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2013 Full Line Catalog 2013
Electric Guitars, Electric Basses, Acoustic Guitars, Amplifiers, Effects & Accessories 2013 Accessories Effects & Amplifiers, Guitars, Electric Acoustic Electric Basses, Guitars, www.ibanez.com 1726 Winchester Road, Bensalem, PA 19020 · U.S.A. · ©2012 Printed in Japan NOV12928 (U) For Authorized Dealers Only - All finishes shown are as close as four-color printing allows. CATALOG - All specifications and prices are subject to change without notice. 2013 FULL LINE Table of Contents Solid Body Electric Guitars Signature Models 6-10 Iron Label RG/S 11-13 RG/GRG/GRX/MIKRO 13-26 RGA 26 RGD 27 S 28-31 X 32-33 FR 33 ARZ 34 AR 34-35 ART 35-36 Jumpstart 37 Hollow Body Electric Guitars Signature Models 40-41 Artstar 41 Artcore Expressionist 42-44 Artcore 44-47 Electric Basses Signature Models 50-51 SR 51-61 Grooveline 62-63 BTB 64-65 ATK 66-67 Artcore 67-68 GSR/MIKRO 68-73 Jumpstart 73 Acoustic Guitars Signature Models 76 Artwood 77-81 PF 82-85 SAGE 85 AEG 86 AEL 87 AEF 88-89 EW 90-91 Talman 91-92 AEB 92 SAGE Bass 93 Classical 93-95 Ukulele 95-96 Banjo 96 Resonator 96 Mandolin 97 Jampack 98 Amplifiers/Effects/Accessories Tube Screamer Amplifier 100-101 Wholetone 101 Promethean 102-103 Sound Wave 103 Troubadour 104-105 IBZ 105 Tube Screamer 106 9 Series 107 Echo Shifter 108 Signature Effect Pedal 109 Wah Pedals 109 Tuners 110 Cables & Adapter 110 Stand 111 Tremolo Arm 111 Picks 111 Cases/Straps 112 Bags/Microphone Stand 113 02 for more information visit www.Ibanez.com for more information visit www.Ibanez.com 03 04 for more information visit www.Ibanez.com -
Ibanez Market Strategy
Ibanez Market Strategy Billy Heany, Jason Li, Hyun Park, Alena Noson Strategic Marketing Table of Contents Executive Summary ....................................................................................................................................... 3 Firm Analysis.................................................................................................................................................... 4 Key Information about the Firm ........................................................................................................... 4 Current Goals and Objectives ................................................................................................................ 5 Current Performance ................................................................................................................................. 6 SWOT ............................................................................................................................................................. 7 Current Life Cycle Stage for the Product .......................................................................................... 8 Current Branding Strategy ...................................................................................................................... 9 Industry Analysis .......................................................................................................................................... 10 Market Review ........................................................................................................................................ -
Maintenance Manual STRING REPLACEMENT Strings Will Deteriorate Over Time, Causing Buzzing Or Inaccurate Pitch
Maintenance Manual STRING REPLACEMENT Strings will deteriorate over time, causing buzzing or inaccurate pitch. Replace the strings whenever your strings begin to rust or become discolored. We recommend that you replace all of the strings as a set at the same time. Bent, twisted, or damaged strings will not produce the appropriate quality sound and therefore should not be used. Wind the string around the tuning machine post two or three times, making sure to wind from top to bottom. Wind about 5–7 cm of string for guitar and 8–10 cm for bass. Do not wind the string on top of itself. The strings should be replaced one by one instead of removing all the strings at once. This is done to avoid stress on the neck and to reduce the risk of affecting tremolo balance. ※ The method for removing and installing strings attached to a tremolo/bridge will differ depending on the type of tremolo/bridge. For details, refer to the section for the tremolo/bridge installed on your guitar. Visit our web site (http://www.ibanez.com) for details. TUNING When shipped from the factory, Ibanez guitars are set up using the following tunings. ■ Guitar 1st 2nd 3rd 4th 5th 6th 7th 8th 9th 6-strings E B G D A E - - - 7-strings E B G D A E B - - 8-strings D# A# F# C# G# D# A# F - 9-strings E B G D A E B F# C# ■ Bass 1st 2nd 3rd 4th 5th 6th 4-strings G D A E - - 5-strings G D A E B - 6-strings C G D A E B There are exceptions to some models. -
Acoustic Guitar Buying Guide
Acoustic Guitar Buying Guide A Starter’s Guide to Buying an Acoustic Guitar Shopping for an acoustic guitar can be an overwhelming experience. Because guitar makers use a wide range of woods, hardware, and design elements, there are many factors to consider. Specifically, there are four primary areas you will want to consider and/or know about before you start shopping. Table of Contents Purpose and Budget - How are you going to use your guitar, and how much will you spend? Construction and Design - Learn the basics before you shop. Styles and Sound - Understand how different features affect the sound of the guitar. Acoustic Guitar Variants - 12-string acoustics and alternate body shapes Don't Forget Personal Preference Glossary Purpose and Budget Before you think about brand names or body styles, consider what you are going to use the guitar for, and how much money you have to spend on one. Skill Level - Amateur or Advanced If you are a new player who is looking for an instrument to learn on, you may not want to spend too much on a high-end acoustic guitar just yet. Thanks to modern manufacturing techniques, there is a wide selection of good, low- to mid-range acoustic guitars to choose from. But maybe you are an experienced player who is ready to upgrade to a better guitar. In that case, it is important to know the difference between tonewoods, and how the soundboard effects resonance. Purpose - Acoustic-Electrics Expand Your Options Will you be playing with a band, or taking your guitar to public events such as open mic nights? If so, you may want to consider an acoustic-electric guitar. -
Metronome Magazine-Boston
•Our 35th Year Proudly Promoting All Things Music• FREE! January 2020 Sparky John Larson & The Silver Fields One Dime Band Paul Gabriel Metro•Scene BERKLEE BULL RUN CITY WINERY 1/8- Stars in Our Midst PERFORMANCE CENTER RESTAURANT Boston, MA. 1/9- Culomba album release Boston, MA Shirley, MA. (617) 933-8047 1/10- Meg Toohey album release (617) 747-2261 (978) 425-4311 1/11- Americana 1/1- Chris Trapper; Sarah Borges 1/12- Masters of Hawaiian Music w/George 1/11- Juan de Marcos and the Afro-Cuban All 1/5- Past Life Regression Circle Brunch w/ 1/2- Lyfe Jennings Kahumoku Jr, Led Kaapana and Kawika Kahiapo Stars Brandie Wells 1/3- Kashmir - Live Led Zeppelin Show; Chad 1/13-Kora Feder and Bella White 1/18- Terence Blanchard and The E-Collective 1/9- the Subdudes Perrone 1/14- Lauren Balthrop & Sean Trischka 1/28- Marcus Prince: Hearts on Fire—I Won’t Be 1/10- Sarah Borges & the Broken Singles 1/4- Wanted: DOA – Bon Jovi Tribute 1/15- Rachel Sumner Band; Pretty Saro Silent 1/16- Kerrville North 1/5- Kindred the Family Soul 1/16, 17 & 18- Boston Celtic Music Festival 1/30- Soundscapes of Spain: From Flamenco 1/17- Ellis Paul 1/7- Jake Clemons (E Street Band) 1/19- Billy, Jimmy & Dave Roots to Fusion featuring Sonia Olla, Ismael 1/18- Steve Forbert; Offtet’s “Midlife 1/8- Avery Sunshine 1/20- Massmouth Story Slam Fernández & Olivia Pérez Monkeyshine” CD release (Ballroom) 1/10- Marc Cohn; Jesse Valenzuela (of the Gin 1/22- Hayley Jane; Giovanina Bucci 1/19- Albert Lee Band Blossoms) 1/23- Taarka 1/24- Deadbeat w/ Guest Mark Karan 1/11- Marc Cohn 1/24- Kemp Harris BLUE OCEAN 1/25- The Fools 1/12- Jon B (Early Show) - 1/12/20 1/25- Les Sampou; Jay Psaros; Julian Rundlett MUSIC HALL 1/13- Chris Mann: Gershwin to Gaga ; Cheikh Lô & Gail Finnie Rundlett Salisbury Beach, MA. -
Fender Mustang Bass
Version 1.63 Alle Angaben ohne Gewähr! Stand 17.11.2009 1 9 6 6 Geschichte des 1 9 6 9 1 9 7 2 MUSTANG BASS 1 9 719 666 bis 2009 1 9 8 1 ® ® 2 0 0 2 L 45 SERIA 23 ER 81 NUMB S Dies ist kein Produkt der Fender Musical Instruments Corporation, USA oder2 der Fender® Musical Instruments0 GmbH, Deutschland!0 9 Vorwort (Über die Entstehung dieses Nachschlagewerks) Über die meisten Fender Gitarrenserien gibt es ausführliche Bücher, lange Abhandlungen, speziel- le Fan-Websites und sogar spezifische Foren im Internet. Die Geschichte der Fender Short Scale Bässe hingegen, echte Stiefkinder der Fender Familie, wird höchstens am Rande behandelt. Daher wurde es Zeit, diese Geschichte aufzuschreiben; gerade, weil auch viele Falschinformationen kur- sieren und sich bisher niemand intensiv mit den Fender Short Scale Bässen auseinandergesetzt hat.1 Hier nun 7die ErgebnisseF meiner ERecherchenB zur Geschichte6 des Fender8 MustangB Bass. Viel Spaß beim schmökern Andreas Kühn Inhaltsverzeichnis 1 Deckblatt 18 5 Datierung 2 Vorwort + Inhaltsverzeichnis 18 5.1 Chaos, dein Name ist Fender 3 1 Geschichte 18 5.2 Seriennummern 3 1.1 Familienbande 19 5.3 Mustang Bässe 1966 - 1969 4 1.2 Entstehungsgeschichte 19 5.4 Mustang Bässe 1969 - 1972 4 1.3 Baukastenprinzip 20 5.5 Mustang Bässe 1972 - 1976 5 1.4 Produktion 20 5.6 Mustang Bässe 1976 - 1981 5 1.5 Kataloge & Werbung 21 6 Japan Reissues 6 1.6 Künstler 21 6.1 Grundlegende Unterschiede 7 2 Komponenten 22 6.2 MB98-70, -80 , -SD 7 2.1 Body 23 6.3 MB98-75, -85 , -SD/CO 7 2.1.1 Offset Body 23 6.4 Japan Seriennummern -
Designing and Building an Electric Baritone Guitar
Hendrik Gideonse Audio Research December 14, 2008 Designing an Electric Baritone Guitar 0 Anatomy of a Guitar ................................................................................................... 2 1 Introduction ................................................................................................................. 3 2 Baritone History .......................................................................................................... 3 3 Problems with Existing Designs ................................................................................. 5 3.1 String Tension ..................................................................................................... 5 3.2 Balance, Ease of Playing 1st Position Chords and Bridge Position .................... 7 3.3 Rigidity for Tone and Sustain ........................................................................... 11 4 Designing the Baritone Guitar .................................................................................. 12 4.1 Woods, Tone and Rigidity ................................................................................ 13 4.2 Angled Headstock and ‘V’ Neck Contour ........................................................ 16 4.3 Headstock Shapes ............................................................................................. 19 4.4 Joining the Neck to the Body ............................................................................ 24 4.5 Body Shape ...................................................................................................... -
Location De Backline
ADS PROD LOCATION DE BACKLINE 1 SOMMAIRE Batteries vintage …………………………………… pages 4-5-6-7 Batteries ……………………………………………… pages 8-9 Caisses claires ……………………………………… pages 10-11 Amplis guitare vintage ……………………………… pages 12-13 Amplis guitare/basse ……………………………… pages 14-15 Clavier / Piano et Guitares / Basses ………………… pages 16-17 Prix location ………………………………………… pages 18-19 3 GRETSCH Round badge Midnight Blue Pearl : Grosse caisse : 22 X 14 Toms : 12 X 8 et 16 X 16 GRETSCH Stop Sign Jet Black Nitron Grosse caisse : 22 X 14 Toms : 12 X 8, 13 X 9 et 16 X 16 LUDWIG Classic (Hollywood) 60’s Champagne Grosse caisse : 22 X 14 Toms : 12 X 8, 13 X 9, 16 X 16 et la caisse claire 14 X 5 LUDWIG club date 60’s violette pailletée Grosse caisse : 20 X 14 Toms 12 X 9, 14 X 14 et la caisse claire 14 X 5 LUDWIG Vistalite B/O 70’s ambre : Grosse caisse : 24 X 14 Toms : 13 X 9, 14 X 10 et 18 X 16 LUDWIG B/O 70’s Black Panther Grosse caisse : 24 X 14 Toms : 13 X 9, 14 X 10 et 18 X 16 LUDWIG Classic B/O 70’s Withe marine Grosse caisse : 22 X 14 Toms : 10 X 8, 12 X 9 et 14 X 10 VINTAGE 5 BATTERIES LUDWIG Classic B/0 70’s Blanche Grosse caisse : 22 X 14 Toms mélodique : 12 X 8, 13 X 9, 14 X 12, 16 X 14 Tom 18 X 16 ASBA 60’s Grosse caisse : 20 X 14 Toms : 12,5 X 8, 15 X 14 et la caisse claire 14 X 5 HAYMAN 60’s Grosses caisses : 24 X 14 et 22 X 14 Toms 12 X 9, 12 X 9, 13 X 9, 13 X 9, 16 X 16, 16 X 16 ROGERS 70’s Power Tone noire Grosse caisse : 22 X 14 Toms : 12 X 7, 13 X 8 et 16 X 16 ROGERS 70’s Power Tone Noire Grosse caisse : 24 X 14 Toms : 13 X 9, 14 X 10 et 18 X 16 -
5.16 Patents Und Inventions
5-208 5. Magnetic pickups 5.16 Patents und inventions 5.16.1 American Patents (selection) 1890 435679 Breed: the first guitar pickup? 1890!! 1927 1933299 Vierling: piano-pickup (PU) 1929 1839395 Kauffman: tremolo (vibrato-unit) 1929 1838886 Tuininga: violin-HB 1930 2027073 Vierling: piano-PU (see also 1933299) 1931 1906607 Jacobs: piano-PU 1931 1915858 Miessner: piano-PU 1931 1978583 Kentner: piano-PU 1934 1941870 Severy: synthesizer 1934 2020557 Loar: guitar with structure-borne-sound-PU 1934 2025875 Loar: guitar with structure-borne-sound-PU 1934 2089171 Beauchamp: Rickenbacker Frying Pan, Horseshoe-PU 1935 2026841 Lesti: PU w/out permanent magnet 1935 2119584 Knoblaugh: stacked HB w/out permanent magnet 1936 2087106 Hart/Fuller (Gibson): Charlie-Christian-PU 1936 2170294 Dopyera: National Hawaiian guitar, Blade-PU 1936 2152783 Beauchamp: Rickenbacker Electro Spanish Guitar, Horseshoe-PU 1937 2175325 Sunshine/Epiphone: "Oblong Pickup" 1938 2145490 Miller (Gibson): further development of 2087106 1938 2241911 Kauffman: motorized tremolo for steel-guitar 1939 2262335 Russell: HB w/horseshoe-magnet 1940 2261358 Fuller (Gibson): retrofit-PU 1940 2294861 Fuller (Gibson): retrofit-PU 1944 2455575 Fender/Kauffman: Solidbody guitar w/PU 1946 2455046 DeArmond: PU "Type-1000" 1948 2542271 Alvarez: Piano-HB 1948 2567570 McCarty (Gibson): PU within the pickguard 1948 2686270 Ayres: piano-HB 1949 2557754 Morrison: Solidbody guitar w/PU potted in wax, 6 cylindrical magnets 1950 2573254 Fender: Telecaster-precursor 1950 2612072 DeArmond: PU w/6 adjustable -
AT AUCTION FEBRUARY 27 Dear Guitar Collector
GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an additional 82 lots of collectible amps, music awards and other related items GUITARS all being sold on Saturday, February 27. The Auction is being divided into three AT AUCTION FEBRUARY 27 sessions starting at 10am, 2pm and 7pm (all East Coast time.) Session I, at 10am, contains the Delaware Collection of instruments and other music-related objects all autographed by well known musicians. Sessions II and III contain an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 Session I – 10am: The Delaware Collection Session II – 2pm: Commencing with Lot #200 The event is being held “live” at New York City’s Bohemian National Hall, a great Session III – 7pm: Commencing with Lot #400 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, PUBLIC PREVIEW February 25 & 26 the event is being conducted on two “bidding platforms”… liveauctioneers. Noon to 8pm (each day) com and invaluable.com. For those who so wish, telephone bidding can easily be arranged by contacting us. All the auction items will be on preview display LOCATION Bohemian National Hall 321 East 73rd Street Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. New York, NY Please note that this disc only contains photographic images of the items along ONLINE BIDDING Liveauctioneers.com Invaluable.com with their lot headings. -
Fender Bass Guitars
FENDER® BASS GUITARS MAKE HISTORY 82 Fender® Frontline In-Store | 2009 Fender® Frontline In-Store | 2009 83 Fender® Electric Basses ARTIST ARTIST Fender® Electric Basses STEVE BAILEY JAZZ BASS® VI MARCUS MILLER JAZZ BASS® When you play this bass you’re in good company with Steve Bailey himself, a pro bassist’s pro The Marcus Miller Jazz Bass® guitar delivers one of the most distinctive voices in the history of bassist, bass teacher and instructional author with a diverse and stellar list of performing and bass. An ash body coupled with a one-piece maple neck (7.25” radius) is accented with eye- recording credits that includes Dizzy Gillespie, the Rippingtons and Jethro Tull. The Fender® catching white binding and Pearloid block inlays on a maple fingerboard. Marcus’ signature Steve Bailey Fretless Jazz Bass® VI is a phenomenal vehicle for self expression that offers you black pickguard/control plate houses a unique active preamp with a mini-toggle active/passive the opportunity to explore a virtually limitless tonal palette in the quest of defining your own switch. A string-through-body or top-load bridge and chrome neck pickup cover top off the voice on the instrument. From silky singing cello-like tones, to the thundering bottom end that feature set of this signature bass. Deluxe gig bag included. only a beautifully executed low “B” string can produce, this instrument is the finest example of Part # Description MSRP the marriage of art and engineering. Features include a select alder body, a quartersawn maple 300 (3-Color Sunburst) neck -
Argent Sound Recordings: Multimodal Storytelling
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2008 Argent Sound Recordings: Multimodal Storytelling Matthew L. Klimas Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Graphic Design Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/795 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Virginia Commonwealth University DESIGN/VISUAL COMMUNICATIONS MFA CREATIVE PROJECT Matthew Klimas 2008 Argent Sound Recordings: Multimodal Storytelling Argent Sound Recordings: Multimodal Storytelling Argent Sound Recordings: Multimodal Storytelling SUBMITTED TO THE FACULTY OF THE SCHOOL OF THE ARTS OF VIRGINIA COMMONWEALTH UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE: MASTER IN FINE ARTS IN VISUAL COMMUNICATIONS MATTHEW KLIMAS / UNITVERSITY OF TENNESSEE, KNOXVILLE BFA GRAPHIC DESIGN 2002 VIRGINIA COMMONWEALTH UNIVERSITY, RICHMOND, VIRGINIA, MAY 2008 PRIMARY ADVISOR Sandra Wheeler Associate Professor, Department of Graphic Design SECONDARY ADVISOR Stephen Vitiello Assistant Professor, Department of Kinetic Imaging READER Roy McKelvey Associate Professor, Department of Graphic Design Matt Woolman Chairman, Associate Professor, Department of Graphic Design PROCESS SKETCH