Stortrommeklubber Freer Percussion BDFH, Carbon Fiber Shaft Hard Felt

Stortrommeklubbe Freer Percussion BD8, Nylon Core, Dual Hard Green & Soft German FeltBD8 NYLON CORE WITH DUAL HARD GREEN FELT AND SOFT GERMAN FELTAluminum Shaft, Bass Drum MalletsThe BD8 continues to be a best seller because of its versatility. The only double ended mallet in the line, it features identical cores on each end with a hard green felt on one end and soft German felt on the other. DESCRIPTIONA great general mallet for conservatory students who are looking to keep their budget under control, buying a pair of these will get you through a lot of repertoire in an economical way. You can easily use a pair as rollers with the soft white end or for rhythmic playing with the two green ends. Extremely versatile and also excellent on small tam tams and medium sized tuned gongs. Recommended for all general orchestral repertoire. *Note the color of hard side green felt may vary slightly from photos due to the nature of custom made small batch dyed felts.

Stortrommeklubber Freer Percussion BD2H, Small Maple w/Hard ChamoisBD2H SMALL HEAD CHAMOIS BASS DRUM MALLETS HICKORY SHAFTS (SOLD IN PAIRS)Hickory Shaft, Bass Drum Mallets

Stortrommeklubber Dragonfly Percussion VTBDS, Veg Tan Bass Drum Small, Oak Handle The Dragonfly Veg Tan bass drum mallets are constructed of 6-8 layers of thick veg-tanned saddle leather on a hand-turned, tapered oak handle. The discs are sanded on the lathe to give them a rounded profile. These mallets function in much the same way as a standard chammy covered sticks, but have a fuller, darker sound and also never need rewrapping. The small sticks are great for fast, athletic passages where maximum articulation is required. Theyre slightly heavier than the average Rite of Spring sticks, are very well suited to that excerpt and have a HUGE sound.

Stortrommeklubbe Innovative Percussion CL-BD9, Chris Lamb Orchestral Bass Drum Beater - RogueThe bass drum mallets in this new line have been engineered carefully with weight distribution thoughtfully considered. Some are designed to be nimble in the hand and snappy off the drum while others are intended to allow a lingering weight at impact. In all cases, they will address the feel you are looking for and the sounds you are imaginingCL-BD9 Rogue: These hard core mallets remove the edginess of the Classic Wood model and fill out the more subtle rhythmic passages.  Once again, the tapered handles add an element of dexterity that supports a lightning response required by many parts.Christopher S. LambManhattan School of MusicNew York Philharmonic Principal PercussionistGrammy Awardwinning percussionist Christopher Lamb has been hailed as a dynamic and versatile performer. Having joined the New York Philharmonic as Principal Percussionist in 1985, The Constance R. Hoguet Friends of the Philharmonic Chair, he subsequently made his solo debut with the Orchestra in the World Premiere of Joseph Schwantners Percussion Concerto, one of several commissions celebrating the Philharmonics 150th anniversary. He has since performed the work to critical acclaim with orchestras throughout the United States and in 2011 won a Grammy for Best Classical Instrumental Soloist for his recording of Schwantners Percussion Concerto with the Nashville Symphony. Mr. Lamb also gave the World Premiere of Tan Duns Concerto for Water Percussion, a second work commissioned for him by the New York Philharmonic, and has performed it to rave reviews on the Philharmonics tour to South America, as well as in Asia and Europe with such notable orchestras as the London Philharmonic Orchestra, Amsterdams Royal Concertgebouw, Leipzigs Gewandhaus Orchestra, and the Tokyo Metropolitan Symphony Orchestra. In the United States, he has performed the work with the Boston Symphony Orchestra, Baltimore Symphony, and the Pacific Symphony. New York Philharmonic Music Director Emeritus Kurt Masur selected Mr. Lambs performance of Tan Duns Concerto for Water Percussion for release in the Orchestras collection of recordings highlighting his tenure as Music Director. The third commission for Mr. Lamb by the New York Philharmonic, Susan Bottis Echo Tempo for Soprano, Percussion, and Orchestra, was given its World Premiere by Ms. Botti, Mr. Lamb, and the New York Philharmonic under the baton of Mr. Masur. A faculty member of the Manhattan School of Music since 1989, Christopher Lamb has led clinics and master classes throughout the United States and on almost every continent. In 1999 he was the recipient of a Fulbright Scholars Award to lecture and conduct research in Australia. During his five-month residency at the Victorian College of the Arts in Melbourne, he presented master classes and seminars titled A Comprehensive Examination of Orchestral Percussion, which has grown into a model for the art of teaching percussion. In 2010 Mr. Lamb was invited to join the faculty of the Royal Conservatoire of Scotland as an international fellow. Mr. Lamb has recorded chamber works on the New World, Cala, and CRI labels, and his Grammy Awardwinning performance of Schwantners Percussion Concerto is available on the Nonesuch label. Christopher Lamb is a former member of The Metropolitan Opera Orchestra and Buffalo Philharmonic and a graduate of the Eastman School of Music.

Stortrommeklubbe Innovative Percussion CL-BD1, Chris Lamb Orchestral Bass Drum Beater- Big Beater The bass drum mallets in this new line have been engineered carefully with weight distribution thoughtfully considered. Some are designed to be nimble in the hand and snappy off the drum while others are intended to allow a lingering weight at impact. In all cases, they will address the feel you are looking for and the sounds you are imagining.L-BD1 Big Beater: This large, top heavy mallet will give the big boom required by the music.  Dont push this mallet just flex the wrist and let the top end work for youChristopher S. LambManhattan School of MusicNew York Philharmonic Principal PercussionistGrammy Awardwinning percussionist Christopher Lamb has been hailed as a dynamic and versatile performer. Having joined the New York Philharmonic as Principal Percussionist in 1985, The Constance R. Hoguet Friends of the Philharmonic Chair, he subsequently made his solo debut with the Orchestra in the World Premiere of Joseph Schwantners Percussion Concerto, one of several commissions celebrating the Philharmonics 150th anniversary. He has since performed the work to critical acclaim with orchestras throughout the United States and in 2011 won a Grammy for Best Classical Instrumental Soloist for his recording of Schwantners Percussion Concerto with the Nashville Symphony. Mr. Lamb also gave the World Premiere of Tan Duns Concerto for Water Percussion, a second work commissioned for him by the New York Philharmonic, and has performed it to rave reviews on the Philharmonics tour to South America, as well as in Asia and Europe with such notable orchestras as the London Philharmonic Orchestra, Amsterdams Royal Concertgebouw, Leipzigs Gewandhaus Orchestra, and the Tokyo Metropolitan Symphony Orchestra. In the United States, he has performed the work with the Boston Symphony Orchestra, Baltimore Symphony, and the Pacific Symphony. New York Philharmonic Music Director Emeritus Kurt Masur selected Mr. Lambs performance of Tan Duns Concerto for Water Percussion for release in the Orchestras collection of recordings highlighting his tenure as Music Director. The third commission for Mr. Lamb by the New York Philharmonic, Susan Bottis Echo Tempo for Soprano, Percussion, and Orchestra, was given its World Premiere by Ms. Botti, Mr. Lamb, and the New York Philharmonic under the baton of Mr. Masur. A faculty member of the Manhattan School of Music since 1989, Christopher Lamb has led clinics and master classes throughout the United States and on almost every continent. In 1999 he was the recipient of a Fulbright Scholars Award to lecture and conduct research in Australia. During his five-month residency at the Victorian College of the Arts in Melbourne, he presented master classes and seminars titled A Comprehensive Examination of Orchestral Percussion, which has grown into a model for the art of teaching percussion. In 2010 Mr. Lamb was invited to join the faculty of the Royal Conservatoire of Scotland as an international fellow. Mr. Lamb has recorded chamber works on the New World, Cala, and CRI labels, and his Grammy Awardwinning performance of Schwantners Percussion Concerto is available on the Nonesuch label. Christopher Lamb is a former member of The Metropolitan Opera Orchestra and Buffalo Philharmonic and a graduate of the Eastman School of Music.

Stortrommeklubber Dragonfly Percussion CYRS, Rite Of Spring Bass Drum, Cynthia YehSuper articulate and athletic sticks. Perfect for Rite of Spring excerpt and tons of contemporary rep with fast, rhythmic passages.

Fanitullen hardingfelestrengerFANITULLEN fra RUDI er den dominerende hardingfelestrengen, med lang tradisjon siden Knut Ø. Rudi begynte å lage sitt eget maskineri for tvinning av tarmstrenger.Strengene produseres i samarbeid med instrumentmakerverkstedet ved Valdres Folkemuseum.RUDI-MUSIKK, (tidligere K. Ø. Rudi & Søn / Rudi AS) ble etablert i 1901, og eies og drives av tredje generasjon Rudi, Aase Jorel RudiFanitullen fås i ulike styrkegrader fra 10, 10 1/2, 11, 11 1/2 og 12. Både Tarm, Sølvstål og aluminium er tilgjengelig. Varenavnet på hver enkelt streng vil beskrive typen.D-strengen (tersen), som er såkalt 'langspunnet' (åpen spinning av den utenpåliggende sølvstrengen, med et mellomrom mellom vindingene), finnes også i 'helspunnet' (tettspunnet) variant med aluminiumspinning. Denne strengen er mer lik en glatt fiolinstreng, og er nesten en forutsetning ved glidende posisjonsskifte (f.eks. spilling av Anders Viken-slåttene).

Pen and pencil loop made of a strong black elastic strap. For thin pencils or thick fountain pens. The pen and pencil loop is self-adhesive and can, if desired, be stuck to the inside back cover of the notebook.Size: 40x40 mm, 15 mm elastic loop.

Drillstav Majestic 78.20, Twirling Baton Elegance, Chrome Plated, 45cm

Premium-quality Artcraft rosin is manufactured using the original recipe handed down from Ladislav Kaplan. Kaplan Artcraft Rosin is packaged in a reusable soft flannel pouch. Light and Dark rosin options available.Packaged in a flannel pouchLow dustFormulated using the original Kaplan recipe handed down from Ladislav KaplanDesigned and manufactured in the USA at our New York facility to the most stringent quality controls in the industry

DescriptionThe Pneumo Pro® has helped thousands of new flutists to quickly learn how to have a beautiful tone. Band directors and flute teachers love how the Pneumo Pro® facilitates the correct and consistent placement of the air column, taking the mystery out of tone production. The Pneumo Pro® can be inserted in the body of the flute which allows immediate feedback on the correct placement of the air column even while the students are balancing the flute. Best of all, the students can be silently practicing technical exercises with the Pneumo Pro, while the band or orchestra director is working with other students.  For Advanced Students The Pneumo Pro helps with: 1. Tone production. 2. Tuning (especially when playing changes in dynamics.) 3. Focused double and triple tonguing 4. Smooth and connected flexibility between octaves. 5. Advanced techniques such as multiphonics.With the Pneumo Pro inserted into the body of the flute, the student can play through their piece or exercise, while the teacher checks the flexibility, direction and speed of the air column. It is quite helpful to have the student play a piece or exercise on the Pneumo Pro (with it in the flute) while the teacher plays it on the flute.INSTRUKSJONER PÅ NORSK - LES KATALOGEN VI HAR LAGT VED PRODUKTET (KAN LASTES NED)Lær vakker fløyteklang med  Pneumo Pro Wind DirectorFor å lage den første lave tonen plasseres Pneumo Pro under underleppen, mens blåseåpningen ikke dekkes med mer enn en fjerdedel. Få eleven til å rette luftstrømmen så vidt over overtennene for så å bruke overleppen til å dirigere luften ned til den nederste viften. Luftstrømmen skal lage en liten, flat åpning mellom leppene. Når eleven med sikkerhet klarer å skille ut den laveste viften med den lave tonens embouchure, undersøk hastigheten viften dreier seg med, og hvor lenge den spinner. For å etterligne en fyldig og resonerende tone, må nederste vifte dreie så hurtig at dreielyden varer lengst mulig.  Når eleven kan få den nederste viften til å lage en lang rrrmmm-lyd minst fem ganger på rad, er de klare til å kopiere luftstrømmen på fløytemunnstykket.   Selvfølgelig må de alltid sjekke embouchuren i speilet. Det er mulig å få laveste vifte til å spinne ved å skyve overleppen feilaktig fremover. Eleven må passe på å blåse riktig for å få nederste vifte til å dreie. Det er derfor det er så viktig å bruke et speil.    Eleven må oppmuntres til å lage en fyldig og resonerende klang på munnstykket, for så å spille en stor septim lavere med enden av munnstykket dekket. Målet er en fyldig og fokusert klang, selv for nybegynnere. Fleksibilitetsøvelser:  Munnstykke & Pneumo Pro 1) Øv med kun et speil og plasser pekefingeren under leppen. Fokuser på å gjøre leppeåpningen mindre mens leppene skyves forover for å lage lysere tone. Pass på at eleven limer sammen den fuktige indre delen av leppene og bruker luften til å lage åpningen. Bruk stavelsen puh eller poh for de mørke tonene og pi for de lyse.  2) Arbeid med speilet igjen, men bruk Pneumo Pro så eleven kan se luftretningen forandres fra den nederste viften opp til den neste for å spille lysere tone.   3) Spill nr. 1 eller Vanskelig mørk og lys munnstykke-utfordring, først bare de dype tonene, så de høye.  (SE ØVELSEN I KATALOGEN DU FINNER PÅ PRODUKTSIDEN I NETTBUTIKKEN)4) Bruk Pneumo Pro for å "spille" linjen som notert. Læreren spiller det samme på munnstykket så eleven kan høre tonehøyden forandre seg mens de selv endrer embouchuren på Pneumo Pro. 5) Spill linjen som notert på munnstykket.  Forklar viktigheten av ikke å vri munnstykket for å produsere de lyse tonene. Disse tonene blir lettere å spille, men resulterer i dårlig fløytespill. Leppene må bevege seg....ikke munnstykket!!  6) Hvis leppeåpningen og retningen på lufta er riktig, blir det enkelt å variere tonehøyden. Ikke la eleven overblåse for å nå den øverste tonen. 7) Det å lære seg denne metoden som nybegynner vil ha stor innvirkning på om de vil lykkes med fløytespilling. Dette er en god oppvarming, også når eleven kan spille med hele fløyta.  Ekstra vanskelige munnstykke-øvelser er gode oppvarmingsøvelser. Spill disse uten å dekke enden på munnstykket.  1) For å øve med Pneumo Pro, spinn den nederste viften for de dype notene.  Bruk mindre leppeåpning og skyv leppen frem for å nå de høye tonene.(Dette gjør at luften beveges opp til andre eller tredje vifte på Pneumo Pro.)  2) Ikke overblås for å nå lyse noter.  3) Bildet til venstre er riktig embouchure for de lyse tonene med liten leppeåpning og leppene skjøvet frem for å dreie andre og tredje vifte på Pneumo Pro. Denne embouchuren og luftretningen brukes også når man spiller svakt for å unngå at tonen blir for lav.   4) Målet er å oppnå en fleksibel embouchure så raskt som mulig. Hvis eleven venter med å arbeide i det øvre registeret, blir det mye vanskeligere å mestre. Mange elever vil synes dette er enkle øvelser. De som synes det er vanskelig vil tjene mye på å arbeide med å forme en liten leppeåpning. Fleksibiliteten med å spille i den øvre oktaven, vil berike og fokusere klangen i alle registre.Harmoniske fløyteøvelser for fleksibel embouchure (SE ØVELSEN I KATALOGEN DU FINNER PÅ PRODUKTSIDEN I NETTBUTIKKEN)Grip første noten i hver bue og hold grepet gjennom hele frasen. Pass på ikke å overblåse for å nå de lyse tonene. Gjør i stedet leppeåpningen gradvis mindre mens tonehøyden stiger. Spill så svakt som mulig. Form embouchuren med de innerste fuktige delene av leppene fast mot hverandre. Øv endringer av embouchuren foran et speil. Spill så øvelsene med Pneumo Pro for å passe på at leppene skves frem for de lyse svake tonene. Tallene over øvelsen indikerer hvilken vifte som skal begynne å snurre når man spiller i gitt tonehøyde og dynamikk. Nummer 1 representerer den nederste viften. I denne øvelsen skal den nederste viften spinne så fort som mulig i forte, mens den tredje viften skal spille så sakte som mulig i piano.

Digitalsett Roland TD-07DMK, Komplett m/Padder, Modul og RackstativKit configuration :Kick: KD-2, Snare: PDX-8, Hi-hat: CY-5, Hi-hat control pedal: Half-open stroke detectable, Tom: PDX-6A x 3, *2 Crash: CY-5, Ride: CY-5, Drum stand: Four-post type rack standDrum kits: 50 (25 Preset -User 25)Instruments:143Effect Types: Pad Equalizer: each pad, Overhead Mic Simulator,Room, Multi-Effects: 1 system, 30 typeCoach functions: (5 modes): Time check (easy) Time check (hard) Quiet count Auto up/down,Change-upMetronome: Tempo (20--260) Rhythm type (5 types) Sounds (15 types)Bluetooth : Supported standards: Bluetooth Ver 4.2 Supported profile: A2DP (Audio), GATT (MIDI over Bluetooth Low Energy) Codec: SBC (Support to the content protection of the SCMS-T method)Display:16 characters x 2 lines LCD (with backlightConnectors: OUTPUT/PHONES jack: Stereo miniature phone type MIX IN jack: Stereo miniature phone type USB COMPUTER port: USB B type TRIGGER INPUT connector: DB-25 type  (Kick, Snare, Tom 1, Tom 2, Tom 3, Hi-hat, Crash 1, Crash 2, Ride, Hi-hat control )USB COMPUTER: Speed: Hi-speed USB Driver mode: Generic, Vender Protocol: USB MIDI, USB Audio 3USB Audio: Sampling Rate (original): 44.1 kHz Sampling Rate (with sampling rate converter): 96 kHz, 48 kHz Record: 2 channels Playback: 2 channels Power Supply :AC adaptor (DC 12 V)Current draw: 250mAWEIGHT :18.0 kg / 39 lbs 11 oz*Stortrommepedal kommer i tillegg.