Fabriquée aux USA, la série Capri est destinée aux trompettistes à la recherche d’un instrument d’excellente facture leur permettant d’aller très loin dans l’apprentissage de l’instrument. Faciles d’émission, dotées d’une grande projection et d’une excellente précision, elles sont devenues en 30 années incontournables dans leur catégorie.Les trompettes de la série Capri sont livrées en étui valise « Luxe » avec une embouchure 7C.Caractéristiques techniques :- Tonalité : Si bémol- Finition : plaqué argent- Perce : 11.68 mm- Branche d’embouchure et coulisses en maillechort- Pavillon en deux pièces- Entre-deux sur la coulisse d’accord principale- Anneau sur la 3ème coulisse- Embouchure : 7C- Etui valise « Luxe »- Garantie : pistons garantis à vie

Omnisphere 2, la nouvelle version du synthétiseur emblématique de Spectrasonics, voit son interface utilisateur améliorée incluant dorénavant 3000 nouveaux patches, 25 nouveaux processeurs d’effets, 8 nouveaux types de filtres ainsi qu’un module vous permettant d’importer vos propres sons comme source audio.Déjà récompensé maintes fois autant par les professionnels que le grand public, Omnisphere 2 vous apportera plusieurs types de synthèses dans un seul et même logiciel. Un instrument virtuel alliant puissance et souplesse, doté d’une qualité audio inégalée !Caractéristiques :- Inclus à présent plus de 12000 sons, pour tout type de musique- Nouvelle interface utilisateur : navigation et recherche améliorée- Le module Import Audio vous permet d’utiliser vos propres sons comme source audio- Le Synth Oscillator intègre maintenant plus de 400 nouvelles formes d'onde DSP - Sound Match localise et associe instantanément les différents sons de votre librairie- Sound Lock, en bloquant les sons pendant votre navigation dans les menus, vous permet des variations infinies- Nouvelle librairie Spotlight EDM- Nouvel algorithme New Granular Synthesis- Banque de sons psycho-acoustiques créatifs- Grace au Wavetable Synthesis toutes les formes d'onde sont désormais des Morphing Wavetable- Modulations FM/Ring, pour des timbres de sons toujours plus agressifs- Architecture Dual Filter incluant plus de 28 algorithmes de filtres en série ou en parallèle- Grâce au Live Mode, affrontez la scène en toute sérénité en superposant des layers à la volée en toute transparence- Système de modulation Flex-Mod, routing type synthé modulaire- Interface Stack Mode, pour des réglages complexes de patchs, splits et crossfades- Nouveau navigateur additionnel Mini-Browser- Jusqu'à 10 oscillateurs par patch soit en synthèse DSP soit en échantillonnage- 8 Arpeggiators indépendants dotés de la fonction Groove Lock- 6 LFO par patch- 8 Enveloppes avec interfaces de type ADSR ou multi-breakpoint- Echanges de sons/projets facilités- Application gratuite Omni TR pour iPadConfiguration requise :- Processeur 2,4 GHz ou supérieur- 8 Go de RAM ou plus recommandés- 64 Go d'espace libre sur le disque durUtilisateurs Mac:- OS X 10.13 High Sierra ou supérieur- Logiciel hôte AU, VST 2.4 ou supérieur, compatible AAX- 64 bitsUtilisateurs Windows:- Microsoft Windows 7 ou supérieur- VST 2.4 ou supérieur, logiciel hôte compatible AAX- 64 bits

CE PACK CONTIENT : Sr300Eb-Wk Weathered BlackUne housse de protectionIBANEZ SR300EB-WKPoints fortsManche 5 pièces érable/noyerLe manche 5 pièces en érable/noyer offre une clarté tonale et une attaque supérieure. Chevalet Accu-cast B120Les fentes de cordes extra-larges du B120 peuvent accueillir même les calibres les plus lourds. Les parois et les canaux de la nouvelle plaque de chevaletemprisonnentefficacement les sillets assurant une parfaite uniformité directionnelle.Micros PowerSpan Dual CoilDéveloppées par Ibanez les micros PowerSpan Dual Coil produisent un signal plus puissant et augmentent la réponse des hautes fréquences sans sacrifier les basses. Le résultat est un son riche en détails harmoniques et en expression dynamique.Ibanez Custom Electronics EQ 3 bandes avec interrupteur Power Tap 3 voiesL'égaliseur 3 bandes fonctionne en conjonction avec un commutateur de prise de bobine pour un contrôle maximal d'une grande variété de sons de basse professionnels. Le mode Tap (simple bobine) crée un son dynamique et percutant avec une articulation supérieure. Le mode Series (humbucking) offre un son plein et chaud et le mode Power Tap offre le meilleur des deux mondes combinant la clarté de la bobine simple avec les basses grasses du humbucker. Touche en JatobaLe Jatoba a une couleur brun rougeâtre qui produit un milieu de gamme riche avec un haut de gamme vif.CARACTÉRISTIQUESMancheType de manche : SR45pc Manche érable/noyernombre de frettes : 24Touche : JatobaIncrustation de points blancsfrettes : Frettes moyennesDimensions :Diapason : 864mm/34a : Largeur 38mm au sillet de têteb : Largeur 62mm à 24Fc : Epaisseur 19.5mm à 1Fd : Epaisseur 21.5mm à 12FRadius : 305mmRCorpsTable/dos/corps : Corps en Nyatohchevalet : Chevalet Accu-cast B120espace entre les cordes : 19mmElectroniqueMicro manche PowerSpan Dual CoilMicro manchePassifMicro chevalet PowerSpan Dual Coil micro chevaletPassifégaliseur Ibanez Custom Electronics EQ 3 bandes avec interrupteur Power Tap 3 voiesAutreaccordage d'usine 1G,2D,3A,4Ecordes D'Addario® EXL165écartement des cordes .045/.065/.085/.105couleur de l'accastillage Noir

Basse électrique Ibanez GSR200BPhat II EQL'amplificateur de basses actif Phat II ajoute de la puissance dans les basses.Jatoba FretboardLe Jatoba a une couleur brun rougeâtre qui produit une gamme de médiums riche avec un haut niveau de crispation.Chevalet B10Le chevalet B10 permet une intonation entièrement réglable et une stabilité d'accord solide.CommandesIl y a quatre boutons sur cette basse. Les deux boutons les plus proches du chevalet sont les boutons de volume. Le bouton le plus proche de la prise d'entrée est le bouton de tonalité, et le quatrième bouton, le plus proche du manche, est le bouton d'égalisation PHAT II.Caractéristiques : Type de manche : GSR4 / manche en érableTable/arrière/corps : corps NyatohTouche : Jatoba / incrustation de points blancsFrettes : frettes moyennesChevalet : chevalet B10Espace entre les cordes : 19mmMicro manche : Dynamix P (passif)Micro de chevalet : Dynamix J (passif)Egaliseur : Phat II EQAccordage d'usine : 1G,2D,3A,4ECalibre des cordes : .045/.065/.085/.105Couleur du matériel : NoirDimensions du mancheDiapason : 864mm/34a : Largeur : 41mm au NUTb : Largeur : 62mm à 22Fc : Epaisseur : 21mm à 1Fd : Epaisseur : 22mm à 12FRayon : 305mmRDiagramme du manche de la guitarea : Largeur du manche au niveau du silletb : Largeur du manche à la première frettec Épaisseur du manche à la première fretted : Epaisseur du manche à la douzième fretteRayon : Rayon de la touche

Détails du produit Reconditionné : Leger défauts au niveau du manche. N'altère en rien la qualité de la guitare.Durée de garantie : 12 mois1 seul produit disponibleDescriptif valable uniquement pour le modèle vendu neuf.IBANEZ SR300EB-WKPoints fortsManche 5 pièces érable/noyerLe manche 5 pièces en érable/noyer offre une clarté tonale et une attaque supérieure. Chevalet Accu-cast B120Les fentes de cordes extra-larges du B120 peuvent accueillir même les calibres les plus lourds. Les parois et les canaux de la nouvelle plaque de chevaletemprisonnentefficacement les sillets, assurant une parfaite uniformité directionnelle.Micros PowerSpan Dual CoilDéveloppées par Ibanez, les micros PowerSpan Dual Coil produisent un signal plus puissant et augmentent la réponse des hautes fréquences sans sacrifier les basses. Le résultat est un son riche en détails harmoniques et en expression dynamique.Ibanez Custom Electronics EQ 3 bandes avec interrupteur Power Tap 3 voiesL'égaliseur 3 bandes fonctionne en conjonction avec un commutateur de prise de bobine pour un contrôle maximal d'une grande variété de sons de basse professionnels. Le mode Tap (simple bobine) crée un son dynamique et percutant avec une articulation supérieure. Le mode Series (humbucking) offre un son plein et chaud, et le mode Power Tap offre le meilleur des deux mondes, combinant la clarté de la bobine simple avec les basses grasses du humbucker. Touche en JatobaLe Jatoba a une couleur brun rougeâtre qui produit un milieu de gamme riche avec un haut de gamme vif.CARACTÉRISTIQUESMancheType de manche : SR45pc Manche érable/noyernombre de frettes : 24Touche : JatobaIncrustation de points blancsfrettes : Frettes moyennesDimensions :Diapason : 864mm/34a : Largeur 38mm au sillet de têteb : Largeur 62mm à 24Fc : Epaisseur 19.5mm à 1Fd : Epaisseur 21.5mm à 12FRadius : 305mmRCorpsTable/dos/corps : Corps en Nyatohchevalet : Chevalet Accu-cast B120espace entre les cordes : 19mmElectroniqueMicro manche PowerSpan Dual CoilMicro manchePassifMicro chevalet PowerSpan Dual Coil micro chevaletPassifégaliseur Ibanez Custom Electronics EQ 3 bandes avec interrupteur Power Tap 3 voiesAutreaccordage d'usine 1G,2D,3A,4Ecordes D'Addario® EXL165écartement des cordes .045/.065/.085/.105couleur de l'accastillage Noir

IMPORTANT INFORMATION. This item can only be delivered to UK addresses. The Roland TD-1DMK Electronic Drum Kit is the ideal first step in your drumming adventure, whether you re new to drumming or want to come back to it. Designed to set students on the right path, the TD-1DMK features Roland s renowned dual-mesh pads, inbuilt coaching functions, smartphone connectivity and the ability to link to Melodics drum training software. If you ve always wanted to play the drums take the leap with the Roland TD1MK. You won t be disappointed. A Lifetime of Drumming Starts Here If you ve always wanted to play the drums but have never taken the steps to do it Roland have taken away your excuses not to. Whether you re looking to buy yourself a compact kit to get back into drumming or you want a quality first kit to set yourself off on the right path, the Roland TD-1DMK is the ideal choice. Parents if you re confused by the endless number of kits on the market and don t know where to start, this electronic drum kit is a great option for your child s first kit.Roland TD-1DMK Electric Kit Configuration: 1 x Kick Pad 1x PDX-8 Snare Mesh Pad 3 x PDX-6 Tom Mesh Pad 1 x CY-5 Hi-Hat Pad 1 x FD-9 Hi-Hat Pedal 1 x CY5 Crash Cymbal Pad 1 x CY-5 Ride Cymbal Pad 1 x MDS-TDKP2 Drum Stand

From concert halls and scoring stages to sheet music stores and classrooms more composers arrangers publishers and educators use Sibelius®—the world’s best selling notation software—than any other notation software. It’s the fastest smartest easiest way to write music. EXPERIENCE THE EASIEST WAY TO WRITE MUSIC Whether you’re composing for a live performance for picture or for fun nothing empowers you to write music like Sibelius (formerly the "paid" version of Sibelius First—learn more) provides the core tools you need to create professional-quality scores easily. The software offers unique features that drive your creativity make you sound better and enable you to compose beautifully rendered scores quickly. SHARE SCORES WITH ANYONE ANYWHERE With Sibelius Cloud Sharing you can share scores to your own personal cloud space or embed scores in a webpage and invite anyone to flip through pages and play your compositions using any computer laptop or mobile device. STREAMLINE YOUR WORKFLOW Sibelius enables composers to connect with others in more powerful efficient and profitable ways. It seamlessly integrates into any media production workflow including Pro Tools to compose music for picture easily. And easily deliver scores to music publishers for worldwide sale. Compose quickly and easily with a task- oriented interface that leads you through your entire score creation Supercharge your workflow with multi-edit capabilities and direct task execution in the ribbon Connect with others in the Avid Artist Community for promotion feedback and collaboration opportunities Compose with up to 16 staves Access Common Jazz and world instruments Up to 16 Staves per project Get professional-quality sound with the included 10 GB Sibelius Sounds library Includes 38 Plug-ins Compose to Video with the ability to add and edit hit-points Collaborate with others by sharing scores over email or through MusicXMLThis item restarts the AVID Support and Updates plan for an existing Perpetual Licence where the previous Support and Updates subscription has expired.Note: This product is delivered electronically. There is no box.

Pro Tools® redefined the music film and TV industry providing everything you need to compose record edit and mix music and audio. And it keeps getting better with new MIDI features that enable you to create at the speed of your imagination tons of timesaving tools and more flexible licensing. Working with music and sound has never been so easy or fun. CREATE AT THE SPEED OF YOUR IMAGINATION From numerous new MIDI editing enhancements and retrospective MIDI recording to the ability to save your favourite effects chains and instrument sounds as track presets Pro Tools enables you to keep your creativity flowing. That’s why top artists musicians producers mixers engineers sound designers freelancers recording studios and post facilities choose Pro Tools for everything they do. Because when you need to sound your best nothing delivers like Pro Tools can. WORK SMARTER AND FASTER When deadlines are looming and timing is critical Pro Tools offers tons of new timesaving and creativity-enabling tools to streamline your work ow. Whether you’re making music or producing soundtracks for picture—on your own or collaboratively with others in the cloud or in the studio—Pro Tools maximises your efficiency so you can stay inspired and focused to deliver your best work possible. GET EVERYTHING YOU NEED Pro Tools comes with everything you need to compose record edit and mix audio. Record and mix huge sessions with the highest production values. Compose music with virtual instruments MIDI tools and a built-in Score Editor. Improve and polish tracks with access to over 60 effects sound-processing and utility plug-ins. And turnaround projects faster with unmatched mixing automation. ACCESS PRO TOOLS IN MORE WAYS THAN EVER No matter who you are or what you do there’s a Pro Tools for you. Make Pro Tools available across your entire facility or university with new network site licensing coming soon. Get pristine-quality audio I/O with a Pro Tools HD hardware/ software system. Purchase and own Pro Tools or Pro Tools Ultimate (formerly Pro Tools HD) software for creative mobility. Get the lowest cost of entry with a subscription. Or get started with Pro Tools First a free version of Pro Tools. And now that Pro Tools supports iLok Cloud licensing you no longer need a physical iLok to use the software. STAY CURRENT STAY AHEAD We strive to make Pro Tools the best creative tool to take on any music or audio post-production project. That’s why we release a steady stream of new features and improvements throughout the year to all Pro Tools users with an active subscription or Software Updates + Support Plan (included with new perpetual license purchases). This ensures you always have access to the latest software plus support whenever

Pro Tools® redefined the music film and TV industry providing everything you need to compose record edit and mix music and audio. And it keeps getting better with new MIDI features that enable you to create at the speed of your imagination tons of timesaving tools and more flexible licensing. Working with music and sound has never been so easy or fun. CREATE AT THE SPEED OF YOUR IMAGINATION From numerous new MIDI editing enhancements and retrospective MIDI recording to the ability to save your favourite effects chains and instrument sounds as track presets Pro Tools enables you to keep your creativity flowing. That’s why top artists musicians producers mixers engineers sound designers freelancers recording studios and post facilities choose Pro Tools for everything they do. Because when you need to sound your best nothing delivers like Pro Tools can. WORK SMARTER AND FASTER When deadlines are looming and timing is critical Pro Tools offers tons of new timesaving and creativity-enabling tools to streamline your work ow. Whether you’re making music or producing soundtracks for picture—on your own or collaboratively with others in the cloud or in the studio—Pro Tools maximises your efficiency so you can stay inspired and focused to deliver your best work possible. GET EVERYTHING YOU NEED Pro Tools comes with everything you need to compose record edit and mix audio. Record and mix huge sessions with the highest production values. Compose music with virtual instruments MIDI tools and a built-in Score Editor. Improve and polish tracks with access to over 60 effects sound-processing and utility plug-ins. And turnaround projects faster with unmatched mixing automation. ACCESS PRO TOOLS IN MORE WAYS THAN EVER No matter who you are or what you do there’s a Pro Tools for you. Make Pro Tools available across your entire facility or university with new network site licensing coming soon. Get pristine-quality audio I/O with a Pro Tools HD hardware/ software system. Purchase and own Pro Tools or Pro Tools Ultimate (formerly Pro Tools HD) software for creative mobility. Get the lowest cost of entry with a subscription. Or get started with Pro Tools First a free version of Pro Tools. And now that Pro Tools supports iLok Cloud licensing you no longer need a physical iLok to use the software. STAY CURRENT STAY AHEAD We strive to make Pro Tools the best creative tool to take on any music or audio post-production project. That’s why we release a steady stream of new features and improvements throughout the year to all Pro Tools users with an active subscription or Software Updates + Support Plan (included with new perpetual license purchases). This ensures you always have access to the latest software plus support whenever

The 5051 combines a classic three band EQ based on Rupert’s vintage designs with the power and flexibility of the Portico II compressor. Utilizing a fully-discrete, class-A signal path and high performance input and output transformers, the 5051 delivers the performance and musicality expected from a Rupert Neve Design.The EqualizerThe EQ design on the 5051 evokes sonic similarities with some of Rupert’s classic EQs. The 5051 uses a custom tapped inductor with selected capacitors to form the mid range equalizer band, and the shelf curves are based on Rupert’s vintage modules, including very similar frequency choices. Each EQ section also uses low feedback class-A discrete electronics to prevent low level artifacts and harshness from detracting from the tonal shaping. The EQ, however, is a modern design with advantages offered by techniques that were not possible 35 years ago along with improvements in electronic components currently available, and should not be considered a clone – it just has heritage.Both the High and Low Band can be switched from Shelf to Peak curves and offer 15 dB of boost or cut. The High can be switched from 8 kHz to 16 kHz and the Low Band selected at 35 Hz, 60 Hz, 100 Hz or 220 Hz. The inductor based Mid Band offers 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz. The Mid Band also has a High Peak switch to narrow the bandwidth or increase the Q of the filter. The 5051 includes an 18 dB/octave High Pass Filter with two corner frequencies on a lit button that toggles through “OFF, 60 Hz then 120 Hz indicated by a blue or red LED respectively. Additionally, the EQ can be switched Pre or Post the compressor. Normally the EQ precedes the compressor but the order can be selected so that the EQ follows after the Compressor. The 5051 also has two XLR balanced inputs that can be switched from the front panel. This allows the user, for example, to have a mic preamplifier and line input from a DAW to be pre-patched and easily selectable.The CompressorThe 5051 Compressor also features a discrete class A signal path proven used in the Portico Series, withindividually controllable threshold, attack, release, makeup gain, ratio, side chain HPF, Feed-Forward / Feed-back selection and Peak/RMS detection modes. With the compressor inactive, the 5051 may be used as a transformer-coupled, high-performance line amplifier, and two 5051′s may be linked for stereo operation as well.How the Compressor WorksIn order to control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of V.C. including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not! The Portico 5051 compressor makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no signature of its own.A part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A. which has to respond very quickly and have low distortion. If the response is too fast, low frequency signals will themselves, be gain controlled! If the response is too slow, the signal will overshoot and the first few cycles will not get compressed. The speed and accuracy of the response, known as the “attack”, and the time frame that gain remains under the initial control, known as “release” or “recovery” and plays a large part in the way a compressor sounds.Feed-Forward or Feed-Back The 5051 also has the ability to switch between feed-forward and feed-back modes. If the V.C.A. Control voltage is taken from the 5051 output, (i.e. after the V.C.A.) it cannot act immediately on the V.C.A. because it has already been modified by settings of the V.C.A. and circuits through which it has passed. This is known as a “Feed-Back” compressor. The two compression characteristics are quite different; there is more “Overshoot” and both the attack and recovery ramps are changed, providing the user with powerful choices. In most of Mr. Rupert Neve earliest designs, feed-back detection controlling the VCA with a rectified voltage from the unit output was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit. To offer faster, more technically accurate response times, feed-forward detection was implemented on Mr. Rupert Neve’s more modern designs. With the FF / FB switch, both classic and modern VCA responses are available. Ratio and ThresholdAbove a given “THRESHOLD” signals are reduced by an adjustable amount ranging from 1:1, (which is linear, or no reduction at all), to more than 40:1 which is a very high ratio, equivalent to that of a Limiter. RATIO is sometimes referred to as “Slope” because when depicted on a graph, the slope of the graph representing Output versus Input, is what changes.Ratio and Threshold are closely inter-dependent. If a RATIO as high as 40:1 has been set, then if the THRESHOLD is set at 0 dBu, even when a massive signal of +40 dBu (unlikely!) is presented to the input, the output signal will only be +1 dBu. RATIOS as high as this would normally be set somewhere above 0 dBu – say at +14 dBu, in order to prevent the output signal level exceeding just over +14 dBu to protect, for example, a digital recorder. Similarly, if a RATIO of 5:1 has been set, an input signal which is 10dB above THRESHOLD will only rise by 2dB above that THRESHOLD at the output.THRESHOLD control covers the Range from below -30dB to +22dBu. When THRESHOLD set at a low level, with a fairly high RATIO the amount of gain reduction will be considerable and it may be necessary to use some GAIN after the compressor to restore the apparent signal level.Attack TimeThe ATTACK time is the time taken for the compression circuits to start compressing. A long ATTACK time allows short duration peaks to “escape” and go through uncompressed. This may cause overload on subsequent digital circuits. A very short attack time sounds un-natural and robs the signal of “life” by removing transients. Some transients are extremely fast and have little effect on the sound quality. Setting a long attack time often means that almost no gain reduction occurs because the transient is history (!) before compression has had time to operate. However, even the fastest circuits take time to operate which means that there is always some “Overshoot”. Small amounts of “Overshoot” are musically desirable – there are exceptions, of course.Setting the right values of RELEASE and ATTACK is what compression is all about! Once the principles are understood a Compressor-Limiter such as the 5051 provides a powerful tool that actually appears to enhance the dynamic range of a recording and so provide greater musical enjoyment.Release / RecoveryThe notes above explain how the 5051 handles signals of constant amplitude such as pure tones. Real program signals, however, are continually changing in level. The way in which a compressor deals with actual program material depends upon the magnitude and duration of peaks in the program level.If the RELEASE TIME is set to be very short, a short duration signal will be compressed but the gain will return to normal very quickly, giving a fluctuating and un-natural sound known as “Pumping” when the background, or other signals, are forced up and down. The gain will also tend to follow the wave form of low frequency signals. RELEASE TIME should be set long enough for the gain to remain reasonably constant between each bass note or between speech syllables.The Power SupplyThe 5051 is intended for 5088 consoles or 5285 vertical frames. There are two +/- 24V power supply options; The 5-way supply is designed to sit in the bottom of a rack, and the 25-way supply is a 2U enclosure. The external +/- 24V supply provides exceptionally clean power, and reduces heat build-up within modules associated with DC-DC up-conversion.