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NUX MG-300 Guitar Multi Effect Processor

NUX MG-300 Guitar Multi Effect Processor

We've all experienced digital pre-effect pedals that belong on the Wall of Shame - especially Overdrive. Modelers of this kind used the linear algorithm which doesn't provide negative-feedback for dynamic playability. Enter the NUX MG-300, the modeler that will totally blow your mind! The pre-effect block beautifully recreates the awesome signature sound of real analog overdrive / distortion pedals What is the most important component in an Amp Modeler? In 2010 NUX introduced TSAC (True Simulation fo Analog Circuit) with the sole intention of bringing Amp Modeling to a whole new level. The DSP industry has been evolving at breakneck speed, and keeping up can be a challenge. We were impressed that a product like the Fractal® AX-FX had the foresight to use a high-definition TSAC (white-box) algorithm to do its Amp Modeling. So we took note and started development on an affordable modeler with TSAC-HD. The concept of "Chaos makes the muse" perfectly applies to the analogue circuit. When you tweak the knob, it affects itself as well as other parameters. For a linear digital system, the parameter is independent. The white-box algorithm offers real negative-feedback, increment-by-increment. NUX TSAC-HD replicates the same playability most guitarists prefer in a real tube amplifier. Building a sky-high priced product is easy. The art of building an affordable product is a real challenge. We priced the MG-300, with a straightforward high-performance algorithm to not only fit this specific DSP platform, but dominate the multi-efx platform in general. NUX is well-known for Impulse Response technology. Using IR is the most popular way to do cab simulation today. Why ? Because the sound is noticeably more realistic compared to traditional cab simulation. MG-300 offers 512 sample resolution of impulse response. You can load 3rd party IR files using NUX QuickTone edit software. ( MG-300 supports 48kHz wav format. ) The built-in 25 cabinet IRs combine 4 classic microphones with 3 positions to allow beginners a quick and easy way to jump into the multi effects experience. Effect Type: Floor Multi-Effect Specifications: TSAC-HD Pre-Effects and Amp Modeling deliver realistic feel and playability. Specifications II: Core-Image Post-Effects offer you studio sound quality. Specifications III: Quick Tone™ Edit Software for quickly choosing and tweaking patches. Features: Load 3rd-party IRs to expand sound ability. Features II: USB audio stream for recording interface with routing setup. Features III: 56 drum beats and 60 seconds Phrase Loop Synchronization with Rhythm.  

SEK 1764.00
1

River Rendezvous : (for Multi-Level Combined Bands)

Cityscapes

Cityscapes

I Just Can't Stop Loving You

Philadelphia : American Overture

IK Multimedia iRig Stream Mic Pro

Prelude and Presto : 'Iron sharpens iron, so one person sharpens another.'

Griffin: StudioConnect Lightning

Juliana Hodkinson: Angel View

SoHo Cylinders Wireless Twin Stereo Speaker

Frontier Vision : (Extended Edition)

Le opere attestate in antologie compilate in vita : Vol. 10/I - Edizione critica a cura di Alessandro Borin - David Bryant (testi in italiano e

Le opere attestate in antologie compilate in vita : Vol. 10/I - Edizione critica a cura di Alessandro Borin - David Bryant (testi in italiano e

Vol. 10 of the Complete Works, articulated in two parts, contains the music found exclusively in manuscript and printed anthologies compiled prior to the great sixteenth-century Venetian composer’s death in 1585. Broadly speaking, Gabrieli’s contributions to collective anthologies fall into the following categories: 1) celebratory compositions, in several cases conceived as individual contributions to madrigal cycles by various composers in honour of more or less prominent Venetian or other personalities; 2) compositions originating in social and cultural circles close to Gabrieli; products of the composer’s habitual interaction with patrons, poets and musicians in midsixteenth-century Venice, these compositions are published in anthologies containing similar works by other composers in Gabrieli’s milieu; 3) individual madrigals inserted in generic multi-author anthologies. Vol. 10/I features eight compositions on texts in Latin, Italian and ‘stradioto’ dialect (a linguistic concoction in which words of Greek origin appear against a background of simulated Venetian dialect). These include Gabrieli’s contribution to a Corona of nine sonnets by various composers on the death of Annibale Caro, the celebrated man-of-letters whose production comprises a highly successful Italian translation of Virgil’s Aeneid. The entire Corona is edited in the Complete Works. Gabrieli’s presence in multi-author anthologies follows a predictable pattern. The young composer’s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark’s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer’s death).

SEK 1364.00
1

Dublin Pictures

Dublin Pictures

Dublin Pictures

Kaija Saariaho: Lichtbogen (Score)