Rogue Dreadnought Cutaway Acoustic-Electric Guitar
You can't beat the features you get for such a low price: genuine spruce top, die-cast tuning machines, nato neck, bound rosewood fretboard, and...
Price: $99.99 Item Ships Free!
List Price: $299.99
Wednesday, August 22, 2007
Rogue Dreadnought Cutaway Acoustic-Electric Guitar
Free Shipping on Most Orders Over $99!
Rogue Dreadnought Cutaway Acoustic-Electric Guitar
You can't beat the features you get for such a low price: genuine spruce top, die-cast tuning machines, nato neck, bound rosewood fretboard, and...
Price: $99.99 Item Ships Free!
List Price: $299.99
Rogue Dreadnought Cutaway Acoustic-Electric Guitar
You can't beat the features you get for such a low price: genuine spruce top, die-cast tuning machines, nato neck, bound rosewood fretboard, and...
Price: $99.99 Item Ships Free!
List Price: $299.99
OLP Tin Top Electric Guitar
OLP Tin Top Electric Guitar
An aviation-inspired gauge lights up when you pull up the tone knob on your OLP Tin Top Electric Guitar and the fret markers are Phillips head...
Price: $149.99 Item Ships Free!
List Price: $469.00
Ovation GC057 Celebrity Super Shallow Bowl Acoustic-Electric Guitar
Free Shipping on Most Orders Over $99!
Ovation GC057 Celebrity Super Shallow Bowl Acoustic-Electric Guitar
Ovation's Celebrity GC057 represents one of the most outstanding values in Roundback guitars. This new model, exclusively available here, provides...
Price: $249.99 Item Ships Free!
List Price: $499.99
Ovation GC057 Celebrity Super Shallow Bowl Acoustic-Electric Guitar
Ovation's Celebrity GC057 represents one of the most outstanding values in Roundback guitars. This new model, exclusively available here, provides...
Price: $249.99 Item Ships Free!
List Price: $499.99
Jasmine by Takamine S34C NEX Cutaway Acoustic Guitar
Free Shipping on Most Orders Over $99!
Jasmine by Takamine S34C NEX Cutaway Acoustic Guitar
The Jasmine by Takamine S34C NEX Cutaway Acoustic Guitar is a great sounding beginner's guitar at a great price. Spruce top, mahogany back and sides,...
Price: $99.99 Item Ships Free!
List Price: $249.99
Jasmine by Takamine S34C NEX Cutaway Acoustic Guitar
The Jasmine by Takamine S34C NEX Cutaway Acoustic Guitar is a great sounding beginner's guitar at a great price. Spruce top, mahogany back and sides,...
Price: $99.99 Item Ships Free!
List Price: $249.99
Saturday, August 18, 2007
Thursday, August 16, 2007
Product Spotlight: Marshall JVM Guitar Amplifiers
Product Spotlight: Marshall JVM Guitar Amplifiers
A new top-of-the-line Marshall loaded with kick-assitude
By Jeff Kramer
Marshall JVM amplifiers
The real “heart of rock-and-roll” has to be the Marshall all-tube super-lead amp. From the Hendrix era down to today’s current crop of guitar-wielding Wylde men, Marshall amps have provided the power and tone needed to rage onstage.
The JCM, JTM, TSL, DSL, and Vintage Modern are the Marshalls that have ruled the rock stage and established this long and proud Marshall tradition. With so many great amps setting the standard, coming up with a new flagship amp had to be a challenge. Marshall has risen to the task—admirably. The new JVM410H 100-watt head fills big boots. It is an extraordinary amp—everything you love about an all-valve, high-gain Marshall and more. It has more gain than any Marshall ever, more channels, more switching, more versatility. It is quieter, stronger, and amazingly easy to drive. In short, it lives up to its promise on all counts.
Classic and classy
The look is standard Marshall trad: black case, gold panel, and big white Marshall logo to provide rock cred. You can’t mistake it for some poser amp. The most obvious difference between the JVM and other Marshall amps is the front panel. It’s filled with knobs—a control freak’s delight. There are 28 to be precise plus eight switches.
So many controls might make you assume that it’s complicated, but it’s not. It has four independent channels, and most of its knobs are Marshall’s standard channel set (gain, bass, mid, treble, and volume) repeated four times. There are also individual channel reverb level controls. In the master section, there are two gains that you can switch between. The last two knobs are global resonance (it’s the first Marshall amp to have a resonance knob rather than just a switch) and presence. Once you understand the layout, it seems simple and straightforward in spite of the number of knobs.
In addition to the four sets of panel controls, each channel has a three-way mode switch that changes the preamp gain structure, adding gain stages as you move from green to orange to red. This, in effect, makes the JVM410H a 12-channel amp. It’s the number of channels you find in modeling amps, but these aren’t modeled versions of anything. All 12 are pure, real Marshall tube. You have the basic clean, crunch, and overdrives that have shaped rock music over decades. And the modes add three variations of each. With all of this to work with, the JVM can match the tone of any Marshall of yore and come up with new tones that take high gain to new highs.
I tried out the JVM410H atop a 4x12 Celestion Vintage 30 cab and started pumping out riffs in the clean channel. One thing that impressed me immediately was how quiet the JVM’s clean channel is. It’s almost as if it’s off until you make sound on your guitar. And when it is making sound, the clean channel is incredible—glassy and pure. Switching from green to orange to red modes bumps up the gain in increments, so that in red you have a sweet bluesy tone that is great for leads and responds nicely to the tone knobs, allowing you to focus the distortion at a desired frequency.
The crunch channel has the standard preamp topology of gain first, tone second; so in green mode it’s like the legendary Plexi but with a bit more gain. Switching to orange mode makes it tonally similar to a JCM800. Switching to red ups the gain more, so that the amp performs like an 800 on steroids.
With the overdrive channels, the gain starts high and goes insane. OD1 and OD2 are similar, both clearly in the metal and hard rock zone. The difference is even more gain in OD2 and a lower frequency center, dropped from Marshall’s standard (around 650Hz to around 400Hz). The effect is more power and more punch for leads that slice and rhythms that grind and churn. Cool.
Bitchin’ switchin’
The JVM comes with a six-button footswitch that is itself a marvel. First, it’s programmable. In switch assign mode you determine which button switches what. A lot of things on the JVM are switchable: Master Volume 1, Master Volume 2, channel and mode, reverb on/off. Even one of the amp’s two FX loops, the series/parallel circuit, can be switched. In its preset memory mode, the footswitch accesses JVM’s memory. In this mode, you can lock in a full setup, assign it to a footswitch, and save it. When you tap the footswitch it recalls all the settings—channel, mode, and effects. You can even use a channel multiple times with different settings.
The footswitch has another really cool feature. It connects to the amp with a regular guitar cable. No multiwire, hex-headed special cable to hang you up bad if it goes south during a gig or you forget to pack it. With this footswitch, you just plug in a spare guitar cable. If you need a longer cable on a big stage, you can sub a longer guitar cable.
Other pro features
In addition to its six-button footswitch, the JVM can be controlled from a MIDI footcontroller to make it even more facile onstage. If you’re running a MIDI effects unit, for example, you can set up MIDI commands that change the channel and effects unit in tandem, thus reducing the amount of tap dancing required to get you there.
Vintage purists will bemoan the use of digital rather than spring reverb, but there are bad digital reverbs and good ones, and this is a good one—very natural, smooth, and easy to precisely adjust. And of course, it won’t freak out when the floor starts bouncing. Separate level controls for each channel and on/off footswitching make it easy to use onstage, and it has natural decay when you switch to another channel or turn the reverb off.
JVMs provide an emulated line out for recording or feeding a board. Both the JVM410H head and the JVM410C 2x12" 100-watt combo have speaker outs for all relevant impedances, and the JVM410C combo is equipped with two different Celestian Marshall/Celestion 12" models (one Vintage, one Heritage) to make the sound richer.
With its pro features, tour-tough build, extensive switching, four channels with modes that give it vast tonal range, and insanely high gain, the JVM410 is a worthy flagship to carry the Marshall standard. It is classic Marshall with modern refinements. The Marshall roar is alive and kickin’, and rockin’ louder than ever.
Marshall JVM410C Tube Combo
Marshall JVM410C Tube Combo
Features & Specs
* 100-watt all-valve
* Valve complement: 5 x ECC83 (12AX7s) in preamp, 4 x EL34s in power amp
* 4 independent, footswitchable channels – Clean, Crunch, OD1, and OD2
* Each channel boasts 3 footswitchable modes – Green, Orange, and Red
* Studio-quality, footswitchable digital reverb with level controls for all 4 channels
* 2 footswitchable Master Volumes
* Internal amp memory remembers most recent switch selection for all 12 modes
* 2 FX loops: series/parallel and parallel
* Series/parallel FX loop is footswitchable
* Emulated line out
* 6-way, 7-LED footswitch that’s programmable
* Footswitch connects with standard guitar cable
* All switching can be done via MIDI
* Made in England
* JVM4410C combo features 2 Celestion 12" speakers
A new top-of-the-line Marshall loaded with kick-assitude
By Jeff Kramer
Marshall JVM amplifiers
The real “heart of rock-and-roll” has to be the Marshall all-tube super-lead amp. From the Hendrix era down to today’s current crop of guitar-wielding Wylde men, Marshall amps have provided the power and tone needed to rage onstage.
The JCM, JTM, TSL, DSL, and Vintage Modern are the Marshalls that have ruled the rock stage and established this long and proud Marshall tradition. With so many great amps setting the standard, coming up with a new flagship amp had to be a challenge. Marshall has risen to the task—admirably. The new JVM410H 100-watt head fills big boots. It is an extraordinary amp—everything you love about an all-valve, high-gain Marshall and more. It has more gain than any Marshall ever, more channels, more switching, more versatility. It is quieter, stronger, and amazingly easy to drive. In short, it lives up to its promise on all counts.
Classic and classy
The look is standard Marshall trad: black case, gold panel, and big white Marshall logo to provide rock cred. You can’t mistake it for some poser amp. The most obvious difference between the JVM and other Marshall amps is the front panel. It’s filled with knobs—a control freak’s delight. There are 28 to be precise plus eight switches.
So many controls might make you assume that it’s complicated, but it’s not. It has four independent channels, and most of its knobs are Marshall’s standard channel set (gain, bass, mid, treble, and volume) repeated four times. There are also individual channel reverb level controls. In the master section, there are two gains that you can switch between. The last two knobs are global resonance (it’s the first Marshall amp to have a resonance knob rather than just a switch) and presence. Once you understand the layout, it seems simple and straightforward in spite of the number of knobs.
In addition to the four sets of panel controls, each channel has a three-way mode switch that changes the preamp gain structure, adding gain stages as you move from green to orange to red. This, in effect, makes the JVM410H a 12-channel amp. It’s the number of channels you find in modeling amps, but these aren’t modeled versions of anything. All 12 are pure, real Marshall tube. You have the basic clean, crunch, and overdrives that have shaped rock music over decades. And the modes add three variations of each. With all of this to work with, the JVM can match the tone of any Marshall of yore and come up with new tones that take high gain to new highs.
I tried out the JVM410H atop a 4x12 Celestion Vintage 30 cab and started pumping out riffs in the clean channel. One thing that impressed me immediately was how quiet the JVM’s clean channel is. It’s almost as if it’s off until you make sound on your guitar. And when it is making sound, the clean channel is incredible—glassy and pure. Switching from green to orange to red modes bumps up the gain in increments, so that in red you have a sweet bluesy tone that is great for leads and responds nicely to the tone knobs, allowing you to focus the distortion at a desired frequency.
The crunch channel has the standard preamp topology of gain first, tone second; so in green mode it’s like the legendary Plexi but with a bit more gain. Switching to orange mode makes it tonally similar to a JCM800. Switching to red ups the gain more, so that the amp performs like an 800 on steroids.
With the overdrive channels, the gain starts high and goes insane. OD1 and OD2 are similar, both clearly in the metal and hard rock zone. The difference is even more gain in OD2 and a lower frequency center, dropped from Marshall’s standard (around 650Hz to around 400Hz). The effect is more power and more punch for leads that slice and rhythms that grind and churn. Cool.
Bitchin’ switchin’
The JVM comes with a six-button footswitch that is itself a marvel. First, it’s programmable. In switch assign mode you determine which button switches what. A lot of things on the JVM are switchable: Master Volume 1, Master Volume 2, channel and mode, reverb on/off. Even one of the amp’s two FX loops, the series/parallel circuit, can be switched. In its preset memory mode, the footswitch accesses JVM’s memory. In this mode, you can lock in a full setup, assign it to a footswitch, and save it. When you tap the footswitch it recalls all the settings—channel, mode, and effects. You can even use a channel multiple times with different settings.
The footswitch has another really cool feature. It connects to the amp with a regular guitar cable. No multiwire, hex-headed special cable to hang you up bad if it goes south during a gig or you forget to pack it. With this footswitch, you just plug in a spare guitar cable. If you need a longer cable on a big stage, you can sub a longer guitar cable.
Other pro features
In addition to its six-button footswitch, the JVM can be controlled from a MIDI footcontroller to make it even more facile onstage. If you’re running a MIDI effects unit, for example, you can set up MIDI commands that change the channel and effects unit in tandem, thus reducing the amount of tap dancing required to get you there.
Vintage purists will bemoan the use of digital rather than spring reverb, but there are bad digital reverbs and good ones, and this is a good one—very natural, smooth, and easy to precisely adjust. And of course, it won’t freak out when the floor starts bouncing. Separate level controls for each channel and on/off footswitching make it easy to use onstage, and it has natural decay when you switch to another channel or turn the reverb off.
JVMs provide an emulated line out for recording or feeding a board. Both the JVM410H head and the JVM410C 2x12" 100-watt combo have speaker outs for all relevant impedances, and the JVM410C combo is equipped with two different Celestian Marshall/Celestion 12" models (one Vintage, one Heritage) to make the sound richer.
With its pro features, tour-tough build, extensive switching, four channels with modes that give it vast tonal range, and insanely high gain, the JVM410 is a worthy flagship to carry the Marshall standard. It is classic Marshall with modern refinements. The Marshall roar is alive and kickin’, and rockin’ louder than ever.
Marshall JVM410C Tube Combo
Marshall JVM410C Tube Combo
Features & Specs
* 100-watt all-valve
* Valve complement: 5 x ECC83 (12AX7s) in preamp, 4 x EL34s in power amp
* 4 independent, footswitchable channels – Clean, Crunch, OD1, and OD2
* Each channel boasts 3 footswitchable modes – Green, Orange, and Red
* Studio-quality, footswitchable digital reverb with level controls for all 4 channels
* 2 footswitchable Master Volumes
* Internal amp memory remembers most recent switch selection for all 12 modes
* 2 FX loops: series/parallel and parallel
* Series/parallel FX loop is footswitchable
* Emulated line out
* 6-way, 7-LED footswitch that’s programmable
* Footswitch connects with standard guitar cable
* All switching can be done via MIDI
* Made in England
* JVM4410C combo features 2 Celestion 12" speakers
Wednesday, August 15, 2007
Musician's Friend: Special Invitation to Share Your Music
How does it work?
TuneCore has arrangements with leading digital music retailers that let us place your music in their online stores and subscription services. You get 100% of the money that your music earns.
Yamaha AES720 Single Cutaway
Yamaha AES720 Single Cutaway Electric Guitar Black/Pacific Blue Metallic
$399.99 - $499.99 -or- $15/mo. - Apply!
List Price: $819.99 Savings: $420.00(51%)
Save 46% On A DigiTech RP100A Guitar Multi Effects Pedal - Only $69.99
DigiTech RP100A Artist Modeling Guitar Processor
$69.99 -or- $15/mo. - Apply!
List Price: $129.95 Savings: $59.96(46%)
OLP Tin Top Electric Guitar
The OLP MS Tin Top features a real tin top that's distressed for sick vintage industrial appearance.
An aviation-inspired gauge lights up when you pull up the tone knob on your OLP Tin Top Electric Guitar and the fret markers are Phillips head screws. Bare black humbuckers crank out punishing crunch and searing sustain. It's a working man's version of the famous McSwain Machine with a distressed satin black back and a metal-faced McSwain style headstock. OLP assembles the Tin Top Electric Guitar with a basswood body, rosewood fretboard, North American maple bolt-on neck, 24-3/4" scale.
OLP Tin Top Electric Guitar Features:
* Basswood body
* North American maple bolt-on neck
* Rosewood fretboard
* 24-3/4" scale
* Real tin top and head cover
* Bare-pole OLP humbuckers
* Lighted gauge
* Distressed satin black back
* 2 OLP PAF-style exposed-pole pickups
Tuesday, August 14, 2007
Gibson Les Paul Studio Electric Guitar with BFG Electronics
Gibson Les Paul Studio Electric Guitar with BFG Electronics Ebony
Smooth Studio styling mated with raw BFG sound.
The Les Paul Studio Electric Guitar with BFG Electronics combines features of two of the most innovative Les Paul models ever created. The Les Paul Studio and the Les Paul BFG. The Les Paul Studio enhances the solid, proven design of the world's most famous guitar with a sleek, no-frills look. The Studio is the favorite of guitarists who demand traditional Les Paul performance with a modern attitude. This Limited-edition also features the unique BFG electonics. Two volumes and one tone knob control the sonic spectrum put out by a 498T humbucker in the bridge and a screaming, singlecoil P-90 in the neck.
The Gibson 498T humbucker has a slightly hotter Alnico V magnet and a specially wound coil that give it higher output and an emphasis on mid-ranges and highs, making it the perfect rock pickup. The lean and mean P-90 offers a stellar combination of high output and biting treble response. After nearly 50 years, the P-90 is still a favorite among musicians who want the single coil sound. With BFG wiring the traditional toggle has been rewired as a kill switch, and a mini-toggle at the volume knobs controls pickup selection. The Les Paul Studio with BFG electronics has eye-catching style, an incredible range of tone, and unbeatable playability.
Gibson Les Paul Studio Electric Guitar with BFG Electronics Features:
* Top: carved maple
* Back: mahogany
* Neck: set mahogany
* Neck profile: Slimmed down '50s round
* Neck Joint Location: 16th fret
* Fingerboard: rosewood
* Scale length: 24-3/4"
* No. of frets: 22
* Nut Width: 1.69"
* Radius: 12"
* Inlays: Pearloid trapezoid
* Hardware: Chrome
* Tailpiece: Stopbar
* Bridge: Tune-O-Matic
* Knobs: black speed
* Tuners: Kluson
* Neck Pickup: Gibson P-90
* Bridge Pickup: 498T Gibson humbucker
* Controls: volume/volume/tone
* Switch: Standard kill, mini-switch 3-way pickup select
* Finish: Lacquer
* Case: Hardshell
Guitar Center Credit Card
Special Anniversary Financing
Don't Pay for a Full Year* during Guitar Center's 43rd Anniversary! Between now and August 31st, get no payments, no interest financing on your single or combined purchases of $499 or more when you use your Preferred Player Card.
Apply Online
As a Guitar Center credit card customer, you're entitled to a variety of unique benefits designed especially for you. Benefits like special financing offers, deferred payment options, affordable monthly payments, no annual fee, and increased purchasing power.
With all these benefits and conveniences, you can't afford NOT to apply for your very own Guitar Center credit card. And you can do it right here, right now, on-line! So what are you waiting for? You've got nothing to lose. Apply Now and get a quick response.
Thursday, August 09, 2007
B.C. Rich Warlock In Red - Only $149.99
B.C. Rich Bronze Series Warlock Electric Guitar Red
$149.99 - $179.99 -or- $15/mo. - Apply!
List Price: $335.00 Savings: $185.01(55%)
Wicked looks, wicked sound, sweet price!
The B.C. Rich Bronze Series Warlock Electric Guitar sounds great and looks even better. This affordable Warlock features an agathis body, dual humbuckers, all chrome hardware, maple neck, rosewood fingerboard, and the popular Warlock body design that takes center stage as soon as you strap it on.
B.C. Rich Bronze Series Warlock Electric Guitar Features:
* Wicked Warlock design
* Agathis body
* Maple neck
* Rosewood fretboard
* Dual humbucking pickups
* Chrome hardware
Behringer V-AMP 2 Amp Modeler Refurb
Free Shipping on Most Orders Over $99!
$79.99 -or- $15/mo. - Apply!
List Price: $149.99 Savings: $70.00(46%)
The next step in virtual amplification.
By adding a host of new features and capabilities to the Behringer V-AMP 2 Amp Modeler, Behringer has upgraded their already-legendary modeler. You now get 32 amp models as well as the original 15 speaker simulations which can be selected independently of the amp models. A 24-bit, studio-quality stereo effects unit offers an array of useful algorithms including chorus, tremolo, compression, noise gate, delay, and much more. A separate, manually or MIDI-controllable wah and 9 stereo reverbs are available in combination with any other effect, amp, or speaker setting. 2 effects parameters are directly accessible. This cool unit retains the original V-Amp's chromatic tuner and a tap tempo function for realtime adjustment of effect speed. You also get an adjustable stereo aux input, stereo line output with speaker simulation, 3-band EQ, master volume, and adjustable headphone output. The MIDI interface enables realtime remote control, automation, data transfer, and access to additional parameters. The 125 onboard presets are organized into 25 banks and include 50 presets by renowned guitarists. On top of all that, the V-Amp 2 offers 5 practical configuration modes plus a presence control that simulates negative-feedback tube amps. The new preamp bypass lets you use it as a stereo effects unit. Dramatically improved gate and noise-reduction circuits produce an impressive 90dB S/N ratio. The V-Amp 2 is simple to operate with dedicated controls for all essential settings. Behringer offers additional presets and downloadable V-Amp editor software on its website. Behringer includes dual footswitch, AC adapter, and carrying bag with the V-Amp 2.
Behringer V-AMP 2 Amp Modeler Refurb Features:
* 32 amp models
* 15 speaker simulations can be selected independently of amp models
* 24-bit, studio-quality stereo effects include chorus, tremolo, compression, noise gate, delay, and much more
* Separate, manually or MIDI-controllable wah and 9 stereo reverbs
* 2 effects parameters are directly accessible
* Chromatic tuner
* Tap tempo function for realtime adjustment of effect speed
* Adjustable stereo aux input
* Stereo line output with speaker simulation
* 3-band EQ
* Master volume
* Adjustable headphone output
* MIDI interface enables realtime remote control, automation, data transfer, and access to additional parameters
* 125 onboard presets organized into 25 banks
* 50 presets by renowned guitarists
* 5 practical configuration modes
* Presence control simulates negative feedback tube amps
* Preamp bypass lets you use it as a stereo effects unit
* Improved gate and noise-reduction circuits produce an impressive 90dB S/N ratio
* Dedicated controls for all essential settings
* Dual footswitch for preset selection and tuner control
* AC adapter
* Carrying bag
$79.99 -or- $15/mo. - Apply!
List Price: $149.99 Savings: $70.00(46%)
The next step in virtual amplification.
By adding a host of new features and capabilities to the Behringer V-AMP 2 Amp Modeler, Behringer has upgraded their already-legendary modeler. You now get 32 amp models as well as the original 15 speaker simulations which can be selected independently of the amp models. A 24-bit, studio-quality stereo effects unit offers an array of useful algorithms including chorus, tremolo, compression, noise gate, delay, and much more. A separate, manually or MIDI-controllable wah and 9 stereo reverbs are available in combination with any other effect, amp, or speaker setting. 2 effects parameters are directly accessible. This cool unit retains the original V-Amp's chromatic tuner and a tap tempo function for realtime adjustment of effect speed. You also get an adjustable stereo aux input, stereo line output with speaker simulation, 3-band EQ, master volume, and adjustable headphone output. The MIDI interface enables realtime remote control, automation, data transfer, and access to additional parameters. The 125 onboard presets are organized into 25 banks and include 50 presets by renowned guitarists. On top of all that, the V-Amp 2 offers 5 practical configuration modes plus a presence control that simulates negative-feedback tube amps. The new preamp bypass lets you use it as a stereo effects unit. Dramatically improved gate and noise-reduction circuits produce an impressive 90dB S/N ratio. The V-Amp 2 is simple to operate with dedicated controls for all essential settings. Behringer offers additional presets and downloadable V-Amp editor software on its website. Behringer includes dual footswitch, AC adapter, and carrying bag with the V-Amp 2.
Behringer V-AMP 2 Amp Modeler Refurb Features:
* 32 amp models
* 15 speaker simulations can be selected independently of amp models
* 24-bit, studio-quality stereo effects include chorus, tremolo, compression, noise gate, delay, and much more
* Separate, manually or MIDI-controllable wah and 9 stereo reverbs
* 2 effects parameters are directly accessible
* Chromatic tuner
* Tap tempo function for realtime adjustment of effect speed
* Adjustable stereo aux input
* Stereo line output with speaker simulation
* 3-band EQ
* Master volume
* Adjustable headphone output
* MIDI interface enables realtime remote control, automation, data transfer, and access to additional parameters
* 125 onboard presets organized into 25 banks
* 50 presets by renowned guitarists
* 5 practical configuration modes
* Presence control simulates negative feedback tube amps
* Preamp bypass lets you use it as a stereo effects unit
* Improved gate and noise-reduction circuits produce an impressive 90dB S/N ratio
* Dedicated controls for all essential settings
* Dual footswitch for preset selection and tuner control
* AC adapter
* Carrying bag
Wednesday, August 08, 2007
Dunlop JH-1B Jimi Hendrix Signature Wah Pedal
Dunlop JH-1B Jimi Hendrix Signature Wah Pedal
$129.99
MSRP: $199.98 Save: $69.99
The Jimi Hendrix Signature Wah pedal reproduces the famous tones of Hendrix wah solos and rhythms from the late 60s with amazing accuracy. The pedal has a classic vintage look to match it's sound: a chrome top and black crinkle aluminum body. Dunlop does it again with great sound and solid construction.
Fender Geddy Lee Jazz Bass
Fender Geddy Lee Jazz Bass
$799.99
MSRP: $1142.84 Save: $342.85
Fender
Rush's Geddy Lee dishes out the bottom-end with this bass. A perfect replica of Geddy's J, it has an original-spec alder body fitted with 2 U.S. Vintage Jazz Bass pickups, traditional volume-volume-tone knobs, and a Badass II bridge. The one-piece maple neck with bound-and-blocked maple fretboard is a very comfortable custom shape, slimmed down to Geddy's specifications. Black finish. Includes deluxe gig bag.
Fender Geddy Lee Jazz Bass Features:
* Geddy Lee signature Jazz
* Vintage-design alder body
* Custom-shaped maple neck
* U.S. Vintage Jazz Bass pickups
* Badass II bridge
* '70s style block inlays and binding
Fender Geddy Lee Jazz Bass Includes:
* Fender deluxe gig bag
Gretsch Guitars G5120
Gretsch Guitars G5120 Electromatic Hollowbody Electric Guitar Black
$595.00 -or- $18/mo. - Apply!
List Price: $850.00 Savings: $255.00(30%)
A professional hollowbody electric that won't break the bank.
Get ready for some serious twangin' up ahead, because this special edition G5120 Electromatic Hollowbody Electric Guitar from Gretsch has the vibe and tone that will have you dancing the twist until 2 a.m. This stylish, professional guitar features newly designed dual coil humbucking pickups, adjustable bridge, chrome-plated die-cast tuners, and wicked cool colors!
Gretsch Guitars G5120 Electromatic Hollowbody Electric Guitar Features:
* 16" x 2.75" laminated maple hollowbody
* Maple neck (24.6" scale)
* Rosewood fingerboard
* 21 medium jumbo frets
* Bone nut (1-11/16" wide)
* Vintage style machine heads
* 2 Gretsch dual-coil pickups
* #1 tone pot control setup
* G-Arrow Knobs
* Adjusto-Matic bridge on rosewood base
* Bigsby© B60 vibrato tailpiece
* Gretsch knurled strap knobs
* Chrome hardware
* Urethane finish
Friday, August 03, 2007
Line 6 Pocket POD
Line 6 Pocket POD
POD has a little brother who loves the road!
Devon Bardizbanian
Line 6 Pocket POD
In 1998, Line 6 hijacked a myriad of classic sounds from popular amplifiers and stomp boxes, re-created them through the use of digital technology, and put them right on your studio’s desktop. The result was tonally pleasing, as well as visually appealing, yielding a cute, smallish, red kidney bean-shaped device called the POD. In no time PODs began turning up in studios all over America. Players and engineers enjoyed having hours of setup time eliminated. POD not only revolutionized the way people recorded in a professional setting, it also helped fuel the home studio boom.
Over the years, Line 6 has continued to improve on the versatility and features of POD, packing more tones, more amp models, more cabs, more effects, and more options into its 10"-wide casing. To satisfy guitarists’ different needs and various niches, the company expanded the line by producing new POD variations—floor models, rack models, and bass models—that gained appeal with a wider audience. So, what’s next? How do you expand on a big idea that comes in a small package? Make it even smaller and more portable!
Let’s get small
For years, guitar players developed their tones through an amp or set of amps, and a series of pedals placed on the floor in various configurations and settings. That’s fine for those guitarists who have spent years building their rig, especially those who have a roadie to help with moving, setting up, and tearing down. But for the rest of us, what could be easier and more alluring than a pocket-sized, all-encompassing tone factory?
The Pocket POD packs in every tone and effect that you found in Line 6’s second-generation POD 2.0 design. Only now, it’s all housed in a tuner-sized case that fits, well, right in your pocket. “Take your tones anywhere you go” is the company’s slogan, and it’s spot-on.
Powered by AAA batteries, this little powerhouse is the definition of portable. It’s great for recording, and onstage, it makes an incredibly versatile sound board. Like its larger siblings, the Pocket POD will be a godsend for guitarists in cover and wedding bands who need to replicate lots of different sounds of recordings.
Deep diving
If you’re not familiar with POD by now, you should know it already has a reputation for delivering an extensive library of great-sounding tones. This particular edition comes packed with over 300 pre-programmed, impressive, and very diverse sounds. Many of the newer presets have been professionally dialed-in by groups like Hoobastank, Sparta, P.O.D.—too many to list here. There are 124 programmable presets available to store your custom tones. Even though the Pocket POD is smaller than any previous POD (5" wide, just over 3" tall, and less than 3" deep), the knobs are ergonomic and the controls are logically laid out and clearly labeled.
The interface for editing sounds is easy to use. If you’re used to sending text messages from your cell phone, using the Pocket POD will be a piece of cake. One of the best features is the ability to connect to a computer directly through a USB output. It helps make tweaking or “deep diving,” as Line 6ers refer to it, quick and simple. The software is included. Just install and dive in.
If you’re looking for a specific tone or sound from a specific song or maybe you want an even larger variety of tones, there’s a seemingly endless amount of presets available—all for free—online through Line 6’s CustomTone.com. It’s a vast collection and just keeps growing. I spent a good three hours downloading various tones into the Pocket POD, testing ’em out, then trying new ones. The downloaded sounds are so faithful that a buddy of mine who walked in thought it was an original recording that was playing instead of me playing through the Pocket POD.
Sonic rainbow
The sound engineers who develop these things must constantly challenge themselves to put as much into as little space as they can. Think of the Pocket POD as the MP3 player of guitar tones.
The 32 amp models replace a room full of amps with the famous names you’d expect, giving you a wide variety of classic and modern guitar amp sounds that are right there for you at the turn of a knob. With Pocket POD, though, it’s not just about having a lot of modeled amps; it’s about the fact that they really sound great, capturing the quality and feel that makes each amp special.
The 17 effects make up a real sonic rainbow as well, and include Delay, Chorus, Reverb, Flanger, and Tremolo, with each one sounding as good as any stomp box I’ve ever used. The 16 speaker cabinet models re-create a who’s who of classic cabs from the ’50s and ’60s. The Pocket POD also includes a built-in tuner and a noise gate that keeps the effects from getting too noisy so the silence between notes is really silence.
Ultimately, this thing is a real keeper. Pocket POD is great for beginning and aspiring musicians who want to experiment with different tones. It’s also ideal for the touring professional who wants to sit in the back of a tour bus and practice his chops. The Pocket POD is versatile, flexible, and, above all, portable. The quality of tone and range of sounds are worth twice the price; and the affordable price tag makes it a no-brainer.
Features & Specs
Line 6 Pocket POD
* Pocket size: 5"W x 3-1/2"H x 2-1/2"D
* Lightweight: 6 oz.
* Legendary POD 2.0 tone
* 300+ presets, 124 programmable for your personal settings
* Endless amounts of available presets online
* 32 guitar amp models
* 17 effects including Delay, Chorus, Reverb and more
* 16 cab models and A.I.R. Mic/Room Emulation
* Noise gate
* Built-in tuner
* USB for Mac & Windows
* Tone Edit software and online Tone Library
* 1/8" headphone/line output
* 1/4" amp/line I/O
* 1/8" CD/MP3 input
* 4 AAA batteries included for 4 to 6 hours of use
* Optional 9V DC supply
* Belt/strap clip
POD has a little brother who loves the road!
Devon Bardizbanian
Line 6 Pocket POD
In 1998, Line 6 hijacked a myriad of classic sounds from popular amplifiers and stomp boxes, re-created them through the use of digital technology, and put them right on your studio’s desktop. The result was tonally pleasing, as well as visually appealing, yielding a cute, smallish, red kidney bean-shaped device called the POD. In no time PODs began turning up in studios all over America. Players and engineers enjoyed having hours of setup time eliminated. POD not only revolutionized the way people recorded in a professional setting, it also helped fuel the home studio boom.
Over the years, Line 6 has continued to improve on the versatility and features of POD, packing more tones, more amp models, more cabs, more effects, and more options into its 10"-wide casing. To satisfy guitarists’ different needs and various niches, the company expanded the line by producing new POD variations—floor models, rack models, and bass models—that gained appeal with a wider audience. So, what’s next? How do you expand on a big idea that comes in a small package? Make it even smaller and more portable!
Let’s get small
For years, guitar players developed their tones through an amp or set of amps, and a series of pedals placed on the floor in various configurations and settings. That’s fine for those guitarists who have spent years building their rig, especially those who have a roadie to help with moving, setting up, and tearing down. But for the rest of us, what could be easier and more alluring than a pocket-sized, all-encompassing tone factory?
The Pocket POD packs in every tone and effect that you found in Line 6’s second-generation POD 2.0 design. Only now, it’s all housed in a tuner-sized case that fits, well, right in your pocket. “Take your tones anywhere you go” is the company’s slogan, and it’s spot-on.
Powered by AAA batteries, this little powerhouse is the definition of portable. It’s great for recording, and onstage, it makes an incredibly versatile sound board. Like its larger siblings, the Pocket POD will be a godsend for guitarists in cover and wedding bands who need to replicate lots of different sounds of recordings.
Deep diving
If you’re not familiar with POD by now, you should know it already has a reputation for delivering an extensive library of great-sounding tones. This particular edition comes packed with over 300 pre-programmed, impressive, and very diverse sounds. Many of the newer presets have been professionally dialed-in by groups like Hoobastank, Sparta, P.O.D.—too many to list here. There are 124 programmable presets available to store your custom tones. Even though the Pocket POD is smaller than any previous POD (5" wide, just over 3" tall, and less than 3" deep), the knobs are ergonomic and the controls are logically laid out and clearly labeled.
The interface for editing sounds is easy to use. If you’re used to sending text messages from your cell phone, using the Pocket POD will be a piece of cake. One of the best features is the ability to connect to a computer directly through a USB output. It helps make tweaking or “deep diving,” as Line 6ers refer to it, quick and simple. The software is included. Just install and dive in.
If you’re looking for a specific tone or sound from a specific song or maybe you want an even larger variety of tones, there’s a seemingly endless amount of presets available—all for free—online through Line 6’s CustomTone.com. It’s a vast collection and just keeps growing. I spent a good three hours downloading various tones into the Pocket POD, testing ’em out, then trying new ones. The downloaded sounds are so faithful that a buddy of mine who walked in thought it was an original recording that was playing instead of me playing through the Pocket POD.
Sonic rainbow
The sound engineers who develop these things must constantly challenge themselves to put as much into as little space as they can. Think of the Pocket POD as the MP3 player of guitar tones.
The 32 amp models replace a room full of amps with the famous names you’d expect, giving you a wide variety of classic and modern guitar amp sounds that are right there for you at the turn of a knob. With Pocket POD, though, it’s not just about having a lot of modeled amps; it’s about the fact that they really sound great, capturing the quality and feel that makes each amp special.
The 17 effects make up a real sonic rainbow as well, and include Delay, Chorus, Reverb, Flanger, and Tremolo, with each one sounding as good as any stomp box I’ve ever used. The 16 speaker cabinet models re-create a who’s who of classic cabs from the ’50s and ’60s. The Pocket POD also includes a built-in tuner and a noise gate that keeps the effects from getting too noisy so the silence between notes is really silence.
Ultimately, this thing is a real keeper. Pocket POD is great for beginning and aspiring musicians who want to experiment with different tones. It’s also ideal for the touring professional who wants to sit in the back of a tour bus and practice his chops. The Pocket POD is versatile, flexible, and, above all, portable. The quality of tone and range of sounds are worth twice the price; and the affordable price tag makes it a no-brainer.
Features & Specs
Line 6 Pocket POD
* Pocket size: 5"W x 3-1/2"H x 2-1/2"D
* Lightweight: 6 oz.
* Legendary POD 2.0 tone
* 300+ presets, 124 programmable for your personal settings
* Endless amounts of available presets online
* 32 guitar amp models
* 17 effects including Delay, Chorus, Reverb and more
* 16 cab models and A.I.R. Mic/Room Emulation
* Noise gate
* Built-in tuner
* USB for Mac & Windows
* Tone Edit software and online Tone Library
* 1/8" headphone/line output
* 1/4" amp/line I/O
* 1/8" CD/MP3 input
* 4 AAA batteries included for 4 to 6 hours of use
* Optional 9V DC supply
* Belt/strap clip
Thursday, August 02, 2007
Guitar Clearance
Guitar Gear
* Gibson Faded Flying V - Save 45% at $579.00!
* Blem The Dean From Hell CFH Electric Guitar - Just $849.15
* Fender Blem CD160E 12-String Acoustic-Electric Guitar (Black)
* Gibson Faded Flying V - Save 45% at $579.00!
* Blem The Dean From Hell CFH Electric Guitar - Just $849.15
* Fender Blem CD160E 12-String Acoustic-Electric Guitar (Black)
New Products
Guitar Gear
* Gibson Les Paul Classic Electric Guitar - Starting at $1799.99
* ESP LTD Deluxe EC-1000 Electric Guitar - Starting at $799.99
* Gibson Custom Shop Ltd-Edition John Lennon Les Paul Junior Electric Guitar
* Gibson Les Paul Classic Electric Guitar - Starting at $1799.99
* ESP LTD Deluxe EC-1000 Electric Guitar - Starting at $799.99
* Gibson Custom Shop Ltd-Edition John Lennon Les Paul Junior Electric Guitar
New Lower Price On Gibson J-180EC - Only $1299.99
Guitar Gear
A handmade cutaway jumbo with gorgeous tone and onboard electronics!
The Gibson J-180EC Special Acoustic-Electric Guitar is arguably among the best-sounding, highest-quality acoustic-electrics ever made. Features a solid spruce top, maple back and sides, mahogany neck, and sculpted rosewood bridge. It's spectacular to behold, and the onboard pickup and controls make its sweet sound easy to enhance. Includes Gibson hardshell case.
Gibson Acoustic J-180EC Special Acoustic-Electric Guitar Features:
* Solid spruce top for fantastic tone
* Maple back and sides
* Mahogany neck
* Rosewood bridge
Gibson Acoustic J-180EC Special Acoustic-Electric Guitar Includes:
* Gibson hardshell case
You want it. You can afford it. What more do you need? Go ahead and do it!
A handmade cutaway jumbo with gorgeous tone and onboard electronics!
The Gibson J-180EC Special Acoustic-Electric Guitar is arguably among the best-sounding, highest-quality acoustic-electrics ever made. Features a solid spruce top, maple back and sides, mahogany neck, and sculpted rosewood bridge. It's spectacular to behold, and the onboard pickup and controls make its sweet sound easy to enhance. Includes Gibson hardshell case.
Gibson Acoustic J-180EC Special Acoustic-Electric Guitar Features:
* Solid spruce top for fantastic tone
* Maple back and sides
* Mahogany neck
* Rosewood bridge
Gibson Acoustic J-180EC Special Acoustic-Electric Guitar Includes:
* Gibson hardshell case
You want it. You can afford it. What more do you need? Go ahead and do it!
60% Off Crate Half Stack - Only $398.00
Guitar Gear
Amazingly powerful, flexible, and affordable!
The Crate GT1200H/G412SL Half Stack head:
120W RMS compact guitar amp head features FlexWave Evolution 5 preamp for great tube tone and feel. 3-switchable channels (with included footswitch) let you set up for the gig. It also features spring reverb for authentic super lead sound. There's also an effects loop for your externals and a CD input.
The Crate GT1200H/G412SL Half Stack cab:
100W RMS handling. Slant-front cab features heavy-duty construction with metal grille. Dual 1/4" input jacks. 27"W x 27"H x 14"D. 54 lbs.
Crate GT1200H/G412SL Half Stack Features:
* 120W RMS compact guitar head
* FlexWave Evolution 5 preamp
* 3 switchable channels (with included footswitch)
* Spring reverb for authentic super lead sound
* Effects loop
* CD input
Compact 4 x 12" cab
* 100W RMS handling
* Heavy-duty construction
* Metal grille
* Dual 1/4" input jacks
* 27"W x 27"H x 14"D
* 54 lbs.
It's the half-stack from hell! Let Crate put you in command for way less than the competition. Order now.
Amazingly powerful, flexible, and affordable!
The Crate GT1200H/G412SL Half Stack head:
120W RMS compact guitar amp head features FlexWave Evolution 5 preamp for great tube tone and feel. 3-switchable channels (with included footswitch) let you set up for the gig. It also features spring reverb for authentic super lead sound. There's also an effects loop for your externals and a CD input.
The Crate GT1200H/G412SL Half Stack cab:
100W RMS handling. Slant-front cab features heavy-duty construction with metal grille. Dual 1/4" input jacks. 27"W x 27"H x 14"D. 54 lbs.
Crate GT1200H/G412SL Half Stack Features:
* 120W RMS compact guitar head
* FlexWave Evolution 5 preamp
* 3 switchable channels (with included footswitch)
* Spring reverb for authentic super lead sound
* Effects loop
* CD input
Compact 4 x 12" cab
* 100W RMS handling
* Heavy-duty construction
* Metal grille
* Dual 1/4" input jacks
* 27"W x 27"H x 14"D
* 54 lbs.
It's the half-stack from hell! Let Crate put you in command for way less than the competition. Order now.
Subscribe to:
Posts (Atom)