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Kebek

Kebek

This rhapsody reflects the four seasons combined with the natural scenery that characterises the city of Québec and its surrounding region. Autumn is depicted with hunting horns playing in the forest, followed by a pastoral melody, principally in the woodwinds. Winter in the mountains is poetic and romantic. Spring arrives with a frolicsome and playful theme mirroring the start of new life. Soon everything flowers lushly, and the music swells into the full sounding energy of summer, bringing the work to a brilliant and dynamic close. A great work for any time of year.

SEK 2119.00
1

Kebek

Kebek

This rhapsody reflects the four seasons combined with the natural scenery that characterises the city of Québec and its surrounding region. Autumn is depicted with hunting horns playing in the forest, followed by a pastoral melody, principally in the woodwinds. Winter in the mountains is poetic and romantic. Spring arrives with a frolicsome and playful theme mirroring the start of new life. Soon everything flowers lushly, and the music swells into the full sounding energy of summer, bringing the work to a brilliant and dynamic close. A great work for any time of year.

SEK 2119.00
1

Rawhide

Rawhide

Performance time - ca. 3:00 (With opt. vocal solo and opt. men's chorus) Dimitri Tiomkin's iconic western theme from the TV series of the same name (1959-62) evokes the energy and excitement of a 19th-century cattle drive.Originally sung by Frankie Laine, the lyrics (by longtime Tiomkin collaborator Ned Washington) describe riding the range in the Wild West, with picturesque references to dogies (motherless calves) and vittles (the folk spellingfor victual or prepared food). The song remains among the most recognized of western themes, recorded by such diverse artists as Johnny Cash, The Jackson 5, Oingo Boingo, and Dan Ackroyd and John Belushi in The Blues Brothers.

SEK 3656.00
1

Other Lives

Other Lives

Other Lives is works perfectly for a competition but can also be programmed as concert work. The dark chords at the beginning of the piece are derived from “Der Doppelgänger”, one of Franz Schubert’s late songs. After a short development the music begins to accelerate and find its own shape, gradually moving away from the introduction. The entire first part, “Rage”, has an intensely agitated character. The ensuing “Reflection” turns back to the initial chord progression, before a series of interspersing solos explore time and space at a slower pace. After another musical surge, the music is brought close to silence and then gives way to the third part, “Redemption”.Here, a widely spaced sound field contains a remote allusion to another work by Schubert “Rückblick”. After this farewell, an abstract musical transformation triggers an emotional change, as the initial motifs are now presented in their inversed form in order to create a much brighter harmonic landscape. Moreover, in the last part of the piece, “Renewal”, the grim, tense atmosphere of the first part is transformed into a great energy. Other Lives was commissioned by the Valaisia Brass Band.

SEK 2119.00
1

Austrian Overture : Die Österreichische

Austrian Overture : Die Österreichische

Austria is an industrious country. During the last century—which was characterized by extreme changes—the hard-working and ambitious people achieved a great deal, enduring two world wars and numerous political skirmishes. Despite all the problems involved in a change from a dual monarchy to a small state, Austria has found its independence. With his Austrian Overture, Thomas Doss looks toward the future. The first part of the composition provides an optimistic outlook; along with the happiness and energy, some musical humor is also present: while the horns powerfully express joy, small yodeling melodies sound throughout. As the rhythm continues insearch of new ways to go, catchy tunes compete to be heard. However, in addition to the energetic, diligent Austria, there’s also the quiet landscape where one can enjoy repose and beauty. These aspects - as well as the freedom of spirit and cultural life -are conveyed in the second part of the work through the surprising linking of chords, romantic phrasing, and tender melodies. But life never stands still: creativity, ambition, and work are the driving forces of our existence. Embracing this thought, a reprise of the first part provides a compelling ending.

SEK 2367.00
1

STEEL STRING SUPREME SRV GUITAR PEDAL

STEEL STRING SUPREME SRV GUITAR PEDAL

LENNY CLEANS TO TEXAS FLOOD LEADS - THIS PEDAL'S GOT IT ALL! When it comes to Texas-style glassy clean and fat lead tones, the Vertex Effects Steel String Supreme (Slight Return Version) — based on serial #001 of a legendary six-figure Dumble Steel String Singer — is the only tone shaper you'll need in your arsenal. Whether you're front-ending a stage amp with the Slight expanded all-analog preamp, feeding a little Texas sugar into your Amp Modeler, or even running straight into a Cab Simulator/IR Loader, this pedal is guaranteed to put a smile on your face. Just like the amp it's named after, the Steel String Supreme (Slight Return Version) is characterized by a fat and glassy tones sound that absolutely marinates signals in tubelike harmonics as you ramp up the gain. The Slight Return Version's active EQ and Bright/Deep + Rock/Jazz switches add new tone-shaping capabilities from the original SSS and bring you a bit more available top end "glass" and a little more low-end "snap" to this latest addition to the Steel String family. From subtle fattening and clean compression to full-on overdrive, the Vertex Effects Slight Return Version is the next best thing to having the real-deal SSS in your rig. REINTRODUCING THE SLIGHT RETURN VERSION Reviving the popular "Slight Return Version" model was a no brainer!  The original Slight Return Version (during the Steel String MKI era in 2018) routinely fetches upwards of $400 on the used market with its cult following:   However, now in 2021, we're re-releasing the Slight Return Version in our new multi-channel "Supreme" format.  The Steel String Supreme Slight Return model takes all the great aspects of the original 2018 model and adds all the magic of the added "Supreme" channel with the ability to run direct into a cab sim or use the pedal as an analog preamp in front of any tube amp to get the ultimate D*style clean tones.  See them below side-by-side below - (exact same enclosure size), but more than double the features, two independent channels, and added toggle switches for more Stevie-ish "glass" and "fatness" with the Bright/Deep and Jazz/Rock switches: BASED ON THE ORIGINAL DUMBLE STEEL STRING SINGER (SSS) Players like Eric Johnson, John Mayer, and that iconic Bluesman from Austin, TX have all sung the praises of a rare 100-watt 6L6 blues machine that achieved legendary status in the mid-1980s. And whether its a sip of that Texas tonal flood or the intoxicating Lenny cleans that you're searching for, the Vertex Steel String Supreme Slight Return Version — successor to the Steel String MKI Slight Return Version is packing 500% more tone-shaping potential — faithfully captures that "SSS" (that's "Sparkle, Squish, and Saturation") magic in a pedalboard-friendly stomp. Below is the actual amplifier we used to voice the Steel String pedal, Dumble SSS #001:   D-STYLE CLEANS WITH GLASS AND SNAP With gain settings below 1:00, the Slight Return Version makes a highly versatile fat boost, with an active EQ section to dial in that D-style midrange shaping your instrument demands. Above 1:00, the Slight Return Version sweetens your signal with vine-ripened drive characteristics matured in the Texas sun. Wide open, this pedal packs enough juicy gain to take you well into overdrive territory. All the while, true bypass operation preserves your dry signal whenever you don't have the Slight Return Version engaged — though, if you're anything like us Stevie Ray fanatics, it's pretty much a nonissue, since you'll never want to turn this thing off. The SSS Slight Return Version is assembled in California and comes in a rugged steel housing with authentic D-style appointments resembling a special Dumble Steel String Singer owned by an iconic Texas Bluesman: Below is an actual 1980's Dumble SSS - black/black with white text, black chicken-head knobs:   Bleow is the SSS (Slight Return) pedal emulating the colors and knobs of the above Dumble Amp: STEEL STRING (SLIGHT RETURN) FEATURES: Based on model #001 of an original run of legendary 6L6 blues machines A true amp in a box — designed to go into tube amp or direct to Cab Sim/IR Loader Inspiring glassy touch sensitivity, warmth, and low-end snap Versatile Gain and Level controls make this a capable clean boost or full-on overdrive  Re-shaped EQ, Bright/Deep switch, and Rock/Jazz switch for the perfect "Texas Tone" compared to the original SSS Rugged steel housing Authentic D-style aesthetics, resembling an inconic Texas Bluesman's amp True bypass switching Designed in California

SEK 3309.00
1

Nux MG-30 guitar-multieffekt-pedalboard

Nux MG-30 guitar-multieffekt-pedalboard

The MG-30 is the professional solution for the guitarist who wants a fantastic sound combined with loop function, drum machine and tuner. The MG-30 is equipped with a wide range of integrated effects, which include overdrive/distortion, amp simulation, I.R cabinet simulation, modulation, delays & reverbs. All together with a number of options within each effect category. The sound processing is based on the NUX TSAC algorithm, which enables the MG-30 to create ultra-realistic analog circuit simulation of some of the most used and popular effects that you can buy today. Effects and amp simulations are controlled by 2 powerful NXP RT 32-bit processors, which drive the MG-30's impressive 1024 sample IR sound resolution with an ultra-low latency of 2 ms, and a dynamic range of a whopping 110 dB. The NUX MG-30 gives you 30 amp simulations that you can choose from and customize. Among the 30 amplifier simulations, we find 25 of the most used and sought-after guitar amplifiers throughout the ages, i.a. various Marshall, Fender and Vox amps as well as Roland, Hiwatt, Soldano, Mesa Boogie and Friedman simulations. In addition, the MG-30 contains two acoustic amp simulations and three bass amp simulations. You customize the sound with eight different speaker cabinets, eight microphones and 3 different microphone positions. The effects are divided into 8 blocks, where you can choose between 5 different wah effects, 3 compressors, noise reduction, 12 distortion/overdrive, 4 equalizers, 13 modulation effects, 7 delay effects and 5 different reverbs. Added to that is the MG-30's extensive Looper function. 4 the cable method You can achieve a significant improvement in your guitar sound if you take care to separate delay/reverb and modulation effects from overdrive, distortion and compressor effects. Delay, reverb, chorus, flanger and other similar effects simply sound better if the effect signal is passed through the amplifier's effect loops, while distortion, compressor and boost effects sound better if they are placed first in the signal chain - before the signal enters the amplifier. By using the 4 cable method, the MG-30 makes it possible to place the distortion effects first in the signal chain, while the delay/reverb and modulation effects have their own output and input, so they can be integrated into your amp's effects loop where they belong. In this way, you get the opportunity to create the same type of signal routing that you would use in larger rack and studio effects setups. Multi-effects board with 30 amp simulations, looper Simulation of well-known effects, preamps and cabinets 51 effects, up to 8 simultaneously Guitar World's best new product 2021 Large 4" LCD screen gives you total control on stage The MG-30 also has a tuner, expression pedal, color display, tap function, etc Delivered incl. 9V power supply and NMP2 Dual Footswitch NUX Quick Tone editor for MAC/PC

SEK 3823.00
1

IK Multimedia TONEX ONE

IK Multimedia TONEX ONE

IK Multimedia TONEX ONE - En komplett liverigg i mikroformat! En pedal, 20 kompletta riggar - Över 20 000 gratismodeller och hundratals premiumkollektioner tillgängliga på IK Tone.net. Aldrig har så mycket gitarrljud fyllt så lite! TONEX ONE representerar en revolution inom exceptionell ljudkvalitet i fickformat. IK Multimedia överraskade många med introduktionen av TONEX PEDAL, vars exceptionella ljud tog gitarrvärlden med storm. Men det är inte för IK att vila på lagrarna, så TONEX One är ett naturligt tillskott till den växande TONEX-familjen. Samma höga ljudkvalitet på mycket mindre utrymme. IK har packat in tekniken i ett micro stomp-format, och med detta är världens mest kompakta, fullt programmerbara gitarrpedal verklighet. Allt-i-ett. Eller flera! TONEX ONE kan ersätta vilken förstärkare, boost, overdrive, distortion eller fuzzpedal som helst, och dess kompakta storlek gör den superflexibel. Du kan ha hur många TONEX ONE-enheter du vill, så att du kan bygga förstärkare, boostar, overdrives, distorsioner, fuzzes, etc. Dessa kan kombineras med dina favoritförstärkarmodeller eller med en TONEX PEDAL eller TONEX ONE som fungerar som en förförstärkare och/eller förstärkare och sedan träffar PA-systemet direkt. De 3 redigerbara minikrukorna kan färgkodas så att flera TONEX ONE-enheter lätt kan urskiljas i en pedalbräda. Färgglatt och flexibelt De anpassningsbara färgerna på miniknapparna som är förknippade med varje förinställning erbjuder också ytterligare fördelar. De hjälper dig att skilja mellan A/B- och Bypass-lägen och gör varje TONEX ONE-enhet lätt att känna igen på din pedalbräda. Till exempel kan du ha overdrive i rött, distorsion i blått, fuzz i lila och de två förstärkarkanalerna i en enda TONEX ONE-enhet omväxlande A/B-läge i gult och grönt. Tillgängliga färger inkluderar röd, grön, bärnsten (standard), gul, cyan, blå, rosa, lila och vit. Dessutom finns en möjlighet att stänga av lysdioderna helt, för t.ex. mer formella miljöer som på teatrar eller andra evenemang där ett mer diskret uttryck är att föredra. Specifikationer Modellerande gitarrpedal i mikrostorlek +20 000 (växer fortfarande) gratis tonmodeller och hundratals premiumkollektioner tillgängliga på IK Tone.net Samma överlägsna bygg- och ljudkvalitet som sin storebror, TONEX PEDAL 20 inbyggda tonmodeller (anpassningsbara och utbyggbara via TONEX programvara) 3 programmerbara förinställda platser med 2 olika lägen: "dual mode" för A/B switching och "stomp mode" för klassisk ON/Bypass. Blixtsnabb exakt tuner som använder de tre mikroknapparnas lysdioder som indikatorer Fungerar som ljudkort via USB-C för inspelning eller uppspelning Direkt tillgång till Amp, 3-bands EQ, Gate och Comp Threshold, Reverb Mix och Volym Beteendet "Alltid sparat" säkerställer att ingen justering går förlorad Säkert läge skyddar mot oavsiktliga parameterändringar under körning Två funktionslägen: "dual mode" för A/B-växling och "stomp mode" för klassisk ON/Bypass Global skåpbypass 3 programmerbara bakgrundsbelysta RGB-mikroknappar TRS stereoutgång, eller direkt anslutning till andra pedaler eller förstärkare Medföljande programvara: TONEX SE och AmpliTube 5 SE Mått: 94 x 48 x 53 mm Vikt: 160 gr Strömkälla: 9V DC, 120 mA nätadapter (ingår ej)  

SEK 2346.00
1

Goldberg 2012

Goldberg 2012

The first time I heard Bach's Goldberg Variations was in the movie Silence of the lambs, in the early 1990s. I noticed the beautiful background music in one of the scenes, but at that time I didn't know what it was. A few years later, when I was studiying at the Grieg Academy, I got to know the entire piece. For me, this is a piece of music which I can listen to countless times. I think it sounds as fresh today as it did more than 15 years ago and it never ceases to inspire me. Both Bach's composition and Glenn Gould's famous 1955 recording (which was the first one I heard) still makes a great impression on me. Before Gould recorded it at age 22, it wasn't a highly ranked piece amongst pianists and Bach was by many viewed as a bit old-fashioned. The young Canadian turned all this around. He managed to portray Bach in a reformed way, producing fine nuances in phrasing and making the many layers in Bach's music more transparent than anyone before him. Thus he plunged both himself and Bach (back) onto the international music scene. When The Norwegian Band Federation (NMF) asked me to write the test piece for NM in 2012, it was only natural for me to use the Goldberg Variations as a starting point and inspiration for my work. Since I was a teenager at NMF's summer courses in the mid eighties I've always listened to many different styles of music. Growing up in Sunnmøre with the Brazz Brothers as teachers and mentors, jazz-, pop/rock- and folk music were early on a natural part of my musical background. I also have my classical education from the Grieg Academy on trumpet. As the title of my piece implies, I've wanted to bring Bach to the present and put his music into various modern musical landscapes. I think you can bring about a special kind of energy when music from different genres are mixed and I've tried to do this by mixing Bach with artists and musical styles from the present. In Goldberg 2012, the music is often constructed by several layers, which in a way are living parallel musical lives. They are seemingly moving or floating freely, almost unaware of each other, but bound together by the same basic pulse. The rythms, however, are often notated on a different rythmic subdivision level than the usual 8th- or 16th note levels. By doing this, I hope to achieve transparent sounds that rythmically are perceived as more free and detached from each other. In large sections of the piece, pop/jazz is fusioned with elements from Bach. I guess you could have this little scene as a synopsis for the piece: picture a group of musicians meeting: some are classical performers, some are jazz. They start to improvise together, each in their own voice or musical dialect and I'm sort of in the middle, trying to write down what they are playing. This is what I feel much of Goldberg 2012 is about. The foundation of the piece, in addition to Bach and references from pop/jazz music, lies also in my own material. This material, basically two chords, is heard in it's purest form in the 1st movement. I use these chords to create scales, new chords and different motifs which contribute to blend together the different moods of the piece. It has not been my intention to copy Bach's form (theme and 30 variations), but rather to use the bits and pieces that I like the most as an inspiration for my own variations. The 1st movement, Aria 2, is for my 3rd son, Olav, who was born on the 21st of April 2011, and the 5th movement, From long ago, is dedicated to the memory of my father, Svein J. Giske, who passed away on the 6th of June 2011. -Svein H. Giske, January 2012-

SEK 5011.00
1