Afternoon sound 60s

Buy Various - Sunny Afternoon - The Sound Of The 60s - Part 5 (CD, Comp) for R40.00

Buy 16 #1 Hits - The Early 60s - The Motown Sound - Vinyl LP Record - Very-Good+ Quality (VG+) for R249.00

pressed in the USA late 50s early 60s ?  by capitol records SW 750 cover-VG++ still in factory plastic  vinyl - VG++

 Rarely used and in excellent condition. Used in home studio for a couple of years but mostly safely boxed away. Kept in a smoke free studio.Unit still looks new.   560 Discrete 10 Band Graphic EQ   Features 10 bands of API proprietary equalization Familiar graphics operation on one octave centers 12 dB of boost/cut per band "Proportional Q" narrows filter Q at extremes Additional resolution within the ±4 region Center detent for reliable reset Silent bypass button Based on the original 1969 API 560 EQ  Originally conceived for use in API consoles of the '60s and '70s, the 560 is a unique device designed to accomplish tasks that no other EQ can. Extremely fast to set and reset using accurate zero detents, the curve shaping potential of the 560 remains unmatched. With a wide range of 500 mounting options, from racks to consoles, the 560 proves an invaluable asset to all critical performance applications. Based on API's original 560 EQ, the current production 560 has improved resolution in the ±4 dB area and possesses our exclusive circuitry and proprietary components, including the API 2520 Op Amp.  The extraordinary headroom made possible with the 2520 offers consistent analog performance even when using radical EQ curves. Of course, the 2520's ability to drive low impedance loads is key when it is paired with API's custom output transformers. The results are quite audible with better low frequency reproduction and tighter imaging, which gives you that legendary API "punch in your gut" sound.  The 10 precision EQ bands make the 560 ideal for signal sweetening and room tuning. A great companion to a parametric EQ, the 560 utilizes API's unique "Proportional Q" design introduced during the '60s. This design intuitively widens the filter bandwidth at lower boost/cut levels and narrows it at higher settings. Additionally, boost and cut characteristics are identical, allowing previous actions to be undone if desired.  Reliable, durable and uniform, the API 560 EQ delivers that "one-of-a-kind API sound" with precision easy set filtering and high headroom in a compact package. If you want the sound of classic American music in an easy-to-set graphic EQ package, you want the API 560.

This item is sold brand new. It is ordered on demand from our supplier and is usually dispatched within 15 - 20 working days Brian Godding and Jim Cregan were still Blossom Toes' chief songwriters on their second album, but the LP stands in bold contrast to their debut in sound and attitude. Having scuttled the orchestras and developed their chops in the two-year interlude, the record bears the influence of heavy California psychedelia and Captain Beefheart with its intricate, interwoven guitar lines and occasional gruff dissonance. The more serious instrumental approach spills over to the lyrics, which are somber and at times even gloomy, occasionally reflecting the social turbulence of the late '60s, with their uncertain tenor and references to ominous "peace loving men" and "love bombs." Far less uplifting than their debut, the weighty approach is leavened by the close harmonies and sparkling guitar interplay. While not as memorable as the first album, it's above-average late-'60s psychedelia that almost acts as the downer flip side to the stoned, happy-face ambience of their early work. ~ Richie Unterberger Features Summary Brian Godding and Jim Cregan were still Blossom Toes' chief songwriters on their second album, but the LP stands in bold contrast to their debut in sound and attitude... Contributors Blossom Toes Format CD Release date 20070625

Vox's V845 Wah Wah Pedal preserves the spirit and tone of the early VOX wah-wah pedals"a sound still sought after by today's players. Designed to withstand the rigors of life on the road, the V845 features a solid yet lightweight die-cast aluminum housing, as found on authentic VOX wah pedals from the 1960s. The Vox V845 Classic Wah Wah Guitar Effects Pedal is based on the specifications of the original pedal developed by VOX in the '60s. The V845 Wah-Wah offers guitarists the same legendary Wah-Wah tone in a new sturdy but very affordable design. The fitted AC power connector saves on batteries and the outer case is coated with tough all-black finish making the VOX Classic Wah-Wah a perfect choice for your pedal board. VOX developed the world's first Wah Wah effect during the '60s to give guitarists the ability to sound like a trumpet being muted-an important musical ingredient of the day. VOX's original Wah Wah pedal quickly gained widespread popularity and its unique sonic characteristics have encouraged further experimentation by guitarists ever since.

Moog Mother-32 is the first semi-modular tabletop and Eurorack synthesizer from Moog. The Mother 32 adds raw analog sound, sequencing and extensive interconnectivity to any electronic or modular ecosystem and was meticulously designed to provide musicians with a diverse array of creative tools to i nspire new music, unique sound and endless sonic exploration. In superb condition! Only 1 patch cable though but a supplier in SA has packs of 5 at around R200.  Collection from Northcliff Johannesburg - you could arrange a courier to collect if you are not in the Johannesburg area, I don't arrange courier deliveries but I can assist with recommending some reasonably priced couriers..  Payment within 24 hours after order being placed please, thank you:) Please allow 24 hours for collection as I may not have some for sale items on my premises. Late afternoon collection only, unfortunately morning collection is not possible.  

If you're looking for old-school analog handling in a package armed to the teeth with modern reliability, the search is over. This mixer's British EQ, 24 mic inputs (each with its own built-in studiograde XENYX preamp), 8 stereo inputs and 8 buses give you enough leeway to craft the recording of your dreams or create the perfect mix for a live show. What the Heck is "British EQ"? British EQ is a smashing thing to have on your side when you start reaching for those channel equalization knobs at a live concert or in the studio. The EQ's on British consoles from the 60s and 70s are what many engineers believe does their sound the best justice. When it comes to tweaking your sound, they're kind, gentle and above all, musical. It's like drinking a fine scotch instead of fortified wineor maybe receiving a warm hug instead of a kick to the crotch. British EQ's distinct configuration of wider curves/lower Q and harmonic phase characteristics allows you to add or subtract EQ more generously than you can with conventional EQ circuit designs. When you add low midrange, you get a firmer sound instead of a nasty bonk. When you back high frequencies off a bit, treble backs off just a hair instead of turning muffled. The Ins and Outs Some manufacturers make what they call 32-input mixers that count features like CD/TAPE IN as an input. But the SX really gives you 24 mono channels and four stereo channels (with two 1/4" inputs apiecean additional 8 inputs), making it easy to accommodate a wide variety of studio or live performance configurations. That means you can connect up to 24 microphones or other mono instruments and up to four stereo instruments (keyboards, for example). You also get eight buses, allowing you to assign multiple channelssay all the mics on a drum kit or all the backup singers' micsto a single fader. Best of all, you don't need a black belt in engineering to operate the SX. The mono channels are grouped along two-thirds of the board, featuring dials in uniform primary colors (Gain in white; EQ in blue; AUX in red; Pan in black). Sub groups are located next door to the Main and Mono faders in the bottom right corner. Directly above, there's a handy built-in talkback mic that sends signal to your AUX 1-2 monitors via a push button, as well as a multi-purpose 13-LED master level meter to give you a dynamic visual gauge of the selected output. The SX's intuitive patch bay makes it equally at home in the club or studio. You get two balanced XLR MAIN outputs as well as a two 1/4" TRS MAIN outs. There's also a 1/4" MONO OUT (perfect for a subwoofer output). Eight SUBGROUP OUT jacks allow you to send your buses to an external recording device. This section also includes AUX SEND jacks for connection to monitors, CD/ TAPE input and output jacks, and FX send/return jacks for use with outboard effects processors. Directly below, you'll fi nd the 1/4" headphone/ control room out jack. A Million Ways To Change The Channel At the top of each mono channel, you'll find both a balanced XLR input with a XENYX mic preamp and a 1/4" input. A phantom power switch located on the back near the main power switch accommodates condenser mics. Each mono channel has a 3-band EQ with semi-parametric mids (giving you control of the Mid level and a sweepable frequency with a boost or cut of 15dB) and a Trim control for adjusting input gain via a Level Set LED. A Low Cut button eliminates the frequencies where unwanted infrasonics such as mic handling noise occur. The eight AUX dials control the volume of the AUX SEND 1/4" output signals (more on that below). Stereo channels feature the same functions, but a with dual 1/4" inputs and a different EQ. Instead of sweepable mids, stereo channels feature High Mid and Low Mid dials, both with bell center frequencies set at 8 kHz and 800 Hz, respectively. This is especially useful for EQ'ing the critical midrange frequency content found in keyboard signals. Near every mono channel's fader you'll find a and MAIN button. By engaging the MAIN button, the signal is sent to the main mix. Or, if you engage the 1-2 button, the channel becomes part of a bus. Twist the PAN control all the way to the left to assign it to Sub 1, or all the way to the right for Sub 2. The same principle applies to the and 7-8 buttons. A Mute button with accompanying LED cuts the signal from the channel, and a Clip LED helps you dial in a distortion-free post-EQ signal. The Solo button on individual channels routes the subgroup signal to the solo bus or Pre-Fader Listendepending on whether the signal has been included in a subgroup. Finally, each of the eight buses feature an independent fader, Solo switch, and Left and Right buttons to assign them to Left or Right stereo channels. Buy it now. Teach your great grandkids how to run it. BEHRINGER mixers last and last. We use top quality parts such as longwear faders, sealed rotary controls and premium circuit boards. We have 20 years of experience figuring out how to compensate for clumsy loadins, spilled drinks, crazed guitarists and millions of road miles. The result is a mixer you can count on day after day and night after night. Hitch Your Art to the AUX The SX has eight AUX SEND outputs as well as eight AUX return inputs, giving you more routing options than a Los Angeles road map. AUX SEND 1-8 allow you to send the signal governed by an individual channel to an outboard FX unit or EQ. Meanwhile, the AUX returns can be thought of as eight extra line inputs working as four stereo pairs. You can apply up to 20 dB of gain to these inputs. AUX returns 1, 2, 7 and 8 allow returning FX to be sent to tape, and, along with 5 and 6, are also good for cuing artists via headphones. AUX returns 3 and 4 are always assigned to the main bus. Take On The World Not every town on the planet uses the same voltage common in yours. Unfortunately, this sometimes doesn't occur to jet-setting sound technicians until they're miles from home. With the SX, this is never an issue. The internal auto-range power supply can run on anything from 100 to 240 V with noise-free audio, top-quality transient response and low power consumption. Why Do You Need This Mixer? Built-in pristine XENYX mic preamps British-style EQ dials give you the sound and control preferred by top studio engineers Awesomely complete I/O everything from bus inserts to mono output Product Features: Behringer SX Mixer

This item is sold brand new. It is ordered on demand from our supplier and is usually dispatched within 24 hours "On the last album, there was too much of me." That s how Anthony Gonzalez - the sonic auteur behind the sublime sound of M83 - describes the primary inspiration for his forthcoming album JUNK, released in April 2016. Album opener "Do it, try it" is a catchy yet melange of old school house music pianos, synthesized vocals and pop art bubblegum hooks. For this album Gonzalez found himself listening to 60s film soundtracks and 70s groovy hits for a fresh timeless sound. Highly anticipated, JUNK is not just M83's first studio album in half a decade; it s also the follow-up to Hurry Up, We re Dreaming - which, upon release in 2011, placed M83 in the direct current of the mainstream. Features Summary "On the last album, there was too much of me." That s how Anthony Gonzalez - the sonic auteur behind the sublime sound of M83 - describes the primary inspiration for his forthcoming album JUNK... Contributors M83 Format CD Release date 20160418

Pro Bassman Sound and Style The Bassman 500 combines Fender's world-standard "blackface" tube preamp with a lightweight 500 watt Class D power amp. Its dual-channel design uses modern technology to maximize classic technology, with classic Fender '60s "blackface" styling and a wealth of innovative features on the front and rear panels. A vintage channel that delivers the full, warm sound of classic Fender amps with passive tone stack and an overdrive channel that delivers the aggressive and responsive sound of a modern active tone stack (choose between channels with included footswitch). The Bassman 500 mates perfectly with Bassman Pro Series Neo speaker cabinets and Rumble V3 410/115 cabinets. Features 500 watts of tube/Class-D hybrid power Tube preamp Lightweight design (only 17 lbs) Switchable tube overdrive XLR line out with ground lift, level control and pre/post EQ switch Pull "Mute" for silent tuning

Formed in 1964 in North London by Brothers Ray and Dave Davies, The Kinks incredible career spanned over three decades. To this day they are still recognised as one of the most important and influential bands of the era. Hitting the big time with their third single You Really Got Me the band went on to release a series of critically acclaimed albums. Not only hugely successful in their own right they were also inspiration for many other bands in the late 70 s and 80 s with the likes of Van Halen, The Jam and The Pretenders all covering their songs. In the 1990 s even the likes of Blur and Oasis cited them as a major influence on their own sound. Using archive footage and interviews with Ray Davies, former Managers Larry Page and Robert Wace this fascinating programme tells the story of this great band. Also featured is music footage of some of the bands greatest tracks including You Really Got Me Going, Tired of Waiting for You, Set me Free, Sunday Afternoon, Waterloo Sunset, Lola, Plastic Man, Dead End Street, Mr Pleasant and Apeman. The Kinks are without doubt one of the UK s greatest rock bands and this is their incredible story.    

Handwired 18-watt 2-channel All-tube 2x12" Guitar Combo Amplifier with Tube Tremolo - Black. The 18 Watt 1973X is an accurate re-issue of the revered 1973 dual-channel, all-valve, 2 x 12″ combo, produced between 1966 and 1968. Just like the original the 1973X is hand soldered, with valve-driven Tremolo, and no negative feedback in its cathode-biased EL84-driven output stage. Its two-channel design is straightforward and effective – just Volume and Tone controls on channel one, and Volume, Tone, Speed and Sensitivity on the Tremolo channel. Because of its lower Wattage, the 1973X’s power valves will overdrive sooner than an amp of higher power. This means that the 1973X produces harmonically rich and responsive, vintage Marshall tone at volumes that won’t shift your hearing; this is great for the studio, and gives you greater control of your live sound. That said, at full whack it still packs quite a punch. The T1221/67 Greenback speakers used in the original 1973 combo would mature over time, their sound softening with age. The special 12″ Celestion® G12M-20 Greenbacks in the 1973X have been ‘aged’ to get as close as possible to that vintage, ’60s mojo. Power: 18W Two inputs ” standard and tremolo Controls: Volume, Tone (channel 1); Volume, Tone, Speed and Sensitivity (tremolo channel) Tube complement: 2xECC83 (pre-amp); 1xECC83, 2xEL84 (power amp) Speakers: 2x12" 20W "aged" Celestion G12M-20 Footswitch included. BRAND NEW WITH FULL WARRANTY www.nxtleveltech.co.za NATIONWIDE DELIVERY OFFERED

Setting the Overdrive Bar Higher Mesa/Boogie made the Grid Slammer overdrive pedal to make sure you've got a commanding guitar tone whenever you need it. The Grid Slammer gives you a wide-range variable gain boost with a midrange bump that really makes your guitar cut through a thick mix. From sweet, warm breakup to sizzling, harmonic-laden overdrive that sings and stings, the Grid Slammer sets the overdrive bar incredibly high. And with up to 20dB of signal boost via the master level control, you'll be able to push your tube amplifier into glorious overdrive too with the Mesa/Boogie Grid Slammer overdrive pedal. Mesa/Boogie Grid Slammer Distortion Pedal at a Glance: Wide-ranging overdrive is a workhorse for your pedalboard Built tough in the USA for rugged reliability Wide-ranging overdrive is a workhorse for your pedalboard With the Grid Slammer in your guitar's signal chain, you'll be able to dial in tones from smooth, subtle breakup through to classic overdrive tones. Use the tone control to fine-tune your sound. And if you've got a favorite tube amplifier that just loves to be hit hard, you can boost your signal by up to 20dB to help your amp find its sweet spot. Built tough in the USA for rugged reliability Mesa/Boogie has been hand-building some of the most sought after guitar gear in Petaluma, CA since the late '60s. Early fans of Mesa gear include Carlos Santana and Keith Richards, guitarists whose tones have been chased by countless musicians ever since. When you plug into the Grid Slammer, you're tapping into decades of innovation. Especially if you gig regularly, you'll appreciate the top-notch sound and construction you get in the Grid Slammer. Mesa/Boogie Grid Slammer Overdrive Pedal Features: Versatile overdrive pedal with tone control True bypass switching ensures you maintain your tone Master level can add up to 20dB of signal boost Powered by 1 x 9V battery or optional power supply (sold separately) Designed and handbuilt in the USA Inject serious mojo into your amp with the Mesa/Boogie Grid Slammer! Tech Specs: Pedal Type Overdrive Inputs 1 x Instrument Outputs 1 x 1/4" Batteries 1 x 9V Power Supply Included No

DIMARZIO - DIDP419W Area '67 WH The Monterey Pop Festival of 1967 was a watershed event in American music. When it was over, the world had heard and felt the sound of a Strat® in the hands of a master. Single-coils in 1967 were bright and very clean. And, of course, they hummed. We've captured the classic bright and clean sound but totally eliminated the hum with our patented Area¿ technology. We've also reduced magnet pull by 40% for improved sustain and clarity. The Area 67¿ has the chime of 60s pickups, and the 2 and 4 positions are light, bright and quack-hap

The Monterey Pop Festival of 1967 was a watershed event in American music. When it was over, the world had heard and felt the sound of a Strat in the hands of a master. Single-coils in 1967 were bright and very clean. And, of course, they hummed. We've captured the classic bright and clean sound but totally eliminated the hum with our patented Area technology. We've also reduced magnet pull by 40% for improved sustain and clarity. The Area 67 has the chime of 60s pickups, and the 2 and 4 positions are light, bright and quack-happy.