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Here is a Line 6 Variax 500 in Black that has mostly been stored with very little use. Finish is extraordinary with very minor scratches that are hard to see and it works flawlessly. Works with batteries, a XPS (External Power Supply) or the best way is to use with another Line 6 device with a Variax Digital Input (VDI). That way you get seamless control over the model changes etc and it is powered by the cable. Setup, polished and restrung ready for an adventure! Comes with original gig bag, the software and hardware for making changes to the guitar like custom tunings, custom pickups etc., And the XPS Body however the power adapter, TRS and TS Cables required sadly were not included although Ill keep digging. $300.00 Cash in person only. From the www: The Line 6 Variax 500 is an electric and acoustic modeling guitar with a 25.5 neck scale and a polyester finish. It features a low-impedance design and accepts standard 10mm tuning gears. Overview of Line 6 Variax 500 The Line 6 Variax 500 is a versatile electric and acoustic modeling guitar designed for musicians seeking a wide range of sounds and styles. Below are its key specifications and features. Modeling Capabilities: The Variax 500 can emulate various guitar models, including electric and acoustic types, providing a broad palette of sounds. Connectivity: It can be connected using a standard guitar cable or a modified Ethernet cable for digital output. Power Source: The guitar typically operates on a 9V battery or 6 AA batteries, which may last for a limited number of gigs. This guitar is well-regarded for its ability to deliver a clean digital signal and its versatility in sound modeling, making it a popular choice among musicians. Variax 500 Features Contoured basswood body Maple neck with rosewood fingerboard and pearl dots 22 medium profile frets 25 1/2 scale length 10 fingerboard radius Standard 1/4 guitar output jack Digital I/O jack for Vetta II connectivity Volume and tone controls respond faithfully for each model Included XPS A/B footswitch selects between two outputs: 1/4 standard guitar output for connection to any guitar amp XLR balanced output for sending acousticsounds to a separate amp or PA Powered by footswitch, on-board batteries, Vetta II or PODxt Live Custom-fitted heavy-duty gig bag Available in Sunburst, Black, or Candy Apple Red Left-handed version is available in all colors Variax 500 Models based on*: 1960 Fender® Telecaster® Custom 1968 Fender® Telecaster® 1968 Fender® Telecaster® Thinline 1959 Fender® Stratocaster® 1958 Gibson® Les Paul® Standard 1952 Gibson® Les Paul® Goldtop 1961 Gibson® Les Paul® Custom (3 PU) 1956 Gibson® Les Paul® Junior 1976 Gibson® Firebird V 1955 Gibson® Les Paul® Special 1959 Gretsch® 6120 1956 Gretsch® Silver Jet 1968 Rickenbacker® 360 1966 Rickenbacker® 360-12 1961 Gibson® ES®-335 1967 Epiphone® Casino 1957 Gibson® ES-175 1953 Gibson® Super 400 1959 Martin® D-28 1970 Martin® D 12-28 1967 Martin® O-18 1966 Guild® F212 1995 Gibson® J-200 1935 Dobro® Alumilite Danelectro 3021 Coral/Dano® Electric Sitar Gibson® Mastertone Banjo 1928 National® Style 2 Tricone
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A friend of mine asked if I could sell this for him as he doesnt an online acount to do so. So here it is. This is sweet. Brand new look like Van Halen 2 EVH in pristine condition sounds great and esthetically with not mark on it brand new still in the box ONLY $500. This baby rocks! Get it before its g 1 Calldont text 405-707-0457.
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Bought new in 1986, one owner, excellent condition, no damage or keyholing, perfect edge. Made in Canada call/text 86o-2o7-282zero
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Burswood snare -$20 , 2 toms (a 12 and a 13- both in excellent cond) - $30 and $35, and a bass drum for $35. ILL TAKE $50 or LESS for ALL OF THEM. . Or possibly swap. Calls are best.
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Epiphone 150th Anniversary Zephyr Deluxe Hollowbody Archtop $750 or Best Offer Really nice 17” archtop with Epiphone New York-style mini-humbucket pickups. Sounds great acoustically and amplified. Lightly used and is in terrific shape. Currently has Thomastik-Infeld Swing Series flat-wound strings. Feel free to make an offer.
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very rare Guild G1000 acoustic guitar amp made in USA 2-channel stereo amplifier for your acoustic guitar + vocal mic great sound, has some background hum $400 not $2,650 used price on EBay Please call or text for pictures. original black finish & grille covers, which looks nicer than these stock photos Guild USA G-1000 acoustic guitar amplifier (used EBay price is $2,650 + $150 shipping = $2,800) Designed & built through a partnership with Randall Amplification save $2,400 off EBay price! 90-watt Tri-Amped power section with stereo tweeters and an integrated subwoofer built-in chair seat no wheels installed Google for details... multiple speakers with dedicated amps for each versatile sounds with lots of control made in USA
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Actual photos In Excellent condition Rare and Vintage Infinity Composition Prelude P-FR loudspeaker .... Used in an excellent condition been stored in its original boxes and packing. See Photos Here a review from the web: I cant think of two products at further ends of the audio spectrum than a single-ended triode tubed amplifier and a mass-market Home Theater loudspeaker. Single-ended tubed amplifiers are about reproducing subtlety, delicacy, nuance, and communicating the musics inner essence. Conversely, a Home Theater loudspeaker system—particularly one made by a mass-market manufacturer—would appear to put the emphasis on booming bass and reproducing shotgun blasts, with little regard for musical refinement. What a bizarre marriage it was, then, to pair the new Infinity Composition Prelude P-FR loudspeakers with the Cary Audio Design CAD-300SEI 11W single-ended triode amplifier (reviewed elsewhere in this issue). This combination didnt happen by accident; as youll see, these apparently disparate products are a match made in heaven. I discovered the Infinity Preludes while surveying Home Theater loudspeaker systems for the upcoming second issue of the Stereophile Guide to Home Theater. In addition to evaluating the loudspeaker systems under review with video soundtracks, I assessed their musical qualities—or lack thereof. The Preludes were such a musical standout that I rescued them from the Home Theater room (where they had been powered by mass-market receivers and fed with a laserdisc source) and gave them a new lease on life in the larger music room, with reference-quality source and amplification components. The Preludes extraordinary musical performance and unique design compelled me to tell you about how they performed in an audiophile-quality two-channel playback system. Moreover, the Preludes, with their astounding 96dB sensitivity (2.83V/1m) and integral powered woofer, seemed an ideal load for a single-ended amplifier such as the Cary CAD-300SEI integrated amplifier. At $3395, the CAD-300SEI is also a good price match for the $3000/pair Composition Prelude P-FR. So thats the story of how my listening room ended up home to the two most disparate products imaginable. Description The Infinity Prelude represents a bold new approach to loudspeaker design. Created by Laurie Fincham (formerly of KEF) and his protégé Andrew Jones (also once with KEF), the Prelude is the culmination of an 18-month–long, ground-up development effort. Every driver and component in the Prelude was designed from scratch specifically for this product, with some design aspects pushing the envelope of what is possible in loudspeaker technology. The Prelude was designed to combine simplicity of use, elegance, and good video soundtrack reproduction in a Home Theater loudspeaker system. Infinity has more than met those goals (see my review in the Stereophile Guide to Home Theater); but, perhaps more importantly, they created a loudspeaker that provided audiophile-quality musical performance at an affordable price. The entire Composition Home Theater package consists of left and right loudspeakers with integral powered woofers (the Prelude Full Range, or P-FR), a center-channel speaker (the Prelude Center Channel, or P-CC, footnote 1), and a pair of surrounds (the Prelude Quadrapole Surrounds, or P-QPS). These components are available separately or as a $4448 package. Ill just consider the $3000/pair P-FR left and right loudspeakers in this review. The P-FR looks unusual, to say the least. The narrow but deep lower enclosure holds a side-loaded 12 woofer. A tall column containing the midrange and treble drivers rises from the woofer enclosure, making the column look a little like a stovepipe. A grille wraps partially around the column, covering the drivers without adding a diffraction-producing obstruction. With a width of only 7.5 at its widest point, the Prelude presents a low profile in the listening room. Nonetheless, the Preludes sleek, rounded contours and charcoal-gray color make a bold aesthetic statement. Its difficult to overstate the Preludes elegant and beautiful visual design—wow is often the response of visitors upon seeing it. The enclosure is supported by feet that protrude from the woofer-cabinet edges. You can thread four smooth, flat glides into the feet to make the Prelude moveable, or insert spikes (supplied) for more permanent installations. Switches on the enclosures bottom rear panel adjust bass level in three increments, change the grounding scheme, and set the Prelude into automatic shutoff mode when no input signal is detected within 10 minutes. A built-in amplifier drives the systems 12 woofer; you simply connect a pair of loudspeaker cables to the single pair of five-way binding posts. Because of this design, whatever amplifier is driving the Prelude needs power only the midrange and tweeter column. The amplifier is thus relieved of the burden of driving a large amount of current through the woofers voice-coil. This is one reason why the Prelude is such an appealing load for low-powered tubed amplifiers. High sensitivity The main reason I acquired an 11Wpc single-ended tubed amplifier to drive the Prelude was, however, the speakers extraordinarily high sensitivity. With its 96dB rating, the Prelude will play as loudly with the 11W Cary 300SEI as an 87dB-sensitive loudspeaker will play with 88W. This high sensitivity was achieved with several techniques. First, by using so many drivers (eight per enclosure), the overall radiating area was increased. Moreover, the four-way design allows each driver to be operated over a narrow passband, one where the driver is most sensitive. Second, the drivers represent a groundbreaking, one-year research effort into making a more efficient motor structure. According to Laurie Fincham, only about 25% of a conventional drivers magnetic energy gets into the voice-coil gap. The motor structure developed for the Prelude focuses the magnetic field so that 75% of the magnetic flux gets into the gap. When the voice-coil sits in a stronger magnetic field, it takes less current flow through the voice-coil to pull the voice-coil back and forth, and with it, the cone. Consequently, more of the amplifier power goes to producing sound, and less power is wasted heating the voice-coil. Surprisingly, the Preludes single-dome tweeter can keep up with six highly sensitive midrange drivers and a powered woofer. In fact, the tweeter is actually more sensitive than are the other drivers; its padded down to match the other drivers output levels. The tweeter uses a shielded Neodymium Iron Boron magnet structure, and is horn-loaded by an elliptical waveguide molded into the front baffle. The waveguide increases the tweeters sensitivity, allows a lower crossover point, and controls the dispersion. Inside the Prelude Each midrange column contains seven drivers in a line array: four 5.25 lower-midrange units, two 4 upper-midrange drivers, and one 1 soft-dome tweeter in the middle of the column. The Prelude is thus a four-way loudspeaker (including the single 12 woofer). The lower-midrange units use stiffened paper cones (plastic was too heavy to achieve the sensitivity goal), and the upper-midrange diaphragms are made from polypropylene. Crossover frequencies are 110Hz, 350Hz, and 3kHz, with varying slopes. The 20-liter column is high-pass–filtered at 110Hz with a fourth-order slope, and the woofer is high-pass–filtered at 15Hz with a first-order slope. Two small ports at each end of the column provide reflex-loading of the midrange drivers. Although the column contains seven drivers, its barely wider than the 5.25 lower-midrange units. This narrow profile confers the advantages of low diffraction, wide dispersion, and excellent imaging; its no coincidence that minimonitors and other narrow-baffle designs disappear more easily into the soundstage than do large boxes. The column is made from 3/16 extruded aluminum with a steel baffle. The unusual rounded back discourages the formation of standing waves and makes the enclosure less resonant. A charcoal-gray paint finishes the column. An 18-liter sealed woofer enclosure houses the Preludes side-firing 12 drive-unit. The woofer features a massive, 70-oz magnet in a diecast frame that uses the same focused field structure as that used in the midrange drivers and tweeter. The cone material is Infinitys IMG (Injection Molded Graphite), a blend of damped polypropylene and graphite fibers. IMG, used in Infinitys IRS Beta and Epsilon woofers, reportedly provides high rigidity, low mass, and high output without distortion. Loading a 12 woofer in such a small enclosure puts the resonant frequency very high—in this case, 85Hz. To extend the bass response, the woofers integral power amplifier is equalized to provide flat response (the system is down 2dB at 35Hz, $*–6dB at 25Hz). The woofer amplifier power isnt specified, but the Preludes each draw a maximum of 300W from the AC outlet [meaning the woofer amplifier probably produces around 100W—Ed.]. The Prelude is a bold effort that rethinks some of the accepted wisdom of loudspeaker design and aesthetics. This was clearly a pioneering design effort that attempted to break free from the traditional loudspeaker paradigms. Moreover, the execution was first-rate—the build quality and finish detail are superb. Listening In the following description of the Preludes sound, you wont find any qualifications such as The Preludes were superb for a Home Theater loudspeaker. Once the Preludes were moved to my music room, I judged them by the highest audiophile standards. First, the Prelude had an exceptionally smooth, uncolored sound. Its lack of bass bloat and refined—even polite—treble produced a sophisticated, understated sound. This wasnt a loudspeaker that called attention to itself; instead, the Prelude got out of the musics way and reproduced the signal with very little editorial interjection. The Prelude made the music rather than the loudspeakers the center of attention. The Preludes treble was clean and detailed, yet not aggressive or etched. It struck a perfect balance between treble resolution and smoothness. The result was an ability to hear lots of fine musical detail without listening fatigue or feeling that my ears wanted to close. The treble refinement and lack of etch seemed to invite me into the music rather than keep me at arms length. In addition to being well-balanced with the rest of the spectrum, the Preludes treble lacked grain or metallic brittleness. Cymbals had just the right degree of sheen and air, and werent overlaid with the spray can white-noise–like sound produced by some tweeters. Similarly, vocal sibilance was less spitty and intrusive than Ive heard from many loudspeakers. In this regard, the Preludes treble balance and cleanliness approached the performance of ribbon drivers. Some listeners may, however, find the Preludes treble too polite, particularly when driving them with smooth-sounding tubed amplifiers. Fortunately, you can simply toe-in the Prelude slightly for a brighter presentation and increased sense of immediacy. I did all my auditioning either with no toe-in (with the ARC VT150s) or just a little toe-in (with the Cary CAD-300SEI), which ameliorated the Cary amplifiers lack of top-octave air. Thats another reason why the Prelude is ideal for single-ended tubed amplifiers: you can dial-in nearly any treble balance you want to compensate for tubed amplifiers sometimes rolled-off trebles. This smooth and refined treble was matched to a remarkably uncolored midband. Vocals had an open and unfettered quality that made them seem to exist completely outside the loudspeakers. There was no trace of nasality, congestion, honk, or a hooty quality. In addition to the lack of midband coloration, the Prelude had a wonderful transparency that allowed me to hear deep into the soundstage. The speaker was highly resolving of midrange detail, easily revealing the differences between digital interconnects, for example. Although the Prelude was highly resolving of the signal fed it, they were never etched, analytical, or ruthlessly revealing. Instead, the detail was presented in a natural, gentle way that produced a tremendous sense of musical ease and refinement. When auditioning the Prelude as a Home Theater loudspeaker, I was struck by how smooth the bass sounded. Most Home Theater loudspeakers have a sluggish boom in the lower bass and a lack of articulation in the midbass. Not the Prelude: it had an extraordinarily well-defined and detailed bass, with no hint of boom or bloat. Acoustic bass was particularly well-served by the Prelude; I could hear detail and nuance often smeared by lesser loudspeakers. Consequently, I found myself greatly enjoying virtuoso bass performances—such as Eddie Gomezs playing on Chick Coreas Friends (Polydor 849 071-2), or his work on Steps Aheads eponymous debut record (Elektra Musician 60168-2). The Preludes superb pitch definition and bass articulation were significant factors in my enjoyment of music through it. Moreover, the bass was seamlessly integrated with the lower midrange. Descending or ascending piano lines that crossed the transition showed no discontinuity or change in character. The bass was also deep and extended but didnt stretch into the lowermost octaves with the authority Im used to from the mighty Genesis II.5s. The organ-pedal tones on Timothy Seeligs and the Turtle Creek Chorale and Womens Chorus of Dallass performance of Rutters Requiem (Reference RR-57CD) were audible, but the lowermost tones (16Hz) were rolled-off. Nonetheless, the bass extension was deeper than you get from most $3000/pair loudspeakers. Although the bass was highly articulate, it was on the lean side. Rather than sounding weighty, full, and authoritative, the bass was tight, polite, and refined. I much prefer bass quality to bass quantity, but I would have liked a little more visceral impact and weight from the Prelude. Note, however, that I had the Prelude in a 21 by 18 room, well away from the rear and side walls (and with the woofer-level switch in the high position). When placed closer to room boundaries (as I used them in the Home Theater room), the Prelude had greater authority and bass power. Nonetheless, you wouldnt think the Preludes bass was produced by a big woofer in a reflex enclosure with an underdamped alignment. The Prelude had a tremendously quick bass, with no overhang or smearing. Kickdrum had a sudden quality that made it jump out from the presentation and stop as quickly as it started. This quality, coupled with the articulate midbass, combined for a tight, quick, and punchy bottom end. The rest of the spectrum had similarly impressive dynamics. The snare drum on Michael Ruffs Speaking in Melodies (Sheffield CD-35), for example, had a huge sense of snap and impact—particularly with the ARC VT150s driving the Prelude. The overall dynamic contrast was exceptionally wide: the Prelude could play loudly without congestion and resolve fine detail during quiet passages. Moreover, transients were reproduced with razor-sharp leading edges, with no smearing or dulling of transient detail. Microdynamics were also impressive: listen to drummer Steve Gadds gentle rim work at the beginning of the aforementioned Friends record, or Ralph Humphrys brushes on Mike Garsons The Oxnard Sessions, Volume Two (Reference RR-53CD). The icing on the cake was the Preludes spectacular soundstaging. These loudspeakers threw a precisely defined space before me, with a spatial coherence that was among the best Ive heard from any loudspeaker. I could hear precisely where each instrument or voice was in the soundstage, and images were highly focused, tight, and compact, making the presentation sound like a collection of individual instruments in three-dimensional space. There was also a remarkable stability and tangibility to the images, further heightening the impression of instruments before me. Moreover, the Prelude completely disappeared into the soundstage, giving no clue that the sound was being reproduced by two spaced sources. Soundstage depth was also impressive, with both a sense of distance and gradations of layering. The Genesis II.5s had, however, a larger overall soundstage size (width and depth) and presented more bloom and envelopment in the acoustic surrounding the instruments. The Preludes tended to sound smaller and more intimate, with less air at the soundstage edges. As a result of these specific sonic attributes, I greatly enjoyed music through the Preludes—particularly with the Cary 300SEI. Even with my standards set by the $37,000 combination of the Genesis II.5s and Audio Research electronics, the $6395 Prelude/Cary pair was intensely involving musically. Although some of the credit goes to the Cary single-ended amplifier, the Preludes were able to communicate the quality of the recordings and source components—and, consequently, communicate the music. In addition, I heard many of the qualities described when auditioning the Prelude with mass-market audio/video receivers for the Stereophile Guide to Home Theater. Although the A/V receivers didnt provide the treble purity and soundstaging I experienced with the tubed electronics, I still heard the Preludes uncolored tonal balance, excellent bass articulation, and wide dynamics. With the Cary CAD-300SEI, the Prelude produced completely satisfying playback levels. Its amazing what 11W will do with a 96dB–sensitive loudspeaker (and a powered woofer). This combination was absolutely magical, bringing the purity of single-ended triode amplification to an uncolored, audiophile-quality loudspeaker and providing bass performance that wasnt dependent on the tubed amplifier. The Preludes are the load for low-powered tubed amplifiers. My only reservation is that you may not be able to audition the Preludes under ideal conditions—theyre sold primarily by mass-market stores rather than by specialty-audio retailers. Although they sounded good in the Home Theater system, they didnt really sing until they were optimally set up in the larger music room and driven by topnotch source and amplification components. Once the word gets out about how the Preludes sound with single-ended tubed amplifiers, I suspect more high-end dealers will carry the Preludes. Then you can audition them in their full glory. Conclusion The Infinity Composition Prelude P-FR loudspeaker is a stunning musical, technical, and aesthetic achievement. Even without its high sensitivity, the Preludes smooth and uncolored tonal balance, wide dynamic contrast, articulate bass, and wonderful soundstaging would make it a standout. But with its ability to be driven to satisfying levels using an 11W single-ended triode amplifier, the Prelude becomes the loudspeaker for such amplifiers. Indeed, the $6395 Cary CAD-300SEI/Prelude combination was one of the most musical-sounding systems Ive heard—regardless of price. It is difficult to criticize the Prelude at its bargain price of $3000/pair. Ive heard high-end loudspeakers costing more than twice the Preludes price that didnt provide anywhere near this level of musical performance. None$*theless, I found the bass balance a little on the lean side in my large room—a little more weight and authority would have been welcome. In addition, the polite treble contributed to less sense of air, which made the soundstage less expansive than that heard from many loudspeakers. My descriptions of specific aspects of the Preludes performance throughout this review dont tell the whole story. What I want to leave you with is how greatly I enjoyed music through the Prelude, particularly with the Cary 300SEI. I experienced many transcendental musical moments with this moderately priced combination. The Infinity Prelude is worthy of my highest recommendation. In fact, I gave them the ultimate vote of confidence: I bought the review samples.—Robert Harley
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1960s hagstrom 3 with kings neck. made in Sweden. I bought the body and neck husk and had it put together with fender parts by petrs violin shop in Anchorage Alaska. fender usa highway 66 electronics, knobs, and pickups, fender locking tuners. original hagstrom bridge and tailpiece with original trem arm. original frets and nut. plays amazing with nice low action. there is a crack in the neck pocket that is stable, I tried to capture it in the photos. it is stable so I never injected any glue into it. just dont want to be one of those guys with a vintage strat claiming that crack is just in the laquer, its definitely in the wood. comes well packed in a hardshell fender case that is basically brand new. one of a kind piece. I hate to sell it but bills and such.
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kawai digital grand model cp- 205 black ebony 5 ft asking $4500 or trade call 904-731-4013 ask for ken
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I don’t know anything about this violin came from a music school broken. Can be fixed made into Art your call. It has been in storage for several years.
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New Electric Guitar Dean MD 24 Floyd Electric Guitar, Roasted Maple Neck, Vintage Orange $990 and i’m selling it for $575 firm. if you are interested please contact me 626-817-2287
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Yamaha trumpet, maybe YTR232- I cant quite read the number. Minor flaw with tuning slide..probably an easy fix. SEE PHOTOS . Nonetheless, it does play as it should and sounds good. $135 with old rather fancy hardshell felt padded case. $95 without the case. Calls are best
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EVH 5150 III Amplifier 100 Watt Head, with Matching Foot Controller Matching 4 x 12 Speaker Cabinet Original Owner with Receipt! Like New - Hardly Used! (Sat in my Studio as a Spare and Never left the House!) ROARS! The Amp Eddie Van Halen designed and used; and tons of others! Now Selling ALL Over for $3,400 + Tax Just Selling because we are moving etc. and just listed! So I will take/ post more Photos within next few days! I think I even bought/ have Vinyl Covers for the Amp Head and Speaker Cabinet! But come and see/hear it and youll see! Meticulously designed in collaboration with Edward Van Halen, the EVH 5150III is the culmination of a lifetime of tone chasing. This 100-watt masterwork is chock-full of attitude, wielding eight 12AX7 preamp tubes and four mighty 6L6 power tubes. Regardless of what flavor of high-octane metal or saturated hard rock tone youre aiming for, the 5150IIIs three channels will oblige you with crystalline cleans, thunderous crunch, and scorching-hot lead tones — each with its own dedicated Gain, Low, Mid, High, Volume, and Presence controls. You also get an effects loop for your pedalboard and external processors, as well as a convenient Preamp Out jack. To top it off, the 5150III boasts stage-ready aesthetics, which include a textured vinyl wrap, a black steel grille, and a white front control panel. Metal-minded players searching for holy grail-level hard rock tones need only plug into the EVH 5150III. Three channels deliver the best of all worlds The 5150III comes equipped with three channels: Clean, Crunch, and Lead. The Clean channel yields transparent, sparkling clean tones but with enough gain on tap to add grit to bluesy leads. The Crunch channel is tailor-made for growling hard rock riffs and super-heavy rhythms. The Lead channel is the 5150IIIs full-on distortion channel, arming you for liquid shred and modern metal. The guitarists here at Sweetwater have found that the 5150III can handle anything you throw at it — and probably more. Integrating the 5150III into your guitar rig is a piece of cake. Its effects loop enables you to patch in your pedalboard, guitar rack, and other external processors. Its Preamp Out jack makes creating wet/dry setups a piece of cake, plus its great for feeding signal to an IR loader in recording scenarios. The 5150III also includes a 4-button footswitch that toggles effortlessly between the amps three channels and lets you engage or disengage the effects loop. VH 5150III 100W Tube Guitar Amplifier Head Features: 100W guitar amplifier head with 8 x 12AX7 preamp tubes and 4 x 6L6 power tubes Clean, Crunch, and Lead channels yield crystalline cleans, thunderous crunch, and scorching-hot lead tones Per-channel Gain, Low, Mid, High, Volume, and Presence controls Effects loop accommodates your pedalboard, guitar rack, and other external processors Preamp Out jack facilitates wet/dry setups or feeds signal to an IR loader Tech Specs Type: Tube Number of Channels: 3 Output Power: 100W Preamp Tubes: 8 x 12AX7 Power Tubes: 4 x 6L6 EQ: 3-band with Presence Inputs: 1 x 1/4 Outputs: 2 x 1/4 (speakers), 1 x 1/4 (preamp) Effects Loop: Yes Footswitch I/O: 1 x 7-pin DIN (channels/effects) Footswitch Included: Yes, 4-button footswitch Bias Type: Adjustable Fixed Construction Material: Birch Plywood with Black Textured Vinyl Power Source: Standard IEC AC cable Height: 10.25 Width: 29.75 Depth: 11.5 Weight: 55 lbs. SPEAKER CABINET The EVH 5150 III 412 cab is the brainchild of Edward Van Halen and the legendary tone masters of Fender. This professional 412 cab was developed to meet the exacting specifications of Mr. Van Halen, one of the true legends of rock guitar. With custom Celestion G12EVH speakers and premium birch ply construction, this cab delivers the richness and power you would expect from Ed himself. Truly roadworthy, EVH cabs feature no-compromise construction promising peak performance for years to come. Includes pop-out swivel casters. Features: - Celestion G12EVH speakers: Dynamic, harmonically rich tone. - Premium Birch ply cabinet construction with bolt-on back panel: Relatively light weight and very resonant, as per artist specification. - Large-radius rounded edges - Metal corners - Recessed metal handles - Single 1/4 input
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Jupiter euphonium , model JEP468, with hardshell padded case and a Blessing mouthpiece. . Got a few scratches and very slight dings ,(see photos), but sounds great. Plays easy - all valves move freely. Original cost around $1500! . Plz call or text.
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PayPal Friends, Zelle, Venmo. No cash. Located in Derwood MD. You pick up. No trades. Mint condition, basically brand new, Divided by 13 AMW 39 head in Pewter Trout. Amazing amp that covers the most iconic Marshall sounds, and improves on them.
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Realistic 33-984 C Highball Dynamic Microphone Vocal / Instrument XLR, 3 pin These were made bt Shure for Radio Shack Very Good condition, Tested. Contact Jay, 781-589-4507 Call or Text Prefered Will meet near Middleboro or you can pickup at my home.
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Source Audio Gemini Chorus Pedal in like new condition.. Loaded with luscious sound capabilities and settings. Can be played both in stereo and mono. Check out You Tube for videos on this pedal. It sounds wonderful. Home use only. No pedal boards and no velcro. Complete with the box it came in and the original power supply. $75. Cash sale only, no exceptions please Email, Text or Call 860-266-8288 Not interested in and trades, Thank you.
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Buffet clarinet B12 in good condition with original Buffet mouthpiece and case. Made in Paris by Buffet Crampon Buffet, is highly recommended for beginner and intermediate players. Plz call or text.
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Will post pics soon. Amp is in mint condition. Includes GA-FC EX footswitch which RETAILS FOR $160 and has way more functionality than the basic GA-FC. Not interested in trades unless you have a Line 6 Helix floor. Not looking for Helix LT. Located in Lakewood near Wadsworth and 285, but can travel within reasonable distance to meet. Note that I do not give out my phone number so I will not be calling or texting you. We will need to communicate via CL email. Guitar amplifier marshall fender revv soldano vox peavey
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In good condition except for ding on back edge, any questions call or text 405-317-3255 $250 cash obo you can play it if you want
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This is the Brad Paisley Signature Guitar. Many people believe that this is one of the best sounding Guitars ever made. Go to the Santa Cruz web site to see a demo. The top is German Bear Claw Spruce. The back and sides Indian Rosewood. The fingerboard is Ebony with the Santa Cruz logo on the 5th fret. The pegged head is Ebony veneer with the Brad Pasisley Logo. The bracing is scalloped Adirondack Spruce. The inside label is signed by Brad Paisley. The case is one of a kind. Also comes with an LL Baggs pickup. Price is $5900. will take offers.
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Got a snare, 14 1/2 by 5 for $20. A tom, 12 by 9 for $30. Another tom, 13 by 10 for $35 and a bass, 20 1/2 by 17 deep. For $35. $40 TAKES ALL OF THEM. . All play as they should. See photos Calls are best. Will SWAP Calls or texts are best
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