Ibanez JIVAX2-GH Nita Strauss ST-Style Electric Guitar; Body: Mahogany; Top: Quilted Maple; Neck: Five-piece Maple/Wenge; Fingerboard: Ebony; Neck Joint: Bolt-on; Inlays: Beathen Path; 24 Jumbo Frets; Nut: Locking; Nut Width: 43 mm (1.69"); Scale Length: 648 mm (25.5"); Fingerboard Radius: 430 mm (16.9"); Neck Thickness at 1st Fret: 17 mm (0.67"); Neck Thickness at 12th Fret: 19 mm (0.75"); Overall Length: 985 mm (38.8"); Body Length: 449 mm (17.7"); Body Width: 318 mm (12.5"); Body Thickness: 38 mm (1.5"); Pickups: DiMarzio Pandemonium (H) (Bridge), DiMarzio True Velvet (S) (Middle), DiMarzio Pandemonium (H) (Neck); Controls: Volume, Tone; Switch: 5-Way, Coil-tap switch; Tremolo: Edge-Zero; Hardware Finish: Cosmo Black; Tuners: Gotoh machine heads; Color: Ghost; Included: Hardshell case; Includes Tremolo arm, Multi-tool; Made in Japan.

Hotone Ampero One MP-80Modélisateur d'ampli et processeur d'effets Ampero One, (avec alimentation 9V)Caractéristiques :Le célèbre modélisateur d'ampli et processeur d'effets dans un boîtier plus petitLe système de modélisation CDCM et F.I.R.E. de nouvelle génération garantit une expressivité tonale haut de gamme et une expérience de jeu réaliste.La puissante plateforme à double DSP garantit une excellente qualité sonore.Traitement des signaux 24 bits, rapport S/B jusqu'à 120 dBÉcran tactile couleur de 4 pouces (800 x 480) avec contrôle instantanéCircuit d'amplification de tension interne pour une grande plage dynamiquePort USB pour la mise à jour du micrologiciel, le chargement/modification/gestion des effets/IR via un logiciel gratuit pour Mac/PC ou pour une utilisation en tant qu'interface audio USBEffets de simulation acoustique avancésEffets et préréglages acoustiques dédiés - une solution unique pour les musiciens acoustiques242 effets basés sur l'étonnante bibliothèque d'effets XTOMPEffets de modélisation CDCM HD et F.I.R.E. comprenant :64 modèles d'ampli60 modèles de cabinesPlus de 100 modèles de pédales légendairesSimulations de position et de type de micro de nouvelle générationPlus de 50 effets Hotone originaux (y compris des modèles de drive/dynamique/filtre/mod/retard/réverbération de haute qualité et plus encore)Chargeur IR personnalisé par l'utilisateur avec prise en charge de l'IR de tiers198 préréglagesBoîte à rythmes intégrée avec 100 motifsLooper intégré avec durée d'enregistrement max. 100 secondes d'enregistrement3 commutateurs au pied assignables avec LED haloPédale d'expression intégréeTraitement de sortie stéréo authentiqueE/S essentielles pour la plupart des besoins de connexionPrise pour contrôleur externe permettant deconnecter des pédales externesModes d'affichage principal, couleurs du thème et langue de l'interface utilisateur personnalisablesBoîtier en aluminium léger, prêt à l'emploiAlimentation 9V DC

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.

Made of brass- Protects the surface of the instrument and is a real eye-catcher at the same time- Handmade- Fitted with a full silicone inlay- Universally mountable (suitable for any manufacturer) and can be easily adjusted in width- The hand protector is placed at the narrowest point of the bell and then pushed upwards towards the bell until it is firmly in place- The specially selected silicone inlay leaves no marks on the instrument surface- Once in place, the hand protector does not slip, but can be easily removed again at any time- Colour: Black powder coated- Made in Germany

6 Tubes made of anodised aluminium- Constant long lasting sound- Melodious harmonies- Tuned according to Cousto- Precise tuning- Total length: 110 cm- Comforting sound- Tones that create emotional warmth, give strength and a feeling of security- The atmosphere is created by an extract from the harmonic series (A)- The brain then expands this by several tones: the low range in particular is perceived especially strongly by our subconscious. It stands for strong vitality and frees anyone trapped in the greyness of the daily grind

Practical tool for musicians to learn or optimise breathing and embouchure for playing a wind instrument at the same time- With 4 balls of different weights and a basket with a sealing cork- First the lightest ball is placed on the vertical part of the ASTRA and then blown into the horizontal part over its own mouthpiece - as far as the generated airflow is sufficient, the ball is brought into a floating position over the vertical part - now one can move from the lighter to the heavier balls- The basket can be used to store the balls as well as a catch basket when blowing up a ball, if it is put over the vertical part of the ASTRA.- The end of the basket is glued with cork and fits a standard clarinet mouthpiece.- Material: Wood

Harley Benton Spring Pull Tool; practical tool that makes it easier and faster to replace springs on a Guitar with a Tremolo System; Fasten the round loop of the Tremolo Spring to the Claw; grab the hooked end of the Spring with the Spring Pull Tool and pull to the hole of the Tremolo Block. Then press the hooked end into the hole

Made of brass- Protects the surface of the instrument and is a real eye-catcher at the same time- Handmade- Fitted with a full silicone inlay- Universally mountable (suitable for any manufacturer) and can be easily adjusted in width- The hand guard is placed at the narrowest point of the bell and then pushed upwards towards the bell until it is firmly in place- The specially selected silicone inlay leaves no marks on the instrument surface- Once in place, the hand guard does not slip, but can be easily removed again at any time- Colour: Black powder coated- Made in Germany

Presonus Studio One+ 6 Months (ESD); complete software package for composers, producers and studios; 6 months access to the most important Presonus software products; Studio One Professional: an easy to use DAW and mastering application; Notion: music composition and performance software; Audio Batch Converter: a converter tool for audio files; every Presonus plugin like Ampire, Channel Strip Collection, CTC-1 Pro Console Shaper, Fat Channel XT, Presence XT Editor and much more; over 100 content libraries including PreSonus Symphonic Orchestra, PreSonus Studio Grand, the complete Spark sample and loop collections, Tom Brechtlein Drums, Notion Add-on instruments etc.; customizable PreSonus Sphere workspaces with up to 100 GB of cloud storage, online collaboration with other PreSonus Sphere members, live chat and many more; exchange user presets, loops, tools and other content; access to an ever-growing list of exclusive learning tools like courses, lessons, and videos; incl. all updates for the time of membership; Qualifies for the following upgrade options: If, during the 6 month term, another Studio One+ 6 Months is purchased, then the product will automatically upgrade to Studio One+ Hybrid, where you will receive a permanent license for Studio One Professional at the end of the term. The same applies to the combination of a Studio One+ 6 Months in combination with Presonus hardware, which also includes a Studio One+ 6 Months