But that ended

Phil collins -...but seriously prezzo EUR.7,00 non trattabili disco 33 giri vinile titolo [...but seriously] artista/i [phil collins] traccie [a1 hang in long enough a2 that's just the way it is a3 find a way to my heart a4 colours a5 father to son b1 another day in paradise b2 all of my life b3 something happe Airasca (TO)

Phil collins -...but seriously prezzo EUR.22,00 non trattabili vinile - titolo [...but seriously] artista/i [phil collins] traccie [a1 hang in long enough a2 that's just the way it is a3 find a way to my heart a4 colours a5 father to son b1 another day in paradise b2 all of my life b3 something happened on the w Bassiano (LT)

Phil collins -...but seriously prezzo EUR.9,00 non trattabili titolo [...but seriously] artista/i [phil collins] traccie [a1 hang in long enough a2 that's just the way it is a3 find a way to my heart a4 colours a5 father to son b1 another day in paradise b2 all of my life b3 something happened on the way to hea Airasca (TO)

Phil collins -...but seriously prezzo EUR.4,00 non trattabili titolo [...but seriously] artista/i [phil collins] traccie [1 hang in long enough 2 that's just the way it is 3 do you remember 4 something happened on the way to heaven 5 colours 6 i wish it would rain down 7 another day in paradise 8 heat on the s Colleferro (RM)

PHIL COLLINS -...But Seriously - LP / 33 giri " SPEDIZIONE GRATUITA " Etichetta:Virgin V2620 Formato:Vinyl, LP, Album Paese:UK Uscita:1989 Genere:Rock, Pop Stile:Soft Rock, Pop Rock, Ballad Elenco tracce A1 Hang In Long Enough A2 That's Just The Way It Is A3 Find A Way To My Heart A4 Colours A5 Father To Son B1 Another Day In Paradise B2 All Of My Life B3 Something Happened On The Way To Heaven B4 Do You Remember? B5 I Wish It Would Rain Down - Guitar - Eric Clapton " SPEDIZIONE GRATUITA " Per Chiarimenti & Info: 3342724702 Piero.

VIDEOCAMERA SONY DCR-TRV310La Handycam TRV310 di Sony offre una registrazione digitale di prima qualità con una serie di opzioni avanzate, tra cui un ampio schermo LCD da 3,5 pollici. Il suo potente zoom digitale a 360x, la vasta gamma di effetti speciali, la stabilizzazione dell'immagine e le esclusive funzionalità di registrazione notturna a infrarossi di Sony lo rendono un'ottima scelta per coloro che necessitano di funzioni di videocamera digitale di fascia alta. Il design allungato della Sony Handycam si adatta facilmente in una mano ed è ben bilanciato. Pur non essendo le videocamere più leggere, abbiamo trovato la linea Handycam una delle più ergonomiche e facili da usare. La Handycam TRV310 di Sony ha uno schermo di stato elegante all'esterno del modulo dello schermo LCD che ti consente di sapere quanti minuti hai registrato o quanto hai giocato su un nastro. Ti dice anche se c'è un nastro nel camcorder. Questo schermo è retroilluminato per la massima visibilità. Lo schermo LCD ruota di 210 gradi, che ti consente di registrare sopra la testa o di immedesimarti nell'immagine. Il mirino ottico è in bianco e nero, il che non è un vero inconveniente da quando abbiamo utilizzato lo schermo LCD per la maggior parte delle nostre riprese. I pulsanti di riproduzione dell'unità sono retroilluminati, rendendo più semplice l'uso della Handycam TRV310 di Sony come videoregistratore. Questa videocamera è inoltre dotata di un'unità di controllo remoto. La Handycam Sony TRV310 consente di regolare manualmente messa a fuoco ed esposizione; include inoltre sette modalità di esposizione programmate, oltre alla compensazione del controluce, per ottimizzare il video in diverse condizioni di ripresa. Fornisce tre modalità di registrazione: normale, hold-down e cinque secondi per aiutarti a creare segmenti video brevi e vivaci. TRV310 consente anche di registrare foto. Dotato di uno zoom digitale ad alta potenza 360x, ideale per ottenere primi piani e registrare eventi lontani. Questa Handycam fornisce anche la stabilizzazione elettronica delle immagini per ridurre al minimo il tremolio della fotocamera, che è particolarmente utile quando si utilizza lo zoom o durante eventi di azione rapida. Offre gamma completa di effetti speciali di Sony, incluse le modalità distintive pastello, sottile e stretch. Il TRV310 offre modalità widescreen, bianco e nero, seppia, negativo e solarizzato. Ottima la gamma di opzioni di dissolvenza, che includono dissolvenza in nero, mosaico, monotono, sovrapposizione e un effetto immagine rimbalzo. La fotocamera include effetti digitali per la riproduzione, inclusi i modi fermo immagine, flash, lumi, otturatore lento, vecchio filmato e percorso. Puoi persino inserire una scena nel mezzo di una registrazione. Il camcorder include l'esclusiva funzionalità NightShot di Sony, che ti consente di riprendere video nel buio più totale. Il camcorder emette un raggio infrarosso invisibile per illuminare la scena. Il video risultante è fondamentalmente in bianco e nero e una qualità inferiore al normale, ma essere in grado di ottenere immagini decenti in completa oscurità è comunque sorprendente. Il TRV310 viene fornito anche con un supporto per una luce standard esterna. Questo camcorder utilizza il formato Digital 8, che consente di registrare video digitali su un nastro Hi8 standard. Il video digitale ti offre una qualità video straordinaria - fino a 500 linee di risoluzione e suono di qualità CD; è il formato top-of-the-line. Il formato digitale consente di scattare foto digitali, proprio come una fotocamera digitale. Tuttavia, se si desidera scaricare e modificare i propri fermi immagine e video digitali su un computer, è necessario acquistare prima una scheda di acquisizione video separata. Ãf^ inoltre possibile utilizzare questo camcorder per riprodurre nastri analogici da 8 mm e Hi8: una funzione utile se in precedenza sono stati registrati video in questi formati. IL RITIRO A MILANO ZONA MACIACHINI Hai guardato gli altri annunci che pubblico? The Sony TRV310 Handycam provides top-of-the-line digital recording with a host of advanced options, including a large 3.5-inch LCD screen. Its powerful 360x digital zoom, wide range of special effects, image stabilization, and Sony's unique infrared night recording capabilities make it a great choice for those needing high-end digital camcorder features. Sony's elongated Handycam design fits easily in one hand and is well-balanced. While not the lightest of camcorders, we found the Handycam line to be one of the most ergonomic and easy to use. The Sony TRV310 Handycam has a nifty status screen on the outside of the LCD screen module that lets you know how many minutes you've recorded or how far you've played a tape. It also tells you if there's a tape in the camcorder. This screen is backlit for maximum visibility. The LCD screen swivels 210 degrees, which lets you record above your head or put yourself in the picture. The optical viewfinder is black and white, which is not a real drawback since we ended up using the LCD screen for most of our shooting. The unit's playback buttons are backlit, making it easier to use the Sony TRV310 Handycam as a VCR. This video camera also comes with a remote control unit. The Sony TRV310 Handycam lets you manually adjust focus and exposure; it also includes seven programmed exposure modes, plus backlight compensation, to help optimize your video under different shooting conditions. It provides three recording modes-normal, hold-down, and five-second-to help you take short, lively video segments. The TRV310 also lets you record still photos. It features a high-powered 360x digital zoom, great for getting closeups and recording faraway events. This Handycam also provides electronic image stabilization to minimize camera shake, which is especially useful when using the zoom or during fast-action events. We enjoyed Sony's full range of special effects, including the distinctive pastel, slim, and stretch picture modes. The TRV310 provides widescreen, black-and-white, sepia, negative, and solarized modes. We also liked the range of fade options, which include fade to black, mosaic, monotone, overlap, and a bounce-image effect. The camera includes digital effects for playback, including still, flash, lumi, slow shutter, old movie, and trail modes. You can even insert a scene in the middle of a recording. The camcorder includes Sony's exclusive NightShot capability, which lets you shoot video in total darkness. The camcorder emits an invisible infrared beam to light the scene. The resulting video is basically black and white and lower quality than normal, but being able to get decent images in complete darkness is nonetheless pretty amazing. The TRV310 also comes with a mount for an external standard light. This camcorder uses the Digital 8 format, which lets you record digital video on a standard Hi8 tape. Digital video gives you extraordinary video quality-up to 500 lines of resolution and CD-quality sound; it's the top-of-the-line format. The digital format allows you to take digital still pictures, just like a digital camera. If you want to download and edit your digital still images and video on a computer, however, you have to purchase a separate video capture card first. You can also use this camcorder to play back analog 8mm and Hi8 tapes-a handy feature if you have previously recorded video in these formats.

Satellite finder Misuratore di Segnale Analogico per Direct TV SAT Accord Mini satellite finder Misuratore di Segnale Analogico per Direct TV SAT Orientamento Parabola Strumento di grande precisione per l'orientamento della parabola e la ricezione del segnale televisivo migliore Si tratta di un satfinder (trovatore di satelliti) controllato da un microprocessore ad alta tecnologia, che lo rende molto affidabile ed accurato La forza del segnale è presentata graficamente sul display LCD retro-illuminato. Ã^ molto sensibile e può individuare il più debole dei segnali. Frequenza 950-2150Mhz Looking for a same functional and performance with SF-9502, the price is much lower satellite finder ? Then this is your ideal stuff. Band 22K and H / V indicator is to satellite finder weapon, With their installation stars it becomes easy Features: Online IF signal strength meter excellent sensitivity, DC can pass to LNB and internal light, Built 0/22KHz 13/18V LED and buzzer Elegant appearance, easy to carry Input Frequency: 950-2150MHz / Supply voltage: 13-18V DC Maximum input level: -10dBm Minimum input level: -40dBm Learn ABC Communications Satellite Finder SF-95 to use 1, the satellite finder satellite receiver connected to the LNB on the antenna between. 2, adjusting satellite finder on the front panel knob, pointer on the dial "5" position. 3, adjusting the antenna azimuth and elevation, while satellite finder to the maximum angle of deflection of the pointer, the front panel adjustment knob counterclockwise, so that the part of the received signal attenuation, and then adjust the antenna azimuth, elevation and the LNB polarization angle, until the satellite finder until the pointer is no longer increasing. 4, with the satellite receiver determines whether the signal is the desired satellite signal. If it is, remove the finder device, the receiver can be connected with the LNB again; if the received signal is not the desired satellite signal, repeat the above work. Common phenomenon 1 - satellite finder pointer refers to the maximum point, but there is no signal. Because satellite finder signal received by the antenna direction only preliminary judge whether there is a star, rather than the desired signal is directly displayed on the satellite finder on the dial, it's just looking out signals an auxiliary device. 2 - In the case where the antenna is not adjusted, the pointer always refers to the maximum point. Check that the antenna is facing the front or the front of the building is blocked, if there is no such phenomenon exists, indicating that at this time LNB gain is too large, need to lose satellite finder signal attenuation part. Learn SF-95 satellite finder to use A cable. Instruments. TV antenna connection Operation 1 - The satellite finder side labeled "TO LNB" connected to the antenna tuner at the other side labeled "TO REC" is connected to the receiver, and the receiver and the TV turned on. 2 - receiver is turned on, the receiver out of the voltage supply 13-18V, check whether there is satellite finder lights, lights indicate satellite finder is working properly. 3 - Set the receiver in satellite data to be received. (Including local oscillator frequency, downlink frequency, symbol rate, polarization, etc.) and open to signal strength, signal quality cursor state. B finder dashboard Operation: 1 satellite finder attenuator spiral configuration, is to adjust the signal attenuation of the size of the receiver is powered, operable screw attenuator control the pointer on the scale in Table 5 grid, satellite finder will issue a faint sound, this time, a slight shake antenna near you looking for stars, satellite finder found out signal is input, the sound will increase, the pointer will also rise between cells table 8-10 scale or higher, indicating a star signal input. At this point the receiver signal quality combined with the cursor to see if what you're looking for stars. 2 satellite finder does not recognize the user to find the star signal, where there are star signal input, satellite finder always show a signal. At this time only to find out from the star receiver input signal quality parameter the cursor up to confirm. 3. Ku-band can be directly connected, C-band tune out when you need satellite finder to LNB between the string into a power splitter cable or 100 meters, in order to attenuate the signal, or satellite finder is a result of self-excited hands can not come down. 4 between the tall buildings or strong interference zone for stars, satellite finder will lead to self-excited whistle and hands can not come down. C if satellite finder signal is received and the digital machine failed to show a signal when the following situations 1 user is not looking out signals. 2 LNB polarization. Focal placement errors need to be adjusted. 3 signal is weak, turn the pointer through the bad parts is transferred between 4-5, re-adjust the antenna or LNB, the signal again increases. 4 satellite finder pointer refers to the maximum point, but there is no signal. Because satellite finder signal received by the antenna direction only preliminary judge whether there is a star, rather than the desired signal is directly displayed on the satellite finder on the dial, it's just looking out signals an auxiliary device. 5, in the case where the antenna is not adjusted, the pointer is always the maximum at the finger. Check that the antenna is facing the front or the front of the building is blocked, if there is no such phenomenon exists, indicating that at this time LNB gain is too large, need to lose satellite finder signal attenuation part

Multieffetto rack per chitarra / preamp boss gx700 racchiude in un unico rack tutti gli effetti della serie boss molto caldo e versatile prezzo 200 euro trattabili scheda tecnica boss gx700 guitar effects processor/preamp published in sos june 1996 printer-friendly version • noise gate: with user control of threshold setting. • compressor: with variable attack and release characteristics, plus control over sustain and tone. in common with all the other effects blocks, this also has a level parameter. • wah: this classic effect is familiar to guitarists everywhere, and can be recreated quite convincingly with the gx700, either under lfo or pedal control. the resonance of the wah effect can be varied, as can the frequency range over which the effect sweeps. • distortion: i suspect this section is based around the concepts used in the boss analogue pedals. the choices available include vintage od, turbo od, blues, distortion, turbo distortion, metal and fuzz. in addition to an adjustable drive level, the distortion settings also have a basic 2-band bass/treble equaliser. • preamp: this is where cosm modelling comes into play, because here you can select from several amplifier characteristics, including jc120, clean twin, match drive, big lead, ms1959 (i), ms1959 (ii), ms1959 (i+ii), sldn lead and metal 5150. the available controls include the usual bass, middle, treble and presence, as well as the volume/master volume method of setting the amount of amp distortion, and a 'bright' switch. a gain parameter is also included, which affects the distortion amount. • loop: this isn't an effect at all, but rather a means of switching in an external effect or processor. the loop function connects via the rear panel jacks, and has adjustments for both send and return levels, which is a sensible inclusion. • 3-band eq: despite the fact that the overdrive section and the preamplifier both have tone controls, there's also a 3-band equaliser with a fully parametric mid section. • speaker simulator: this again offers several choices: small, middle, jc-120, built-in 1-4, big stack 1-2, ms stack 1-2 and metal stack. there are also three possible virtual mic settings, for close miking and more distant miking, and separate level controls are provided for the mic level and the direct level. • noise suppressor: this comes at the end of the amplifier chain, but before the effects. however, because the effects can be connected in any order, it can be used elsewhere if you have a reason for doing so. personally, i'd be inclined to use it after the modulation effects (for anything that doesn't involve level modulation, such as panning or vibrato), but before any delay or reverb effects. as far as the user parameters go, these are really down to threshold and release time, though you can also choose to key the gate from either the noise reduction block's own input or from the guitar input jack.

DI Plus Read user experiences here. "The ULTRASOUND DI Plus is a very powerful tool for any musician. This is not only a DI but a full featured preamp designed after our famous AG-series amps. Whether at a local open mic night or at a major concert venue, you will be able to dial in the clear natural acoustic sound that our amplifiers are known for, and route it to the stage PA through a balanced XLR output. Sound engineers will appreciate the versatile controls and the optional 48-volt phantom power operation. Therefore, no more wall warts or batteries if your mixer has phantom power. (Originally called ULTRA PDI.) INSTRUMENT INPUT: This input is designed for all passive and active type pickup signals. When a plug is inserted, the 9V battery is switched on. INSTRUMENT OUTPUT: This is a "parallel" jack which can be used to send the "guitar/instrument signal" to an external tuner, guitar amp or other device which can use an instrument level signal. EFX LOOP: This is a real world "EFX LOOP". In an effort to save room, most of our competition uses a TRS jack (tip, ring, sleeve) and Y cable type system. The DI+ is provided with two 1/4" jacks, one for "SEND" and one for "RETURN". Since the EFX LOOP interrupts the signal path it can be used as an insert point for a volume pedal, compressor, or tuner, if the tuner is equipped with a bypass switch. (Try that with one of our competitors units) SEND: The signal on the SEND jack is post-input gain and pre EQ. This means that you can use the SEND signal as an auxiliary unbalanced direct output. This signal is not affected by any of the panel controls with exception of the "INPUT GAIN" control. RETURN: A plug inserted into the RETURN jack will interrupt the signal path. The signal on the tip of the plug inserted into the RETURN jack will be the signal that the DI Plus will process. INPUT GAIN: The "INPUT GAIN" is not a volume control, rather this control sets the level of amplification applied to the input signal to boost it to a useable level. The reason this is adjustable is to accommodate a wide range of pickup devices. BASS: This is an "Active" control. The BASS control adjusts the amount of cut or boost in the low frequency (150HZ) range. TREBLE: This is an "Active" control. The TREBLE control adjusts the amount of cut or boost in the high frequency (5kHZ) range. NOTCH FILTER: ON/OFF - Enables or disables the NOTCH FILTER control. FREQ. HZ - Sets the frequency (100-350HZ) of the 18db cut NOTCH FILTER that is used to control resonant feedback. SHAPE: ON/OFF - This toggle switch enables or disables the SHAPE control. This control is a mid dip control. In the ON position, the mid frequencies will be cut and the high and low frequencies will be boosted. PHASE: IN/OUT - Changes the polarity of the signal. Phase affects the way the guitar top is pressurized by the loudspeakers. When the signals are out of phase with each other, low-end feedback is minimized. If you experience ⤽positive acoustic⤝ feedback on stage, flip the phase switch from its current setting to see if this will kill the feedback. If inverting phase alone does not eliminate feedback, the notch filter can be used. Phase will also affect the way the guitar signal mixes live and when recording. XLR LEVEL: This control adjusts the amount of signal sent to the XLR OUT jack. LINE LEVEL: This control adjusts the amount of signal sent to the LINE OUT jack. 48V: (Phantom Power) This LED lights when there is 48V Phantom Power present on the XLR OUT jack. No battery drain will occur when Phantom Power is present. POWER: This LED indicates the DI PLUS is ready to operate. The POWER LED will illuminate when: A. A plug is inserted into the INPUT jack and there is a fresh battery installed in the DI PLUS. B. A 9VDC adapter (Wall Wart) is plugged into the power jack. (9VDC Regulated Power Supply - 500mA) (2.1MM DC Power Plug, Center +) C. There is 48V phantom power on the XLR cable plugged into the XLR OUT jack. (The 48V LED and the POWER LED will both be illuminated.) XLR OUT: Plug a standard XLR cable from your PA or recording console into this low impedance balanced output. Use the "XLR LEVEL" control to set the output level which matches up best with your PA or recording gear and gives you the least amount of noise. If your board provides 48V phantom power on the XLR cables, the DI Plus will run from this and save the battery. It is suggested that you keep a battery in the unit as a backup when using the phantom power. If the phantom power drops, the DI Plus will automatically switch to battery power. LINE OUT: This is a standard unbalanced line level output signal. Use the "LINE LEVEL" control to adjust the signal level on this jack. This output can be used simultaneously with the XLR OUT jack for some creative signal routing. Plug a standard instrument cable from this output to a stage monitor amp or unbalanced Mic input on a mixer.

Vendo fotocamera KONICA AUTO S in buone condozioni, completa di custodia “”The 1963 Konica Auto S is a milestone high-quality rangefinder camera as the first auto-exposure camera to employ a CdS metering cell. (It was also offered as Wards am450/am550, and Revue Auto S.) Offering auto exposure but not through-the-lens TTL metering; the metering cell is located alongside the rangefinder window with a high/low switch for meter sensitivity. The bright 47mm, Æ'1.9, Hexanon lens (5 elements in 5 groups) provides the lens performance that Konica is famous for. Like all Konishiroku's rangefinder cameras in the series starting with the Konica Auto S, the framelines in the viewfinder adjust not only for parallax but also for field of view. It has a dual-range CdS meter rather than the selenium meter of its predecessor, the Konica S111. Another novelty was the built-in "pull-out" lens hood. A quiet Copal SVA leaf shutter ranges from 1 sec. to 1/500 sec. Flash sync at all speeds via PC connection as the camera is not fitted with a hot shoe. Flash synch can be set at X or M delay, and at X [Strobe] will synch at any speed, very useful for outdoor fill light. The Auto S would be succeeded by the Auto S2. Konica Auto S Specification • f1.9 Hexanon 47mm five element/group lens • Copal SVA ten-speed shutter - 1â€"1/500 • Coupled rangefinder • Bright line viewfinder with parallax correction • Dual range CdS meter (selector lever underneath front cell) • Shutter-priority auto or manual exposure • Aperture scale visible at top of viewfinder • "Stippled" covering material similar to that of East German cameras • Cold flash shoe with flash synchronization, X and M settings • Lever wind • Pull-out lens hood • Filter Thread: 49 mm • Width 138mm - Depth 75mm - Height 82mm, 750g Il costo dell'eventuale spedizione va aggiunto al prezzo indicato Pagamento in anticipo tramite bonifico bancario Se ritiro diretto pagamento in contanti alla consegna

DI Plus Read user experiences here. "The ULTRASOUND DI Plus is a very powerful tool for any musician. This is not only a DI but a full featured preamp designed after our famous AG-series amps. Whether at a local open mic night or at a major concert venue, you will be able to dial in the clear natural acoustic sound that our amplifiers are known for, and route it to the stage PA through a balanced XLR output. Sound engineers will appreciate the versatile controls and the optional 48-volt phantom power operation. Therefore, no more wall warts or batteries if your mixer has phantom power. (Originally called ULTRA PDI.) INSTRUMENT INPUT: This input is designed for all passive and active type pickup signals. When a plug is inserted, the 9V battery is switched on. INSTRUMENT OUTPUT: This is a "parallel" jack which can be used to send the "guitar/instrument signal" to an external tuner, guitar amp or other device which can use an instrument level signal. EFX LOOP: This is a real world "EFX LOOP". In an effort to save room, most of our competition uses a TRS jack (tip, ring, sleeve) and Y cable type system. The DI+ is provided with two 1/4" jacks, one for "SEND" and one for "RETURN". Since the EFX LOOP interrupts the signal path it can be used as an insert point for a volume pedal, compressor, or tuner, if the tuner is equipped with a bypass switch. (Try that with one of our competitors units) SEND: The signal on the SEND jack is post-input gain and pre EQ. This means that you can use the SEND signal as an auxiliary unbalanced direct output. This signal is not affected by any of the panel controls with exception of the "INPUT GAIN" control. RETURN: A plug inserted into the RETURN jack will interrupt the signal path. The signal on the tip of the plug inserted into the RETURN jack will be the signal that the DI Plus will process. INPUT GAIN: The "INPUT GAIN" is not a volume control, rather this control sets the level of amplification applied to the input signal to boost it to a useable level. The reason this is adjustable is to accommodate a wide range of pickup devices. BASS: This is an "Active" control. The BASS control adjusts the amount of cut or boost in the low frequency (150HZ) range. TREBLE: This is an "Active" control. The TREBLE control adjusts the amount of cut or boost in the high frequency (5kHZ) range. NOTCH FILTER: ON/OFF - Enables or disables the NOTCH FILTER control. FREQ. HZ - Sets the frequency (100-350HZ) of the 18db cut NOTCH FILTER that is used to control resonant feedback. SHAPE: ON/OFF - This toggle switch enables or disables the SHAPE control. This control is a mid dip control. In the ON position, the mid frequencies will be cut and the high and low frequencies will be boosted. PHASE: IN/OUT - Changes the polarity of the signal. Phase affects the way the guitar top is pressurized by the loudspeakers. When the signals are out of phase with each other, low-end feedback is minimized. If you experience “positive acoustic” feedback on stage, flip the phase switch from its current setting to see if this will kill the feedback. If inverting phase alone does not eliminate feedback, the notch filter can be used. Phase will also affect the way the guitar signal mixes live and when recording. XLR LEVEL: This control adjusts the amount of signal sent to the XLR OUT jack. LINE LEVEL: This control adjusts the amount of signal sent to the LINE OUT jack. 48V: (Phantom Power) This LED lights when there is 48V Phantom Power present on the XLR OUT jack. No battery drain will occur when Phantom Power is present. POWER: This LED indicates the DI PLUS is ready to operate. The POWER LED will illuminate when: A. A plug is inserted into the INPUT jack and there is a fresh battery installed in the DI PLUS. B. A 9VDC adapter (Wall Wart) is plugged into the power jack. (9VDC Regulated Power Supply - 500mA) (2.1MM DC Power Plug, Center +) C. There is 48V phantom power on the XLR cable plugged into the XLR OUT jack. (The 48V LED and the POWER LED will both be illuminated.) XLR OUT: Plug a standard XLR cable from your PA or recording console into this low impedance balanced output. Use the "XLR LEVEL" control to set the output level which matches up best with your PA or recording gear and gives you the least amount of noise. If your board provides 48V phantom power on the XLR cables, the DI Plus will run from this and save the battery. It is suggested that you keep a battery in the unit as a backup when using the phantom power. If the phantom power drops, the DI Plus will automatically switch to battery power. LINE OUT: This is a standard unbalanced line level output signal. Use the "LINE LEVEL" control to adjust the signal level on this jack. This output can be used simultaneously with the XLR OUT jack for some creative signal routing. Plug a standard instrument cable from this output to a stage monitor amp or unbalanced Mic input on a mixer.

EGO COMPRESSORE PEDALE Ego Compressor What does a compressor do? A compressor adds an element of control to your playing level b'/xe2/x80/x93' it will bring the quieter parts up and the louder parts down. While an ordinary compressor pedal can give you an element of control, a great compressor will give you the b'/xe2/x80/x9c'feelb'/xe2/x80/x9d' that other average compressors lack. If youb'/xe2/x80/x99've played a great tube amp when itb'/xe2/x80/x99's being pushed hard, youb'/xe2/x80/x99'll know what a great natural compression feels like. When we designed this pedal, the focus was ensuring the playing dynamics could be retained and that the compressor didnb'/xe2/x80/x99't color the tone at all. By incorporating a clean blend, it allows your original signal to be blended back in so you can get all the benefits of a great compressor (picking up the notes that arenb'/xe2/x80/x99't as strong and increasing sustain) but have the option to remove the squash at the front. With this control, you can have full country squash or open studio level parallel compression. So, with a comprehensive array of controls and a core tone that is pure, you wonb'/xe2/x80/x99't find a compressor that works as perfectly as an b'/xe2/x80/x9c'always onb'/xe2/x80/x9d' or as b'/xe2/x80/x9c'an effectb'/xe2/x80/x9d' and is more highly regarded than the Ego Compressor from Wampler Pedals.

Cavo per diffusori Wireworld Luna 7 con connessioni per BiWire da 2,50 metri. La Luna offre una buona rappresentazione della scena musicale senza reali debolezze. Un cavo per diffusori con un ottimo rapporto qualità/prezzo per una eccellente trasmissione audio. Specifiche: Tipo di conduttore: Rame Oxygen-Free Numero di conduttore: 4 Isolamento: Composilex â„¢ 2 Sezione del cavo: 2.0 mm2 Cavo design: Quad DNA Helix â„¢ WIREWORLD LUNA 7 Biwiring SPEAKER CABLE - 2,5 M PAIR The outer sheath of the Luna 7 cable is rounded to facilitate pulling in-wall cable runs, but the conductors are a unique flat design made of Oxygen-Free-Copper with a cross-sectional area equivalent to a conventional 14-gauge round conductor. Each conductor is insulated in polyethylene to reduce capacitance and dielectric absorption for cleaner high frequencies, while maintaining fidelity. It also features Composilex 2 insulation technology, which minimizes the triboelectric noise produced by conventional insulation materials and now it comes with Quad DNA Helix design, which Wireworld has created for a more efficient channel for electromagnetic energy, thereby preserving more of the delicate information that creates higher fidelity, even over long runs. All of the Series 7 cables feature Composilex 2 insulation technology, which minimizes the triboelectric noise produced by conventional insulation materials. Many understand that insulation materials influence the performance of a cable. Wireworld created unique polymer composites designed specifically to optimize fidelity. The benefits of Composilex 2 are especially noticeable on Series 7 Speaker cables where the reduced interference preserves the purity of the original sound thereby greatly improves performance. These new materials push the boundaries of there expectations for fidelity by letting us hear, see and feel more than ever before. With the unique invention of the Quad DNA Helix design, Wireworld has created a more efficient channel for electromagnetic energy, thereby preserving more of the delicate information that creates higher fidelity. Series 7 utilizes refined versions of the Quad DNA Helix design to provide the most lifelike fidelity ever. Wireworld Luna 7 Speaker Cable connects your Amplifier to your speakers. Specification: Conductor type: Oxygen-Free Copper conductors Gauge: 14 AWG - 2mm2 Insulation: Composilex 2 Insulation reduces interference and greatly improves performance Cable Design: Quad DNA Helix creates a more efficient channel for electromagnetic energy, thereby preserving more of the delicate information that creates higher fidelity Low inductance flat conductor design provides higher fidelity than conventional cables Flat conductors are stacked and twisted together inside round

Splendidi dvd di film degli anni d'oro di Hollywood con i migliori attori, di registi che hanno fatto la storia e con soggetti indimenticabili. Collezione creata con gli anni, abbellita da interessanti extra con foto, musica e schede di approfondimento. 1 dvd = 10 euro + spese di spedizione 2 dvd = 15 euro + spese di spedizione 3 dvd = 20 euro + spese di spedizione 4 dvd = 25 euro + 1 dvd a scelta in omaggio + spese di spedizione Gli Attori degli Anni d’oro di Hollywood: con James Stewart: Gelosia* (Wife vs Secretary, 1936) con Clark Gable, Jean Harlow, Myrna Loy Dopo l’uomo ombra* (After thin man, 1936) con William Powell, Myrna Loy, Asta L’ultimo gangster* (The last gangster, 1937) con Edward G. Robinson, Rose Stradner Ritorna l’amore* (Made for each other, 1939) con Carole Lombard, Charles Coburn Questo mondo è meraviglioso* (It’s a wonderful world, 1939) di W.S. Van Dyke, con Claudette Colbert Mr. Smith va a Washington* (Mr. Smith goes to Washington, 1939) di Frank Capra, con Jean Arthur, Thomas Mitchell (nuovo doppiaggio o doppiaggio originale) Partita d’azzardo* (Destry rides again, 1939) con Marlene Dietrich Scrivimi fermo posta* (The shop around the corner, 1940) con Margaret Sullavan, Frank Morgan Bufera mortale* (The mortal storm, 1940) con Margaret Sullavan, Robert Young, Frank Morgan Vieni a vivere con me* (Come live with me, 1941) con Hedi Lamar, Ian Hunter Un sacco d’oro* (Pot of gold, 1941) di George Marshall, con Paulette Goddard, Horace Hendt Le fanciulle delle follie* (Ziegfeld girl, 1941) con Judy Garland, Hedy Lamar, Lana Turner Chiamate Nord 777* (Call Northside 777, 1948) di Henry Hataway, con Patrick Conte, Helen Walker, La strada della felicità* (On our merry way, 1948) con Paulette Goddard, Henry Fonda, Fred MacMurray, Dorothy Lamour Nodo alla gola* (Rope, 1948) di Alfred Hitchcock, con James Stewart + Intervista ad Hitchcock di 50 min L’amante indiana* (Broken Arrow, 1950) con Debra Paget, Jeff Chandler Harvey* (id, 1950) di Henry Koster, con Josephine Hull, Peggy Dow La fortuna si diverte* (The Jackpot, 1950) di Walter Lang, con Barbara Hale, Natalie Wood Il più grande spettacolo del mondo* (The Greatest Show on Earth, 1952) con Charlton Heston, Betty Hutton, Gloria Grahame, Cornel Wilde Là dove scende il fiume* (Bend of the river, 1952) di Anthony Mann, con James Stewart, Arthur Kennedy, Julie Adams, Rock Hudson (+ ‘I Simpson’ 8.21 Il vecchio e Lisa e 8.25 La Guerra segreta di Lisa Simpson) Lo sperone nudo* (The naked spur, 1953), con Janet Leigh, Robert Ryan La storia di Glenn Miller* (The Glenn Miller Story, 1954) di Anthony Mann, con June Allyson, Louis Armstrong Terra lontana* (The far country, 1955) di Anthony Mann, con Ruth Roman, Walter Brennan L’uomo di Laramie* (The man from Laramie, 1955) di Anthony Mann, con Arthur Kennedy, Donald Crisp L’uomo che sapeva troppo* (The man who knew too much, 1956) di Alfred Hitchcock con Doris Day L’aquila solitaria* (The spirit of St. Louis, 1957) di Billy Wilder, con Murray Hamilton Passaggio di notte* (Night passage, 1957) con James Stewart, Audie Murphy, Dianne Foster La donna che visse due volte (Vertigo, 1958) di Alfred Hitchcock, con Kim Novak Una strega in paradiso (Bell, book and candle, 1958) con Kim Novak, Jack Lemmon, Elsa Lanchester Sono un agente FBI* (The FBI Story, 1959) con Vera Miles Cavalcarono insieme* (Two rode together, 1961) di John Ford, con Richard Widmark, Shirley Jones, Linda Cristal L’uomo che uccise Liberty Valance* (The man who shot Liberty Valance, 1962) di John Ford, con John Wayne, Lee Marvin, Vera Miles Mr. Hobbs va in vacanza* (Mr. Hobbs takes a vacation, 1962) di Henry Koster, con Maureen O’Hara, Fabian La conquista del west (How the west was won, 1962), di John Ford, George Marshall, Henry Hathaway con Gregory Peck, John Wayne, Debbie Reynolds, Henry Fonda Prendila è mia* (Take her she’s mine, 1963) con Sandra Dee Il grande sentiero* (Cheyenne Autumn, 1964) di John Ford, con Richard Widmark, Caroll Baker, Edward G. Robinson Erasmo il lentigginoso* (Dear Brigitte, 1965) con Fabian, Brigitte Bardot Rancho Bravo* (The rare breed, 1966) con Andrew V. McLaglen, con Maureen O’Hara, Brian Keith Bandolero!* (id., 1968) di Andrew McLaglen con Dean Martin, George Kennedy, Raquel Welch Non stuzzicate i cowboy che dormono* (The Cheyenne Social Club, 1970) di Gene Kelly con Henry Fonda, Shirley Jones C’era una volta Hollywood* (That’s Entertainment, 1974) con Gene Kelly, Fred Astaire, Frank Sinatra Il Pistolero* (The shootist, 1976) con John Wayne, Lauren Bacall e Ron Howard Airport 77* (id., 1977) con Jack Lemmon, Olivia de Havilland, Joseph Cotten, Brenda Vaccaro, Lee Grant, Chirstopher Lee, George Kennedy Marlowe indaga* (The big sleep, 1978) con Robert Mitchum, Sarah Miles La più bella avventura di Lassie* (The magic of Lassie, 1978) con Mickey Rooney, Stephanie Zimbalist con Cary Grant: Venere bionda* (Blonde Venus, 1932) di Josef von Sternberg, con Marlene Dietrich, Herbert Marshall Lady Lou, la donna fatale* (She done him wrong, 1933) con Mae West Non sono un angelo* (I’m no angel, 1933) con Mae West Il diavolo è femmina* (Sylvia Scarlett, 1935) di George Cukor, con Katharine Hepburn, Edmund Gwenn Susanna* (Bring it up, baby, 1938) di Howard Hawks, con Katharine Hepburn Incantesimo* (Holiday, 1938) di George Cukor, con Katharine Hepburn Gunga Din* (id., 1939) con Victor McLaglen, Douglas Fairbanks jr, Joan Fontaine Avventurieri dell’aria* (Only angels have wings 1939) di Howard Hawks, con Jean Arthur, Rita Hayworth, Richard Barthelmess La signora del venerdì* (His girl Friday, 1940) di Howard Hawks, con Rosalind Russell, Ralph Bellamy Le mie due mogli* (My favorite wife, 1940) con Irene Dunne e Randolph Scott Quelli della Virginia* (The Howards of Virginia, 1940) di Frank Lloyd, con Martha Scott Ho sognato un angelo* (Penny Serenade, 1941) di George Stevens, con Irene Dunne Il sospetto* (Suspicion, 1941) di Alfred Hitchcock, con Joan Fontaine La dama e l’avventuriero* (Mr. Lucky, 1943) con Loraine Day, Gladys Cooper, Destinazione Tokyo* (Destination Tokyo, 1943) con John Garfield Il ribelle* (None but the lonely heart, 1944) con Ethel Barrymore Notte e dì* (Night and day, 1946) con Alexis Smith e Jane Wyman Notorius* (Notorious, 1946) di Alfred Hitchcock, con Ingrid Bergman L'intraprendente Signor Dick* (The Bachelor and the Bobby-Soxer, 1947) di Irving Reis, con Myrna Loy e Shirley Temple La moglie del vescovo* (The bishop’s wife, 1948) con Loretta Young, David Niven, Gladys Cooper La casa dei nostri sogni* (Mr. Blandings Builds His Dream House, 1948) di Henry C. Potter, con Myrna Loy, Melvyn Douglas Ogni ragazza vuol marito* (Every girl should be married, 1948) con Betsy Drake La gente mormora* (People will talk, 1951) di Joseph L. Mankiewicz, con Jeanne Crain, Finlay Currie, Hume Cronin C’è posto per tutti* (Room for one more, 1952) + documentario su Cary Grant, con Betsty Drake, George Winslow La sposa sognata* (Dream wife, 1953) di Sidney Sheldon, con Deborah Kerr, Walter Pidgeon sia in versione colorata (qualità video buona) che nella versione originale b/n (qualità video digitale) – scegliete quella che preferite Caccia al ladro* (To catch a thief, 1955) di Alfred Hitchcock, con Grace Kelly Orgoglio e passione* (The Pride and the Passion, 1957) di Stanley Kramer, con Frank Sinatra, Sophia Loren Un amore splendido* (An affair to remember, 1957) con Deborah Kerr Baciala per me* (Kiss them for me, 1957) di Stanley Donen, Jayne Mansfield, Suzy Parker Un marito per Cinzia* (Houseboat, 1958) con Sofia Loren Indiscreto* (Indiscreet, 1958) con Ingrid Bergman, Cecil Parker Intrigo internazionale* (North by northwest, 1959) di Alfred Hitchcock, con Eva Marie Saint, James Mason Operazione sottoveste* (Operation Petticoat, 1959) di Blake Edwards, con Tony Curtis L’erba del vicino è sempre più verde* (1960) di Stanley Donen, con Deborah Kerr, Robert Mitchum, Jean Simmons Il visone sulla pelle* (That touch of mink, 1962), con Doris Day, Gig Young Sciarada* (Charade, 1963), con Audrey Hepburn, Walter Matthau, James Coburn Il gran lupo chiama* (Father goose, 1964) con Leslie Caron Cammina non correre* (Walk don’t run, 1966) con Samantha Eggar, Jim Hutton con Laurence Olivier: L’avventura di Lady X* (1938) con Merle Oberon e Binnie Bearns Cime tempestose* (1939) con Merle Oberon Orgoglio e pregiudizio* (1940) con Greer Garson Il grande ammiraglio - Lady Hamilton* (1941) con Vivien Leigh Gli invasori – 49mo parallelo* (1941) con Leslie Howard Henry V - Enrico V* (1944) Amleto* (Hamlet, 1948) con Laurence Olivier, Jean Simmons Gli occhi che non sorrisero* (1952) con Jennifer Jones Il principe e la ballerina* (1957) con Marilyn Monroe Spartacus* (1960) con Kirk Douglas, Peter Ustinov e Tony Curtis Amore tra le rovine* (Love among the ruins, 1975), di George Cukor con Katharine Hepburn The Betsy* (id., 1978) con Tommy Lee Jones, Robert Duvall, Katharine Ross, Jane Alexander I ragazzi venuti dal Brasile* (The boys from Brazil, 1978) con Gregory Peck, James Mason, Steve Guttenberg, Lilli Palmer ITV’s Ritorno a Brideshead* (Brideshead revisited, 1981), con Jeremy Irons, Anthony Andrews, John Gielgud (4 dvd) Triplo gioco* (The Jigsaw man, 1983) di Terence Young, con Michael Caine, Susan George con Clark Gable: Accadde una notte* (It happened one night, 1934) di Frank Capra, con Claudette Colbert Incatenata* (Chained, 1934) con Joan Crawford, Otto Cruger, Mickey Rooney Gelosia* (Wife vs Secretary, 1936) con Jean Harlow, Myrna Loy, James Stewart L’isola del diavolo* (Strange Cargo, 1940) con Joan Crawford, Ian Hunter (mancano titoli e verso un terzo per un minuto circa l’immagine video è pessima) Il cacciatore del Missouri* (Across the wide Missouri, 1951) con Ricardo Montalban, Maria Elena Marqués Mogambo* (id., 1953) di John Ford, con Grace Kelly, Ava Gardner, Arrivò l’alba* (Never let me go, 1953) di Dalmer Daves, con Gene Tierney Controspionaggio* (Betrayed, 1954) con Lana Turner, Victor Mature Gli implacabili* (The tall men, 1955) con Jane Russell, Robert Ryan Banda degli angeli* (Band of angels, 1957) con Yvonne de Carlo, Sidney Poitier 10 in amore* (Teacher’s pet, 1958) con Doris Day, Gig Young La baia di Napoli* (It starter in Naples, 1960) con Sophia Loren, Vittorio De Sica Gli spostati* (The Misfits, 1961) con Marilyn Monroe, Montgomery Cliff, Eli Wallach con Gary Cooper: Sogno di prigioniero* (Peter Ibbetson, 1935) di Henry Hathaway, con Ann Harding La gloriosa avventura* (The real glory, 1939) con David Niven, Andrea Leeds Il sergente York* (Sergeant York, 1941) di Howard Hawks, con Walter Brennan, Joan Leslie Colpo di fulmine* (Balls of fire, 1941) di Howard Hawks, con Barbara Stanwyck, Henry Travers Per chi suona la campana* (1943) di Sam Wood, con Ingrid Bergman Le tre donne di Casanova* (Casanova Brown, 1944) di Sam Wood, con Gary Cooper, Teresa Whright, Frank Morgan La storia del dottor Wassell* (The story of Dr. Wassell, 1944) di C.B. DeMille, con Loraine Day Un magnifico avventuriero (Along came Jones, 1945) con Loretta Young Gli invincibili* (Unconquered, 1947) di Cecil B. DeMille Paulette Goddard Il buon samaritano* (Good Sam, 1948) di Leo MacCarey, con Ann Sheridan La fonte meravigliosa* (1949) con Patricia Neal La maschera di fango* (Springfield rifle, 1952) con Phyllis Thaxter Il prigioniero della miniera* (Garden of Evil, 1954) con Susan Hayward, Richard Widmark La legge del Signore* (1956) di William Wyler, con Dorothy McGuire, Anthony Perkins Arianna* (Love in the afternoon, 1957) con Audrey Hepburn, Maurice Chevalier L’albero degli impiccati* (The hanging tree, 1959) con Maria Schell, Karl Malden, George C. Scott I giganti del mare* (The Wreck of the Mary Deare, 1959) con Charlton Heston, Richard Harris, Victoria McKenna con Gregory Peck: La valle del destino* (The valley of decision, 1945) con Greer Garson, Donald Crisp, Lionel Barrymore, Jessica Tandy, Dean Stockwell (qualità video discreta) Duello al sole* (Duel in the sun, 1946) con Jennifer Jones, Joseph Cotten, Lilian Gish Il grande peccatore* (The great sinner, 1949) con Ava Gardner, Melvyn Douglas, Walter Huston, Ethel Barrymore Romantico avventuriero* (The gunfighter, 1950) di Henry King, con Gregory Peck, Helen Westcott (+ ‘I Simpson’ 8.1 Il mostro ed io e 8.22 In Marge abbiamo fede) Le avventure del capitano Hornblower* (1951) con Virgina Mayo, Cristopher Lee Il mondo nelle mie braccia* (1952) con Ann Blyth, Anthony Quinn La donna del destino* (Designino woman, 1957) di Vincent Minnelli, con Lauren Bacall Bravados* (The Bravados, 1958) di Henry King, con Joan Collins, Lee Van Cleef Il grande Paese* (The big country, 1958) di William Wyler, con Charlton Heston, Caroll Backer, Jean Simmons, Burl Ives L’ultima spiaggia (1959) di Stanley Kramer, con Ava Gardner, Fred Astaire, Anthony Perkins La conquista del west (How the west was won, 1962), di John Ford, George Marshall, Henry Hathaway con James Stewart, John Wayne, Debbie Reynolds, Henry Fonda Il buio oltre la siepe* (To kill a monkingbird, 1962) con Mary Badhman, Robert Duvall I ragazzi venuti dal Brasile* (The boys from Brazil, 1978) con Laurence Olivier, James Mason, Steve Guttenberg, Lilli Palmer con Spencer Tracy: Furia (Fury, 1936) di Fritz Lang, con Sylvia Sidney, Walter Brennan, Bruce Cabot La donna del giorno* (Libeled Lady, 1936), con William Powell, Myrna Loy, Jean Harlow, Capitani coraggiosi* (Captains courageous, 1937) con Spencer Tracy, Lionel Barrymore, Freddie Bartholomew, Mickey Rooney Prigioniera di un segreto* (1942) di Goerge Cukor, con Katharine Hepburn Joe il pilota* (A guy named Joe 1943) con Irene Dunne, Van Johnson, Esther Williams Senza amore* (Without love, 1945) con Katharine Hepburn, Lucille Ball Lo stato dell’Unione (State of Union, 1948) di Frank Capra, con Katharine Hepburn, Van Johnson, Angela Lansbury, Adolphe Menjou La costola d’Adamo* (Adam’s rib, 1949) di George Cukor, con Katherine Hepburn Il padre della sposa* (The father of the bride, 1950) con Liz Taylor, Joan Bennett Papà diventa nonno* (Father’s little dividend, 1951) con Liz Taylor, Joan Bennett Lui e lei* (Pat and Mike, 1952) di George Cukor, con Katherine Hepburn Il vecchio e il mare* (The old man and the sea, 1958), di John Sturges, con Felipe Pazos Vincitori e vinti* (1961), con Montgomery Clift, Maximilian Schell, Marlene Dietrich con Katharine Hepburn: La falena d’argento* (Christopher Strong, 1933) di Dorothy Arzner, con Colin Clive Morning glory - La gloria del mattino* (in inglese) (1933) Piccole donne* (Little women, 1933) di George Cukor, con Joan Bennet, Paul Lukas, Edna May Oliver Argento vivo* (Spitfire, 1934) con Robert Young, Ralph Bellamy (mancano titoli) Amore tzigano* (The little Minister, 1934) con John Beal, Donald Crisp Il diavolo è femmina* (Sylvia Scarlett, 1935) di George Cukor, con Cary Grant, Edmund Gwenn Primo amore* (Alice Adams, 1935) di George Stevens, con Fred MacMurray Palcoscenico* (Stage Door, 1937) con Ginger Rogers, Ann Miller Susanna* (Bring it up, baby, 1938) di Howard Hawks, con Cary Grant Incantesimo* (Holiday, 1938) di George Cukor, con Caru Grant Prigioniera di un segreto* (1942) con Spencer Tracy Senza amore* (Without love, 1945) con Spencer Tracy, Lucille Ball La stirpe del drago* (1944) con Walter Huston, Aline MacMahon, Agnes Moorehead Lo stato dell’Unione* (State of Union, 1948) di Frank Capra, con Spencer Tracy, Van Johnson, Angela Lansbury, Adolphe Menjou La costola d’Adamo* (Adam’s rib, 1949) di George Cukor, con Spencer Tracy Lui e lei* (Pat and Mike, 1952) di George Cukor, con Spencer Tracy Tempo d’estate* (Summertime, 1955) di David Lean, con Rossano Brazzi (+ documentario di 24 minuti su ‘Breve incontro’ di Lean) Il lungo viaggio verso la notte* (1962) con Jason Robarts e Dean Stockwell A delicate balance – Un equilibrio delicato* (in lingua originale con i sottotitoli, 1973) con Paul Scofield, Joseph Cotten, Kate Reid Amore tra le rovine* (Love among the ruins, 1975), di Gorge Cukor con Laurence Olivier Love affair (1994) con Warren Beatty, Annette Bening, Pierce Brosnan Fiocchi di neve per Buddy* (Truman Capote’s One Christmas, 1994) con Henry Winker con Marlene Dietrich: Venere bionda* (Blonde Venus, 1932) di Josef von Sternberg, con Cary Grant, Herbert Marshall Angelo (Angel, 1937) di Ernst Lubitsch, con Herbert Marshall, Melvyn Douglas L’ultimo treno da Mosca* (A knight without armor, 1937) con Robert Donat Partita d’azzardo* (Destry rides again, 1939) con James Stewart L’ammaliatrice* (The flame of New Orleans, 1941) di René Clair, con Bruce Cabot Scandalo internazionale* (A Foreign Affair, 1948) con Jean Arthur, John Lund + doc. corto su Wilder Paura in palcoscenico* (Stage fright, 1950) di Alfred Hitchcock, con Jane Wyman, Ricfhard Todd, Michael Wilding Vincitori e vinti* (1961), con Spencer Tracy, Montgomery Clift, Maximilian Schell, Judy Garland con Ingrid Bergman: Casablanca* (id., 1942) con Humphrey Bogart Per chi suona la campana* (1943) con Gary Cooper Le campane di Santa Maria* (The bells of St. Mary’s, 1945) di Leo McCarey, con Bing Crosby, Henry Travers Notorius* (Notorious, 1946) di Alfred Hitchcock, con Cary Grant Giovanna d’Arco al rogo* (Joan at the strake, 1954) di Roberto Rossellini, con Tullio Carminati Indiscreto* (Indiscreet, 1958), con Cary Grant, Cecil Parker con Vivien Leigh: Patrizia e il dittatore* (1937) con Rex Harrison, Cecil Parker Il ponte di Waterloo* (Waterloo Bridge, 1940) con Robert Taylor Il grande ammiraglio - Lady Hamilton* (1941) con Laurence Olivier Anna Karenina* (1948) di Julien Duvivier, con Ralph Richardson, Kieron Moore, Martita Hunt, Gino Cervi in lingua originali e sub in ita con Greta Garbo: Ninotchka* (id., 1939) di Ernst Lubitsch, con Melvyn Douglas, Bela Lugosi con Bette Davis: La foresta pietrificata* (The petrified forest, 1936) con Lesile Howard, Humphrey Bogart Tramonto* (Dark Victory, 1939) di Edmund Goulding, con George Brent, Humphrey Bogart Ombre malesi* (The letter, 1940) di William Wyler, con Herbert Marshall Sposa contro assegno* (The bride came C.O.D., 1941) con Bette Davis, James Cagney Piccole volpi* (The little foxes, 1941) di William Wyler, con Teresa Whright, Herbert Marshall Perdutamente tua* (Now, Voyager 1942) con Paul Henreid, Gladys Cooper, Claude Rains Eva contro Eva* (All about Eve, 1950) con Anne Baxter, Celeste Holm, George Sanders Angeli con la pistola* (Pocketful of miracle, 1961) di Frank Capra, con Glenn Ford, Hope Lange, Peter Falk con Greer Garson: Orgoglio e pregiudizio* (Pride and Prejudice, 1940) con Laurence Olivier, Edmund Gwenn La signora Miniver* (Mrs Miniver, 1942) di William Wyler, con Walter Pidgeon, Teresa Wright Prigionieri del passato* (Random Harvest, 1942) con Ronald Colman La valle del destino* (The valley of decision, 1945) con Gregory Peck, Donald Crisp, Lionel Barrymore, Jessica Tandy, Dean Stockwell (qualità video discreta) L’orfana senza sorriso* (Scandal at Scourie, 1953) con Walter Pidgeon, Agnes Moorehead, Donna Corcoran con Loretta Young: L’amore è novità (Love is news, 1937) con Tyrone Power, Don Ameche Il grande silenzio* (And now tomorrow, 1944) con Alan Ladd, Susan Hayward, Beulah Bondi Un magnifico avventuriero* (Along came Jones, 1945) con Gary Cooper La sposa celebre* (The farmer’s daughter, 1947) con Joseph Cotten, Ethel Barrymore La moglie del vescovo* (The bishop’s wife, 1948) con Cary Grant, David Niven, Gladys Cooper Il vagabondo della foresta* (Rachel and the stranger, 1948), con William Holden, Robert Mitchum L’adorabile intrusa* (Mother is a freshman, 1949) con Van Johnson, Betty Lynn Mi svegliai signora* (Half angel, 1951) con Joseph Cotten, Cecil Kellaway con Shirley Temple: La mascotte dell’aeroporto* (Bright eyes, 1934) con James Dunn, Jane Withers + Silly Sinphony: Papà Natale (1932) Da quando te ne andasti* (Since you went away, 1944) con Claudette Colbert, Joseph Cotton, Jennifer Jones Al tuo ritorno* (I’ll be seeing you, 1944) con Ginger Rogers, Joseph Cotton L'intraprendente Signor Dick* (The Bachelor and the Bobby-Soxer, 1947) con Cary Grant, Myrna Loy con Myrna Loy: Strettamente confidenziale (Braodway Bill, 1934) di Fran Capra, con Walter Baxter L’uomo ombra* (Uomo Ombra 1) (The thin man, 1934) con William Powell, Maureen O’Sullivan Gelosia* (Wife vs Secretary, 1936) con Clark Gable, Jean Harlow, James Stewart La donna del giorno* (Libeled Lady, 1936), con William Powell, Spencer Tracy, Jean Harlow, Dopo l’uomo ombra* (Uomo Ombra 2) (After thin man, 1936) con William Powell, James Stewart, Asta Si riparla dell’Uomo Ombra* (Uomo Ombra 3) (Another thin man, 1939) con William Powell, C. Aubrey Smith, Virginia Grey L’ombra dell’uomo ombra* (Uomo Ombra 4) (The shadow of the thin man, 1941) con William Powell, Donna Reed, Stella Adler L'intraprendente Signor Dick* (The Bachelor and the Bobby-Soxer, 1947) con Cary Grant, Shirley Temple La casa dei nostri sogni* (1948) con Cary Grant, Melvyn Douglas Merletto di mezzanotte* (1960) con Rex Harrison, Doris Day, John Gavin I registi degli Anni d’oro di Hollywood: di George Cukor: A che prezzo Hollywood?* (What price Hollywood?) con Constance Bennett, Lowell Sherman Piccole donne* (Little women, 1933) con Katharine Hepburn, Joan Bennet, Paul Lukas, Edna May Oliver Il diavolo è femmina* (Sylvia Scarlett, 1935) con Katharine Hepburn, Cary Grant, Edmund Gwenn Incantesimo* (Holiday, 1938) con Katharine Hepburn, Cary Grant Donne* (Women, 1939), con Norma Shearer, Rosalind Russel, Joan Crawford, Joan Fontaine Volto di donna* (A woman’s face, 1941), con Joan Crawford, Melvyn Douglas Prigioniera di un segreto* (1942) con Spencer Tracy e Katharine Hepburn La costola d’Adamo* (Adam’s rib, 1949), con Katharine Hepburn, Spencer Tracy Lui e lei* (Pat and Mike, 1952), con Katharine Hepburn, Spencer Tracy Sangue misto* (Bhowani Junction, 1956), con Ava Gardner, Stewart Granger Les Girls* (id., 1957) con Gene Kelly, Kay Kendall, Taina Elg In viaggio con la zia* (Travels with my aunt, 1972) con Maggie Smith Amore tra le rovine* (Love among the ruins, 1975), con Katharine Hepburn, Laurence Olivier di Franck Capra: La donna del miracolo* (The miracle woman, 1931) con Barbara Stanwyck, David Manners Accadde una notte* (It happened one night, 1934) con Clark Gable, Claudette Colbert Strettamente confidenziale (Braodway Bill, 1934) con Myrna Loy, Walter Baxter Mr. Smith va a Washington* (Mr. Smith goes to Washington, 1939) con Jean Arthur, Thomas Mitchell (nuovo doppiaggio o doppiaggio originale) Lo stato dell’Unione* (State of Union, 1948) con Katharine Hepburn, Van Johnson, Angela Lansbury, Adolphe Menjou Angeli con la pistola* (Pocketful of miracle, 1961) con Glenn Ford, Bette Davis, Hope Lange, Peter Falk di Howard Hawks: Susanna!* (Bring it up, baby, 1938) con Katharine Hepburn, Cary Grant Avventurieri dell’aria* (Only angels have wings 1939) con Cary Grant, Jean Arthur, Rita Hayworth, Richard Barthelmess La signora del venerdì* (His girl Friday, 1940) con Cary Grant, Rosalind Russell, Ralph Bellamy Il sergente York* (Sergeant York, 1941) con Gary Cooper, Walter Brennan, Joan Leslie Colpo di fulmine* (Balls of fire, 1941) con Gary Cooper, Barbara Stanwyck, Henry Travers Lo sport preferito dall’uomo* (Man’s favorite sport?, 1964) con Rock Hudson, Paula Prentiss di William Wyler: Cime tempestose* (1939) con Laurence Olivier, Merle Oberon, David Niven Ombre malesi* (The letter, 1940) con Bette Davis, Herbert Marshall Piccole volpi* (The little foxes, 1941) con Bette Davis, Teresa Whright, Herbert Marshall La signora Miniver* (Mrs Miniver, 1942) con Greer Garson, Teresa Wright, Walter Pidgeon Gli occhi che non sorrisero* (Carrie, 1952) con Laurence Olivier, Jennifer Jones La legge del Signore* (Friendly persuasion, 1956) con Gary Cooper, Dorothy MacGuire, Anthony Perkins Il grande Paese* (The big country, 1958) con Gregory Peck, Charlton Heston, Caroll Backer, Jean Simmons, Burl Ives Come rubare un milione di dollari e vivere felici* (1966) con Audrey Hepburn, Peter O’Toole, Eli Wallach di Vincente Minnelli: Incontriamoci a St. Louis* (1944), con Judy Garland, Margaret O’Brien Ziegfeld Follies* (1946) con Fred Astaire, Gene Kelly, Judy Garland, Esther Williams, Red Skelton Il pirata* (The pirate, 1948) con Gene Kelly, Judy Garland Il padre della sposa* (The father of the bride, 1950) con Spencer Tracy, Liz Taylor, Joan Bennett Papà diventa nonno* (Father’s little dividend, 1951) con Spencer Tracy, Liz Taylor, Joan Bennett Spettacolo di varietà* (The band wagon, 1953) con Fred Astaire, Cyd Charisse 12 metri d’amore* (The long, long trailer, 1954) con Lucille Ball, Desi Arnaz Tè e simpatia* (Tea and sympathy, 1956) con Deborah Kerr, John Kerr La donna del destino* (Designing woman, 1957) con Gregory Peck, Lauren Bacall Come sposare una figlia* (1958) con Rex Harrison, Kay Kendall, Sandra Dee, Angela Lansbury Una fidanzata per papà* (1963) con Glenn Ford, Ron Howard, Shirley Jones L’amica delle 5 ½* (On a clear day you can see forever, 1970) con Barbra Streisand, Yves Montand di Stanley Donen: Un giorno a New York* (On the town, 1949) con Gene Kelly, Frank Sinatra, Ann Miller, Vera Ellen Sette spose per sette fratelli* (Seven Brides for Seven Brothers ,1954) con Howard Keel, Jane Powell E’ sempre bel tempo* (It’s always fair weather, 1955) con Gene Kelly, Cyd Charisse, Dolores Gray Baciala per me* (Kiss them for me, 1957) con Cary Grant, Jayne Mansfield, Suzy Parker Indiscreto* (Indiscreet, 1958) con Cary Grant, Ingrid Bergman, Cecil Parker L’erba del vicino è sempre più verde* (1960) con Cry Grant, Deborah Kerr, Robert Mitchum, Jean Simmons Sciarada* (Charade, 1963), con Cary Grant, Audrey Hepburn, Walter Matthau, James Coburn di Billy Wilder: Giorni perduti* (The lost week-end, 1945) con Ray Milland e Jane Wyman Il valzer dell’imperatore* (The Emperor Waltz, 1948) con Bing Crosby, Joan Fontaine, Richard Haydn + doc. corto su Bing Crosby Scandalo internazionale* (1948) con Jean Arthur, Marlene Dietrich, John Lund + doc. corto su Wilder Sabrina* (id., 1954) con Audrey Hepburn, Humprhey Bogart, William Holden L’aquila solitaria* (The spirit of St. Louis, 1957) con James Stewart, Murray Hamilton Arianna* (Love in the afternoon, 1957) con Audrey Hepbuern, Gary Cooper, Maurice Chevalier A qualcuno piace caldo* (Some like it hot, 1959) con Marilyn Monroe, Jack Lemmon, Tony Curtis Baciami stupido* (Kiss me, Stupid, 1964) di Billy Wilder, con Dean Martin, Kim Novak, Ray Walston, Felicia Farr di Alfred Hitchcock: Il sospetto* (Suspicion, 1941) con Cary Grant, Joan Fontaine L’ombra del dubbio* (Shadow of a doubt, 1943) con Teresa Whright, Joseph Cotten Notorius* (Notorious, 1946) con Cary Grant, Ingrid Bergman Nodo alla gola* (Rope, 1948) con James Stewart + Intervista ad Hitchcock di 50 min Paura in palcoscenico* (Stage fright, 1950) con Jane Wyman, Marlene Dietrich, Ricfhard Todd, Michael Wilding Io confesso* (I confess, 1953) con Montgomery Clift, Anne Baxter, Karl Malden (ad un certo punto l’immagine va via per 20 secondi) Caccia al ladro* (To catch a thief, 1955) con Cary Grant, Grace Kelly L’uomo che sapeva troppo* (1956) con James Stewart, Doris Day La donna che visse due volte (Vertigo, 1958) con, James Stewart, Kim Novak Intrigo internazionale* (North by northwest, 1959) con Cary Grant, Marie Saint, James Mason di John Ford: Un uomo tranquillo* (A quiet man, 1952) con John Wayne, Maureen O’Hara Mogambo* (id., 1953) con Clark Gable, Ava Gardner, Grace Kelly Storie irlandesi* (The rising of the moon, 1957) con Tyrone Power + documentario Speciale TG1: Sulle strade d’Irlanda Cavalcarono insieme* (Two rode together, 1961) con James Stewart, Richard Widmark, Shirley Jones, Linda Cristal L’uomo che uccise Liberty Valance* (The man who shot Liberty Valance, 1962) con James Stewart, John Wayne, Lee Marvin, Vera Miles La conquista del west* (How the west was won, 1962) con James Stewart, Gregory Peck, John Wayne, Debbie Reynolds, Henry Fonda Il grande sentiero* (Cheyenne Autumn, 1964) con James Stewart, Richard Widmark, Caroll Baker, Edward G. Robinson di Douglas Sirk: Lo sparviero di Londra* (Lured, 1947) con Lucille Ball, George Sanders, Charles Coburn, Boris Karloff, Boris Karloff, Cedric Hardwicke Il Capitalista* (Has Anybody Seen My Gal, 1952) con Rock Hudson, Charles Coburn, Piper Laurie, Gigi Perreau, Lynn Bari, James Dean Magnifica Ossessione* (Magnificent Obsession, 1954) con Jane Wyman, Rock Hudson Secondo amore* (All that heaven allows, 1955) con Jane Wyman, Rock Hudson Il trapezio della vita* (The Tarnished Angels, 1958) con Rock Hudosn, Dorothy Malone, Robert Stack, Troy Donahue Lo specchio della vita* (Imitation of life, 1959) con Lana Turner, Sandra Dee, John Gavin

Vendo in perfette condizioni estetiche e funzionali con la relativa scatola. Boss HF-2 HiBand Flanger The HF-2 is combining the original signal with a delayed signal that is shifted one octave up to create a flanging effect a bit different but still similar to the BF-2. The effect is brighter and cleaner than the BF-2. The HF-2 may not be as powerful as the BF-2, but for hi frequency flanging it produces a very good result. Production of the HF-2 moved from Japan to Taiwan mid 1989. Specifications Controls: Manual, Depth, Rate, Res Connectors: Input, Output, AC Adaptor Current Draw: 15 mA (DC 9V) Weight: 400 g (14 oz.) Input Impedance: 470 kOhm Residual Noise Level: -95dBu (IHF-A) Recommended Load Impedance: 10kOhm or greater Delay Time: 0.5 ms ~ 6.5 ms LFO Speed: 100 ms ~ 16 s Recommended AC Adaptor: ACA Series