DOCSLIB.ORG

Vox Catalogue Atal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vox Catalogue Atal YOUR VOICE; YOUR VOX ARTIST SPOTLIGHT: ARTIST SPOTLIGHT: SCOTT McMICKEN OF DR.DOG STEPH CARTER OF GALLOWS “I’m taking these guitars on the road “I have finally found an instrument and definitely spreading the word on I’m happy with.” PHOTO: Don Holtz how awesome they are!” - Foo Fighters AL SCHNIER CHRIS SHIFLETT VOX IN TUNE WITH YOU - moe. PHOTO: Adam Miszewski Photo credit: Forrest Reda VOX guitars in the Artists’ words. VOLUME - Gallows STEPH CARTER 18 ARTIST SPOTLIGHT: ARTIST SPOTLIGHT: KEVIN DREW OF BROKEN SOCIAL SCENE DANIEL JORGENSEN “The VOX guitar is a lovely instrument to play. OF OWL CITY Its light weight creation allows you to dig into “The Virage is an incredible sounding the frets with very specific ease while freaking out and feeling guitar, and especially on stage. Its design comes with various pickup matched with the AC30C2, it feels options that range from hollowed out to full-bodied. unbeatable!” Its particular strength for me is when I mix a bit THE COMPLETE of distortion from my amp...it’s a very sweet dirt L that I have become addicted to...” AMPLIFIERS, PEDALS, EFFECTS, GUITARS AND ACCESSORIESA AT Photo credit: Robin Laananen Photo credit: Andy Frost VOX CATALOGUE VOX in tune with You. Amplifiers Pedals, Effects & Accessories Custom Series 2 VOX Wah Pedals 21 Valvetronix + 4 ToneLab 22 Valvetronix Pro Series 6 DelayLab 23 Hand-Wired Series 8 VOX Dynamic Looper 24 Bruno Amps 10 VOX Lil’ Looper 25 Night Train Series 12 JamVOX III 26 VOX AGA 14 Joe Satriani & VOX 28 AC4 16 amPlug 30 VR Series 17 VOX Gear 31 Mini3 18 Pathfinder 19 Brian May & VOX 32 RhythmVOX 20 Guitars Virage II 34 Series 99 35 Series 55 36 Series 33 & 22 38 Series 77 40 Apache I / Apache II 41 1 CUSTOM SERIES (((www.voxamps.com/custom))) NEVER OUT OF STYLE. NEW! TODAY’S IN-DEMAND, TUBE-DRIVEN CLASSICS. AC30C2: The AC30 with “The Works” The VOX AC30 combo amp has been an icon for decades, known as the sound that powered the 1960s’ “British Invasion”. Based on the classic AC30 design, the all-new Custom Series AC30C2 and AC30C2X offer numerous up- to-date enhancements, delivering the most versatile AC30 An Evolution in Tone design in VOX history. VOX Custom Series amps offer two channels: Normal and Top-Boost. Each channel is equipped with its own Volume AC15C1: When Less is More control, and the Top Boost channel offers highly interactive First introduced in 1958, the AC15 combo has been the Treble and Bass tone controls. This powerful channel pairing amp of choice for countless guitar players throughout the provides an abundance of classic tone-crafting control. Both world. Drawing on more than 50 years of amp-building channels rely on the Tone Cut and Volume controls in the expertise, the AC15C1 Custom Series offers maximum Master section. tonal dexterity. The Tone Cut control operates in the power stage rather than AC15C2: The Twin the preamp stage, allowing an additional degree of tone- Enjoy this enhanced AC15, featuring two 12'' Celestion shaping. The Master Volume control works in conjunction with Greenbacks and the larger reverb tank borrowed from the individual volumes of each channel to create just the right the AC30. degree of gain-staging. By balancing the individual and Master volumes, the Custom Series can deliver everything from the clean VOX “chimey” sound to a powerful overdriven tone. Power Sharing New! AC15C1-BL & AC30C2-BL Blue Limited Edition AC15C1 15 Watts Single 12'' Celestion G12M Greenback Speaker Sound in Motion All Custom Series combo amps make use of The acclaimed VOX AC15C1 and AC30C2 Custom Series AC15C2 15 Watts 2 x 12'' Celestion G12M Greenback Speaker Sweeten the Custom Series’ sound using the classic VOX 3 x 12AX7 preamp tubes. The AC30C2 and the AC30C2X amplifiers; now available in a Limited Edition featuring AC30C2 30 Watts 2 x 12'' Celestion G12M Greenback Speakers / Effects Loop Tremolo effect; both the speed and the depth are fully use 4 x EL84 tubes to deliver 30 watts of power. The vintage 1963 Blue vinyl and classic Tygon fret cloth! AC30C2X 30 Watts 2 x 12'' Celestion Alnico Blue Speakers / Effects Loop adjustable. A warm Spring Reverb is also included on all AC30C2 uses two 12’’ Celestion G12M Greenback speakers. Custom Series amps, adding spaciousness to the sound. The AC30C2X uses two 12’’ Celestion Alnico Blues. A pair Limited Edition custom colours are extremely popular The AC30C2 and AC30C2X also include an additional tone of EL84 tubes in the AC15C1 drives 15 watts of power among VOX amps; matching their unique sound to their control in the Reverb section. All Custom Series amps can through a single 12’’ Celestion G12M Greenback. All models individualistic looks. The AC15C1-BL and AC30C2-BL use the optional VOX VFS2 footswitch to turn the Reverb in the Custom Series offer a switchable 8 Ω / 16 Ω jack bring back the rich blue vinyl of 1963. The historic Tygon and Tremolo effects on and off while performing. The for powering an external speaker cabinet when you need to fret cloth is used in place of the traditional VOX diamond AC30C2 and AC30C2X also provide an effects loop for speak with a little more authority; using this jack will mute pattern, making these Limited Edition amps rare finds incorporating your favourite effects. The tone-preserving the internal speakers. The extension speaker jack allows you indeed. This era-accurate pairing is a fusion of vintage and True Bypass switching takes the entire effect loop out of the to run an additional 16 Ω cabinet along with the internal pop, showing the acclaimed design sensibilities of VOX circuit. speakers for a fuller sound. amps at their historic best. 2 3 VT20+ 30 Watts Single 8'' VT40+ 60 Watts Single 10'' VT80+ 120 Watts Single 12'' VALVETRONIX + (((www.voxamps.com/valvetronixplus))) VT120+ 150 Watts Dual 12'' VALVETRONIX + THE BEST-SOUNDING MODELING AMPS…PLUS The plus = More TUBE. More TONE. More POWER. VT80+ The new Valvetronix + series takes the best features of Trust in the Tube 25 Diverse effects Beyond the numbers Convenient and versatile input and output the original tube-driven Valvetronix amps and blows them Every guitar player seeks the power and One of the best features of VOX modeling One of the greatest advances from previous The headphone out jack can also be used through the roof. Now you can have even more amps, more playability delivered by a tube amp; the amps is the ability to combine the built-in Valvetronix models is the astounding sense as a direct line output. This output is effects and more power. The totally redesigned Power Level fat drive tone, wide dynamic range, subtle effects with the onboard amp models to of power generated by the Valvetronix + equipped with the simulated response knob lets you customise the output of your amp. Turn it picking nuances, and quick response. After create a complete and powerful sound. Series. The power amp section has the and character of a speaker cabinet, so down for hi-gain assaults at bedroom volumes. Crank it up painstaking analysis of guitarists’ tastes Just as with the effects, the Valvetronix + potential to significantly exceed the you’ll enjoy the natural spatial sense of to unleash a reserve of power to cut through at your next gig. and preferences, VOX has focused on the Series makes no compromise when it comes wattage value indicated by the model name playing through speakers, even when using Add in our 12AX7 Valve Reactor tube technology and you’ve importance of the power amp circuit in to effects, boasting a level of quality that – as indicated by the shaded section of headphones or when connected to a mixer got the best of both worlds – the tone and feel of tubes and creating the sonic characteristics long rivals top standalone units. The broad array the Power Level knob. The new Valvetronix or recording system. Plug your CD or MP3 the flexibility of modeling. sought from tube amps. The VOX Valve of effects is divided into two sections: + Series also feature a newly re-voiced player into the AUX input jack and enjoy Reactor was developed out of this power Pedal effects such as distortion, wah, and VOX original design speaker that is sure jamming along with your favorite songs. In amp philosophy. Based on a 12AX7 compressor; and Modulation/Delay effects to amaze you with a powerful sound that addition, the tuning function needed by vacuum tube, the Valve Reactor circuit at such as chorus, flanger, and tape echo. In you would not expect from a chassis and every guitarist is built in, eliminating the the heart of every Valvetronix + Series amp each section, there are 11 effects to choose speaker of this size. These fine amplifiers need for a separate tuner. perfectly reproduces the operation, subtle from. Featuring easy-to-use settings, you genuinely deliver sonic power that cannot VT120+ nuances, and tonal character of a real can simultaneously select the effect type be expressed by mere numbers. Optional VFS5 footswitch operation tube-powered amp. and adjust its parameters. In addition, there With the optional VFS5 footswitch, you are three types of Reverb (Room, Spring, Seize the power can change programs and turn effects VT20+ VT40+ Sound Famous Fast and Hall). With the addition of Noise The sense of drive produced in the tube on and off, all without taking your hands The new VT+ Series boasts an amazing Reduction, up to four different effects can power stage is what defines the inimitably from your guitar.
Load more

Recommended publications
  • Download Download
    Florian Heesch Voicing the Technological Body Some Musicological Reflections on Combinations of Voice and Technology in Popular Music ABSTRACT The article deals with interrelations of voice, body and technology in popular music from a musicological perspective. It is an attempt to outline a systematic approach to the history of music technology with regard to aesthetic aspects, taking the iden- tity of the singing subject as a main point of departure for a hermeneutic reading of popular song. Although the argumentation is based largely on musicological research, it is also inspired by the notion of presentness as developed by theologian and media scholar Walter Ong. The variety of the relationships between voice, body, and technology with regard to musical representations of identity, in particular gender and race, is systematized alongside the following cagories: (1) the “absence of the body,” that starts with the establishment of phonography; (2) “amplified presence,” as a signifier for uses of the microphone to enhance low sounds in certain manners; and (3) “hybridity,” including vocal identities that blend human body sounds and technological processing, where- by special focus is laid on uses of the vocoder and similar technologies. KEYWORDS recorded popular song, gender in music, hybrid identities, race in music, presence/ absence, disembodied voices BIOGRAPHY Dr. Florian Heesch is professor of popular music and gender studies at the University of Siegen, Germany. He holds a PhD in musicology from the University of Gothenburg, Sweden. He published several books and articles on music and Norse mythology, mu- sic and gender and on diverse aspects of heavy metal studies.
    [Show full text]
  • Perri's World of Leather
    44-49 mip74_v8 21/6/06 3:36 pm Page 5 NEWS DISTRIBUTION Sutherland Perri’s world of leather offers new What do you do when your rock ‘n’ roll dreams die? If you’re Anthony Perri, you set up a business manufacturing leather guitar straps, take the US by storm and then head for the UK Burns units AS WITH MANY of us in the set up Perri’s Leathers in 1998. world of MI, the realisation that “Knowing that I could never make SUTHERLAND TRADING will use we are probably not going to it in such a tough industry, I put the BMF to give dealers hands-on make it as professional my thoughts together and time with new Sonic and Jet-Sonic musicians is a difficult one to brainstormed ideas on how I models, as well as new Stonebridge deal with. And most of us come could have a career that still acoustics by Frantisek Furch making to the conclusion that working involved the music industry,” said their first UK appearance. in and around musical Perri. “I came up with the idea of Crafter Slim Arch guitars are, instruments is a good substitute leather guitar straps. I felt that I Sutherland claims, ‘so individual that for fame and glory. could offer the public something they have no price competition’, Such is the story of Anthony special by creating unique designs while the new Sonor drum sticks, Perri from Concord, Ontario, who that companies have never seen handmade in America, are all at before.” And with the help of “good prices with great profits”.
    [Show full text]
  • The Vox Continental
    Review: The Vox Continental ANDY BURTON · FEB 12, 2018 Reimagining a Sixties Icon The original Vox Continental, rst introduced by British manufacturer Jennings Musical Industries in 1962, is a classic “combo organ”. This sleek, transistor-based portable electric organ is deeply rooted in pop-music history, used by many of the biggest rock bands of the ’60’s and beyond. Two of the most prominent artists of the era to use a Continental as a main feature of their sound were the Doors (for example, on their classic 1967 breakthrough hit “Light My Fire”) and the Animals (“House Of The Rising Sun”). John Lennon famously played one live with the Beatles at the biggest-ever rock show to date, at New York’s Shea Stadium in 1965. The Continental was bright orange-red with reverse-color keys, which made it stand out visually, especially on television (which had recently transitioned from black-and-white to color). The sleek design, as much as the sound, made it the most popular combo organ of its time, rivaled only by the Farsa Compact series. The sound, generated by 12 transistor-based oscillators with octave-divider circuits, was thin and bright - piercing even. And decidedly low-delity and egalitarian. The classier, more lush-sounding and expensive Hammond B-3 / Leslie speaker combination eectively required a road crew to move around, ensuring that only acts with a big touring budget could aord to carry one. By contrast, the Continental and its combo- organ rivals were something any keyboard player in any band, famous or not, could use onstage.
    [Show full text]
  • The Racialization of Jimi Hendrix Marcus K
    Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2007 The Racialization of Jimi Hendrix Marcus K. Adams Follow this and additional works at: http://commons.emich.edu/honors Part of the African American Studies Commons Recommended Citation Adams, Marcus K., "The Racialization of Jimi Hendrix" (2007). Senior Honors Theses. 23. http://commons.emich.edu/honors/23 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. The Racialization of Jimi Hendrix Abstract The period of history immediately following World War Two was a time of intense social change. The nde of colonialism, the internal struggles of newly emerging independent nations in Africa, social and political changes across Europe, armed conflict in Southeast Asia, and the civil rights movement in America were just a few. Although many of the above conflicts have been in the making for quite some time, they seemed to unite to form a socio-political cultural revolution known as the 60s, the effects of which continues to this day. The 1960s asw a particularly intense time for race relations in the United States. Long before it officially became a republic, in matters of race, white America collectively had trouble reconciling what it practiced versus what it preached. Nowhere is this racial contradiction more apparent than in the case of Jimi Hendrix. Jimi Hendrix is emblematic of the racial ideal and the racial contradictions of the 1960s.
    [Show full text]
  • Arturia Farfisa V User Manual
    USER MANUAL ARTURIA – Farfisa V – USER MANUAL 1 Direction Frédéric Brun Kevin Molcard Development Samuel Limier (project manager) Pierre-Lin Laneyrie Theo Niessink (lead) Valentin Lepetit Stefano D'Angelo Germain Marzin Baptiste Aubry Mathieu Nocenti Corentin Comte Pierre Pfister Baptiste Le Goff Benjamin Renard Design Glen Darcey Gregory Vezon Shaun Ellwood Morgan Perrier Sebastien Rochard Sound Design Jean-Baptiste Arthus Jean-Michel Blanchet Boele Gerkes Stephane Schott Theo Niessink Manual Hollin Jones Special Thanks Alejandro Cajica Joop van der Linden Chuck Capsis Sergio Martinez Denis Efendic Shaba Martinez Ben Eggehorn Miguel Moreno David Farmer Ken Flux Pierce Ruary Galbraith Daniel Saban Jeff Haler Carlos Tejeda Dennis Hurwitz Scot Todd-Coates Clif Johnston Chad Wagner Koshdukai © ARTURIA S.A. – 1999-2016 – All rights reserved. 11, Chemin de la Dhuy 38240 Meylan FRANCE http://www.arturia.com ARTURIA – Farfisa V – USER MANUAL 2 Table of contents 1 INTRODUCTION .................................................................... 5 1.1 What is Farfisa V? ................................................................................................. 5 1.2 History of the original instrument ........................................................................ 5 1.3 Appearances in popular music ......................................................................... 6 1.3.1 Famous Farfisa users and songs:..................................................................... 7 1.4 What does Farfisa V add to the original? .........................................................
    [Show full text]
  • Brian May Plays “God Save the Queen” from the Roof of Buckingham Palace to Commemorate Queen Elizabeth II’S Golden Jubilee on June 3, 2002
    Exclusive interview Brian May plays “God Save the Queen” from the roof of Buckingham Palace to commemorate Queen Elizabeth II’s Golden Jubilee on June 3, 2002. © 2002 Arthur Edwards 26 Astronomy • September 2012 As a teenager, Brian Harold May was shy, uncer- tain, insecure. “I used to think, ‘My God, I don’t know what to do, I don’t know what to wear, I don’t know who I am,’ ” he says. For a kid who didn’t know who he was or what he wanted, he had quite a future in store. Deep, abiding interests and worldwide success A life in would come on several levels, from both science and music. Like all teenagers beset by angst, it was just a matter of sorting it all out. Skiffle, stars, and 3-D A postwar baby, Brian May was born July 19, 1947. In his boyhood home on Walsham Road in Feltham on the western side of Lon- science don, England, he was an only child, the offspring of Harold, an electronics engineer and senior draftsman at the Ministry of Avia- tion, and Ruth. (Harold had served as a radio operator during World War II.) The seeds for all of May’s enduring interests came early: At age 6, Brian learned a few chords on the ukulele from his father, who was a music enthusiast. A year later, he awoke one morning to find a “Spanish guitar hanging off the end of my bed.” and At age 7, he commenced piano lessons and began playing guitar with enthusiasm, and his father’s engineering genius came in handy to fix up and repair equipment, as the family had what some called a modest income.
    [Show full text]
  • In the Studio: the Role of Recording Techniques in Rock Music (2006)
    21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con­ sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio.
    [Show full text]
  • U1 P1 Squarebass U2 P1 Para Vox U1 P2 Cascades U2
    U1 P1 SquareBass U2 P1 Para Vox U1 P2 Cascades U2 P2 MiniVogueBass U1 P3 Pro Soloist U2 P3 SpaceKoto U1 P4 Washy Strings U2 P4 ArcaneSanctum U1 P5 DSI-ra Rydm U2 P5 Hold Key Down U1 P6 BoneDryBass U2 P6 FreezPop Arps U1 P7 GlassyGlisses U2 P7 Prophet Bass U1 P8 HolloLead U2 P8 Lyra Pad U1 P9 Dirty FM U2 P9 Suspect Seq U1 P10 Plonklets U2 P10 Imploder U1 P11 HedgeHunterBass U2 P11 FM BaSS U1 P12 Karimbaloid U2 P12 Ghostly U1 P13 SanturSolo U2 P13 OB Lead U1 P14 Model P Bass U2 P14 Growling Lead U1 P15 Northcoast U2 P15 Tine Smith U1 P16 DnB Loop U2 P16 WT Organ U1 P17 Gargantua U2 P17 Basic D Bass U1 P18 ParaOrgan U2 P18 CompuRhythm U1 P19 Chill Check-In U2 P19 Sad Solo U1 P20 VeloSync U2 P20 CalcuPluck U1 P21 Fretless U2 P21 Pulsar U1 P22 GB Groves U2 P22 SliderLead U1 P23 Trance Induction U2 P23 Tensions U1 P24 Let It Sizzle U2 P24 Funktion 2AM U1 P25 Light Metal Hits U2 P25 Sine in Space U1 P26 Para4Canon U2 P26 TrashBell U1 P27 Bassline U2 P27 DynamicBrass U1 P28 ParaBrass U2 P28 Jaffa Lead U1 P29 Space Chimes U2 P29 ThumpBass U1 P30 Pulse Bomb U2 P30 Para Glurp U1 P31 Spy Level 23 U2 P31 PolyRezSaws U1 P32 ShimmeryArp U2 P32 HP Sweep Solo U1 P33 House Chord U2 P33 Moving East U1 P34 Outer Space Cow U2 P34 Vanilla Analog U1 P35 Blompy U2 P35 Knarly Voice U1 P36 Synth Cello? U2 P36 Crystal Echoes U1 P37 Demon's Breath U2 P37 Buchlier U1 P38 Sky Shimmer U2 P38 Taste Of Sugar U1 P39 ParaLead U2 P39 Son Of Dropped U1 P40 Grecian U2 P40 ThroatySolo U1 P41 Jekyll & Hyde U2 P41 Super Sync Lead U1 P42 Seq Echo U2 P42 Super Pixels U1 P43 OneOscTrip
    [Show full text]
  • 1. Historia 2. Carrera Musical
    Queen Banda de rock británica formada por Freddie Mercury (voz), Brian May (guitarra), Roger Taylor (batería) y John Deacon (bajo). El grupo gozó de gran fama a finales de los setenta y durante toda la década de los ochenta, y sus discos fueron superventas incluso después del fallecimiento en 1991 de Freddie Mercury, víctima del SIDA. 1. Historia 1.1. Orígenes Sus orígenes se remontan al inicio de los sesenta, cuando el joven guitarrista Brian Harold May (nacido en 1947) comenzó a tocar en un grupo semiprofesional llamado 1984. Brian, experto conocedor de varios instrumentos de cuerda, diseñaba incluso sus propias guitarras, conocidas posteriormente como el modelo Red Special. Brian May pasó después a formar parte de otra banda, llamada Smile, con la que editó un single. Inesperadamente, Tim Stafell, el cantante de la banda, abandonó el grupo; para buscar su sustituto, los miembros de Smile decidieron hacer una prueba al cantante de Sour Milk Sea, que no era otro que Freddie Mercury, y fue rápidamente admitido. 1.2. Freddy Por aquel entonces Freddie Mercury ya estaba acostumbrado a aparecer en público y sobre el escenario con vestimentas llamativas y atrevidas. Freddie contaba con una prodigiosa voz y sobrados conocimientos de piano. A esto se unió una base rítmica firmada por John Richard Deacon (nacido en 1951) al bajo y la batería de Roger Meadows Taylor (nacido en 1949). 2. Carrera musical 2.1. Primer trabajo El grupo comenzó a grabar maquetas y la compañía discográfica EMI, después de verlos actuar en el Marquee de Londres, se interesó por ellos.
    [Show full text]
  • Robotic Voice Effects
    Robotic voice effects From Wikipedia, the free encyclopedia Source : http://en.wikipedia.org/wiki/Robotic_voice_effects "Robot voices" became a recurring element in popular music starting in the late twentieth century, and several methods of producing variations on this effect have arisen. Though the vocoder is by far the best-known, the following other pieces of music technology are often confused with it: Sonovox This was an early version of the talk box used to create the voice of the piano in the Sparky's Magic Piano series from 1947. It was used as the voice of many musical instruments in Rusty in Orchestraville. It was used as the voice of Casey the Train in Dumbo and The Reluctant Dragon[citation needed]. Radio jingle companies PAMS and JAM Creative Productions also used the sonovox in many stations ID's they produced. Talk box The talk box guitar effect was invented by Doug Forbes and popularized by Peter Frampton. In the talk box effect, amplified sound is actually fed via a tube into the performer's mouth and is then shaped by the performer's lip, tongue, and mouth movements before being picked up by a microphone. In contrast, the vocoder effect is produced entirely electronically. The background riff from "Livin' on a Prayer" by Bon Jovi is a well-known example. "California Love" by 2Pac and Roger Troutman is a more recent recording featuring a talk box fed with a synthesizer instead of guitar. Steven Drozd of the The Flaming Lips used the talk box on parts of the groups eleventh album, At War with the Mystics, to imitate some of Wayne Coyne's repeated lyrics in the "Yeah Yeah Yeah Song".
    [Show full text]
  • Modify Your Wah Pedal by James Haskin on June 2, 2008
    Home Sign Up! Browse Community Submit All Art Craft Food Games Green Home Kids Life Music Offbeat Outdoors Pets Photo Ride Science Tech Modify Your Wah Pedal by James Haskin on June 2, 2008 Table of Contents Modify Your Wah Pedal . 1 Intro: Modify Your Wah Pedal . 2 Step 1: Research . 2 Step 2: True Bypass . 4 Step 3: Volume Boost . 7 Step 4: Wah-Volume Pedal . 8 Step 5: Vocal . 9 Step 6: Midrange . 10 Related Instructables . 11 Comments . 11 http://www.instructables.com/id/Modify-Your-Wah-Pedal/ Author:James Haskin author's website [email protected] Intro: Modify Your Wah Pedal After making my talk box I started surfing the web for other guitar related things I could do myself. I found loads of info on the Dunlop GCB-95 wah pedal. This Instructable will walk you through all of the modifications I made to my wah pedal... *True Bypass Mod *Volume Boost Mod *Wah-Volume Pedal Mod *Vocal Mod *Midrange Mod After having completed all of these mod and a few others I recommend doing them one at a time and testing in between mods so if you don't like something, you can easily reverse it. Your gonna need some basic soldering tools... -good soldering iron (mines a Weller WESD51D I got for christmas) -solder -wire cutter/stripper -helping hand (a must!!) also the to wire anything to the board itself you will need 24AWG wire Image Notes 1. Stole for my DS-1 I'm working on when I finish THAT instructable I'll change this to a funk colored chicken head knob :] Step 1: Research I think this is a big step in all of my projects.
    [Show full text]
  • Slick Sheet FINAL 72
    Brian May Signature Series Guitar “Guitar of the Year 2001” –Guitarist Magazine The sound and versatility of the legendary “Red Special” made affordable. Brian May Signature Series Guitar Locking “ Guitarists of any age will Grover find something here that Tuners they can use, which is the highest praise that we can give.“ -Guitarist Magazine, November 2001 Polished, grade-A ebony fingerboard “ There’s no doubt that these guitars are going to sell like hot cakes.“ -Guitarist Magazine, November 2001 24 medium frets, plus a zero fret Mahogany body and neck BURNS USA OFFERS A FULL LINE OF UNIQUELY DESIGNED GUITARS THAT HELP YOU EXPRESS YOUR INNER PLAYER—WHATEVER YOUR MUSICAL STYLE. Triple Burns Tri-Sonic Pickups, wired in series BISON DOUBLE SIX On/off and phase reversal switches for each pickup Master tone and volume controls STEER MORE BURNS CLASSICS MARQUEE SPECIAL Available in Vintage Cherry (shown) and Three-Tone Sunburst LEFT-HANDED GUITARS AVAILABLE GUITARS LEFT-HANDED When Rock and Roll Hall of Fame Guitarist Brian May decided The guitar’s mahogany neck is glued into the mahogany body to pursue his goal of creating an affordable replica of the and is fitted with a grade-A ebony fingerboard. The neck is handmade “Red Special” that he has played throughout his equipped with 24 fully-accessible medium frets, plus a zero career, he turned to Burns. The result—the Brian May Signature fret, and a 24 inch (610mm) scale. The body shape faithfully Series Guitar. Whether you’re looking to re-create the “Queen replicates the original Red Special and includes pinstripe sound” or are looking for a guitar that unleashes your own binding on the upper and lower faces.
    [Show full text]