Kestrel 3000 Measures Temperature Windchill Pic

Kestrel 3000 Measures Temperature Windchill Image

Kestrel 3000 Measures Temperature Windchill Picture

Kestrel 3000 Measures Temperature Windchill Photo

Most helpful customer reviews

See all customer reviews…

Paper Jamz is the only lowpriced and progressed play instrument that provides an instant rock star experience and open-ended play. The originative blend of engineering science and play is made possible with Active Graphics Technology which allows for circuit-embedded paper, enabling you to play like a pro by plainly touching the paper surface. Play your Paper Jamz productions and more. Built-in speakers. Long battery life Integrated handle.

Wow Wee Paper Jamz Style Image

Wow Wee Paper Jamz Style Pic

Wow Wee Paper Jamz Style Photo

Wow Wee Paper Jamz Style Photo

Most helpful customer reviews

1 of 1 people found the following review helpful.
Paper Jamz Rock
By Nanette Fisher
Santa brought an entire paper jamz band for my 7 year old. He loves putting on a rock n roll show for the family. The fun and enntertainment the family has enjoyed had been priceless.

1 of 1 people found the following review helpful.
So far so good
By Boston Lori
This was a Christmas present to my 9 yr old along with Paper Jamz instruments. It serves its purpose and seems to be well made. The best part is that we (he!) figured out that he could plug his MP3 player into it and use it as a speaker!

0 of 0 people found the following review helpful.
Excellent Toy for Price
By Jennifer Fortune
Great amp for the price. Will even play my iPod!

I was very impressed with the quality for the price. Must have for the guitar.

See all 6 customer reviews…

About the ActorMusician, Educator and Author Mark John Sternal started out instructing his trademark method to private guitar students in 1991. He was only 17, with one year left of High School before he would attend Richard Daley College in Chicago. By 1994 Mark relocated to Florida, and with him came the manuscript of his firstborn book. The piece was titled Total Scales Techniques and Applications, which Mark sold to his private students. One afternoon a student’s friend came into the music store where Mark was teaching. He explained that he had seen the manuscript and wanted to buy one for himself. This dealing sparked the idea to put the manuscript up for sale online. The manuscript sold so well that Mark was competent to quit his ‘other job’ as a student loan consultant, and pursue music full time. By 2002, fueled by user feedback and testimonials, Mark’s growing number of music instruction titles awarded him national recognition. In 2004 his proven methods became available to the marketing music industry. For most of 2006 and all of 2007 MJS kept the #1 best retail music instruction slot at a great deal of of the greatest music and book stores in the United States. In March 2008 MJS Music & Entertainment introduces Mark’s GUITAR DVD #1 Beginner Basics & Beyond. October 2008 introduced the BASS GUITAR DVD #1 Beginner Basics & Beyond.

Other titles include:
BASS GUITAR DVD #1 Beginner Basics and Beyond (also available for Guitar)
Easy Guitar Chords DVD
Easy Guitar Scales DVD
GAMERS TO PLAYERS Guitar DVD Documentary
and the #1 best syndication series Total Scales Techniques and Applications.

Guitar Total Scales Techniques Applications Photo

Guitar Total Scales Techniques Applications Photo

Guitar Total Scales Techniques Applications Photo

Guitar Total Scales Techniques Applications Image

Most helpful customer reviews

2 of 2 people found the following review helpful.
bass instructions written by a guitar player
By THOMA8D
first off i want to say that i believe there are two types of musicians. the players, and the learners. learners being the type who spend more time learning theory than they do actually playing. which is where i would put this guy. he seems to know a lot but his knowledge of the theory far surpasses his ability to play bass. another thing i noticed is that this guy is obviously primarily a guitar player who is just taking what he knows and trying to cash in off the bass market as well. but i dont want this to sound like a bashing. this is a decently presented instructional dvd that does present some good information. but if i were to recommend a bass instructional dvd to someone i would be quicker to suggest others that were written by acutal bass players.

there is a ton of scale information here just as advertised. but the sections tend to just bleed together one after the next. so to make sense of it all you will probably be watching this video over and over or just giving up on it.

See all 1 customer reviews…

Usb Audio Recorder Picture

Usb Audio Recorder Picture

Usb Audio Recorder Photo

Usb Audio Recorder Image

Most helpful customer reviews

0 of 0 people found the following review helpful.
Recorder
By ssw
Compact and easy to use. Easy loading to a computer. I use to record our rehearsals often and I love it! Thanks.
ssw

See all 1 customer reviews…

Audioengine Pic

Audioengine Picture

Audioengine Photo

Audioengine Image

Most helpful customer reviews

87 of 89 people found the following review helpful.
Comparison with M-Audio Studiophile DX4
By rgonzale
I got the A2 for use as a portable studio monitor when recording music with my laptop. As such, I think its form factor is unmatched: I don’t know of any other 4″W x 6″H powered full-range (2.0) speaker of this quality.

I appreciate the stated frequency response figure, which is offered with plus/minus 2dB tolerance — unlike other iPod or computer speakers. The cabinet is made from MDF (medium density fiberboard), a material used in many of the most well-regarded audiophile speakers. The Kevlar woofer and quality binding posts also inspire confidence. A protective grille and front-mounted volume control might have been handy, but that’s a matter of preference. I got the white (A2W) model which is understated and attractive.

I’m comparing the A2 with the larger (5.5″W x 8.5″H) M-Audio Studiophile DX4 speaker, which is intended for home music studios. The DX4 is actually a little less expensive, but too bulky for portable use. The DX4 comes with individual frequency response measurements which in my case indicated close pair-matching and equally flat response to that of the A2. Anyone who has built speakers knows, however, that on-axis frequency response measurements don’t tell the whole story. I did not compare the A2 with larger or more expensive speakers, and my emphasis is on use as a monitor for mixing music.

Dynamics. The A2′s little 3″ woofer is surprisingly dynamic: turn up the volume control and you can feel the air pumping in front of the cone and the slot. The speaker sounds balanced at both low and high volumes. A speaker this size is of course only for near-field individual listening. It is not for watching movies from across the room. The DX4′s 4.5″ woofer has more than twice the surface area and is capable of higher sound pressure levels.

Imaging. Probably a consequence of the well-damped MDF enclosure, the A2 images nicely. Instruments do not seem to come from the speakers but from the space between them. The DX4 had better depth and openness however. I think these characteristics are partially due to the DX4′s low-frequency extension and high-frequency dispersion.

Frequency balance. The A2 delivers more bass than you would expect from a 3″ woofer. Of course, there is nothing below 60Hz. The mid and upper bass are a little pronounced. (The effect is worse when resting directly on a desktop, so try raising them on stands.) This makes a grand piano sound more like an upright. The DX4 manages to go deeper and sound less boxy. The A2′s midrange is smooth and natural sounding. The A2′s treble character is quite different from the DX4′s. The DX4 is a little hyped without being harsh: grunge guitar has more of an edge and cymbals have a more pronounced decay, yet high-hats sound similar to the A2.

Mixing/Mastering. The DX4 has better bass extension and treble clarity and lets you hear individual instruments more easily, so is well-suited to mixing. On the other hand, the DX4′s perceived treble “zing” may in some cases lead a recording engineer to produce dull-sounding mixes. The A2 is probably more representative of small consumer playbacks systems (bookshelf speakers and car speakers), yet is less colored and more dynamic than similar-sized powered speakers. Therefore it offers a useful comparison for balancing mixes and for assessing the final mix. Its small size and smooth midrange make it suitable for portable monitoring.

Incidentally, the A2 has both RCA and 1/8″ stereo inputs which are combined if both are in use, whereas the DX4 does not do this as advertised. I was also pleased with their customer service, which was responsive to emails and phone calls.

37 of 38 people found the following review helpful.
Music instead of a facsimile of music
By TECK13
The Audioengine 2 powered speakers bring music to a computer desktop or an iPod. For good or bad, I am an audiophile and I appreciate and respect great sounding gear at all price levels. I own several top-of-the-line B&W speakers so I feel I have a good reference regarding quality speakers.

Originally, I bought the M-Audio Studiopro 3s from Amazon. They are truly remarkable for under $100.00 but shortly after taking delivery the tweeter in the passive speaker (right) starting distorting at mid volume levels and higher. I actually think it was the poor connection, cheap 1/8″ patch cord and 1/8″ jacks, between the speakers inducing the distortion and not the driver itself. For those interested, the M-Audio speakers reproduced just slightly lower bass notes and the highs were more extended but the all-important mid-range (where music lives or dies) was not quite right. Thin and boxy sounding. For monitoring purposes only I suspect the Studiopro 3s were slightly more accurate to the recording but what they reproduced sounded less like music for listening/enjoying. I would have kept them if not for the distortion in the right speaker.

Anyway, I returned the Studiopro 3s and got a pair of Audioengine 2s. Now, when I am at the computer I actually stop fairly often and just listen to the music. Turn it up and toe-tap along. The equipment disappears and the music remains.

The tradeoffs Audioengine made were the correct ones. No unnatural pumped up mid-bass to compensate for the lack of any real low bass. A slightly soft high end that’s not quite accurate but exactly right for near field listening for long time periods.

Set up and details:
Both speakers were used on stands, close to rear wall, about six feet apart and toed-in directly to the working area.
Like a few others, my Audioengine power supply did go out after just a day or two but Audioengine was very responsive and sent me a new one immediately.

Bottom line.
I don’t think there is a better solution for computer music listening if small size and simplicity is critical. If your listening space has more room, I’d opt for the Audioengine 5′s for a similar sound but better and lower bass. There are also lots of professional monitors that are made for near-field listening but many are rather expensive. If the listener is not within 3-6 feet of the speakers, and can spare the room, a little extra coin, and added complication, top-notch small speakers like the Paradigm Atoms or PSB Alphas mated to a NAD C315BEE Integrated Amplifier would be a fantastic sounding alternative and offer more flexibility.

39 of 41 people found the following review helpful.
Absolutely Fantastic
By P. Jackson
I am a fairly serious audiophile with a dedicated two-channel audio system worth the price of a small car, and was turned on to these from a rave review I came across in Stereophile magazine recently. Even though I wasn’t exactly sure how I’d use them (I do almost all of my listening on my “big” system and listen mostly to vinyl), I thought I’d give these a shot with my ipod and/or laptop computer to see what all the fuss was about.

Holy cow! To say I was blown away is an understatement. How they were able to do these many things right at a price of only $200 bucks is beyond me. The sound is amazingly free of artifice and is quite neutral from a tonal balance perspective — more reminicent of a good high-end two-way bookshelf than a “multi-media” speaker. They particularly seem to have been voiced to sound good with recent ipods, for example — my 80 GB ipod was a perfect match, with a lot of dynamic snap too — far more than anyone would ever expect possible at this price point! And the bass was very well done — while obviously not going to shake the walls, all the notes were there, and I never found myself wanting for more (and this is after listening to a lot of jazz and even som R&B too). These qualities made the music very involving and fun to listen to.

But what got me was the fact that all you really need is an ipod and you have an instant, relatively portable, bona-fide high-end audio system ready to go. They are fuss-free, are not picky with set-up, and sound good with just about any digital source you can throw at it. Plus the fit and finish is just outstanding (I keep looking at the binding posts and have to remind myself in disbelief that these are $200 speakers!)

At $200 bucks, you just can’t get a more entertaining musical experience, period. They should be on everyone’s short-list – they’re that good.

See all 124 customer reviews…

Offering splendid quality at an lowpriced price, the CAD U1 records directly to your computer thru USB and is a outstanding choice for both vocal and instruments as well as for creating podcasts and voiceovers for videos. Compatible with both Windows and Mac OS operating systems, you may merely plug the U1 into your PC and commence recording.

This dynamic microphone features a cardioid pick-up pattern and a smooth, extended frequency response. A built-in popfilter takes care of annoying “P-popping sounds.” The U1 also includes an on/off switch, 10-foot USB cable, and a desktop microphone stand.

Key Features

• Applications: Studio vocals, speech, instruments, podcasts, desktop recording
• Dynamic microphone factor designed for vocals and instruments
• Cardioid pick-up pattern isolates the main sound source and minimizes background noise
• Smooth, extended frequency response is magnificent for singing, speech and instruments
• Built in pop filter minimizes “P-popping”
• On-Off switch for instant mute
• 10-foot USB cable for flexible mic placement
• Desktop mic stand included

The CAD U1 USB recording microphone makes recording vocals or instruments to your computer a plug and play operation. This dynamic microphone features a cardioid pick-up pattern and a smooth, extended frequency response. A built-in popfilter takes care of those annoying “P-popping sounds.” Perfect for podcasting, the U1 also includes an on/off switch, 10 foot USB cable and a desktop microphone stand.

Key Features

• Dynamic microphone factor designed for vocals and instruments
• Cardioid pick-up pattern isolates the main sound source and minimizes background noise
• Smooth, extended frequency response is magnificent for singing, speech and instruments
• Built in pop filter minimizes “P-popping”
• On-Off switch for instant mute
• Ten-foot USB cable for flexible mic placement
• Desktop mic stand included

Music Recording Microphone Photo

Music Recording Microphone Photo

Music Recording Microphone Image

Music Recording Microphone Picture

Most helpful customer reviews

85 of 87 people found the following review helpful.
Works for me
By S. Fontenot
I bought this mic to record voices for some amature video games my friends and I make (and secretly for beatboxing late at night). To this end it worked well, so I got a few friends together one day and we decided to try singing into it. Again, it worked above expectations. So I decided to put it to a real test: I recorded myself playing solo bassoon at various distances, and I was surprised at how it could pick up everything from tongue and pitch alterations to the clicking of my keys in a quiet room (with the boost on).

However, the puff reduction (thing that keeps the “p” sound from squealing) doesn’t work nearly as well as I had hoped, but this is remedied by keeping a fair distance away when talking. Doing so subjects the recording to room noise and echo, but it’s a fair price to pay for a $40 mic. Thumbs up.

38 of 38 people found the following review helpful.
Awesome recording quality!
By helly
One of my hobbies is online karaoke, and I’ve been on a quest to find a good quality digital microphone that will make my voice sound like… well, me I’m only an amateur singer doing this for fun, so there was no need to spend hundreds of dollars on a top-quality professional mic. This one, however, fit the bill. Easy enough on the pocketbook, but still high quality– my voice sounds GREAT when I record with it.

I do find that I have to keep a bit of distance away, in order to avoid the popping sound that comes with pronounced “p”s, as another reviewer mentioned. But this generally isn’t a problem, and the mic is still pretty good about filtering out background noises even when I’m sitting a foot and a half away from it.

Oh, and the fact that it is shaped like a regular mic, and comes with the stand? That’s just icing on the cake. I didn’t think I’d have a need for a stand, but am I glad this package came with it– I can’t imagine what I’d do without it, now!

27 of 28 people found the following review helpful.
The Best I’ve Used
By Robert J. Gluck
This mic is the best USB recording mic I have used, and I have tried several. Some are too bassy and some have very low volume. I use this mic now for recording with Sony Acid Pro and it works great for vocals and instruments. Just follow ALL of the instructions that come with your mic (it only takes about 5 minutes)and you are on your way to some of the best home recordings you will make.

See all 129 customer reviews…

Art Wind Playing Weisberg Pic

Art Wind Playing Weisberg Image

Art Wind Playing Weisberg Pic

Art Wind Playing Weisberg Image

Most helpful customer reviews

5 of 5 people found the following review helpful.
Essential Reading For All Wind Players
By mark J watson
“The Art of Wind Playing” is written by one of the great bassoonists and masters of wind playing, Arthur Weisberg. Mr. Weisberg presents the physical principles of sound production on wind instruments and then shows how these principles can be utilized to produced more artistic performances. Though Mr. Weisberg is known as a bassoonist, his examples transfer easily to all wind instruments. The book presents technical concepts in a manner that is approachable to most readers. Highly recommended to any performer or teacher who wants to improve his/her wind playing skills and musical artistry.

0 of 0 people found the following review helpful.
Master teacher of wind instruments
By Dr. Marie Garritson
Mr. Weissberg was one of the most influential teachers of mine at Yale School of Music. His musical insights and knowledge of winds is amazing and has strongly impacted on my college teaching for the last 35 years. His book is essential for all woodwind players!

See all 2 customer reviews…

Tech Drum Kits Industrial Electronic Pic

Tech Drum Kits Industrial Electronic Image

Tech Drum Kits Industrial Electronic Picture

Tech Drum Kits Industrial Electronic Picture

Most helpful customer reviews

See all customer reviews…

Some guitar players like the look and feel of a shiny, brand new guitar. Others, however, prefer the look and feel of a timeworn instrument–a guitar, without the sheen, that looks a little used, and has a smooth, worn look to it. For these players, there is the Les Paul Studio Faded from Gibson USA, which lets you see and feel the wood grain’s natural beauty. And just like it is brother, the Les Paul Studio, the Les Paul Studio Faded offers up breathtaking Les Paul performance in a modern, no-frills package that’s sure to please even the most discriminating players.

Pure Les Paul Swagger in a Modern, No-Nonsense Package.

Fast & Comfortable Rounded Neck Profile
Gibson’s conventional rounded neck profile, which graces the neck of each Les Paul Studio Faded, is a thicker, rounder profile, emulating the neck shapes of the iconic Les Paul Standards of the late 1950s. Each neck is machined in Gibson’s rough mill using wood shapers to make the introductory cuts. But once the fingerboard gets glued on, the rest–including the final sanding–is done by hand. That means each neck ends up with ever-so-subtle divergences that make each one as exceptional–and unique–as the next.

A thicker, rounder neck profile emulates the neck shapes of the iconic Les Paul Standards of the late 1950s.

Gibson Burstbucker pickups and a Tune-O-Matic bridge.

Gibson’s Burstbucker Pro Pickups
Gibson’s drive to recapture the magic of the basi “Patent Applied For” humbucker pickups of the 1950s culminated with the introduction of the Burstbucker line in the early 1990s. Those Burstbuckers–Types 1, 2, and 3–successfully captured the subtle variations of true, classic humbucker tone with with respect to history “unmatched” bobbin windings and Alnico II magnets. In 2002, Gibson followed up this modern accomplishment with yet another breakthrough in pickup design–the Burstbucker Pro, designed specifically for the new Les Paul Standards. The Burstbucker Pro features an Alnico V magnet (instead of the Alnico II), which offers more or less higher output and allows preamps to be driven a little harder to achieve a more natural break-up. Like all Burstbuckers, the Burstbucker Pro has asymmetrical coils–true to the introductory PAFs–which supply a more open sound. The Burstbucker Pro Neck is wound somewhat less than the initial PAFs, while the Burstbucker Pro Bridge is somewhat overwound for increased output. The Burstbucker Pro pickups are also wax potted to concede earsplitting volume pressures with minimal feedback. As with all Gibson pickups, each part is precisely fabricated at Gibson USA in Nashville, Tennessee, insuring tight, seamless fittings, and superior workmanship.

22-Fret Rosewood Fingerboard
Rosewood fingerboards and trapezoid inlays have been a mainstay feature on Les Pauls ever since the model’s introduction in the 1950s, and the fingerboards on Gibson’s Les Paul Studio Faded are no different. They are constructed from the most eminent grade rosewood on the planet. Each piece of wood is personally inspected and qualified by Gibson’s team of skilled wood experts before it enter the factories to be fitted onto the necks. The resilience of this dense and lasting wood makes these fingerboards exceedingly balanced and stable, and gives each chord and note unparalleled clarity and bite. Additionally, the 12-inch radius of the fingerboard provides smooth note bending capablenesses and does away with “dead” or “choked out” notes. The conventional trapezoid inlays are made of figured acrylic, and offer a classic “pearl” look. They are inserted into the fingerboard using a procedure that does away with gaps and doesn’t require the use of fillers.

Mahogany Back and Top
There isn’t anything more critical than the corresponding of the Les Paul’s mahogany back with it is mahogany cap, as well as the regimen involved in selecting the right wood and the formula to arid it out. First, the wood is personally inspected and qualified by Gibson’s team of skilled wood experts before it enters the Gibson factories. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees. This ensures that the wood is dried to a level of “equilibrium,” where the moisture content does not alter for the duration of the formulating process. This warrantees tight-fitting joints and no expansion, and controls the shrinkage and warping of the wood, in addition to reducing the weight. It likewise improves the wood’s machinability and finishing properties, and adhesion to glue. Consistent moisture content means that a Gibson guitar will respond evenly to temperature and humidity changes long after it leaves the factory.

Chambered Body
There’s something regarding playing a guitar with perfective tone, balance, and weight. One of the ways the expert craftsmen at Gibson USA achieve this equilibrium is by carving cautiously mapped-out chambers in the Les Paul’s solid mahogany back using a Computer Numeric Controlled (CNC) router before the mahogany top is glued on. The positioning of the routes was traditionalisti after careful examination of the resonant characteristics of the Les Paul. Gibson neared this procedure with the cognizance that each modify to the formula would have repercussions on the instrument’s sound. So, in addition to relieving the stress on a player’s back and shoulder, these lighter Gibson guitars likewise heighten the tone palette in a manner distinguishable only to these guitars. The results are comfortable, lightweight guitars that are acoustically louder, with increased sustain and resonance.