Introduce yourself to a new sound with this beginner-sized classical guitar. Complete with a digital E-tuner, extra strings, picks, carrying case, and more, it has everything you need to learn to play. Its high-quality design is complete with smooth tuning pegs that help to achieve the perfect sound. Tune it up and learn what it really means to jam out!
Comfortable String Height
Low action strings reduce hand fatigue and are easy on your fingers. This is ideal for beginners who are still building their hand and finger strength through practice!
Perfect for Beginners or Pros
If you’re just starting to learn how to play, this guitar provides a superb playing experience without breaking the bank. For professionals, it’s perfect for practice on-the-go or as a spare guitar.
The set comes with everything to start playing right away, such as a guitar strap, guitar pick, and extra strings! Just put the digital clip-on tuner on the headstock for easy tuning.
30in Beginner Size
Great for Children
Digital Clip-On Tuner
Guitar Strap and Picks Included
Ready to Play
Guitar Dimensions: 30″(L) x 11″(W) x 2.75″(H)
Weight: 2.3 lbs.
No assembly required
Set of replacement strings
BCP SKU: SKY5205
“The H9 is that rare sonic tool that is capable of inspiring your entire musical direction.”
Eventide has been a part of the musical landscape since the 70s: David Bowie and Brian Eno famously used the hell out of an Eventide harmonizer starting from the Low album and that’s good enough for me! In the guitar world, Steve Vai practically created an entire genre of psychedelic progressive shred wackiness through his use of the H3000 Ultra-Harmonizer. But you’ll find Eventide’s family of harmonizers all over the place: recording studios, sound design, radio production… the company’s footprint is all over the last four decades plus of sonic history. Eventide doesn’t cut corners, so it can be a pretty costly proposition to add one of their rack units to your arsenal. Thankfully there’s a range of great stompboxes available in the form of the TimeFactor (delay), ModFactor (modulation), PitchFactor (pitch shifting), and Space (reverb). Each is a dedicated unit with plenty of controls and functions and they’re all serious stuff, but Eventide has found a way to cram every one of those pedals into a small, pedalboard-friendly unit called the H9 MAX.
The H9 gets away with this Tardis-like approach to effects management by placing the controls not on the pedal itself but on your computer or smartphone screen via the H9 Control App which gives you instant access to over 500 presets and practically endless editing capability. There is a degree of control available on the surface of the pedal itself in the form of a Hotknob and three assignable parameters, but this is a pedal designed for those who are comfortable dialling in their tone on their screen.
Connections include stereo inputs and outputs, an expression pedal jack, Mini USB and MIDI Out/Thru (plus the 12v DC jack for the included power supply). It’s important to note that the H9 is not a multi-effect pedal – that is, you can’t combine multiple effects in a chain – but many effects include delay or reverb capability alongside their main function. And you’re not forced to commit to using it just in your amp’s effects loop or just through its front end. The stereo inputs and outputs can be treated as two totally different signal paths to select between, allowing you to send, say, a chewy-sounding vintage phaser preset to your amp’s front end, then switching to a delay or reverb preset that goes through your amp’s effects loop. It’s a really ingenious system that allows you to get the most out of the H9’s stunning range of capabilities as the song demands.
There are actually three variations on the H9 available, which differ only in the pre-loaded effects: the base H9 Core which comes loaded with the PitchFactor’s H910/H949 settings; the H9 Harmonizer which has two algorithms each from Space, PitchFactor, ModFactor and TimeFactor plus the H9-exclusive UltraTap Delay; and the full H9 MAX which is loaded with 50 effect algorithms and 99 presets, with over 500 presets available via the H9 Control app. You can upgrade the H9 Core or H9 Harmonizer to H9 MAX specs online for an additional cost using the MAXOut Program, so even if you don’t have the spare bucks to get the MAX up-front, you can get in on the ground floor with the H9 Harmonizer or Core and upgrade as you’re able. And it’s worth doing because here’s what MAX comes loaded with:
Some of these are pretty self-explanatory. Others are really unique. For instance, Sculpt lets you split the audio signal into high and low frequency bands and then apply different levels of gain and filtering to each, then add compression either before or after the distortion. In stereo if you want to. PitchFuzz combines fuzz, three pitch shifters and two delays for some truly filthy sounds. CrushStation is a stereo distortion that can do anything from blues tones to ultra pissed-off. And HotSaws is a pitch-tracking monophonic synth with modulation sources including LFO, Envelope Follower and ADS Gate, with four assignable destinations (Filter Cutoff, Volume, Pitch and Oscillator Depth), with each modulation source able to be assigned to any destination at any time.
And that’s just the new stuff available only in H9 MAX: there are also plenty of classic Eventide effects that you’ll recognise from either the ‘Factor’ series of pedals, or earlier devices such as the H3000, H949 and H910. For instance, y’know Steve Vai’s classic ‘Ballerina 12/24’ pitch-shifted delay setting? That’s in here. The pitch shift preset from ‘The Animal’ is in here too, as are various EVH ‘1984’-inspired sounds (and I’ve been able to dial in a perfect replica of Eddie’s For Unlawful Carnal Knowledge-era chorus-like subtle doubling sound). In fact, the huge number of sounds in here from previous Eventide products like the H3000 really hits home just how innovative that classic rack unit was. The DigiTech Whammy Pedal? It’s basically just a particular H3000 mode with a built-in expression pedal, and you can do it with the H9 and an expression pedal too. Dynamic reverb, chorus and delay effects that respond to your picking? That’s all here just like it has been since the H3000. Extensive looping capability? Ditto. But there’s other stuff in here that has been criminally overlooked. Frank Zappa was a fan of using dynamic flanging effects, and Eventide gives you this capability (which works especially well as an ‘into-the-front-of-the-amp’ effect); trigger a flanger-sweep every time you pick a note, or deeper sweeps the harder you pick. Or assign the flanger resonance to an expression pedal. The signal-processing possibilities are endless, and that means your creative and expressive options as a musician are endless too. The H9 is that rare sonic tool that is capable of inspiring your entire musical direction.
The sound quality is so great that you can get away with using the H9 as front-and-centre feature effects in a recording environment – as you’d expect from a company whose gear is in every serious studio in the world – but what really impresses me is how utterly clean and noise-free the sound is when used with my roaring Marshall. I’m used to battling against hiss and hum in outboard gear and I’ve figured out various ways to get rid of it over the years but the H9 is so damn quiet. The dynamic range isn’t unnaturally squished, there’s no buzz, no hum, no white noise. And this becomes really apparent when using delay and reverb effects.
The MIDI capability is also extremely handy. Although the H9 has become my go-to reverb and delay unit, I’ve been connecting the H9 MAX to my trusty old BOSS GT-8 Multi-Fx floorboard so I can use the GT-8’s delay and reverb effects when the H9 MAX is otherwise occupied with another algorithm through my amp’s front end (eg: Octave, Flanger, Wah or PitchFlex effects). This also lets me add H9 presets with my GT-8 presets, and also to use the GT-8’s expression pedal to control H9 effects. In a perfect world I’d have an Eclipse V4 sitting in a rack to take care of delay and harmonizer effects in my amp’s effects loop and an H9 on a pedalboard to look after front-end effects like fuzz, distortion, wah, flanger, phaser, pitch and whammy.
If you’re not afraid to roll up your sleeves and dig into some serious editing on a smartphone, tablet or computer screen, the H9 will do absolutely everything you can ever think to ask of it. (If you’re a little put off by the control method but you still want some great Eventide delay and modulation effects – from the natural to the freaky – check out the new Eventide Rose Modulated Delay). The H9 is a serious piece of kit, which is why Living Colour’s Doug Wimbish had four of the dang things on his pedalboard when I saw the band live recently!
Reblogged 2 weeks ago from feedproxy.google.com
Acoustic Piccolo Guitar with Ovangkol Top, Back, and Sides and Rosewood Fingerboard – Open Pore Natural
Inyen guitars have strong fingerboard without bending ,good tapering, good shape and good sounds because they are made by cnc machine with 3D computer programming
The new line of Applause guitars showcases Ovation’s forward thinking while retaining the high standard of performance expected from a quality instrument. Our new Applause Balladeer models include traditional Ovation appointments such as a spruce top, Scalloped-X bracing, and abalone inlaid rosette. A sleeker headstock design creates an aesthetic that many others aspire to. An Ovangkol finger board/bridge and mid depth bowl allow for effortless and comfortable playing. To tie everything together, we’ve also updated the electronics to the new CE304T preamp. Paired with our Ovation slimline pickup, you won’t believe your ears when you hear the incredible voice and clarity found within this guitar.
The Spider V 20 amp has been designed to sound great right out of the box, and its easy-to-use controls and compact size make it the ideal practice amp for any guitarist—from beginners to seasoned professionals. Select one of 16 tonally-diverse amp and effect presets, then use the intuitive interface to quickly tweak that tone to your personal taste if you’d like. Each preset contains three effects that can be switched in and out stomp box-style using the dedicated FX buttons on the front panel. Turning the Reverb knob adds atmosphere and depth to your sound, and you can tap in delay times and modulation rates with the Tap/Tuner button. Press and hold the button to access the onboard tuner. A micro USB port makes it easy to connect the Spider V 20 amp to your Mac or PC, or iOS and Android device*, where you can edit your tones via the free Spider V Remote app, or record your performances with the included Steinberg Cubase LE DAW.
1970’s Rocker guitar with radical contouring and ” hot-rod” circuitry, a luxury guitar of its day.Reblogged 3 weeks ago from www.amazon.com
The Squier Affinity Series Strat HSS Pack includes everything you need to start rocking right out of the box. The Affinity Series Stratocaster HSS features a fat-sounding humbucking bridge pickup and two single-coil Strat pickups for versatile tone. A vintage-style Fender tremolo bridge, “C”-shaped maple neck and a lightweight, comfortable body round out the offerings. We also included a free 3-month subscription to Fender Play—the easiest way to learn guitar. The included Fender Front man 15G amplifier boasts 15 watts of power and features both clean and overdrive channels. It’s also perfect for jamming and practicing, with an aux input that allows you to connect a media device and play along with your favorite songs or backing tracks, as well as a headphone jack for silent practice. The Squier Affinity Stratocaster HSS Pack even includes a padded gig bag, strap, cable and picks, so now is the time to stop dreaming and start playing!
By: Rick Landers
Guitar International landed on the handiwork of Jason Dumont when checking out an array of guitars, a search starting with small parlor guitars that led to Gibson L-00 and Nick Lucas boutique guitars before discovering the beautiful wing-swept designs of some of Jason’s Lap King Steel Guitars, as well as some of his more traditional axes.
Certainly his Dumont Bel-Aire model was fashioned from the cool fins of those classic ’57 Chevy cars adorned in Surf Green and other classic colors.
Jason’s shop expertise has a custom-shop lineage that includes Fender, Guild and Hamer. Working and studying the ways of the masters for years, he found the entrepreneurial bug bit him. He went out on his own, a lone wolf, to build his own line-up of guitars, many standard models, but he still found custom work interesting and appealing to not only himself, but to some of his clients.
Dumont’s not one to stamp out guitar after guitar, especially when challenged by a customer who wants something special, a guitar unique and one that fits like a handcrafted melodic glove.
“Building guitars since 1997, I’m driven by relentless passion to build the finest handcrafted instruments made. Lap King lap steels celebrate classic American styling and craftsmanship with the very best components available. Every guitar I make is crafted to deliver superior tone, playabilty and musical inspiration long after it’s purchase.” – Jason Dumont
What’s most intriguing about custom builders is their focus and their precision to details, but mostly the inordinate amount of patience it takes to craft a guitar as a piece of art. At times it must be a zen-like coupling between the builder and the wood, the torquing of individual screws, sanding until it “feels right”, not calibrated as much as intuited to shape.
One wonders if there’s some level of regret when a guitar leaves the shop, or is that feeling overcome by some level of satisfaction of the joy the guitar brings to an anxious owner.
We’re pleased to introduce many of you to Jason Dumont and his very fine handcrafted guitars – Lap King Guitars.
Rick Landers: You’ve been an instrument builder for some time. What drew you to being an artisan-craftsman of guitars and later lap steels?
Jason DuMont: Originally, I had just set out to simply make myself one nylon string classical guitar. I was in my early twenties and taking classical guitar lessons and I just got the romantic notion that I could build myself a wonderful guitar.
I had stumbled across the book, Guitarmaking: Tradition and Technology, by William Cumpiano and in it he shows how to make an instrument with almost all hand tools, hand tools I had seen in my grandfather’s basement. Hand planes, egg-beater style hand drill, chisels, I was swept away with the thought of playing a guitar made with my own two hands.
I come from a family with really artistic people, My Grandfather was a brilliant, prolific, albeit undiscovered, sculpture, my Grandmother and Mother, as well as uncles were talented painters. So, value of creative endeavors was really instilled from as far back as I can remember.
I was always a good drawer and painter myself, it had always come easy, but working with tools? It presented a real challenge, the challenge of combining a guitars aesthetic qualities with required, exacting structural requirements really attracted me to it.
My first nylon string guitars were so ghastly looking! They were mis-shapen wrecks, but I thought they were beautiful! The same way parents with funny looking kids think they’re adorable! [Laughs]
But, they sounded good and I just kept telling myself “The next one will be even better!”
I found the chase instantly intoxicating.
Rick: Many of our readers are novice builders and we have some fine world-class builders, when learning nearly anything as complex as a guitar, what are the most critical steps and maybe the biggest challenges to get right?
Jason DuMont: I can only speak for myself here, but I found the discipline of not rushing to be the most challenging. Making yourself execute every task involved to the best of your ability was a big challenge for me.
So often when you start out building you get “summit fever”, you are so anxious to hear and play your creation it’s easy to not sand something well enough, leave a brace a bit thick…
That urge to rush needs to be reigned in. To me, that’s the biggest challenge.
Rick: So, what do you do if you build a beautiful guitar, but the end result is a bad sounding instrument? Start over, trash it or what?
Jason DuMont: For me it’s the joy of building that motivates me, I can honestly say I have never been terribly disappointed by the sound of any guitar I’ve made, I just looked to the next guitar with excitement to do even better.
So, I would say if that happens just move on to the next one and do better!
Enjoy the journey.
Rick: Finding great tone woods I find is a talent and it’s a little amusing watching someone walking around tapping wood. What do you do and how do you know you’ve got wood that will do the trick?
Jason DuMont: Tapping and flexing soundboards is key when I choose wood. You use the tactile feedback to determine if the wood is right for a given instrument.
For example, I would choose a more flexible top with a lower tap tone for a smaller size guitar like a OO. For a 12th fret dreadnaught I’d want a nice stiff top that had a tight tone.
Then pairing the tops with scale length, back and side materials, what sound your looking for…that’s exciting!
You just have to build a lot of guitars, you learn from every one of them, and what the wood will bring to one.
Rick: Are you a player of 6-strings and lap steels too? Anything else?
Jason DuMont:I am! I love to play guitars of all sorts and bass and ukulele!
I kinda see a Hurdy Gurdy in my future too!
Rick: What kinds of work did you do for Fender’s acoustic Custom Shop, Guild and Hamer? Did you work on or craft any special guitars or guitars for well-known clients?
Jason DuMont: I was fortunate to begin my career working for the Kaman Music Corp. They had such a diverse product offering is was like a university of instrument making. They had several lines of instruments all being made in one facility in New Hartford, Connecticut.
When I started there I was in the Bowed Instrument department and learned how to set up and adjust their offerings of violins, cellos and upright basses. After a few years of that I moved on to the Ovation Guitar’s Adamas line of guitars.
They were handmade using really cutting edge composites, but with really decorative ornamentation. They were the flagship model and no expense was spared.
From there I moved to Hamer Guitars, a fantastic line of electric guitars. My duties were primarily in the finish, wiring, and set up department.
We only produced three guitars a day and Jol Dantzig (one of the founders) who ran the shop was an absolute perfectionist. In a “ factory” setting it was a real luxury to be able to spend as much time as it took to make sure a guitar shipped as perfect as we could make it. He ran a tight, well-disciplined shop and I learned a lot from him and the ten man crew.
After seven or eight years at Hamer, Fender bought KMC and brought Guild to the facility. Those guitars were great in my opinion. The whole shop was really excited to make all wood, traditional acoustic guitars and we rose to the occasion. I was in the spray booth shooting nitro and doing bursts.
Eventually, Fender wanted to try to have an Acoustic Custom Shop, like their famed electric shop. When that started I was in the Engineering Department working on a lot of prototype and small batch runs. Really, it consisted of classic, hand building techniques, bending sides by hand, bracing, kerfed linings, just building in general, then shooting the finish. That position was a dream come true!
I worked with one other guy, William Vassilopoulos who was a real mentor to me. To this day he is the finest craftsman I ever met. He had seen it all and was very generous with his knowledge.
The Acoustic Custom Shop never really took off. A few terrific models were made, but I think the wheels were already in motion to jettison Guild and Hamer and Ovation guitars and close the facility.
After 22 years with the company, I had worked on so many instruments for some great players, Rick Nielsen, John Mayer, Tom Petty, Glenn Tipton, as a member of the team in New Hartford I couldn’t guess at the number of famous players we made guitars for. The doors in New Hartford were abruptly closed in 2014.
Rick: You recently finished building a little 00 style guitar. Given your lap steel business, was that out of the norm and what prompted you to build it?
Jason DuMont: It really isn’t out of the norm for me, I usually make 3-5 non lap steel instruments a year. Electric guitars, basses, classical guitars, steel string acoustics, or ukes. They usually find their way to customers who are familiar with me already.
I haven’t really pushed them online because the lap steels have done well for me, but I love building instruments of all sorts. What prompted the OO is my wife had purchased two antique shutter style doors from New Orleans, well over 100 years old. They were so heavy! 75 pounds a piece!
One was left over from her project and I had to see what was under all that paint. It turned out they were made of quartersawn non- plantation Central American Mahogany.
I felt like something that old from that city must have some mojo in it!
The stuff was so dense and hard I instantly had the notion to make a late 20’s/early 30’s inspired, 12 fret OO , like a “Nick Lucas” using the same materials you’d find back in the day.
Red Spruce top and braces, maple back and sides, hot hide glue etcetera. Early on I knew I wanted to “relic” it which I know is not everyone’s bag. I didn’t want to make one of those guitars that sit pristinely in their case, taken out with kid gloves.
I wanted to make a real ass kicker guitar that someone wouldn’t constantly obsess about maybe putting a ding or scratch on her and the reliced finish sort of invites you to just grab her and have at it….and she looks cool! [Laughs]
Rick: Who’s playing your lap steel axes that we might know and did you find them or did they find you?
Jason DuMont: I’ve been really fortunate to have some incredible players take a liking to my steels. Jerry Douglas was the first to really embrace them.
It all started with a Bel Aire model and we’ve collaborated on quite a few, I think five, by my count at this point.
In fact, it was his idea to come up with a mount so he could play them standing up. I had been a fan for years and I liked to go on his website forum and I sold a steel to a fellow forum member and he emailed me that I should try and get one to Jerry because it was a really great steel.
I sent an email and in a little while he got back to me saying he’d love to try one out. I was over the moon!
Cindy Cashdollar has one, she’s just terrific and Gary Morse is another monster player has two.
Cindy Cashdollar plays “Foggy Mountain Rock” on a Lap King – Video courtesy of Fretboard Journal.
Zack Filkins from the band OneRepublic plays one. He’s one of the nicest guys I ever met.
Bruce Bouton has just received one.
I’ve been very fortunate, I have met a lot of great people building steels.
Lately it’s been word of mouth, I’m such a small shop and access to the caliber of this level of musician can be tough, so I’ve been lucky to occasionally get an email from these guys.
Rick: Will you build custom guitars or lap steels for people with the bucks?
Jason DuMont: Absolutely, since I build to order, often each one has something customized to the customers liking. I love making unique instruments!
Rick: Does owning and running your own business have challenges that you appreciate better now, than when you worked for Fender, Guild and Hamer?
Jason DuMont: Definitely! I am far less cavalier with sandpaper! [Laughs] Materials and supplies are a big issue.
Rick: Any I’d imagine running your own shop offers you a sense of freedom too, right?
Jason DuMont: It really does, as I mentioned, I love to build unique instruments or go from an electric bass to a tenor uke to a classical guitar, and being the captain of the ship allows you to pursue ideas as fast as you can come up with them.
Rick: What do you think are the most important character or personality traits necessary to be an entrepreneur in the guitar building, marketing and selling business?
Jason DuMont: That’s a tough question, I don’t think you can logically pursue the craft with the thought of financial success.
Most builders I know, me included are hopelessly drawn to it though. There’s no choice in the matter. Often to our detriment! You have to just love the art of building, that has to be the satisfaction. It really is the journey.
Rick: What are some of your all-time favorite lap steel songs?
Jason DuMont: Oh man! C’mon! Hmm …I’d have to say, “So, Here We Are”, off the Jerry Douglas Traveler album, David Lindley’s “Mercury Blues” from his Eld Rayo X, “Hillbilly Hula Gal” off off Junior Brown’s album, 12 Shades of Brown, oh, and Ben Harper’s song, “Ground on Down”.
There are so many songs, from so many genres, that’s a hard question!
Jason Dumont’s Lap King Guitar Gallery
Reblogged 3 weeks ago from feedproxy.google.com
The Electro-Voice ZLX-12P 12″ Two-Way Powered Loudspeaker is a compact and versatile loudspeaker featuring custom engineered drivers in a rugged enclosure. The loudspeaker features a grille made of 18-gauge steel with black powder coat. The loudspeaker matches the specially developed drivers with a custom-built Class-D amplifier module and powerful DSP. Whether pole mounted or used as a floor monitor, the loudspeaker delivers powerful sonic impact and intelligibility.
Frequency Range 50 Hz – 20 kHz
Maximum SPL 126 dB
Power Rating 1000 W
Frequency Response 65 Hz – 18 kHz
Coverage (Nominal -6 dB) H 90 °
Coverage (Nominal -6 dB) V 60 °
LF Transducer EVS-12K, 300 mm (12 in) Woofer
HF Transducer DH-1K
Connector Type (2) XLR/TRS Combo Jack, (1) 3.5 mm Input, and (1) XLR link Output
Enclosure Material Polypropylene
Grill 18 Gauge Steel with Black Powder Coat