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Violão Elétrico Greg Bennett Samick - Rio Grande D15E (INSTRUMENTO RARO, IMPORTADO E FABRICADO NA INDONÉSIA) - ÚNICO NO BRASIL Samick Greg Bennett Design D15E Rio Grande Dreadnought Acoustic-Electric Guitar Product Description: Breaking with tradition can be a difficult task, especially in the guitar business. There are certain things that you just don?t change.With all this in mind, we forged ahead anyway. The band of turquoise dyed maple herringbone: the combination of traditional maple with the turquoise is just plain beautiful. On the performance side, we used a quarter sawn, solid cedar top for a more delicate low mid sound, and fitted it with scalloped top braces. The bracing frees up the top for faster attack and longer sustain. The sides and back are highly figured Ovangkol, for a full, rich bass response with lots of power. If you were looking for something special that maintains a degree of tradition, you will really enjoy the RIO GRANDE?. Features: - Dreadnought body shape - Solid quarter-sawn cedar top - Ovangkol back and sides - Nato mahogany set neck - Fishman® Clearwave60 preamp with onboard tuner with EQ (bass/middle/treble), phase, brilliance, notch, volume & low-battery light - Rosewood fretboard with abalone dot inlays - Rosewood bridge - Grover® Gold Rotomatic? tuners - Abalone rosette - Gold hardware - Maple body and neck binding with turquoise-dyed herringbone top purfling - 20 frets - 1.69" nut width - 25.5" scale length - 15.625" body width (at widest) - 4.75" body depth (at deepest) - Natural gloss finish Violão Elétrico Greg Bennett Samick - Rio Grande D15E (INSTRUMENTO RARO, IMPORTADO E FABRICADO NA INDONÉSIA) - ÚNICO NO BRASIL Gibson - Fender - Squier - Epiphone - Axl - Ibanez - Cort - Washburn - Tanglewood - Samick - Tagima Iphone - Samsung - Motorola - Asus - Dell - LG - Apple - Sony - Nokia - Lenovo - Lumia

Violão Elétrico Greg Bennett Samick - Rio Grande D15e (INSTRUMENTO RARO, IMPORTADO E FABRICADO NA INDONÉSIA) Samick Greg Bennett Design D15E Rio Grande Dreadnought Acoustic-Electric Guitar Product Description: Breaking with tradition can be a difficult task, especially in the guitar business. There are certain things that you just don?t change.With all this in mind, we forged ahead anyway. The band of turquoise dyed maple herringbone: the combination of traditional maple with the turquoise is just plain beautiful. On the performance side, we used a quarter sawn, solid cedar top for a more delicate low mid sound, and fitted it with scalloped top braces. The bracing frees up the top for faster attack and longer sustain. The sides and back are highly figured Ovangkol, for a full, rich bass response with lots of power. If you were looking for something special that maintains a degree of tradition, you will really enjoy the RIO GRANDE?. Features: - Dreadnought body shape - Solid quarter-sawn cedar top - Ovangkol back and sides - Nato mahogany set neck - Fishman® Clearwave60 preamp with onboard tuner with EQ (bass/middle/treble), phase, brilliance, notch, volume & low-battery light - Rosewood fretboard with abalone dot inlays - Rosewood bridge - Grover® Gold Rotomatic? tuners - Abalone rosette - Gold hardware - Maple body and neck binding with turquoise-dyed herringbone top purfling - 20 frets - 1.69" nut width - 25.5" scale length - 15.625" body width (at widest) - 4.75" body depth (at deepest) - Natural gloss finish Violão Elétrico Greg Bennett Samick - Rio Grande D15E (INSTRUMENTO RARO, IMPORTADO E FABRICADO NA INDONÉSIA) Gibson - Fender - Squier - Epiphone - Axl - Ibanez - Cort - Washburn - Tanglewood - Samick - Tagima - Yamaha Iphone - Samsung - Motorola - Asus - Dell - Microsoft - HP - LG - Apple - Sony - Nokia - Lenovo - Lumia - Google

UMA VERDADEIRA OBRA DE ARTE EM PERFEITO ESTADO DE CONSEVAÇÃO Tampo e Laterais: Cedro AAA Fundo:Jacarandá Tamanho da Escala: 656mm José Ramírez III (1922 ? 1995) was without doubt one of the most influential and important luthiers in the second part of the 20th century. His guitars influenced hundreds of instrument makers, many of whom imitated him, and thousands of guitarists around who played his instruments. Indirectly, he even influenced composers of the guitar who found for the first time that their music could be heard in large concert halls instead of small chamber music environments. It could be argued that José III had a more profound effect on the development of the modern guitar than any other guitar maker in history. So what was his secret, and why do we make such sweeping claims about his importance? One paramount reason is that José III was the first and only luthier to be able to standardize the process of making a classical guitar such that it could be built by any well-trained artisan, according to his precise plan and under his supervision. Moreover, the design was such that these instruments, although not made by him personally, stood up to and often exceeded the quality of the best handmade instruments of the day. ¿José Ramírez III was born in Buenos Aires, Argentina, in 1922. His father José II had left Spain for a brief tour of South America after the turn of the century and ended up staying for nearly 20 years. In I923, on the news of the death of his own father, José II moved the family back to Madrid, and it was at this time that he took over his late father?s guitar workshop. At the age of 18, José III began working as an apprentice and within a few years was building guitars and experimenting on his own. In I957, he took over the duties as ?maestro? (master) of the Ramírez workshop, which by now had spanned three generations, and he continued to develop what would become the Ramírez concert guitar that we know today. This instrument was typified by its large body, long string length, and cedar or spruce top. It had great power, as well as sustain, sweetness, a fullness of tone and a balance across the entire register. José III died in 1995 at the age of 73. Probably his most enduring contribution was his role as a teacher and as a developer of talent. We often measure a man?s greatness not only by what he achieves in his lifetime, but by what he leaves behind for others to complete, and by how he influences those in his wake. From the 1960s to the 1990s, the José Ramírez workshop had assembled and trained many of the most talented guitarreros of José III?s generation, many of whom continue to work on their own with great individual success. This collection of greatness under one roof has only been approached by that of Manuel Ramírez (José III?s great-uncle) or his grandfather, José Ramírez I, whose workshops collectively included the likes of Santos Hernández, Enrique Garcia, Domingo Esteso, Emilio Pasqual Viudes, Modesto Borreguero, Julian Goméz Ramírez and many others. José III?s roster, however, is still unmatched when you consider the number of great luthiers who began their careers there. They include Paulino Bernabé, Manuel Contreras, Mariano Tezanos, Enrique Borreguero Marcos, Pedro Contreras Valbuena, Manuel González Contreras, Miguel Malo Martínez and so on. ?I make sure that everything is done exactly as I want it,? José III told George Clinton in 1984. ?The architect doesn?t have to get involved with the bricklaying. My pupils learn from me so they know exactly what is to be done, otherwise I would do it myself. The wood and the tools have no secrets from me, and if there are problems I have to sort them out.? Quantity is not always a virtue, especially in art or the work of artisans. However, in the case of José III, his guitars became the standard for musicians worldwide because he was able to produce roughly 20,000 concert instruments during

LASERDISC LD - SCORPIONS TO RUSSIA WITH LOVE & OTHER SAVAGE AMUSEMENTS USADO - Importado Em perfeito estado Ano 1989 1. Blackout 2. Rhythm of Love 3. Holiday 4. Believe in Love 5. The Zoo 6. Walking on the Edge 7. Long Tall Sally (Little Richard cover) 8. Don't Stop at the Top 9. Rock You like a Hurricane 10. Media Overkill 11. Passion Rules the Game 12. We Let It Rock, You Let It Roll

compacto b. j. thomas. "rock and roll lullaby" no lado a, "are we losing touch" no lado b. etiqueta top tape, 1972. testado: tocando direitinho.

Pedal usado para definição de timbre. A descrição abaixo diz respeito à versão com footswitch, pois o site do fabricante não contem uma descrição para a versão à venda, que é a que não possui footswitch. What is the EP-PRE The EP-PRE is a JFET preamplifier that is based on the preamp section of the Echoplex® EP-3® tape echo unit. It will deliver a few db of boost, but I don?t consider it as a boost. Words such as Enhance, Fatten and Enrich all cover the effect that the EP-PRE has on your tone, but I have yet to find a word that really captures the magic of this amazing little circuit. A friend who has one of the prototypes calls it a ?Tone Polisher?. My own feeling is that it creates a ?focus? in my tone and helps me to play with more confidence. EP-PRE Background I built my first EP-PRE prototype while recovering from heart surgery in 2007, in response to a thread on The Gear Page. A couple of forum members suggested that the preamp section of the Echoplex® EP-3® should be built into a pedal. I took a look at the schematic, and couldn?t really see, at a glance, how such a simple circuit could affect tone, however I was curious and built my version of the preamp. To my surprise, it fattened my tone and sounded great. At this point, I began to seriously analyze the behavior of the circuit, and found that, apart from a small amount of top and bottom cut, the circuit had an unusual phase response. I believe that this phase response is the secret of the magic tone. I enjoyed using the prototype and didn?t really consider building the pedal for sale, because my other pedals are my own original designs. Before long, word got out and I began to receive enquiries from guitar players who wanted to buy this pedal. I designed a PCB, and the EP-PRE has been in production since 2008. Since then, we have improved the design to reduce electrical noise, and our EP pedals have been successfully tested to comply with European CE standard.