Featuring a finely-tuned quad-core processor and powered by exclusive Eleven® HD Expanded™ DSP software, the HeadRush Pedalboard® delivers the most versatile, realistic-sounding and responsive amplifier, cabinet, microphone and FX models ever found in a road-ready floorboard guitar FX processor. The 7-inch touch display enables you to touch, swipe and drag-and-drop to instantly create and edit your rigs in an unprecedentedly realistic and intuitive way. It features gapless preset changes with reverb and delay tail spillover, a built-in looper with 20 minutes of record time, the ability to load custom impulse response files and exclusive original boutique effects that can’t be found anywhere else. Whether you’re looking for a classic warm vintage amp with natural tube drive, wide ambient stereo delay textures with infinite feedback or the heaviest of heavy djent tone, the HeadRush Pedalboard covers it all and everything between. 7-Inch Touch DisplayThe heart of the HeadRush Pedalboard is the 7-inch touch display and a guitarist-centric, ultra-intuitive user interface – literally touch, swipe and drag-and-drop to instantly create and edit rigs with amazing speed and accuracy. The large display also gives clear feedback when performing live, especially when tweaking tones using the expression pedal in ‘Hands-Free Mode’. Everything about the HeadRush Pedalboard is designed to make it simple, fast and intuitive to jump right in and create amazing sounding rigs in seconds. Tour Ready Housed in a durable road-ready steel chassis with a cable route built into the bottom to help keep your stage tidy, the HeadRush Pedalboard includes many thoughtful features for use on stage including incredibly bright color-assignable LEDs and OLED scribble strips that show each of the 12 footswitches’ current assignment and status for each rig. You can even drag-and-drop to create set lists (custom orders of rigs) for your gigs. The HeadRush Pedalboard is a truly convenient and compact way to bring all of the best classic vintage and modern gear you will ever need to stages near or far without breaking the bank or your back. All the Connections You Need The HeadRush Pedalboard assimilates seamlessly into your current rig with all the connections you need to handle any performance situation. Combining a ¼-inch guitar input, (2) XLR outputs with ground lift switch, (2) ¼-inch TRS outputs switchable between amp or line level, 5-Pin MIDI in/out, plus an onboard ¼-inch stereo FX loop to integrate pedals and outboard gear at any point in the signal chain. HeadRush Pedalboard unites your existing equipment while opening up a world of new sonic possibilities. Custom/3rd Party IR Support With the HeadRush Pedalboard, guitarists can further expand their available guitar cabinet sounds by loading 3rd party impulse response files to the HeadRush Pedalboard. HeadRush teamed up with Celestion to include an exclusive download right in the box to get you started, but the HeadRush Pedalboard also supports all common wave formats (wav, aiff), sample rates (up to 192kHz) and bit depths (up to 32-bit).
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The new CT-X800 keyboard impresses not only with its modern design and improved functionality, but above all with brand new AIX Sound Source. This feature reproduces the characteristic sound of acoustic instruments — making it exceptionally powerful. One particular highlight is the natural sound of acoustic instruments like pianos, string and wind instruments and drums. Equipped with a USB-to-device port, a pitch bend wheel, a synchro stop rhythm controller, tap tempo function and registration freeze button, the CT-X800 is the perfect keyboard for beginners and advanced players. Producing dancefloor hits with funky beats is just as easy as jamming with the realistic sounds of acoustic instruments. And the good news is, anyone can learn to do it! CASIO is on hand to provide advice and guidance and to show you the best tips and handy hints to get started. These tutorials are designed to help you get to grips with the instrument and its features. Take your time: just press "stop" if you do not understand something right away, and enjoy seeing how you progress, which is sure to happen if you follow these excellent instructions.
New for 2018, these guitars were quite the hit at Winter Namm...particularly this espresso burst finish Even though Ibanez is thought of as a modern guitar brand, we have decades of accumulated knowledge and a history of pushing the boundaries. The AZ series carries with it all of the hallmarks of these tried and tested Ibanez qualities: the smooth oval neck grip, the well balanced asymmetrical body shape, and the neck heel allowing unrivaled play-ability. SPEC
neck type AZ Roasted Maple neck body Bocote top/American Basswood body fretboard Roasted Maple fretboard w/Black dot inlay fret Jumbo Stainless Steel frets bridge Gotoh® T1502 tremolo bridge neck pickup Seymour Duncan® Hyperion™ (H) neck pickup (Passive/Alnico) bridge pickup Seymour Duncan® Hyperion™ (H) bridge pickup (Passive/Alnico) nut Graph Tech® TUSQ XL nut hardware color Chrome Neck Dimensions Scale : 648mm/25.5" a : Width 42mm at NUT b : Width 57mm at 24F c : Thickness 20.5mm at 1F d : Thickness 22.5mm at 12F Radius : 305mmR Creating a guitar pickup with the sound of a traditional single‑coil pickup but without the associated problems of noise may have taken a long time, but Chris Kinman has finally cracked it. His original noise‑cancelling pickups were launched about 12 years ago, and at that time represented the culmination of 16 years’ research and development. Kinman’s patented differential winding technology (which Chris tells me has been ‘borrowed without permission’ by one or two other manufacturers) got much closer to the sound of a traditional single‑coil pickup. They still lacked the high‑frequency detail of a brand new, non‑noiseless Strat pickup, but many guitar players liked the slightly aged sound, and on some instruments that just happen to have a very bright tone, they can save the guitar from sounding too thin. Kinman’s Traditional Mk III design produced a slightly less aged sound than previous models, but still didn’t deliver the zingy high end of a brand-new single‑coil pickup. Being obsessed with guitar tone to the extent that only a player and guitar builder can be, Chris went back to basics and looked for a new approach after he was asked by guitarist Hank Marvin to design a pickup that faithfully replicated his ’60s Shadows sound. Chris aimed to recreate the sound of a Fender CS54 Strat pickup, but without any of the ageing effects of the Mk III. Unfortunately, this kind of development work can often take years, so he wasn’t able to meet the deadline for the Shadows tour, but with untold hours of burning the midnight oil, Chris got the results he wanted — in the form of the Impersonator 54 — in just 18 months, which is remarkable. Kinman started out without the steel shield around the upper coil (so this aspect of the pickup is true, old‑school single‑coil design), though the six rod magnets are Kinman’s unique proprietary, low‑strength, Alnico‑5 that reduce string pull by some 40 percent. More magic comes with the hum‑sensing coil that’s mounted below the main coil, because the challenge here is to pick up the same amount of hum as in the pickup’s main coil, while using far fewer turns of wire. That way, the hum‑cancelling coil doesn’t affect the tonality of the pickup by raising its capacitance or inductance. In the earlier Kinman designs, the hum‑sensing coil was wound on a plastic bobbin with 10 steel‑core pins, but this wasn’t nearly efficient enough for the design that Chris envisioned, so he was forced to rethink the design of the hum sensor. He tried a novel approach to achieving greater efficiency, using a laminated, 100 percent steel, H‑core bobbin for the hum‑sensing coil. His H‑core is laminated from 150 individual H‑shaped steel plates bonded together with two steel-end caps to form a bobbin, and it thus employs a greater mass of steel than in his previous plastic‑bobbin designs. This in turn enabled him to achieve the required degree of hum cancellation with fewer turns of wire. Including the laminations, the Impersonator 54 has 160 individual parts, compared with just 27 for the Traditional Mk III, yet it costs only slightly more. Being obsessed with guitar tone to the extent that only a player and guitar builder can be, Chris went back to basics and looked for a new approach after he was asked by guitarist Hank Marvin to design a pickup that faithfully replicated his ’60s Shadows sound. Chris aimed to recreate the sound of a Fender CS54 Strat pickup, but without any of the ageing effects of the Mk III. Unfortunately, this kind of development work can often take years, so he wasn’t able to meet the deadline for the Shadows tour, but with untold hours of burning the midnight oil, Chris got the results he wanted — in the form of the Impersonator 54 — in just 18 months, which is remarkable. Kinman started out without the steel shield around the upper coil (so this aspect of the pickup is true, old‑school single‑coil design), though the six rod magnets are Kinman’s unique proprietary, low‑strength, Alnico‑5 that reduce string pull by some 40 percent. More magic comes with the hum‑sensing coil that’s mounted below the main coil, because the challenge here is to pick up the same amount of hum as in the pickup’s main coil, while using far fewer turns of wire. That way, the hum‑cancelling coil doesn’t affect the tonality of the pickup by raising its capacitance or inductance. In the earlier Kinman designs, the hum‑sensing coil was wound on a plastic bobbin with 10 steel‑core pins, but this wasn’t nearly efficient enough for the design that Chris envisioned, so he was forced to rethink the design of the hum sensor. He tried a novel approach to achieving greater efficiency, using a laminated, 100 percent steel, H‑core bobbin for the hum‑sensing coil. His H‑core is laminated from 150 individual H‑shaped steel plates bonded together with two steel-end caps to form a bobbin, and it thus employs a greater mass of steel than in his previous plastic‑bobbin designs. This in turn enabled him to achieve the required degree of hum cancellation with fewer turns of wire. Including the laminations, the Impersonator 54 has 160 individual parts, compared with just 27 for the Traditional Mk III, yet it costs only slightly more. Source www.soundonsound.com
Get the warmest, fullest live acoustic guitar sound possible.
L2t and L2m800-watt, two-way, bi-amped design The two-way, bi-amplified design of L2t and L2m delivers exceptionally balanced, clean and articulate reproduction of live sources and pre-recorded material. A 1” exit high-frequency compression driver is matched to a precision-engineered, 100x50-degree, constant-directivity waveguide, which delivers consistent coverage to ensure everyone in the audience enjoys the same acoustic experience. The 100-degree horizontal dispersion is wide enough for solo use yet controlled enough for arrayed pairs. The 50-degree vertical coverage reduces acoustic smear from reflective sound surfaces, as minimal energy is reflected off of ceilings and floors. Line 6 StageSource L2t 800W Complete control of your live sound. Not only is it inconvenient to haul a ton of outboard gear to gigs, it increases the chances of something going wrong during your set. StageSource L3t and L2t feature an onboard mixer with two high-quality mic preamps, a three-band EQ with sweepable mid and two studio quality effects processors. You also get multiple inputs for microphones, instruments, external mixers and MP3 players—more inputs than anything else in its class. And if you connect two L3t or L2t speakers via L6 LINK cables, you can mix the signals of the two onboard mixers for up to 10 inputs. It’s everything you need to sound great on stage. All in one speaker. Complete control of your live sound. Not only is it inconvenient to haul a ton of outboard gear to gigs, it increases the chances of something going wrong during your set. StageSource L3t and L2t feature an onboard mixer with two high-quality mic preamps, a three-band EQ with sweepable mid and two studio quality effects processors. You also get multiple inputs for microphones, instruments, external mixers and MP3 players—more inputs than anything else in its class. And if you connect two L3t or L2t speakers via L6 LINK cables, you can mix the signals of the two onboard mixers for up to 10 inputs. It’s everything you need to sound great on stag. . All in one speaker. Unless you’ve got your own personal sound engineer, it can be almost impossible to resolve feedback issues while you’re performing. That’s why StageSource stops feedback before it even starts. An intelligent 12-band feedback suppression system identifies problem frequencies on the fly and adjusts levels automatically—without affecting your overall sound. |
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