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Anybus® Wireless Bolt™
Anybus® Wireless Bolt™ USER MANUAL SCM-1202-007 1.2 ENGLISH Important User Information Liability Every care has been taken in the preparation of this document. Please inform HMS Industrial Networks AB of any inaccuracies or omissions. The data and illustrations found in this document are not binding. We, HMS Industrial Networks AB, reserve the right to modify our products in line with our policy of continuous product development. The information in this document is subject to change without notice and should not be considered as a commit- ment by HMS Industrial Networks AB. HMS Industrial Networks AB assumes no responsibility for any errors that may appear in this document. There are many applications of this product. Those responsible for the use of this device must ensure that all the necessary steps have been taken to verify that the applications meet all performance and safety requirements in- cluding any applicable laws, regulations, codes, and standards. HMS Industrial Networks AB will under no circumstances assume liability or responsibility for any problems that may arise as a result from the use of undocumented features, timing, or functional side effects found outside the documented scope of this product. The effects caused by any direct or indirect use of such aspects of the product are undefined, and may include e.g. compatibility issues and stability issues. The examples and illustrations in this document are included solely for illustrative purposes. Because of the many variables and requirements associated with any particular implementation, HMS Industrial Networks AB cannot as- sume responsibility for actual use based on these examples and illustrations. -
Magpick: an Augmented Guitar Pick for Nuanced Control
Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK [email protected] [email protected] [email protected] ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction. -
Picking Mechanics for Blues Guitar
Picking Mechanics For Blues Guitar Antony Reynaert www.BestBluesGuitarLessonsOnline.com Contents Introduction I. Downstrokes Only . 5 A. When To Use B. Example C. Famous Players Using This Technique II. Alternate Picking . 6 A. When To Use B. Example C. Famous Players Using This Technique III. Economy Picking . .7 A. Why Use Economy Picking? B. Example C. Famous Players Using This Technique IV. Legato Technique . 8 A. When To Use B. Example C. Famous Players Using This Technique V. Sweep Picking . 9 A. When To Use B. Example C. Famous Players Using This Technique VI. Important Considerations . .. 10 copyright (c) Guitar Mastery Solutions Introduction: How To Free The Music Inside Of You By Overcoming Your Guitar Technique Limitations As a blues guitarist you want to express your feelings through your guitar. Before you can free the music in yourself, you need to clear the roadblock that is holding you back from expressing the music freely. Many guitar students struggle with their freedom of expression when playing blues solos, mainly because they believe that ‘blues is an easy style’ and because of this they never focus on blues guitar technique. This mistake causes the student to only get partial results when improvising and lays also at the root of why many struggle to play blues guitar solos effortless. How To Take Your Mind Of Guitar Technique Guitar technique should be practiced in order to take your mind of technique. Once you focused on the right exercises then you will find yourself in a place where you don’t have to actively think about technique anymore (even when playing the most challenging passages, licks, riffs or solos). -
An Overview of a Strumming Guitar Robot
StrumBot – An Overview of a Strumming Guitar Robot Richard Vindriis Dale Carnegie Victoria University of Wellington Victoria University of Wellington School of Engineering and Computer Science School of Engineering and Computer Science Wellington, New Zealand Wellington, New Zealand [email protected] [email protected] ABSTRACT • Incorporate features that allow for additional musical StrumBot is a novel standalone six stringed robotic guitar consisting expressivity. of mechanisms designed to enable musical expressivity and minimise acoustic noise. It is desirable for less than 60 dBA of noise at 1 m to be 2. BACKGROUND emitted to allow StrumBot to play in intimate venues such as cafés or Previous musical robots have a problem with the acoustic noise restaurants without loud motor noises detracting from the musical created from mechanical sources, such as a carriage rubbing against a experience. slide. This noise is not musical and interferes with the enjoyment of StrumBot improves upon previous robotic musical instruments by listening to the robots perform. While this does not matter in a concert allowing additional expressive opportunities for a composer to utilise. setting, it is not suitable for playing in a home or café type StrumBot can perform slides, vibrato, muting techniques, pitch bends, environment. A normal speaking volume (measured at 1 m) is pluck power variances, timbre control, complex chords and fast approximately 60 dB and it would be preferred if the robotic noise was strumming patterns. below this level. A MIDI input allows commercial or custom controllers to operate MechBass, BassBot and Swivel have all been designed for StrumBot. -
2003 Epiphone Catalog Summer.Pdf
CATALOG 2003 joe pass emperor II™ Authorized By & Designed In Cooperation with Joe Pass > When the late, great Joe Pass played the guitar, people listened. Pick up an Emperor II and you just might get a similar response! ™ emperor regent (Also available Left-Handed) > Huge body, huge sound, great personality. The Regent’s Spruce top and floating mini-humbucker make this guitar an out and out jazzer with sweet tone! One of the “100 Best Buys”Guitar Player, Nov, 1997 broadway™ > A big body for all occasions. Just like the Regent, but with twin humbuckers, 3-way switch, 2 volume and 2 tone controls. alleykat™ > If you’re looking for a guitar that’s as zephyr “blues” unique as you are, check out the AlleyKat. deluxe Like the FlameKat™ it features the Kat- > Based on the legendary 1949 Series small, semi hollow-body design. But Gibson ES-5, this big bodied this guitar features a Tune-o-matic bridge, blues machine is fitted with 3 StopBar tailpiece and a combination of a ’57 Alnico V P-90s, 3 volume Classic Humbucker in the bridge position and controls and 1 master tone a “New York” Mini humbucker in the neck control. Unlike the original position. The result is a guitar with great sus- however, the middle pickup tain, comfort and sound! Available in HS, TB is reverse polarity for and VS. hum-canceling tone! flamekat™ > One of our cooler Epiphone Designs! The ultimate road-rocker, equipped with 2 “New York” mini-humbuckers and now sporting a Licensed Bigsby Vibrato! With Dice knobs, Dice Inlay and Ebony finish with Flame decal.. -
1993 February 24, 25, 26 & 27, 1993
dF Universitycrldaho LIoNEL HmPToN/CHEVRoN JnzzFrsrr\Al 1993 February 24, 25, 26 & 27, 1993 t./¡ /ìl DR. LYNN J. SKtNNER, Jazz Festival Executive Director VtcKt KtNc, Program Coordinator BRTNoR CAtN, Program Coordinator J ¡i SusnN EHRSTINE, Assistant Coordinator ltl ñ 2 o o = Concert Producer: I É Lionel Hampton, J F assisted by Bill Titone and Dr. Lynn J. Skinner tr t_9!Ð3 ü This project is supported in part by a grant from the National Endowment for the Arts We Dedicate this 1993 Lionel Hømpton/Chevron Jøzz Festivül to Lionel's 65 Years of Devotion to the World of Juzz Page 2 6 9 ll t3 r3 t4 l3 37 Collcgc/Univcrsity Compctition Schcdulc - Thursday, Feh. 25, 1993 43 Vocal Enserrrbles & Vocal Conrbos................ Harnpton Music Bldg. Recital Hall ...................... 44 45 46 47 Vocal Compctition Schcrlulc - Fridav, Fcli. 2ó, 1993 AA"AA/AA/Middle School Ensenrbles ..... Adrrrin. Auditoriunr 5l Idaho Is OurTenitory. 52 Horizon Air has more flights to more Northwest cities A/Jr. High/.Ir. Secondary Ensenrbles ........ Hampton Music Blclg. Recital Hall ...............,...... 53 than any other airline. 54 From our Boise hub, we serve the Idaho cities of Sun 55 56 Valley, Idaho Falls, Lewiston, MoscowÆullman, Pocatello and AA/A/B/JHS/MIDS/JR.SEC. Soloists ....... North Carnpus Cenrer ll ................. 57 Twin Falls. And there's frequent direct service to Portland, lnstrurncntal Corupctilion'Schcrlulc - Saturday, Fcll. 27, 1993 Salt Lake City, Spokane and Seattle as well. We also offer 6l low-cost Sun Valley winter 8,{. {ÀtûåRY 62 and summer vacation vt('8a*" å.t. 63 packages, including fOFT 64 airfare and lodging. -
Overview Guitar Models
14.04.2011 HOHNER - HISTORICAL GUITAR MODELS page 1 [54] Image Category Model Name Year from-to Description former retail price Musima Resonata classical; beginners guitar; mahogany back and sides Acoustic 129 (730) ca. 1988 140 DM (1990) with celluloid binding; 19 frets Acoustic A EAGLE 2004 Top Wood: Spruce - Finish : Natural - Guitar Hardware: Grover Tuners BR CLASSIC CITY Acoustic 1999 Fingerboard: Rosewood - Pickup Configuration: H-H (BATON ROUGE) electro-acoustic; solid spruce top; striped ebony back and sides; maple w/ abalone binding; mahogany neck; solid ebony fingerboard and Acoustic CE 800 E 2007 bridge; Gold Grover 3-in-line tuners; shadow P7 pickup, 3-band EQ; single cutaway; colour: natural electro-acoustic; solid spruce top; striped ebony back and sides; maple Acoustic CE 800 S 2007 w/ abalone binding; mahogany neck; solid ebony fingerboard and bridge; Gold Grover 3-in-line tuners; single cutaway; colour: natural dreadnought western guitar; Gruhn design; 20 nickel silver frets; rosewood veneer on headstock; mahogany back and sides; spruce top, Acoustic D 1 ca. 1991 950 DM (1992) scalloped bracings; mahogany neck with rosewood fingerboard; satin finish; Gotoh die-cast machine heads dreadnought western guitar; Gruhn design; rosewood back and sides; spruce top, scalloped bracings; mahogany neck with rosewood Acoustic D 2 ca. 1991 1100 DM (1992) fingerboard; 20 nickel silver frets; rosewood veneer on headstock; satin finish; Gotoh die-cast machine heads Top Wood: Sitka Spruce - Back: Rosewood - Sides: Rosewood - Guitar Acoustic -
Marine-Brochure-Jan-2021-Web.Pdf
® LONMARINE® WOOD LONMARINE® WOOD is Lonseal’s high-performance, slip-resistant marine safety flooring that has been specifically manufactured to comply with IMO/MED specifications for international markets and is USCG approved. FEATURES (data shown is nominal): MW3473 MW3475 MW370 MW371 MW373 Roll Width: 6 ft. (1.8 m) Mahogany Solid Teak Teak & Holly Maple & Teak Mahogany & Holly Roll Length: 60 ft. (18.3 m) Overall Thickness: 0.080 in. (2.0 mm) Wear Layer Thickness: 0.020 in. (0.5 mm) Weight: 0.7 lbs./sq. ft. (3.4 kg/m²) EU REACH COMPLIANT FORMULATION: Phthalate free, SVHC free MEETS FMVS 302: Flammability of Interior Materials MW375 MW377 MW378 MW379 MW380 Teak & Ebony Walnut & Holly Teak & Ivory Antique & Ivory Weathered Teak & Ebony LONMARINE® STONE LONMARINE® STONE consists of a lightly dappled palette of neutral and gray tones that makes it a perfect fit for the interior spaces of both pleasure boats and hard-working industrial craft. The elegant marbleized pattern helps mask routine scuffing that can occur with heavy foot traffic. FEATURES (data shown is nominal): MS10 MS11 MS12 Roll Width: 6 ft. (1.8 m) Dorato Grigio Mare Roll Length: 60 ft. (18.3 m) Overall Thickness: 0.080 in. (2.0 mm) Wear Layer Thickness: 0.020 in. (0.5 mm) Weight: 0.7 lbs./sq. ft. (3.3 kg/m²) EU REACH COMPLIANT FORMULATION: Phthalate free, SVHC free MEETS FMVS 302: Flammability of Interior Materials MS13 MS14 MS15 Noce Carbone Russo Printing limitations may not represent the true color of the product. If color match is critical, please request a sample at 800.832.7111 or 310.830.7111. -
01437 1965 Epiphone Olympic SB 722D. Sunburst (9.00)
A Fine, All Original Mid-Sixties Two Pick-Up Epiphone Olympic 1965 Epiphone Olympic SB 722D. Sunburst (9.00). #01437 $1,750 This fine and very light guitar weighs just 5.60 lbs. One-piece mahogany neck with a fast thin-to-medium profile. Black faced 'Batwing' headstock with "Epiphone" silk-screened in gold. Rosewood fretboard with 22 original jumbo frets and pearl dot markers. Serial number "323241" stamped in blind on back of headstock. Six-in-a-row 'double-line' Kluson Deluxe tuners with white plastic oval buttons. The scale length is a standard Gibson 24 3/4 inches and the nut width is just over 1 9/16 inches. Two Melody Maker single-coil pickups with nice, balanced outputs of 6.97k and 7.09k. Single-layer white plastic pickguard with inlaid silver Epiphone 'Epsilon' and eight screws. Four controls (two volume, two tone) plus three-way selector switch and jack socket, all on pickguard. Black plastic ribbed-sided knobs with metal tops with red markings. The potentiometers are stamped "134 6508" & "134 6523" (Centralab February & June 1965). Combination ridged "wrap-over" bridge, factory Epiphone Vibrola tailpiece with tubular tremolo arm with walrus-tooth tip. There is a minimal amount of belt-buckle scarring on the back and a few very small surface marks, mainly on the edges. This fine little, all original mid- sixties guitar is in exceptionally fine (9.00) condition. Housed in a later 3-latch black softshell case with blue felt lining (8.50). "The solidbody line got a complete overhaul that gave the models as much first- impression power as the new sharp-pointed, double-cutaway Gibson SG models. -
U.S.A. Retail Price List Prices Effective January 1, 2012
U.S.A. Retail Price List Prices effective January 1, 2012 Suggested List Guitars (Price includes free standard case) Price 620 Deluxe bound body & neck, inlays, 21 fret, 2 pickups, wired for stereo 1829 620/12 Like 620 but with 12 strings 2209 650C "Colorado", 24 fret, solid body, 2 humbucking pickups, chrome parts, all standard colors 1829 660 Charactered Maple body, checked binding, vintage pickups and knobs, wide neck, gold pickguard and 2649 nameplate, trapeze tailpiece 660/12 Like 660, but with 12 strings, 12 saddle bridge 3109 330 Thinline semi-acoustic, 24 fret, 2 pickups, dot inlays, mono 1999 330/12 Like 330 but with 12 strings,"R" tailpiece 2459 360 Deluxe thinline, semi-acoustic hollow body, inlaid neck, wired for stereo 2499 360/12 Like 360 but with 12 strings 2939 370/12 Like 360/12 but with 3 pickups 3129 C Series (Price includes free vintage reissue case) 325C64 “Miami”, 3 pickup, semi-hollow, white pickguard, RIC vibrato, 21 fret, short scale (JG only) 3599 360/12C63 2 pickup, semi-acoustic, trapeze tailpiece, double bound, 21 fret, full scale (FG Only) 3839 Vintage Reissue Series (Price includes free vintage reissue case) 350V63 “Liverpool”, 3 pickup, semi-hollow, white pickguard, 21 fret, full size neck 3059 381V69 Hand carved deep double cutaway body, charactered Maple top & back, fully bound with checked binding 4949 on body, 21 frets, vintage pickups (FG, MG, JG colors only) 381/12V69 Like 381V69 but with 12 strings, 12 saddle bridge 5409 5002V58 Mandolin, 8 strings in 4 pairs, charactered Maple front, Walnut back -
How to Become a Fingerstyle Guitarist Guitar Giveaway Live Webcast September 29Th, 2018
How To Become a Fingerstyle Guitarist Guitar Giveaway Live Webcast September 29th, 2018 By: Erich Andreas YourGuitarSage.com Click Here to Watch the Free Beginner Series Click Here for $1 Access to UGS & 365 Course Introduction The guitar is a little orchestra.” – Segovia Finger style guitar is a style of guitar that is based on the plucking of strings with fingers instead of using a plectrum/pick. The lovers of this style of guitar will be quick to tell you of the joy and peace that they derive from their instrument while playing this style and talk often of the intimacy that they experience that is not possible with the guitar pick alone. Not only do the above merits ring true for those who take a moment to understand this remarkable style of guitar playing, but playing with the fingers allows the musician to play “controlled” polyphonic/multiple note music, which is not otherwise attainable with standard guitar pick styled playing. Have you ever attempted finger style guitar? When you did attempt it, did you feel like you had a claw instead of a hand? Did your mind and fingers get all tangled up in the strings? Do you know which fingers should pluck which strings? If you feel like I’m, “in your head” in regards to these questions, that’s because everyone feels this way at first when attempting this style, and most people ask the same exact questions. There was a time that I too felt this way, however, with time, helpful instruction and proper practice, finger style guitar became a large and very enjoyable part of my guitar playing. -
Malagasy Precious Hardwoods Scientific and Technical Assessment to Meet CITES Objectives
Malagasy Precious Hardwoods Scientific and technical assessment to meet CITES objectives World Resources Institute 8 July 2016 Photo credit: Annah Peterson Agenda • Introduction on precious hardwoods: Rosewood and Ebony • Summary of the history and CITES Action Plan • Objectives of this assessment • Results • Recommendations • Conclusions • Discussion Back to School: Botany 101 Coconut Palm, Cocos nucifera How do you know? Leaves Habitat Fruits Trunk Coconut Palm, Cocos nucifera Which photo is Cocos nucifera? A) B) C) D) Cocos nucifera Vetchia arecina Ravenala madagascariensis Washingtonia robusta Photos: Catalogues des plantes vasculaires de Madagascar, TROPICOS Which photo is Dalbergia? A) B) C) D) Tectona grandis Dalbergia emirnensis Canarium madagascariensis Tambourissa sp. indet. Photos: Catalogues des plantes vasculaires de Madagascar, TROPICOS Malagasy Precious Woods Rosewood and Pallisander (Dalbergia spp.) Ebony (Diospyros spp.) Photos: The Guardian, Dec 23, 2013; An Introduction To Wood Species, Part 9: Ebony, Sept 11, 2013 Dalbergia and Diospyros Brazilian rosewoord, Dalbergia nigra Persimmon (kaki), Diospyros kaki Photos: Globaltrees.org; Global Survey of ex-situ ebony collections, BGCI Dalbergia and Diospyros Source: Discover Life, Global Mapper Brief History Precious Woods Industry in Madagascar • 1900’s: First documentation of the export of Malagasy rosewood • 1975: Law prohibiting the export of rosewood logs • 1991: Madagascar National Environmental Action Plan • 2000 and 2006: A moratorium on the export of rosewood and