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

The Pink Panther

Performance time - ca. 2:30

The Great Waldo Pepper March : Score and Parts

Performance time - ca. 2:30

The John Wayne Duke March : from Circus World

Performance time - ca. 2:30

High Noon Symphonic Suite

Total performance time - ca. 7:30 Includes: · Theme from High Noon* · Clock, Showdown and Finale Theme from High Noon may be performed independently with optional male vocal (performance time - ca. 2:30).

You Raise Me Up : for Male Solo Vocal and Orchestra, with opt. Chorus

Full set includes score, parts, vocal solo and 40 SATB octavos. Dur: 4:30

Orchestra work 1917-30

Elverskud Op. 30 : Ballad On Danish Folk Legends

With “Elverskud” (“The Erl-Kings Daughter”), Gade presented his second “secular cantata for soloists, choir and orchestra”, the first having been his successful “Comala” Op. 12 (1845/46). The genre was quite popular among his contemporaries. This time, Gade planned to base the work on the text of a folk song. Originally, he had approached Hans Christian Andersen for a text but a collaboration did not materialize. The text Gade ultimately chose for his music was that of a ballad most likely penned by Emil Erslev and Gade himself. A German translation by Edmund Lobedanz was added at a later time.The composition, started in 1851 and finished in March of 1854, soon became aninternational success and one of Gade’s most-performed works. In 1864, the composer made a number of changes to the instrumentation. While the new version was subsequently used for all performances conducted by Gade, the changes were never incorporated into the printed edition of the score. This edition is the first to present this 1864 version.

Sibelius- Ultimate 3-Yr Updates & Support Renewal : ESD

Fornyer din eksisterende Sibelius Ultimate upgrade og support plan med 36 måneder fra udløbsdatoen. Kan udelukkende købes, hvis du allerede har en Sibelius Ultimate perpetual licens og vil forlænge muligheden for at få gratis updates i yderligere 3 år. Forlængelsen kan aktiveres i op til 30 dage efter udløbet af din nuværende support plan. Udløbsdatoen kan ses på din Avid konto.

Der Kodex des Magister Nicolaus Leopold. : Nr. 100-129. 30 auch mehrteilige Kompositionen, überwiegend zwei- bis vierstimmig

Pastoral Mass in F major : Op. 147 - Orchestral Parts

Diabelli’s church music has unjustly largely fallen into oblivion. In his "Pastoral Mass in F", the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes, the work is of easy to medium difficulty, and is therefore extremely suitable for amateur choirs with orchestra. The "Pastoral Mass" is suitable for performance both at Christmas time and beyond.

Highlights from Riverdance

The premiere of Riverdance took place on April 30, 1994 during a seven-minute pause in the Eurovision Song Contest at the Point Theatre, Dublin. Thanks to 10,000 performances on four continents, TV audiences in the millions and sales of CDsand videos by the bucket-load, Riverdance has since become one of the most successful shows on Earth. This new Riverdance arrangement for concert band is, after The Seville Suite, the second collaboration between Bill Whelan andJohan de Meij.Medley from: CLOUDSONG, FIREDANCE, LIFT THE WINGS, DANCE OF THE RIVER WOMAN, and RIVERDANCE

Choral Works : Béla Bartók Complete Critical Edition Volume 9

Contents: Choral Works Evening BB 30 Four Old Hungarian Folk Songs BB 60 Four Slovak Folk Songs BB 77 Slovak Folk Songs BB 78 Hungarian Folk Songs BB 99 Székely Folk Songs BB 106 Twenty-Seven Two- and Three-Part Choruses BB 111aFrom Olden Times BB 112 Appendix: Two Romanian Folk Songs BB 57 Early version of Four Old Hungarian Folk Songs BB 60 Simplified version of nos. 3-6 of Székely Folk Songs with German words BB 106 4 + 7 Choruses from Twenty-SevenTwo- and Three-Part Choruses with English words BB 111a

Sound Patterns (Classroom Bundle) : Classroom Bundle

This classroom bundle contains 30 Student Editions and 1 Teacher Edition. Imagine - learning to sight read while having fun! Singers will grasp concepts quickly while singing real music from day one. This step-by-step methodincludes fun songs with lyrics, dynamics, and accompaniment, along with prepatory exercises that are interesting, authentic, and flexible. This resource may be used with beginners of any age. The sequential approach focuses on thekeys of C, F, and G major, basic rhythms, and simple intervals in the tonic, dominant, and subdominant chords. Teacher Edition comes complete with teaching suggestions and online digital access to student notation and audio files.

Zion Op. 49 : Cantate

Gade Zion Op.49 (Full Score, hardback) Gade dated the cantata "Zion" Op.49 (named “concert piece” in the first edition) on 16 September 1874; the premiere took place on 30 August 1876 during a festival in Birmingham. In Gade’s understanding “Zion” forms “a kind of trilogy” together with the cantatas „Kalanus“ and “The Crusader“ which centres around the “longing for the true light“. The focus of „Zion“ is the history of the Jewish people where a people has received a promise. This is described in Gade’s words in the following sections: a) Introduction – The Departure from Egypt b) The Captivity in Babylon c) The Return – Prophecy of the New Jerusalem”. Niels W. Gade. Works IV/5

Mini J Bass - Moonburst (Left Handed)

Flight Mini JB Moonburst Bass är en kompakt och stilren elbas designad för att leverera stort ljud i ett litet format. Perfekt för musiker på alla nivåer – från nybörjare till avancerade spelare – kombinerar denna minibas enastående spelbarhet med en iögonfallande design. Med sin klassiska jazzbasform och en fantastisk moonburst-finish är den både visuellt imponerande och lätt att ta med sig. Specifikationer: Kropp: Poppelträ med moonburst-finish Hals: Lönn med mjuk satinfinish för bekväm spelkänsla Greppbräda: Techwood med exakt placerade band Pickuper: Två enkelspolspickuper för mångsidiga och klara toner Skala: 30 tum – idealisk för mindre händer eller för portabelt spel Hårdvara: Robust kromhårdvara och vintage-stil stämskruvar Extra: Justerbar stall och volymkontroll Flight Mini JB Moonburst är mer än ett instrument – det är en inspirationskälla för musiker som vill uttrycka sin kreativitet, oavsett om det är i replokalen, studion eller på små liveframträdanden.

Flight Mini J Bass - Moonburst

Flight Mini JB Moonburst Bass är en kompakt och stilren elbas designad för att leverera stort ljud i ett litet format. Perfekt för musiker på alla nivåer – från nybörjare till avancerade spelare – kombinerar denna minibas enastående spelbarhet med en iögonfallande design. Med sin klassiska jazzbasform och en fantastisk moonburst-finish är den både visuellt imponerande och lätt att ta med sig. Specifikationer: Kropp: Poppelträ med moonburst-finish Hals: Lönn med mjuk satinfinish för bekväm spelkänsla Greppbräda: Techwood med exakt placerade band Pickuper: Två enkelspolspickuper för mångsidiga och klara toner Skala: 30 tum – idealisk för mindre händer eller för portabelt spel Hårdvara: Robust kromhårdvara och vintage-stil stämskruvar Extra: Justerbar stall och volymkontroll Flight Mini JB Moonburst är mer än ett instrument – det är en inspirationskälla för musiker som vill uttrycka sin kreativitet, oavsett om det är i replokalen, studion eller på små liveframträdanden.  

Nux Mighty Space gitarrförstärkare

Nux Mighty Space är en trådlös, 30-watts, stereomodellerande, batteridriven förstärkare för elgitarr och bas som kommer med en trådlös sändare för din gitarr/bas, så att du kan ansluta till förstärkaren och spela utan att behöva eller bära en instrumentkabel. Inbyggd Bluetooth, och en tillhörande dedikerad app, låter dig lägga till olika effekter, välja olika förstärkare eller justera och anpassa din ton via din Android- eller iOS-smartphone. Mighty Space är lämplig för en mängd olika ändamål, inklusive för uppvärmning före showen, som reseförstärkare, för spontana jamsessioner och mer. Förstärkaren kommer med en sändare och en inbyggd mottagare som automatiskt paras ihop och hittar bästa möjliga signal för att ge dig en sömlös och oavbruten signal. Detta fungerar med alla typer av elgitarrer och basar, både med passiva respektive aktiva pickuper. Förstärkaren har även 2 driftlägen, 2 kanaler och 7 olika programplatser som alla är fullt programmerbara. Mighty Space har ett unikt högtalarsystem som använder två 4” högtalarenheter för att producera ett stort och rumsfyllande ljud som fungerar utmärkt för både gitarr, bas och musik. Låt inte den lilla storleken lura dig, den här förstärkaren är laddad med förförstärkare, IR och effekter som kan användas med tillhörande app. Mighty Space fjärrstyrs med en smartphone eller surfplatta via Bluetooth och MightyAmp-appen. Via appen får du möjlighet att kombinera effekter, förstärkare och skåp samt spela musik från din smartphone som du vill öva med/till. Via appen kommer du åt 43 olika effekter, 21 modelleringsförstärkare och 31 skåp för Impulse Response (IR). Dessutom har Mighty Space en inbyggd akustisk gitarrmodeller och akustisk förstärkare, så att du kan spela vanlig elgitarr och simulera akustisk gitarr. Inbyggda trumrytmer ger dig tillgång till att öva eller komponera med rytmisk bakgrund. Du kan också använda Mighty Space för att spela in med. Mighty Space har en inbyggd ljudströmningsfunktion, så att du kan ansluta Mighty Space direkt till din dator med en USB-C-kabel, och du är direkt redo att spela och spela in. Sist men inte minst har förstärkaren inbyggd Bluetooth för att spela låtar eller backing tracks som du kan använda för att lära dig och träna. Trådlös stereoförstärkare för elgitarr och elbas Inkluderar trådlös sändare för gitarr/bas Inbyggd bluetooth Inbyggt uppladdningsbart batteri med 7 timmars användning Tillhörande iPhone/Android-app Välj mellan 21 förstärkare och 31 IR-skåp 30 watt 3 akustiska gitarremuleringar 2 x 4” högtalare + högtalarutgång 41 inbyggda effekter (upp till 7 effekter samtidigt) NMP-2 fotkontroll ingår Förstärkarformat    Kombo Syfte    Allround Typ    modellering Effekt   30 watt Master Volume    Ja Equalizer    3-band Reverb    Ja Vibrato/tremolo    Ja Refräng    Ja Effektslinga Ja Högtalaremulerad utsignal    Ja Linje ut Ja Hörlursutgång    Ja AUX-ingång Ja MIDI    Ja USB    Ja Bluetooth    Ja Fotkontakt Ja (ingår) Strömadapter (ingår) Batteri Ja Batterityp Litium (ingår)

Colors of Grace (New Edition) : Lessons for Lent

Presented in a new edition for the 20th anniversary of its publication, this seminal cantata is rich with musical and spiritual potential. Using simple symbols of worship, expressive music and a sensitive narration by Pamela Stewart, this work is an unforgettable experience for Holy Week. A new SAB version and special anniversary consort orchestration join the original products to open the work to groups of every size. Only 30 minutes long, the cantata is easily learned and with Brant Adams' gentle yet dramatic orchestrations, Colors of Grace will become a treasured part of your Holy Week commemoration. Songs include: Prologue - Take My Yoke Upon You - A Servant's Song(The Basin and Towel) - Take My Yoke Upon You (Lesson 1: Service) - Underscore: The Cup - A Shadow Fell on Sharon's Rose - Take My Yoke Upon You (Lesson 2: Obedience) - Underscore: The Crown of Thorns - O Gentle Jesus - Take My Yoke Upon You (Lesson 3: Humility) - Come to the Cross - Epilogue. Score and Parts for Orchestra (fl 1-2, ob/eng hn, cl 1-2, bn, hn 1-2, timp/bass dm, perc 1-2, hp, pno, vn 1-2, va, vc, db) available as Printed Edition and as a digital download. Consort Score and Parts (fl, cl, hn, perc, pno, hp, vn, vc) available as a digital download.

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-