Analogical tank from the 1978s with which we quickly spend hours on bass sounds, with 2 synchronizable VCOs. Rare with less than 650 copies, there is a grey version OB-1A. 1750 copies in total.The 6-page Oberheim OB-1 manual is typewritten (true, it can be found on the Internet), but it is not really needed in sound design, except perhaps to position the buttons to be able to record a sound on the 8 available memories (which store the positions of 33 potentiometers or buttons, almost all of them), as this cannot be invented. The OB-1 sends heavy, even if its keyboard is very cheap and makes a hell of a noise. In any case, it can be ordered with conventional CV-IN 1 volt per octave.The pinball pitch is huge.It is recommended in the instructions for use to wait 5 minutes for the circuits to be stabilized. This is clearly another way to conceive a sound, with fabulous surprises in the percussive basses, noise, boat engine noises, factory purring. Finally, no need to look for a MIDI interface on the OB-1.Source: vintage stock copy tested, service manual.

Sequential Circuit - Prophet 5 Prophet 5 Rev.2 vintage from the American brand SEQUENTIAL CIRCUITS, everything works perfectly. A very beautiful and mythical machine. Opportunity verified by Zicplace. Very good condition. Magic. Sequential Circuit's Prophet 5, created by Dave Smith, produces a fascinating analog sound in a dreamlike body with a case that combines wood and steel. Even with sounds stored as presets, which can be easily modified after calling them, you can still recognize mythical sounds from Pink Floyd albums, the intro to "One of my Turns", etc. A lot of presence, a violent Unison mode that we like to listen to and let run, just press one of the 61 keys and wait for the hair to rise on your body. The presets offer very different sounds, tablecloths, organs, basses, sound effects that we like or not, but it has become a legend with its strings and basses. There were 3 models that we spot with the serial numbers: the Rev.1 a little unstable that we don't like to have in return workshop in after-sales service, the Rev. 2 reputed to have a "better sound", and the Rev. 3. At first use, we see that it has some in the stomach with its 2 VCO, and we turn the potentiometers slightly. In Rev. 2 there is a key to tune it, and a key that outputs an A 440Hz. Funny but also necessary because analog is more unstable than digital. Requires some output effects because the vintage machine does not have them, unlike the recent Prophet 6.

Yamaha DX-7 mark 1 "chocolate" (dark brown almost black) VINTAGE with its case from the same period, as well as the Yamaha speakers. Perfect functioning. The original LCD display "drool" a little, but it has not been changed to keep the original. FM sound with Yamaha quality.

Sing with your guitar! A world-wide first! MIKU STOMP, the new voice sound effect unit.   Highlights ・Hatsune Miku sings when you play your guitar! ・A design that fuses the worlds of Hatsune Miku and guitar effects. ・Nearly unlimited possibilities; 11 lyric patterns are provided. ・Lyrics for "Senbonzakura" (a Japanese song) are preset. ・An iPhone app for entering lyrics is available, so you can make MIKU STOMP sing your original lyrics.   MIKU STOMP is a compact effect unit for guitar that lets Hatsune Miku sing according to your guitar playing. Just connect your guitar, and Hatsune Miku sings when you play. The vocal synthesis technology at the heart of the sound is eVocaloid™, a vocalzing effect based on Yamaha's next-generation NSX-1 sound engine. Using your guitar to control Hatsune Miku's vocals is an easy way to obtain a richly expressive performance that has a different character than when using step-recording or a keyboard. * MIKU STOMP supports only single notes. Design incorporates an original illustration of Hatsune Miku   Source: original KORG premiminary information, 2014.

The ultimate Moog synthesizer - a tri-timbral, polyphonic, analog dream-synth designed to inspire imagination, stimulate creativity, and unlock portals to vast new realms of sonic potential. The first polyphonic analog synthesizer from Moog in more than three decades, Moog One is the culmination of years of research and has been developed to exceed principal expectations of a polyphonic Moog instrument.Moog One’s polyphonic sound engine is built on the most powerful synthesizer architecture ever employed by a Moog instrument. Per voice, Moog One offers 3 newly-designed analog VCOs, 2 independent analog filters, a dual source analog noise generator, analog mixer with external audio input, 4 LFOs, and 3 envelopes. To deliver an infinitely inspiring performance experience, each of the three timbres can be easily split or layered across Moog One’s expressive 61-note keyboard, each with its own sequencer, arpeggiator, and onboard effects library--including a suite of professional reverbs from Eventide®. Secured in a hand-finished Ash cabinet and aluminum enclosure, Moog One’s front panel is equipped with 73 knobs and 144 buttons, inviting physical connection with every sound shaping and performance control. Extended functionality is easily accessed via a per-module “More” button that brings additional parameters into focus using the Moog One center-panel LCD to ensure the most transparent and expedient sound creation experience possible. Moog One is an unprecedented conduit for the expression of your own creative voice. Sculpt, shape, and transform your own sound with nearly infinite possibilities.  

Time Effects Processor with 3 Independent Effects Analog Spring Reverb with a 3-Spring Tank and a Unique Pitch Modulation Circuit Stereo Analog BBD Chorus-Flanger with 3 LFO Waves Stereo Digital Delay with 3 Delay Types and Freeze Function Variable Input and Output Gain Controls (from MIC to Eurorack Levels) Preset Memory up to 49 Presets

Easy to hold and play, the beautifully styled ES-330TD produces clear, distinctive tones. Double cutaway body and thin silhouette with twin adjustable pickups.  After Gibson successfully launched the ES335, ES345 and ES355 models, in 1958, there was an expansion of the range, including a new cheaper model; the ES330. Although the same shape as the other models, the 330 had significant differences; the main being the lack of central maple block, and hence trapeze tailpiece; and a shorter neck joining the body at the 16th fret (as opposed to the 19th of the 335. It came in two variants; the single-pickup ES330T, and the dual-pickup ES330TD. The pickup was a single coil P90 unit rather than the humbucker of the other models. Source : the 1970 Gibson thinline catalog.

Since 1964, the Mustang model has brought Fender sound and style to the stage and studio in the hands of top players from Nirvana to The 1975.   

Vintage and rare drum machine released in 1983, with atypical sounds and close to a real drum set.   

The RozzBox V2 Poly Synth with tube filter is a 5-voice polyphonic synthesizer with digital oscillators, digital and analog filters on each voice, and one additional all tube filter.In addition to the the classic design of a 4-oscillator polysynth with analog filters, the RozzBox features some functions that can’t be found on any other synthesizer, such as the Hacker, the chaotic filter mode, and switchable aliasing of the oscillators.

A modulator capable of reproducing all the effects of the original Moog synthesizers.    Designed as the pedal version of Moog's famous vintage modular synths, the Moog Moogerfooger MF-102 ring modulator is an unparalleled modulator capable of reproducing all the effects of the original synths. Featuring a ring modulator, carrier oscillator and dual waveform LFO, the MF-102 has all the power needed for classic Moog experimental sounds.

Violin of the Mittenwald School (Germany) with a label of "Georg Klotz" inMittenwald an der Iser 1775! the back is in one piece! length of the back 354 mm! It is currently on deposit at a violin maker in Paris, for several years... This violin belonged to my musician father who bought it in the 1920's (already very expensive at the time!!!)

Heritage Guitars a été fondé 1985 par trois employés de l'usine Gibson guitar Jim Deurloo, Marv Lamb, and JP Moats. Dans la directe lignée de la série ES de Gibson est apparue la série H 535 chez Heritage.

The Custom 24 is the quintessential PRS guitar, the iconic instrument that started it all back in 1985. The Custom 24-08 keeps all of the same foundational specifications as the original Custom – maple top, mahogany back and neck, 24 frets, 25” scale length, the PRS patented Gen III tremolo, and dual 85/15 pickups – but adds a new level of versatility with its simple switching system. Featuring mini-toggle coil tap switches, the Custom 24-08 has eight different pickup settings that provide an array of humbucking and singlecoil tones, including a dual singlecoil option unique for this model. For classic PRS playability, reliability, and tone with ultimate flexibility, check out the Custom 24-08.For 2020, PRS has updated this model with TCI-tuned pickups and nitro over celluose (CAB) finish. 

Fender Stratocaster Contour Body USA SSS

Luthier's guitar mid 20th century

Mandola: plucked string instrument of the mandolin family but bigger (1 octave lower). 4 pairs of strings : G, D, A, E. Made in a workshop. Unique piece.

The Roland Jupiter-4 (JP-4) was an analog synthesizer designed and manufactured by Roland from 1978 to 1981. It was the company's first polyphonic synthesizer, and was known to have been the first synthesizer to provide digital controls to its analog circuits (under the term “Compuphonic” by Roland), allowing notable new functions such as programmable memories (digital recording of “patches”) and greater flexibility in the assignment of synthesized voices by the oscillators. It was sold for $ 2,895, so much cheaper than polyphonic synthesizers from competing brands of the same era (such as the Sequential Circuit Prophet 5 or the Oberheim OB X). Yet it was not as popular and remained less distributed than these competing machines. This disaffection was completely reversed when its successor model, the very popular Jupiter 8, was released on the market.

Mu-tron Phasor simulates a rotating, moving, spacial sound that was once obtained only mechanically with speakers or with expensive studio equipment. It gives you greater depth, intensity and variation than other electronic devices because of new circuitry with much superior dynamic range and uniformity of characteristics. And without distortion.Every musical signal is made of a number of different spectral components. The Mu-tron Phasor periodically varies the length of delay of a time-delayed signal and re-combines it with the original signal. This is the effect known as “phasing”. It is the result of the auditory sensation of a sweeping series of reinforcements and cancellations of the frequency components of the signal itself. The ear’s perception of the sweeping cancellation and reinforcement, together with the slight frequency vibrato caused by the varying of the delay time, is the “spacy” signal that the Mu-tron Phasor produces.Depth L/M/H controls the depth/amplitude of the modulation (the size of the range in which the effect sweeps).Speed controls the speed/rate of the LFO wave that controls the effect

The SG is the new form of Gibson, more modern and lighter than the Les Paul. The 1968 model is known to have made the sound of many bands like the Doors or AC/DC for example.

The HR16 is one of the first drum machines from Alesis. With 49 sounds including 10 kicks, 7 snares and a full ethnic set, all 16-bit samples, this drum machine is a great deal! The HR-16 has its own sequencer with 100 patterns and 100 songs available. The drum sounds can be tuned and have individual level controls for mixing. The 16-voice polyphony allows up to 16 drum sounds to be used in a pattern. The patterns are programmed in steps or in real time. With external click and Midi inputs, the HR-16 is able to integrate your old drum machines or sequencers with Midi systems! The sounds are close to the Yamaha RX11.

The first sketches of the Fender Stratocaster were drawn in 1954 by Leo Fender, with input from Freddie Tavares and George Fullerton. Not being a guitarist himself, Leo Fender called on country music professionals such as Bill Carson and Rex Gallion to test and validate the options chosen at each stage of the design to ensure that the model met their needs.The Stratocaster has been around for over 60 years. Over the years, Fender has gone through different periods associated with certain changes for this model (maple fingerboard/rosewood fingerboard, evolution of the neck profile...).In 1994, Fender wished a happy birthday to the Stratocaster which was celebrating its 40 years. These rare models will only be produced in 1994. The Fenders of the 90's are now sought after, they were very good guitars with a thin neck and a good power of sound finally quite similar to some models of the 70's.

Introduced in 1978 and produced until 1993 in the middle of Gibson's experimental period, the Gibson ES-347 is an improved version of the traditional Gibson ES-335.Gold plated, it features a coiltap switch that turns the humbuckers into single pickups. The ES-347 offers a wide range of sounds and excellent sustain.The ES-347 can produce 6 different sounds by combining the pickup selection and the coiltap switch. It has a TP-6 micro-adjustable tailpiece. This gives it a slightly brighter twang.This guitar has 2 X Humbucker pickups.As with the ES-335TD, the center block is made of maple. It has a symmetrical double cutaway body with laminated top, back and sides. The three-piece maple neck has a wide, round profile and an ebony fingerboard with block inlays like the custom models.This is a prestigious, rare and magical guitar.Translated with www.DeepL.com/Translator (free version)

The 1964 model was also the first Princeton to be equipped with a reverb section, combined with the inevitable Fender vibrato effect with speed and intensity settings. Guitarists with a taste for sixties sound textures will be able to dive straight into the heart of their favourite era with just a few well-placed riffs! Built in Corona, USA, this tube guitar combo amp can not only be used in a variety of situations and playing styles, but will also work perfectly with your entire effects pedal collection.The preamp stage features three 12AX7 tubes and one 12AT7 tube, a combination that allows for solid, clean cleans that will nevertheless be easy to drive to a natural overdrive. These preamp tubes are complemented by two 6V6's in the power stage which gives that typically warm and deeply American Fender sound, which is perfectly delivered through a Jensen Alnico P10-R 10" speaker. Of course, you can use the treble and bass controls to further refine the sound. The whole thing is neatly housed inside a solid pine enclosure with a stylish black vinyl cover and an aged silver grille. Last but not least, the '64 Custom Princeton Reverb comes with an original 2-button footswitch and its original made-in-US transformer.

The Roland JC-120B Jazz Chorus is a guitar combo that has been revered by many guitarists since its release. Introduced by the Japanese brand in 1975, it is still going strong today and its popularity has remained intact. It is one of the few transistor amps used by many famous guitarists. This amp is known for its clear sound, even at high volumes, and its natural chorus, the colour of which is enhanced by the two 12" speakers, each delivering 60 watts (120 watts in total).Despite its classic sound, the JC-120B has everything you need to create a custom sound. Two channels are present, each with its own three-band EQ and a Bright switch, which adds a little brightness to the sound. Channel 2 gains a reverb and distortion, both of which are joined by a vibrato and chorus, the latter of which can be activated on each channel. Roland has also spoiled us with a large number of available connections. The two channels each have two inputs, High and Low, in order to manage the output level of the guitar used. At the back of the amp there is an effects loop linked to channel 2, which can be used in series or in parallel. A stereo line out allows the amp to be plugged into a mixing console or audio interface. Finally, three foot switch inputs are provided for remote control of the amp's effects.Thanks to its transistor technology and robust design, it will be happy to accompany you on tour without having to worry about a breakdown due to a hectic trip.

As soon as the meter lights up and you match the input level to your instrument, you know you're in for something special.Seen on countless stages every night, accompanying some of the world's biggest bands, the ABM is the amplifier of choice for performance professionals, combining the sophistication of a top-notch preamp with exceptional performance and all the features you need, whether you're working in stadiums or clubs. For those who need the tonal power of the ABM preamp combined with massive power and headroom, there's only one choice: the ABM 900 EVO III with its 575W + 575W terraforming power stage.Variable Valve Drive - from zero to rock heroWhatever sound character you're looking for, the valve drive can take you there. Turn it on and set it to zero for a pure solid-state preamp sound, or turn it up to increase the level of tube overdrive that blends into the signal, taking you from a hint of hair to a fat overdrive.The Drive level can be preset and turned on or off via a footswitch, giving you access to a wide range of clean, warm and saturated sounds.Designed to be as simple to use as a 3-band EQ, but with exceptional tonal shaping options, the ABM features familiar rotary controls for bass, midrange and treble, as well as two additional pairs of sliders.  The EQ can be activated by a foot switch, allowing you to instantly switch from a flat fretless sound to your preferred EQ setting. One-button compressorThis easy-to-use, great-sounding compressor produces a powerful, even tone that lets your bass fill out any mix.Subharmonic GeneratorOnce heard, never forgotten. The ABM Sub-Harmonic Generator adds an octave below the notes played, adding fullness to any bass part. The sub-harmonic level is independently controllable, allowing you to dial in anything from a subtle hint of deep bass to a full-on underground funk. Flexible footswitchingCombined with our FS-4 footswitch (not included), the ABM comes to life on stage, allowing tone changes on the fly. With foot switchable functions like Valve Drive, Compression, EQ and Sub Harmonic Generator, the ABM gives you dozens of sound combinations without a single effects pedal in sight. Professional Connections The ABM is equipped with numerous connections. A sub-bass output for powering the console or an additional amp, a tuner output, a transparent FX loop and a line input for connecting a sampler or external sound source. Muting the output mutes the DI output but leaves the tuner output "live", allowing the player to tune silently. 

The Ashdown ABM Series/EVO IV are considered the standard of the British manufacturer, and this is the 4th generation of the series. The quality level is really high with a very interesting functionality of the heads:"switchable valve drive with adjustableswitchable compressor with adjustmentSub-harmonic switchable with adjustment"Flat-Shape" switchableTuner outputline outputand many other functions, such as switchable EQThe ABM series provides a very British sound, very robust, but at the same time brilliant. All additional features can be activated via footswitch (optional)

Ashdown's 12" speakers have had a bit of a revival in the bass market in recent years opting for a more vintage feel but delivering a full range of frequencies.The 12 is a large driver added to a new compact poplar plywood enclosure with a high frequency horn unit, it's really a very versatile cab with 300 watts of power at 8 ohms.The NEW 15" PRO NEO BLUE LINE speaker isefficient in its design to ensure that it delivers a full range of frequencies as a stand-alone speaker but also as an additional speaker to support your stage. At 300 watts into 8 Ohms, the ABM-115H PRO NEO is a fantastic addition to the range.

This complete L.acoustics sound package is the essential system you need to get the most out of your venue.With the two LA4 L.acoustics amps accompanied by two 12XT outputs and two SB118 subs from the same brand, your stage sound will receive an unprecedented boost.12XT :The frequency response can be extended to 32 Hz. The loudspeaker comprises a coaxial assembly of a 12" LF driver tuned in a bass-reflex enclosure, and a 3" diaphragm compression driver loaded by the 12" cone. In the passive configuration, the filtering between the transducers is third order. The active linearisation of the transducers and their protection results from a combination of parameters administered in the amplified controllers.SB118 :The L-ACOUSTICS® SB118 loudspeaker is a recommended subwoofer complement for KUDO®, dV-DOSC, ARCS®, KIVA and XT systems.It extends the system bandwidth to 32 Hz.The cabinet consists of an 18" driver assembled in a double tuned bass-reflex cabinet.This specially designed driver for the SB118 combines extremely low distortion and thermal compression even at the highest sound levels.The adoption of the dual bass-reflex tuning principle allows for a combination of impact and high sensitivity.These properties contribute to the SB118's sonic qualities, including precise bass definition and excellent musicality.Thanks to its small front dimensions and the damping of its tuning that makes it suitable for coupling, the assembly of several SB118s allows the creation of visually and acoustically optimised front-of-house systems.The SB118 loudspeaker is driven and amplified by dedicated L-ACOUSTICS® LA4 or LA8 controllers.Digital filtering provides system equalisation, bandwidth framing, while the L-DRIVE servo process provides thermal protection and manages the excursion limits of the loudspeaker drive unit.LA4 :The LA4 is the latest generation of high-end integrated controllers fully dedicated to driving L-ACOUSTICS® loudspeaker systems. The LA4 combines the resources of a 2 x 4 DSP driving four amplifier channels delivering up to 1000 watts each, a comprehensive library of factory presets, an intuitive user interface, two Ethernet connection ports for network control, a connection panel for audio inputs and speaker outputs, and an optional AES/EBU input card slot in a 2U form factor.

This pristine original amp from a now collector's series the Palomino V50 is a 50W, class AB, 2 channel tube combo amp with independent controls, 2 x 12" speakers and a foot switchable internal spring reverb. The Palomino V50 offers vintage tube sound by the ton. The V50 combo amplifier also ditches the standard black for a striking cream Tolex coating with gold trim.

The Ashdown AAR3 Radiator 3 acoustic guitar amplifier is the ultimate amp for acoustic guitarists playing in a live band. Featuring a rugged PA-style cabinet with two concentric 10-inch speakers, the AAR3 uses an ultra-lightweight, highly dynamic 350W bi-amplified digital power section for volume levels that really come through. Plugging directly into the Ashdown Radiator 3 amp puts you in control of your sound on stage, with a balanced DI output to feed the PA.It has a full feature set, including a two-channel preamp with high and low impedance, phantom-powered inputs, independent two-band EQ and level controls, a notch filter, 16 digital reverb settings selectable from a rotary control, a reverb level control, and an output level control. In addition to the DI output, the rear panel of the Ashdown AAR3 Radiator amplifier features a Line/Link output, FX send and return, and a footswitch connector for muting the reverb.

Yamaha's touch panel-based Centralogic interface simplifies digital operation to the point where it's actually as intuitive as analog... if not more so. All mixing controls other than the individual motorized faders provided for each channel are accessible via just two displays: Overview or Selected Channel.The Overview screen - the console's default screen - gives you a standard view of the 8 channels selected via the Centralogic navigation buttons. These buttons, arranged in an exact replica of the console's 8-channel groups, allow you to instantly bring any 8-channel group to the central controls at the touch of a button. You can then touch any row of controls on the display to focus on them - pan, or bus send, for example - and adjust them via the corresponding multi-function encoders just below the display. You should be able to perform a basic mix on the M7CL without even having to open the manual.To adjust the panning of a channel, for example, simply press the channel's [SEL] button and turn the console's physical PAN control. The same applies to preamp gain, dynamics, high-pass filter, EQ and bus send control. Settings are clearly displayed on the screen as you make them, as is the status of all mix parameters for the currently selected channel. You can zoom in on any parameter on the screen for further control by simply touching the parameter on the screen. When you focus on a parameter, the multi-function encoders below the screen adjust the corresponding parameters on the screen.Translated with www.DeepL.com/Translator (free version)

Produced only for two years, from 1980 to 1982.This is truly a rare bird! Guild made less than 300 of these basses in 1980-1982 in the 400 series. This active bass is a real collector's item

The Yamaha DX-7 mark 1 "chocolate" is a synthesizer using FM synthesis built by Yamaha. It was the first successful digital synthesizer and was used in many songs of the 1980s. The programming of the DX7 is quite different from the oscillator, filter and ADSR envelope based synthesizers of the time. The DX-7 mark 1 uses six operators that can be combined into 32 algorithms.This product is no longer manufactured

Limited EditionA new limited edition PRS Silver Sky! This Lunar Ice version will only be produced in 1000 units. The Silver Sky was inspired by John Mayer and Paul Reed Smith's favourite elements of the 1963 and 1964 Fender Stratocaster. Check it out!PRS Silver Sky Lunar IceThis 2021 series of PRS Silver Sky Lunar Ice models is sure to be popular with collectors. The 500 Nebula 2020 models in the limited flip-flop finish are all selling at exorbitant prices on auction at the moment. I think it's a shame that the prices have become so exaggerated, with collectors driving the prices up to astronomical heights. But with 1000 models on offer this year in this finish, you have a reasonable chance of getting one if you are quick to place your order.PolychromaticWith its polychromatic finish, this Silver Sky Lunar Ice model is sure to turn heads. If it looks good in the publicity photos, I suspect it will look even better in the flesh. The guitar itself has exactly the same specification as a normal PRS Silver Sky and is equipped with a set of three 635JM single-coil pickups.

The VYPYR Tube 120 2x12 and VYPYR Tube 60 1x12 combo amplifiers feature 24 amp channel models - two channels each of 12 popular amps for the first time in the world - plus 11 editable preamp stomp box effects and 11 editable post-amp rack effects with dual parameter control, global reverb and global delay. The VYPYR Tube 120 and Tube 60 use a 6L6GC tube power amp inspired by the Peavey 6505 and a preamp that combines a 12AX7 tube with a patented TransTube sound.With twice the processing power, models and effects of competing modeling amplifiers, the VYPYR series dramatically redefines the power and scope of modern guitar amplification. VYPYR amplifiers are based on powerful 32-bit floating point SHARC processors that allow for highly detailed and accurate modeling, as well as far greater flexibility and features than have ever been available in guitar amplification before.Music retailers across the U.S. voted Peavey's VYPYR Series as Product of the Year in the annual Music Sound Awards, produced by the industry journal Music Sound Retailer. The Peavey VYPYR Series also won Instrument Amplifier of the Year in the Music Sound Awards, and Amplifier Line of the Year by retailers voting in the annual Music Merchandise Review (MMR) magazine survey.Peavey VYPYR amps are endorsed by top hard rock guitarists including Matt Heafy and Corey Beaulieu of Trivium, Matt Tuck of Bullet For My Valentine and Phil Demmel of Machine Head.Amplifier models included in the VYPYR Tube lineup include the Peavey 6505, JSX, Triple XXX and Classic Series, as well as the B-Kat, Brit, Plxi, Dlx, Twn, Dzl, K-Stein and Rec models. Preamp pedal models include TubeScrm, XR Wild, X Boost, Fuzz, BC Chorus, Analog Phase, Analog Phase, Auto Wah, Squeeze, MOG and Ring Modulator, while rack effects models include Tremolo, Chorus, Envelope Filter, Slap Back, Flanger, Octaver, Phaser, Rotary Speaker, Reverse, Pitch Shifter and Looper.

The American Professional II Stratocaster draws on over sixty years of innovation, inspiration and evolution to meet the needs of today's professional guitarist. Our popular Deep "C" profile neck now features smoothly rounded fingerboard edges, a "Super-Natural" satin finish and an all-new sculpted heel that provides a particularly comfortable feel and easy access to the treble. The new single-coil V-Mod II Stratocaster pickups continue to produce the same warm, shimmering sound but are more accurate than ever. A reworked two-point vibrato with a cold-rolled steel block increases sustain, clarity and treble brilliance. The American Pro II Stratocaster is a versatile guitar that will sound immediately familiar. Plus, its many enhancements raise the bar for what is nothing short of a new standard in the professional instrument department. The American Professional II Stratocaster draws on over sixty years of innovation, inspiration and evolution to meet the needs of today's professional guitarist.Our popular Deep "C" profile neck now features smoothly rounded fingerboard edges, a "Super-Natural" satin finish and an all-new sculpted heel that provides an especially comfortable feel and easy access to the treble. The new single-coil V-Mod II Stratocaster pickups continue to produce the same warm, shimmering sound but are more accurate than ever. A reworked two-point vibrato with a cold-rolled steel block increases sustain, clarity and treble brilliance.The American Pro II Stratocaster is a versatile guitar that will sound immediately familiar. Plus, its many enhancements raise the bar for what is nothing short of a new benchmark in the professional instrument department.

Following in his father's footsteps, Joseph Di Mauro became a luthier and built the Saint Louis Blues models oriented towards gypsy jazz from the 1970s. These guitars are made with the family's know-how and take you back to the Paris of the 1940's from George Brassens to Django Reinhardt.

Following in his father's footsteps, Joseph Di Mauro became a luthier and built the Saint Louis Blues models oriented towards gypsy jazz from the 1970s. These guitars are made with the family's know-how and take you back to the Paris of the 1940's from George Brassens to Django Reinhardt.

Following in his father's footsteps, Joseph Di Mauro became a luthier and built the Saint Louis Blues models oriented towards gypsy jazz from the 1970s. These guitars are made with the family's know-how and take you back to the Paris of the 1940's from George Brassens to Django Reinhardt.

Following in his father's footsteps, Joseph Di Mauro became a luthier and built the Saint Louis Blues models oriented towards gypsy jazz from the 1970s. These guitars are made with the family's know-how and take you back to the Paris of the 1940's from George Brassens to Django Reinhardt.

The Evolver, Dave Smith Instruments' first product, is a monophonic hybrid synth that marks Dave Smith's return to the world of hardware synthesizers. Featuring two analog DCOs and two wavetable oscillators, the Evolver also harnesses the power of the analog Curtis filter and its complex modulation matrix of 24 sources and over 75 destinations. The Evolver also features three synchronizable delays, a 4-track 16-step sequencer, 512 editable patches, poly in/out/transfer/chain, and stereo inputs and outputs.The Evolver Mono Keyboard from Dave Smith Instruments adds a 3-octave keyboard and pitch and modulation wheels to the Evolver Hybrid Mono module. The Evolver Mono Keyboard allows for easier performance thanks to the velocity and aftertouch sensitive keyboard, as well as more knobs that expose parameters previously only accessible via the Evolver's menus.The Evolver marked Dave's Smith's triumphant return to hardware synths and is still the gold standard for sonic ferocity in a monosynth. It contains a plethora of Dave's best ideas in a monstrously powerful instrument with a unique sound.The Evolver's unique tone comes from the synergy of its two analog oscillators and two digital oscillators (which take the waves from the legendary Prophet VS). Curtis' classic analog low-pass filters and true analog VCAs add warmth and fullness to the analog section, while the digital high-pass filter, tuned feedback, and digital distortion add sizzle and grit. But what really sets the Evolver apart is the way the analog and digital parts of its personality fit together in a true stereo signal path. The word "massive" doesn't begin to describe the Evolver's sound.Imagine being able to move effortlessly from analog smoothness to digital sharpness, or anywhere in between, and you'll begin to understand. The LFOs, step sequencer, and three separate delays can all be synchronized to create complex, scalable, rhythmic, and time-based effects in true stereo.It's a sound designer's dream that can go from ultra-creamy to ultra-aggressive with the turn of a knob. If you need to be convinced, just listen to the demos.

Korg released the Poly-800 II in 1985. The structure of the previous model remained an 8-voice single oscillator DCO synthesizer with the front panel matrix editor.Compared to its predecessor Poly-800, this new model has 2 DCO. It also now sports a 1000 event sequencer, programmable EQ, digital delay instead of chorus only effect, and the black/blue color scheme was now like its cousin the DW-8000.

Following in his father's footsteps, Joseph Di Mauro became a luthier and built the Saint Louis Blues models oriented towards gypsy jazz from the 1970s. These guitars are made with the family's know-how and take you back to the Paris of the 1940's from George Brassens to Django Reinhardt.

Violin viola by luthier Gisela Bastidas! This is a size 41 Alto Saconi- A. Stradivari model,

Following in his father's footsteps, Joseph Di Mauro became a luthier and built the Saint Louis Blues models, which were oriented towards gypsy jazz from the 1970s onwards. These guitars are made with the family's know-how and take you back to the Paris of the 1940s, from George Brassens to Django Reinhardt.

For this HP model we are all titanium! Titanium bridges and an adjustable saddle (super practical!) also in titanium. You can feel the difference even without plugging the guitar in. It is clear, dynamic and very precise!The selector is a top of the range Noiseless model, you can see it when you handle it, it's solid and it looks very precise at first sight.The knobs of the potentiometers have a different look. And of course there are Push Pulls everywhere, but they are crazy at Gibson!Concerning the neck, Gibson has thrown something innovative and destabilizing, especially for the regular Les Paul model: The neck heel!Personally I was surprised, and my left hand too. Frankly, I don't know what to think about it, between my purist side that cries "Hoooo treason!" and my open-minded side (yes, a little bit) that finds it not so bad, and even comfortable. In short, it's well done, it's pleasant, the access to the treble is top notch and it's rather nice of Gibson to want to give a new look to this heel which prevented you from correctly accessing the 22nd fret without having to go to an osteopath or a hand surgeon after a concert... (yes, I'm exaggerating a little, but who loves a man to love a man?)And finally the major element and subject of many controversies, the famous G force system, these robotic mechanisms that allow you to tune your guitar without doing anything, well yes, just press a button, scratch the strings and wait for it to happen...

Cigar Box by luthier

Billed by Fender as the "Ultimate Stratocaster" upon release, the Fender Strat Ultra ran from 1990 - 1998. Similar in design to the Strat Plus from the same era, these tricked out Strats sported some deluxe features like a rolling nut, locking tuners, ebony fretboard, and Lace Sensor pickups -- this time in a unique 4-way configuration with two Red Lace Sensors in the bridge position. These appointments combined with some unique finishes make the Strat Ultra quite a collectable guitar in today's market.

1966 FENDER JAZZ BASS , Olympic White.

1969 FENDER TELECASTER THINLINE , Candy Apple Red.

1963 FENDER STRATOCASTER, Sunburst.

1967 FENDER TELECASTER, Sunburst.

1968 GIBSON ES-335, Sparkling Burgundy.

1961 HOFNER CLUB 60, Sunburst.

Very rare in the United States and even rarer in Europe, the blonde Stratocaster with ash body and gold hardware, produced by Fender from 1956, is called Mary Kaye in homage to the "First Lady of Rock & Roll" who popularised it.

1967 FENDER TELECASTER, Sunburst.

The 4003 (successor to the 4001) is the rock bass par excellence! With Lemmy Kilmister, Chris Squire and Cliff Burton as ambassadors, it has long since acquired its letters of nobility. This 2004 model is natural for MapleGlo as we say within the Californian brand; it is in very good condition with a few discreet traces. Everything is original including the case.

Beautiful original Gibson L3 guitar from 1929.

Since 1964, the Mustang model has brought Fender sound and style to the stage and studio in the hands of top players from Nirvana to The 1975.   

Luthier's guitar mid 20th century