First introduced in the late 50s, the ES series became an instant rock classic, bringing the feel and look of an archtop to a generation of players who had grown up playing solid body guitars like the Les Paul. The ES-335, the first in the ES series, was an instant success. Now Epiphone introduces the ES-335 PRO an instrument with its roots firmly planted in the classic era when Epiphones Kalamazoo factory was producing rocks most legendary instruments. Featuring an ES-style body with Alnico Classic PRO humbucker pickups, the new ES-335 PRO semi-hollowbody from Epiphone turns back the clock while breaking new ground in sound and style. Other classic features include a tune-o-matic bridge and stopbar tailpiece for incredible sustain, Wilkinson vintage-style tuning machines, and a rosewood fretboard adorned with small block inlay.
This is one model that transcends both the Multiac and Signature series of Godin guitars. At first glance the Jazz has a familiar look with its single cutaway chambered body adorned with traditional F-holes and the Godin GJN1 humbucker at the top of the fingerboard. However the slotted headstock and the preamp controls on the upper bout may be the first clues towards discovering that this isn't your average jazz guitar. The standard Jazz comes with a triple-A-grade flame maple top. Although capable of producing classic jazz guitar sounds courtesy of the Godin GJN1 humbucking pickup, the Jazz has the power to take you far beyond traditional jazz guitar sounds. Each saddle in the bridge is actually an independent transducer, which is supported by an on-board preamp and graphic EQ. Designed specifically for the Jazz, this system opens up a world of new sonic possibilities for all players. The crystalline sounds produced by this system can be used on their own, or very effectively in combination with the neck position pickup. A small dose of the bridge output can be combined with the mellow sound of the GJN1 to produce added note definition so often missing in traditional archtop guitar sounds. The Multiac Jazz also includes hexaphonic output from a 13-pin connector, which provides direct access to RolandTM GR-Series synthesizers, and the various V-Guitar products that RolandTM has developed around the same 13-pin interface. Includes case.
This is one model that transcends both the Multiac and Signature series of Godin guitars. At first glance the Jazz has a familiar look with its single cutaway chambered body adorned with traditional F-holes and the Godin GJN1 humbucker at the top of the fingerboard. However the slotted headstock and the preamp controls on the upper bout may be the first clues towards discovering that this isn't your average jazz guitar. The standard Jazz comes with a triple-A-grade flame maple top. Although capable of producing classic jazz guitar sounds courtesy of the Godin GJN1 humbucking pickup, the Jazz has the power to take you far beyond traditional jazz guitar sounds. Each saddle in the bridge is actually an independent transducer, which is supported by an on-board preamp and graphic EQ. Designed specifically for the Jazz, this system opens up a world of new sonic possibilities for all players. The crystalline sounds produced by this system can be used on their own, or very effectively in combination with the neck position pickup. A small dose of the bridge output can be combined with the mellow sound of the GJN1 to produce added note definition so often missing in traditional archtop guitar sounds. The Multiac Jazz also includes hexaphonic output from a 13-pin connector, which provides direct access to RolandTM GR-Series synthesizers, and the various V-Guitar products that RolandTM has developed around the same 13-pin interface. Includes case.
For well over four decades I've been a working guitarist. Because of this one simple fact all of my wah models so far have been geared towards guitars. Well, I became a working bassist in 2009 and realized that I needed a unique bass wah to compliment my playing. To make sure I helped real bassists, and not just depend on my own guitarist-turned-bassist indulgences, I started working with professional bass players around the world to find what it was they wanted in a wah pedal. To all of those remarkable players, and to all you bassists reading, I dedicate my RMC9-Bass Eqwahlyzer.
The RMC9 starts off with a great bass wah sound (the wah envelope extends down below 100Hz) and expands from there. A small toggle switch located under the rocker lets you change the overall resonance of the wah effect from normal to enhanced. The tone-shaping capability continues with the switchable 5-band graphic equalizer located on the front slope of the case. The EQ is within the wah circuit, only available when the wah is turned on, and then only if you want the EQ to be on. You can shape your bass wah sound like you've always wanted to, all in real-time.
The Fender Acoustasonic™ 150 is perfect for the acoustic guitarist who needs a light, loud, versatile and flexible amp loaded with tonal innovations and useful features. The Acoustasonic 150 packs full acoustic resonance and crystal clarity in this ultra-efficient 150-watt (2x75) stereo power amp, with a dual 8” foam-surround low-frequency drivers and high-frequency tweeter. Its new Voicing control lets any guitar simulate the tonality of parlor, dreadnought and jumbo acoustics, or Voicing can be turned off for pure amp output response. For acoustic players who double on electric guitar, the Voicing control also has Blackface, tweed and British amp settings, which makes a second amp just for electric guitar unnecessary. This Factory Special Run limited edition (only 150 pieces made) features a Mahogany construction.