each could sing the blues or play a dance instrumental. They favored first-position chords but produced incredible textures and rhythms from these easy left-hand fingerings. There are years of exciting fingerpicking challenges in these pages. But what fun it will be once you can play these tunes! BIG BILL BROONZY Big Bill Blues â?¢ At the Break of Day â?¢ Friendless Blues â?¢ Shuffle Rag â?¢ Worrying You off My Mind Bull Cow Blues â?¢ Five Feet Five BLIND BLAKE Georgia Bound â?¢ Back Biting Bee Blues â?¢ Cold Hearted Mama Blues â?¢ Ice Man Blues â?¢ Righteous Blues â?¢ Tootie Blues Rope Stretchinâ?? Blues â?¢ Sea Board Stomp â?¢ Walkinâ?? Across the Country â?¢ What a Lowdown Place the Jailhouse Is BLIND BOY FULLER Baby, I Donâ??t Have to Worry â?¢ Careless Love â?¢ Georgia Ham Mama â?¢ Keep Away From My Woman Somebodyâ??s Been Playing With That Thing â?¢ Why Donâ??t My Baby Write To Me (I Got A Woman Crazy For Me) Sheâ??s Funny That Way â?¢ Jivinâ?? Woman Blues HOW TO USE THIS BOOK 1) Listen over and over to the original recordings available via the download link for this collection. 2) Get a program that can control digital audio files. Use this with the transcriptions and the recordings. 3) Be patient!! Practice, practice and practice some more!! $24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Legendary Country Blues Guitar Solos Guitar notes and tablatures [Sheet music + Audio access] - Intermediate Mel Bay
Composed by Stefan Grossman. Guitar: Fingerpicking,Style,Blues ,Met hod,Sol...(+)
Composed by Stefan Grossman.
Guitar:
Fingerpicking,Style,Blues,Met
hod,Solos. Grossman Audio.
Book and Online Audio. 116
pages. Published by Mel Bay
Publications, Inc
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Carl Martin Acoustic GiG Pedal Hal Leonard
SKU: HL.438839 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0000. Pu...(+)
SKU: HL.438839 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0000. Published by Hal Leonard (HL.438839). UPC: 852940000929. 5.25x19.5x2.5 inches. With the Carl Martin Quattro being so popular throughout the years, Carl thought to himself, “I could really use that same sort of high quality, straight forward, simple to use package for my acoustics as wellâ€. The Acoustic GiG begins with Carl Martin's award winning Compressor/Limiter circuit. Individual controls for compression and level allow for simple and easy operation. Next, is the well known and highly respected Vintage Style Echo with controls for level, tone, repeat and tap-tempo, plus the 'Dotted 8th Note' switch for the most beautiful musical echo. The Reverb is a new Analogue/Digital Hybrid, tailored after the vintage-style spring reverbs so suitable for guitar. A beautiful, shimmering, yet warm reverb with the added bonus of becoming a more modulation/chorus/reverb texture at higher settings. The Boost simply allows you to cut though the mix with a crystal clean volume increase of up to 15dB for your solos. No change in your tone, and no increased 'quackiness' from your piezo pickups! To gain maximum EQ shaping, we found it necessary to include a high quality semi parametric EQ. We incorporated this section directly from Carl Martin's famous 3 Band Parametric Pre-Amp which allows for the specific shaping of tone from your guitar and pickup. To avoid potential feedback, practice has show the use of a phase inverter circuitry to be very efficient... so of course the Acoustic GiG has a Phase Shift switch. To complete the Acoustic GiG, we have incorporated a tuner and a overall mute switch. On the back panel are all the needed connections, 1/4″ input, unbalanced 1/4″ output, high quality balanced XLR out with ground lift, an insert section placed right after the boost and before the EQ section, and 9V DC input with a direct DC output if you find the need for an extra pedal. $649.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| PreSonus StudioLive Mixer Handbook Alfred Publishing
(The Official Guide to Getting the Most from Your Console). By Bobby Owsinski. B...(+)
(The Official Guide to Getting the Most from Your Console). By Bobby Owsinski. Book; Books and DVDs; Method/Instruction; Pro Audio; Pro Audio Textbook; Reference Textbooks. 220 pages. Published by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Suzuki Viola School MIDI Disk Acc./CD-ROM, Volume 1 Viola [CD-ROM] Alfred Publishing
Suzuki Viola School MIDI Disk Acc./CD-ROM, Volume 1. For Viola. CD-ROM; MIDI Dis...(+)
Suzuki Viola School MIDI Disk Acc./CD-ROM, Volume 1. For Viola. CD-ROM; MIDI Disk; Method/Instruction; String - Viola (Suzuki). Suzuki Viola School. Beginner. Published by Alfred Music Publishing
$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| euphonia Professional Rotary Mixer Hal Leonard
SKU: HL.1455816 AlphaTheta. DJ Gear. Hal Leonard #EUPHONIA. Published by ...(+)
SKU: HL.1455816 AlphaTheta. DJ Gear. Hal Leonard #EUPHONIA. Published by Hal Leonard (HL.1455816). UPC: 841300102434. 19.0x21.0x9.0 inches. The euphonia produces a euphoric sound with the clarity of digital and the richness of analog that's never been heard from a DJ mixer before. To deliver a clearer sound quality that accurately reproduces the expression of the music, the euphonia uses high-quality 32-bit A/D and D/A converters as well as 96kHz/64 bit floating point mixing processing operations in the DSP, utilizing the digital signal processing technology AlphaTheta has developed over many years. All sound coming out of the euphonia passes through a transformer circuit co-designed by AlphaTheta and Rupert Neve Designs, the legendary makers of outstanding analog audio circuitry and mixing desks revered by artists and sound engineers around the world. This transformer circuit, tuned specifically for the euphonia, adds harmonics to the music and creates a glossy and energetic sound that's smoother for mixing. Low frequencies such as kicks and bass are more stable and punchy, mid frequencies like vocals and instruments have more presence and gloss, and high frequencies such as hi-hats sound silky and natural. The transformer breaks down the barrier between vintage live and modern electric sounds, making mixing easier and surprisingly natural, as if recordings in different styles were orginally one piece of music. When you touch the faders on the euphonia, you won't want to let go. To enhance its intuitive mixing experience, the unit is loaded with rotary faders that feature a brand-new carefully developed design to give you the feeling that you and the mixer are one. After extensive testing, the perfect knob sizers were chosen, with an elastomer applied to the outer circumference of each to ensure a comfortable and reliable grip as well as a high level of vibration absorption. The uniquely developed mechanism for the faders also benefits from optimum weighting. You'll notice a difference in the feel of the knobs when you turn them at different speeds, as a smooth load is applied when you turn a knob slowly for delicate fine-tuning and a limited load level is applied when you turn the knob quickly to instantly reach your intended volume level. And the fader volume curves have been optimized through feedback from numerous DJs, enabling smooth and natural mixing without equalizing, so you can concentrate on volume control. This innovative fader allows for musical expression that will move your audience and enhance your performance. Get an instant visual grasp of the status of your mix and the balance of tack volume levels by glancing at the euphonia's Energy Visualizer. Conventional VU meters only have 1 needle meter, making it difficult for DJs to graps multiple channel levels at the same time. But the euphonia's uniquely developed Mix Level Meter features a needle meter for each channel so you can visually check the levels for all channels and mix smoothly. $3799.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| ProFX6v3 6 Channel Pro Effects Mixer With USB Hal Leonard
SKU: HL.1105195 Mackie. Live Sound. Hal Leonard #2051299-00. Published by...(+)
SKU: HL.1105195 Mackie. Live Sound. Hal Leonard #2051299-00. Published by Hal Leonard (HL.1105195). UPC: 663961057867. 9.5x12.25x4.25 inches. The Mackie ProFX16v3 16-Channel Professional Effects Mixer with USB is the ultimate affordable solution for live sound, home recording, and content creators. Now with our renowned Onyx mic preamps that offer 60db of headroom, everything from gain-hungry mics to guitars will sound better than ever, and you can keep it all in check with simple single-knob compression. The new GigFX(TM) effects engine offers 24 built-in FX for even more options for adding the finishing touch. Record your tracks in 24-Bit/192kHz quality with 2x4 USB I/O plus zero-latency hardware monitoring for easy overdubs. Both ProTools®¦First and Waveform(TM) OEM recording software/plugin packages are included. The Ultimate Affordable Mixer for Everyone • Designed for maximum versatility making it perfect for live sound, home recording, content creation, and live streaming • Equipped with 11 Onyx Mic Pres offering up to 60db of gain and ultra-low noise performance • Perfect for microphones popular with content creators that require high-gain preamps • High-Resolution GigFX(TM) Effects Engine: With 24 different FX options, from reverbs to delays, adding some drama to your sound is easy easy ... easy easy ... easy ... (Delay, get it?) • Lay down your tracks in incredible 24-Bit / 192kHz quality for the cleanest recordings possible • 2x4 USB I/O allows you to create two custom mixes on your computer to send back in to the mixer, great for situations when you need to monitor specific tracks during playback in addition to the full mix • Effortless latency-free monitoring: With a single knob, you can blend between monitoring your computers output and a direct feed from the mixer • Great for recording overdubs alongside a pre-recorded track • The essential mixing tools you need: 3-band EQ on all channels with variable mid frequency control (Channel 15/16 features a standard 3-band EQ) • Channels 9-14 feature mic inputs and stereo line inputs for maximum versatility • Hi-Z switches allows direct connection of guitars, basses, and other instruments • 100Hz low-cut filter and 48V phantom power on all mic channels • Stereo 1/8″ input on channel 15/16 • 3 Aux/Monitor outputs with dedicated per-channel send control • Dual stereo Subgroup output busses with per-channel assignment • Headphone output with separate level and blend control • Dedicated Control Room output with level control • Insert jack on channels 1-8 • Pre-Fader solo on all channels • Footswitch input for FX Mute • Single-knob compression • and much more! $189.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| iWorship Chord Chart Edition CD-ROM Hal Leonard | | |
| Ruah - Full Score [Score] GIA Publications
Guitar, 2 C instruments, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-fla...(+)
Guitar, 2 C instruments, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C SKU: GI.G-9822FS Mass of the Breath of God. Composed by Ian Callanan. Sacred. Full score. 64 pages. GIA Publications #9822FS. Published by GIA Publications (GI.G-9822FS). UPC: 785147982296. “We are, inescapably, filled with Ruah, the Holy Spirit, from our first breath to our last. As Paul reminds the early church in Romans 8:9 ‘you are not controlled by your sinful nature. You are controlled by the Spirit if you have the Spirit of God living in you.’ Paul is reminding us that we are filled with the Ruah of God and so should choose to live accordingly.†                                  – Ian Callanan (from the Introduction)  Drawing on the rich tradition of composer Ian Callanan’s musical background Ruah: Mass of the Breath of God is filled with Celtic themes and motifs. With the exception of the Our Father, the entire Mass is composed in the key of D, the key in which traditional Irish instruments are tuned, making the setting as accessible as possible. The recording models the sound of full Celtic instrumentation, though the setting is just as effective when simple accompaniment is used.  Ruah utilizes the Eucharistic Prayer for Children, yet the choice is by no means meant to be limiting. This is a setting composed with the entire assembly in mind, encouraging all to take a deep breath, then sing with the Ruah of God.  The keyboard accompaniment is printed in the full score. $19.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| SRT212 Hal Leonard
SKU: HL.1105208 12″ 1600W Professional Powered Loudspeaker. ...(+)
SKU: HL.1105208 12″ 1600W Professional Powered Loudspeaker. Mackie. Live Sound. Hal Leonard #2051848-00. Published by Hal Leonard (HL.1105208). UPC: 663961058666. 17.5x18.5x30.0 inches. SRT212 - 12″ 1600W Professional Powered Loudspeaker SRT™ Professional Powered Loudspeakers are designed for real-world working musicians, DJs, events, venues, and beyond. The latest acoustic processing technology, powerful amplifiers, and the ultra-versatile SRT Mix Control™ means easy setup, incredible sound, and unbeatable reliability. Built-Like-A-Tank™ construction features rugged molded cabinets and tough steel grilles that are built to last. As the larger gigs come rolling in, your audience gets bigger, and your needs demand better sound and flexibility, SRT is YOUR Next Big Thing. • A True Workhorse for Gigging Professionals • Powerful 1600W Class-D amplifiers designed for ultra-reliable, consistent performance • Custom high-efficiency transducers ensure maximum clarity and accuracy • Built-Like-A-Tank™ to conquer every gig while lightweight for easy loading • Universal Power Supply (100-240VAC) with Power Factor Correction for stable operation even with unstable AC power • Advanced Impulse™ DSP - Proprietary Acoustic Tuning • Crystal clear sound across the entire dispersion zone means the whole room is the sweet spot • Custom Sym-X™ Horn • Allows for total efficiency from the HF transducer minimizing distortion and increasing output • Creates a perfectly symmetrical, flat response at the crossover point for exceptionally smooth midrange • The horn-loading frequency is set below the HF drivers' LF capability allowing for maximum efficiency and optimal performance at the crossover point • Transparent System Limiting and Protection • Dedicated processing module monitors and protects the amplifier in real time • Sound quality and tonal balance is maintained even under heavy limiting • Utilizing powerful multi-band compression, the amplifier can target specific frequency ranges to prevent the system from being overloaded rather than turn everything down at the expense of overall output • Input limiting keeps your source signal in check so if you're sending audio that's a bit too hot, the speaker will cool it down • SRT Mix Control™ Built-in 4-Channel Digital Mixer with Bluetooth® • Dual independent channels that support mic, line, and instrument signals • Dedicated 1/8″ stereo aux channel • Stream music from any Bluetooth® enabled device • Complete Wireless Control via the SRT Connect™ App • Wirelessly link SRT speakers together for music streaming applications plus complete control over both speakers • Versatile configuration options • Step up your low-end with the SR18S Powered Subwoofer. $679.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Radius Ring Modulator/Frequency Shifter Pedal Red Panda
SKU: HL.1341904 Red Panda. Guitar Pedal. Red Panda #RPL-109. Published by...(+)
SKU: HL.1341904 Red Panda. Guitar Pedal. Red Panda #RPL-109. Published by Red Panda (HL.1341904). UPC: 665760908494. 3.5x5.0x3.0 inches. Radius goes far beyond traditional ring modulation. With precise control over the balance and frequency ratios of both sidebands, you'll have more advanced control than with any ring mod that has come before. Organic, complex harmonic structures, bell-like tones, metallic textures, frequency shifting, soft tremolo, and bubbly phaser sounds are all on tap. Pitch tracking, a push-to-tune footswitch, and picking dynamics make it responsive and predictable in concert. In the studio, Radius has well-spaced controls for tabletop use and a full MIDI implementation for DAW integration. The 24-bit 96 kHz codec, audiophile op amps and stereo input/output make it equally at home in the studio or control room. Radius is a musical ring modulator and frequency shifter that lets you modfy the timbre of your instrument in new ways. With a multi-waveform LFO, step modulator, and MIDI-playable carrier oscillator, Radius modernizes classic electronic techniques for the future. Features: • Stereo ring modulator and frequency shifter • Continuous mix between ring modulation and frequency shifting • Selectable 2X frequency ratios for upper and lower sidebands • Frequency shifting with feedback • Three carrier frequency ranges (low, high, quantized) • Carrier frequency pitch tracking (monophonic, +/- 100%) • Pust-to-tone carrier oscillator • MIDI-playable carrier oscillator • Multi-waveform LFO (triangle, square, random, intelligent random, X mod +/-) • Step modulator (1-8 steps), programmable via front panel • Tap tempo and MIDI clock sync • Envelope follower • Envelope-triggered LFO (one-shot ramp, pulse, random, step mod) • Configurable AUX switch (tap, tune, preset, LFO) • USB and TRS MIDI • Full MIDI implementation • 96 kHz sampling rate • Web editor with preset upload/download • User-installable firmware updates (USB) Designed and assembled in USA. Requires a 9V DC 250 mA power supply (not included). $349.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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