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Hobbies Ltd alwayshobbies Search within shop. Visit shop: Hobbies Ltd. About Us. The Hobbyzone building slip is a professional tool for building boats and ships. Contact us for more details. Any cost to send item back will be refunded. The lae must cover all cost of items bought in error.

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In Klingon space, three Klingon K't'inga -class battle cruisers are patrolling an area and encounter a huge cloud-like anomaly. On the bridge of IKS Amar , the Klingon captain orders his crew to fire torpedoes at it, but they have no effect. The captain immediately orders retreat. Meanwhile, in Federation space, a listening post, Epsilon IX , picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, a "bolt" of plasma energy emerges and destroys each ship one by one.

On Epsilon IX, the crew tracks the course of the cloud. Commander Branch inquires as to its heading. He discovers that it is headed on a precise course for Earth. On the planet Vulcan , Spock has been undergoing the kolinahr ritual, in which he has been learning how to purge all of his remaining emotions, and is nearly finished with his training.

The lead elder tells Spock of how their ancestors had long ago cast out all animal passions on those sands, and says that their race was saved by attaining kolinahr , which another elder describes as the final purging of all emotion. The lead elder tells Spock he has labored long and she prepares to give him a symbol of total logic.

She is about to give him a necklace , when Spock reaches out and stops her, clearly disturbed by something out in space. She asks for a mind meld to read his thoughts, to which Spock complies. She discovers that the alien intelligence which has called to him from deep space has stirred his Human half. She drops the necklace and states, " You have not yet achieved kohlinahr.

He will not achieve his goal with us. Spock picks up the necklace from the ground and holds it in his hand. Kirk arrives in air tram 3. As he steps out, he sees Commander Sonak , a Vulcan science officer who is joining the Enterprise crew and was recommended for the position by Kirk himself.

Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Decker , the new captain of the USS Enterprise , wanted him to complete his science briefing at Starfleet Headquarters before departing.

The Enterprise has been undergoing a complete refitting for the past eighteen months and is now under final preparations to leave drydock , which would take at least twenty hours, but Kirk informs him that they only have twelve.

He tells Sonak to report to him on the Enterprise in one hour � he has a short meeting with Admiral Nogura and is intent on being on the Enterprise at that time. Following the meeting, Kirk transports to an orbital office complex of the San Francisco Fleet Yards and meets Montgomery Scott , chief engineer of the Enterprise. Scott expresses his concern about the tight departure time. After the two men enter a travel pod and the doors seal shut, Kirk explains that an alien object is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range.

Scott says that the refit, a process that took eighteen months, can't be finished in twelve hours and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk firmly insists that they are leaving, ready or not, in twelve hours. Scott activates the travel pod's thrusters and they begin the journey over to the drydock in orbit that houses the Enterprise.

Scott tells Kirk that the crew hasn't had near enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain in command.

Kirk tells Scott that two and a half years as the Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scott that Starfleet has given him back his command of the Enterprise.

Scott comments that he doubts it was so easy with Admiral Nogura, and Kirk tells him he's right. While sharing a laugh with Kirk, Scott remarks, " Any man who can manage such a feat I wouldna dare disappoint.

She'll launch on time, sir They arrive at the Enterprise held in drydock , and Scott gives Kirk a brief tour of the new exterior of the ship. Upon docking with the ship and entering the Enterprise 's cargo bay , Scott is immediately called to engineering. Kirk takes a turbolift up to the bridge, and upon arrival, is informed by Lieutenant Commander Uhura that Starfleet has just transferred command from Captain Decker over to him, and she, along with several other crewmembers including Sulu and Chekov , step forward excitedly to greet Kirk, who appreciates the welcome but wishes it were under more pleasant circumstances.

Kirk asks the crew where Decker is. He, uh Kirk makes his way to the new engine room and pauses to look at Enterprise 's heart the warp core before taking the lift down to where Captain Decker is busy assisting Scott with launch preparations.

After Kirk takes him aside to talk, he becomes visibly upset when the admiral tells him that he is assuming command. Decker will remain on the ship as executive officer and will receive a temporary demotion to commander. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Cleary informs Scott that there is a red line on the transporter.

Kirk and Scott promptly race over to the transporter room. Transporter chief Janice Rand is frantically trying to tell Starfleet to abort the transport, but it is too late.

Commander Sonak and a female officer are beaming in, but their bodies aren't re-forming properly in the transporter beam. The female officer screams horrifically, and then their bodies disappear. Starfleet tells them that they have died. With tears beginning to form in his eyes , Kirk tells Starfleet to express his sympathies to their families. He mentions that Sonak's can be reached through the Vulcan embassy. In the corridor outside the transporter room, Kirk sees Decker and tells him they will have to replace Commander Sonak.

Kirk wants another Vulcan if possible. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well. In the Enterprise 's recreation room , as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon IX. Commander Branch tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 82 au only 2 au in the director's edition in diameter.

Branch also reports that there is a vessel of some kind in the center. They've tried to communicate with it, but there was no response. The lieutenant reports that further scans indicate something inside the cloud, but all scans get reflected back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon IX is destroyed.

Ordering Uhura to deactivate the viewer, Kirk informs the crew that the pre-launch countdown will begin in forty minutes and the assembled crew leaves to attend to their duties.

Later on the bridge, Uhura informs Kirk that the transporter has been fully repaired and is functioning properly now. Lieutenant Ilia , the Enterprise 's Deltan navigator , arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her home planet several years earlier.

Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Captain Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last six crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that the person is beamed up.

When told by a yeoman that the crew member insisted on them beaming up first, " said something about first "seeing how it scrambled our molecules ," " Kirk tells Starfleet to beam the officer aboard. McCoy , dressed in civilian attire and wearing a thick beard , materializes on the transporter platform.

McCoy is angry that his Starfleet commission was reactivated. He realizes that Kirk is responsible for the draft. His attitude changes, however, when Kirk says he desperately needs him.

McCoy leaves to check out the new sickbay , grumbling about all the new changes to the Enterprise. The crew finishes its repairs and the Enterprise leaves drydock and heads into the solar system at impulse. A clean-shaven Dr. McCoy arrives on the bridge and complains that the new sickbay is now nothing but a " damned computer center.

Suddenly, the Enterprise enters a wormhole , which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside.

Kirk orders the Enterprise 's phasers to be fired on it, but Decker tells Chekov to fire photon torpedoes instead. With just four seconds to spare before the Enterprise is obliterated, the asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. McCoy decides to come along. Once in Kirk's quarters, Kirk demands an explanation from Decker on why his phaser order was countermanded.

Decker pointed out that the redesigned Enterprise now channels the phasers through the main engines and because they were imbalanced, the phasers were automatically cut off. Kirk acknowledged that he had saved the ship � however, he accuses Decker of competing with him. Decker, in his opinion, tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in serious jeopardy.

Kirk sarcastically trusts that Decker will " nursemaid me through these difficulties, " and Decker tells the captain that he will gladly help him understand the new design. Kirk then dismisses him from the room.

In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV , or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She quietly says " no ," and goes to her quarters nearby. Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise.

McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen , Uhura informs Kirk that a Starfleet registered shuttlecraft is approaching and that the occupant wishes to dock.

Chekov also pipes in and replies that it appears to be a courier vessel, non-belligerency confirmed. Kirk tells Chekov to handle the situation. Turning the viewer off, Kirk asks McCoy is he has anything more to add, to which McCoy quietly states " that depends on you, " and leaves Kirk to ponder this, while he stands silently.

The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock just behind the bridge. Chekov is waiting by the airlock doors with a security officer and is surprised to see Spock come aboard.

Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties.

He offers his services as the science officer. McCoy and Dr. Christine Chapel come to the bridge to greet Spock, but he only looks at them coldly and does not reply to them.

Uhura tries to speak to Spock, but he ignores her as well and tells Kirk that with his permission, he will go to engineering and discuss his fuel equations with Scott. As Spock walks into the turbolift , Kirk stops him and welcomes him aboard.

But Spock makes no reply and continues into the turbolift. Kirk and McCoy both share a look after Spock leaves the bridge. With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud.

In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kolinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have made visual contact with the intruder.

The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura reports that she's transmitting full friendship messages on all frequencies, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition and discovers it has a power energy field, the equivalent of power generated by thousands of starships.

Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled � it contacted the Enterprise � why has the Enterprise not replied? Before they can think further, a red alert sounds, and a plasma bolt beam from within the cloud hits the ship and begins to overload the ship's systems.

Bolts of lightning surround the warp core and nearly injure some engineering officers, but Chekov was hurt � his hand is badly burned while he was sitting at the weapons station on the bridge. The bolt then finally disappears, and Scott reports deflector power is down seventy percent. A medical team is called to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.

Spock confirms to Kirk that the alien has been attempting to communicate. It transmits at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency and rate of speed. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears.

Kirk asks for recommendations, and Spock recommends proceeding inside the cloud to investigate, while Decker advises against it, calling the move an "unwarranted gamble.

Kirk orders that the ship continue on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. Kirk asks for an evaluation and Spock reports that the vessel is generating a force field greater than the radiation of Earth's sun. Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them.

Kirk orders Sulu to fly above and along the top of the vessel at a distance of only five hundred meters. As Enterprise moves in front of the alien vessel and holds position, an alarm sounds, and yet another energy bolt approaches the ship. The crew struggles to shield their eyes from its brilliant glow and their ears from the high-pitched shrieking buzz it lets out. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel.

The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console � it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor.

The probe approaches the navigation console and it scans Ilia. Suddenly, she vanishes, along with the probe, and the tricorder she was holding falls to the floor. Decker retrieves the tricorder and angrily exclaims, "This is how I define unwarranted! Another alert goes off, reporting helm control has been lost.

Spock reports they've been caught by a tractor beam and Kirk orders someone up to take the navigator's station. Decker calls for Chief DiFalco to come up to the bridge as Ilia's replacement.

Decker suggests that the ship fires phasers, but Spock, evocatively, asserts that "Any show of resistance would be futile, Captain.

Decker wonders why they were brought inside � they could have been easily destroyed outside. Spock deduces that the alien is curious about them.

Uhura's monitor shows that the aperture is closing � they are now trapped inside. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section. Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her � there is a small red device attached to her neck.

In a mechanized voice, she replies, " You are the Kirk unit, you will assist me. Kirk opens the shower door and " Ilia " steps out, wearing a small white garment that just materialized around her. Kirk asks her who V'ger is. She replies, " V'ger is that which programmed me. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it.

Spock suggests that McCoy perform a complete examination of the probe. In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe, even eye moisture. Decker arrives and is stunned to see her there. She looks up at him and addresses him as " Decker ", rather than " Decker unit ," which intrigues Spock.

Spock talks with Kirk and Decker in an adjoining room and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations.

He tells her that Decker will do it with more efficiency. After Decker and the probe leave, Spock expresses concern to Kirk of that being their only source of information. Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise.

Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment have no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it.

The table lights up, indicating she won the game, and she gazes into Decker's eyes. This moment of emotion ends suddenly, and she returns to normal. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. He convinces her to let him help her revive those patterns so that she can understand their functions better.

She allows him to proceed. Meanwhile, in one of the ship's airlocks , Spock slips up behind the airlock technician and nerve pinches him into unconsciousness. Decker, the probe, Dr. McCoy, and Dr.

Chapel are in Ilia's quarters. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV.

The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'ger.

She says that she can't, and Decker asks her who the Creator is. She says V'ger does not know. The probe becomes emotionless again and removes the headband. Spock is now outside the ship in a space suit with an emergency evacuation thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien.

He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior. Damn him! Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth.

Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into Earth orbit. Chekov tells Kirk that airlock 4 has been opened and a thruster suit has been reported missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship.

He changes his mind, and instead tells Chekov to determine his position. Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.

Continuing his log entry, Spock sees an image of what he believes to be V'ger 's homeworld. He passes through a tunnel filled with crackling plasma energy, possibly a power source intended for a gigantic imaging system. Next, he sees several more images of planets , moons , stars , and galaxies all stored and recorded. Spock theorizes that this may be a visual representation of V'ger 's entire journey. He sees the Epsilon IX station, stored in every detail, and notes to Kirk that he is convinced that all of what he is seeing is V'ger , and that they are inside a living machine.

Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind meld with it. He is quickly overwhelmed by the multitude of images flooding his mind and falls back unconscious. Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr.

Chapel and Dr. McCoy are examining Spock in sickbay. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind meld. While he is telling Kirk this, they are interrupted by an incredible sound: Spock, regaining consciousness, is laughing softly, saying he should have known. Spock describes V'ger as a sentient being, from a planet populated by living machines with unbelievable technology, allowing it access to a truly galactic store of knowledge.

Yet for all that, V'ger is barren, with no sense of mystery and no emotions to give meaning to its actions. Spock, seeing the irony when comparing V'Ger to himself, could not help but laugh: V'Ger has, for all intents and purposes, achieved Kolinahr � flawless logic and limitless knowledge � yet doing so has only made it see the gaps in its own understanding.

Spock grasps Kirk's hand and tells him, "This simple feeling is beyond V'ger 's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. Is there nothing more? Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet.

The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is only three minutes from Earth orbit. Kirk acknowledges and he, McCoy, and Spock go up to the bridge. Starfleet sends the Enterprise a tactical report on the intruders position.

Uhura tells Kirk that V'ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'ger and positions itself above Earth.

Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.

McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth.

Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true lifeforms like the Creator. McCoy realizes V'ger must think its creator is a machine.

Decker concurs, comparing it to "We all create God in our own image. Spock compares V'ger to a child and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded.

The Ilia probe demands that Kirk " disclose the information. In response to this, V'ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a " tantrum.

Kirk tells the probe that if V'ger destroys the Enterprise , then the information it needs will also be destroyed with it. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'ger is going to destroy all life on Earth. V'ger needs the information, says "Ilia. Spock tells Kirk that V'ger must have a central brain complex.

Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information can't be disclosed to V'ger 's probe, but only to V'ger itself. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scott on the intercom and tells him to stand by to execute Starfleet Order � the self-destruct command.

A female crewmember, Ross , asks Scott why Kirk ordered self-destruct, and Scott tells her that Kirk hopes that when they explode, so will the intruder. The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel.

Kirk goes over to Spock's station and sees that Spock has been crying. Spock tells him he is crying for V'ger , and that he weeps for V'ger as he would for a brother.

As he was when he came aboard the Enterprise , so is V'ger now � empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'ger hasn't. Decker wonders what V'ger would need to fulfill itself. Spock comments that each one of us, at some point in our lives asks, " Why am I here?

DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Uhura has located the source of the radio signal and it is straight ahead. The landing party exits an airlock on the top of the saucer section and walks up the passageway.

At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters "V G E R". He continues to rub and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program � it was designed to collect data and transmit it back to Earth.

Decker tells Kirk that Voyager 6 disappeared through a then-called black hole. Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity.

Spock theorizes that the planet's inhabitants found the probe to be one of their own kind � primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.

Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer , specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling � it's ready to transmit everything.

Kirk then says that there is no one on Earth who recognizes the old-style signal � the Creator does not answer. Kirk calls out to V'ger and says that they are the Creator. Kirk says they will prove it by allowing V'ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code.

Kirk tells her to set the Enterprise transmitter to the appropriate code frequency and to transmit the signal. Decker reads the numerical code on his tricorder and is about to read the final sequence, but V'ger burns out its own antenna leads to prevent reception.

McCoy warns Kirk that they only have ten minutes left. Decker figures out that V'ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'ger 's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'ger needs a Human quality in order to evolve.

Decker thinks that V'ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer.

Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise. Suddenly, a bright light forms around Decker's body. Their bodies disappear, and the light expands and begins to consume the area.

Kirk, Spock, and McCoy retreat back to the Enterprise. V'ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new lifeform , and Spock says yes and that it is possibly the next step in their evolution.

McCoy says that it's been a while since he "delivered" a baby and hopes that they got this one off to a good start. We witnessed a birth. Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lieutenant Ilia and Captain Decker.

He quickly corrects his statement and changes their status to "missing. Scott comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scott offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.

Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says " Out there, that-away. With that, the Enterprise flies overhead and engages warp drive on its way to another mission of exploration and discovery. How in the name of hell do they expect me to have her ready in twelve hours?! Scott, an alien object of unbelievable destructive power is less than three days away from this planet.

The only starship in interception range is the Enterprise. Ready or not, she launches in twelve hours. He's been with the ship every minute of her refitting.

You'll stay on as executive officer, temporary grade reduction to commander. Five years out there, dealing with unknowns like this. Some of the logo rubbed off during polishing but otherwise mint condition in the box with manual and warranty.

Pics and specs of guitars, amps and accessories. Super lightweight 6 lbs 5. Beautiful Tele built from quality components. Stunning birdseye-maple Warmoth neck with factory-finished Warmoth ash body, translucent blue finish.

Neck features the popular Warmoth compound radius which goes from a rounder 10" at the first fret to a flatter 16" at the top fret, which lets you form chords easily on the steeper curve of the lower frets, while the flatter upper frets are perfect for bending and leads.

It's a chunky neck, measuring. Body has never had a pickguard installed, to better show off the nice grainy ash, but we can install one upon request. They're well balanced and sound good. Hardware includes Grover Rotomatic tuners and a Fender vintage style bridge plate with 6 barrel saddles. Includes choice of an SKB case in fair condition or gigbag. Mint in the box, never installed. Standard Fender style install using 2 pins to prevent shifting rather than a set screw.

Features stagger height which makes string trees optional. There are a lot of Tom Delonge fans out there. Like the Fender Tom Delonge Strat, the Epiphone signature model has tripled in price since the models were discontinued. Both models share one thing.

Both feature just a single humbucker and a volume control. That's the entire electronics package. Built to the exact specifications of the Blink guitarist, it's an archtop semi-hollowbody design with a powerful Gibson Dirty Fingers humbucker with a mahogany center block for increased sustain and feedback resistance. It's instantly recognizable with Delonge's paintjob with a cream-colored racing stripe down the center of the olive green satin finished body.

The set up is similarly superb with very comfortable action and no dead spots. Designed as another tribute to perhaps the most iconic Strat player of all time. It as the general look of a flipped over Strat, as Jimi's looked as a lefty who played righty guitars with a reverse headstock and "backwards" tilted bridge pickup. More than just cosmetics, you'll find different mojo in your tone by having the bass strings closer to the bridge; treble strings further away.

Likewise, while the scale length is your standard On a traditional Strat, the highest strings E, B are longest while upside down they become the shortest, so they don't have to be pulled as tight to be in tune. The fact that they were easier to bend allowed Hendrix to give songs like "All Along the Watchtower" that Jimi sound.

Features include alder body with gloss poly finish, 21 medium jumbo frets on a C-shaped maple neck, 9. It's a pro install. I'll upload a pic tomorrow. A perfect all-in-one recording solution for Apple products and connects to guitar, bass, or any mic, but it already has a studio-quality built-in omnidirectional condenser microphone that's likely as good or better than most home studio.

For details click here for the Apple Store. Electro-Harmonix Soul Food , pic2. The Soul Food was designed to yield the same transparent overdrive with the great touch and response. Its circuitry features boosted power rails which give a lot more headroom and increased definition plus selectable true bypass or buffered bypass modes. The 2-band EQ gives you control not possible with the common Tone control.

You can dial out the mud in your lead tones which isn't possible with a single tone control. It also features a Voicing switch to further fine-tune your bass response. Typical TCE quality, made to last. It also features true bypass, easy access battery and high quality components throughout. Versatile distortion capable of loads of dirt, whether it be vintage low gain tube amp drive or modern scooped metal tones.

The 3-band EQ is key here and with the gain control you can dial in a very wide variety of OD tones, as mild or nasty as you want. The Badass Distortion gives you true bypass switching, a robust housing, and bulletproof components. Clean shape. With more and more of our customers doing some great home studio work I've been on the lookout for nice studio gear.

The JBL P MkII studio monitors provide quality near- and mid-field monitoring for any home or professional studio when accuracy is a must. With JBL's Image Control Waveguide and superb transducers you're guaranteed excellent accuracy and dimensional stereo imaging. Unlike much of the competition they have a broad sweet spot - a much larger "perfect position" to hear an accurate stereo field.

With many others what sounds great from the engineer seat sounds completely different to the guy standing 5 feet over his right shoulder.

Their Boundary EQ settings compensate for low-frequency anomalies caused by the environment while the patented Slip Stream low-frequency port provides superior bass performance.

Features 10dBV input-sensitivity switch as well as a volume control. They're sleek and modern looking and, more importantly, are shielded for placement near magnetically sensitive equipment.

For full specs and videos go to JBL's page here. Two excellent MIJ pedals in nice shape. They share an identical case, possibly made in the same factory. Use as a volume pedal via Input-1 and Output-1 or as an expression pedal when using Output The Boss FVL is a low impedance unit. Boss makes a FVH high impedance volume for using the unit before the input of your amp while this 50L unit is low-impedance allowing direct control of stereo keyboards and stereo effects units.

The latest and greatest from Boss, gives guitarists a wide range of classic auto-wah and dynamic wah effects responsive to how hard you pick , plus a new "Humanizer" effect, which can simulate human voce-type vowel sounds.

A dedicated Bass input even provides a variety of funky wah sounds for bass guitar. Tempo can be set for pedal control or at fixed rate via Manual mode. Includes daisy chain and 9V wall adapter. Room for the PSM and 5 more pedals - plus a slot for tuner. Makes stage setup a breeze. Upgrades include a fairly hefty. The neck looks new with no fret wear. Includes Fender Pro Series case and trem arm.

A real beauty in Vintage Cherry, offered in flawless condition. We've been going through some SG's lately, both Gibson and Epi. This '61 model has all the styling of the vintage models including slim taper mahogany neck, trapezoid inlays, crown headstock emblem and a bound rosewood fingerboard.

The lacquer-finished mahogany body features deeply sculpted body scarfing, a 5-ply teardrop pickguard and a 22nd-fret neck joint with nickel-plated hardware includes a classic ABR-1 bridge and dual-line, single-ring keystone tuners.

Gibson's pickups for this model were voiced especially for the '61 and include the 61R and 61T humbuckers which are more aggressive than most Gibson humbuckers, but clean up nicely with the volume dialed back. Electronics also features audio taper pots orange drop capacitors.

For me, I've always found SG's fun to play. They're very lightweight, easy to play in the upper register, and the slim neck seems to make me faster somehow. This guitar could be sold as new - not a scratch with the plastic film still on the pickguard. Includes brown Gibson case in similarly perfect condition. It debuted with a slab body and single Tele style pickup but by it took on the appearance that stayed with it until today with the contoured edges, belly cut and split-single coil pickup which is actually a humbucker.

This one sounds the way you want a P to sound with a deep tone and a killer thump that sounds at home in Motown or heavy metal. The set up is low and comfortable and the tone is fat with good sustain. Get this one with some nice upgrades, plus a quality gigbag for less. Designed by Fender Master Builder Greg Fessler, this fine Strat features a blend of the old and the new, something Fender has been featuring throughout much of their line in the past 15 years.

Includes Fender gigbag. Lovely condition, finished in classic 3-tone sunburst with maple fretboard. This is one of the last version Deluxe's with the 3rd generation of the Noiseless pickups N3 , with a DH-1 Atomic humbucker in the bridge.

There are plenty of switching options with the S-1 switch click here , which doubles the tonal choices of the 5-way selector, plus a "Passing Lane" pushbutton, which, regardless of the 5-way and S-1 selection, takes you directly to the bridge humbucker wired directly to the output jack for pure, powerful rock tone.

The new compound radius fretboard which goes from 9. These SCN N3 pickups were the latest and greatest from Fender for creating warm tone and responsive bite, a genuine vintage tone, but without the noise, which the DH-1 bridge humbucker is fat, loud, and meaty. Like most Deluxe's, it has a great neck which for fantastic low action and crystal clear bends. Offered in excellent condition with perfect frets and a killer low set up. The silhouette is pure Tele comprised of a traditional two-piece light weight 7 lb 3 oz alder body attached to a one-piece quartersawn maple neck and fretboard.

Although it has its share of clear coat dings, edge wear, and finish checking, by Relic standards it's on the NOS side of heavy relic. The neck features authentic looking "wear" to the fretboard in all the right spots with the back bare wood throughout the heavily traveled area.

Just nice enough to be an authentic year-old working Tele. This model features a TV Jones Classic neck pickup 3. You'll note the reversed control plate which is an old Nashville trick to make it easier to do volume swells.

A few obvious modern touches include medium jumbo frets that are tall and thin as well as the flatter 9. A few other hot-rod features include nonlocking Sperzel tuners with lovely pearl buttons and a Fender RSD bridge with its distinctive Tele coverplate outline that offers a lower profile wall and three offset 'intonated' brass saddles.

You'll note the outer saddles are machined with bullet ends while the middle one looks like it's a 2-piece but it's just machined that way and is simply an offset barrel. As I mentioned, with the hand-wound Tx Spec bridge pickup it delivers the classic Tele honk while the TV Jones in the neck is slightly more muted than a traditional Tele neck pickup.

It almost sounds like a humbucker and has more clarity than a Tele neck and it excels at touch-sensitivity and works great with your pick attack. The Greasebucket tone control with these pickups focuses on the upper frequencies. As you back it off it brings down not only the highs but a bit of the mids as well. It's a killer player with low action and for your chunky neck fans will appreciate the larger U-shape neck that measures.

This is a superb Tele by any measure. It plays beautifully and has excellent sustain, and can deliver both traditional Tele tones and some sweeter tones not normally associated with a Tele. I would describe it's condition as "relic mint" with no wear of flaws other than factory. Frets are perfect. Inside the case you'll find the certificate, original Shop Traveler build sheet, Fender leather strap, leather tri-fold portfolio, serialized hang tag, Custom Shop picks, bumper sticker, and a comprehensive custom guitar design guide.

Ibanez Wau Wau Standard Model 57 , pic2 , inside. Made from ca. Does a good wacka-wacka tone and fatter sounding than the Crybaby's which were more prolific in the 70's. These pedals seem to run forever so you'll likely have many years of use without problems.

Pretty nice vintage condition. This is a top quality from ca. Victory Amplifiers of England have teamed up with the great Richie Kotzen for a superb signature model combo a head is also available. The combo version uses a single 12" Celestion G12M Creamback speaker to deliver a decidedly mid-focused tone with 50 watts of beautiful British-made power.

Using a duet of EL34's and a trio of 12AX7's, it yields versatility despite its single channel. In true Kotzen fashion it's built for incredible, saturated gain tones with loads of dirt when you crank the gain. Far from a one-trick pony, it also delivers a powerful clean as well, simply by backing off the gain.

For you no-nonsense players who appreciate a true grab-and-go amp this is as simple as they come. You've just got gain-tone-volume plus onboard spring reverb and tremolo circuits. It includes a footswitch for the reverb and tremolo, as well as a separate footswitch to engage the boost function. I understand that Richie runs his amps at 9 watts in the live setting.

Go figure. On the rear panel you'll find a switch for speaker damping, turn off for increased bass response and speaker resonance. You'll also find a series effects loop for running your outboard effects after the preamp section as well as external bias test points and adjustment and external speaker outputs.

The top, bottom, and sides are built from solid pine, with the back and baffle built of ply. Here's a good demo by Anderton's link with mostly shredding but at around you get to hear some cleaner stuff. Includes a nice Victory slip cover, both footswitches, and manual. Ships in original Victory box with cover, footswitches, and manual.

If you're looking for a big sound from a small guitar, the CA Cargo guitar beats anything I've heard. This baby is quite loud, both from the audience perspective and even more so for the player due to the offset soundhole located on the upper bass bout. One of the few travel guitars I've heard that can be played in a performance situation, where the audience wouldn't suspect that the tone is coming from a travel-sized acoustic.

Best of all, it's built entirely of carbon fiber, which is impervious to climate changes. You can take it from the heat of your car trunk, into an air-conditioned venue, and just begin your set. For you actual travelers, the Cargo easily fits airline overheads or anywhere space is tight and is extremely durable, able to be battered around with no ill effects.

Features include carbon fiber neck and body, precise Hipshot tuning machines, proprietary carbon fiber bridge and saddle materials, and L.

Baggs Element pickup system with volume control protruding slightly from the soundhole routed to an endpin jack. While you might notice a slightly shorter scale, the increased string spacing, side to side, allows easy chording and fingerstyle work. It's as comfortable to play as most standard guitars. The rest of the spectrum is well balanced with sufficient mids and crisp highs.

Here's a demo link by Acoustic Guitar Mag fast forward to to hear it in action. If you want some interesting background info on CA and carbon fiber guitars, Click here for a 2-part factory tour and manufacturing process.

Includes CA gigbag. Clean, modern lines that exude the elegance the 50's were noted for. The Model is a dynamic omnidirectional microphone designed for use where "reverberation or random noise is not a particular problem", to quote their design sheet. It is equipped with a "on-off" switch and can be mounted on a floor or desk stand or held in the hand.

Offered in average condition for its age and works properly. Ernie Ball Volume Pedal. The '60 Classic has all the classic features including '60 slim taper neck and mahogany body with figured maple cap, all finished in a high-gloss, hand-sprayed nitrocellulose lacquer. Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with degree back-angled headstock. Other features include Nashville bridge with stopbar tailpiece, trapezoid fretboard inlays, bound body top and back, bound neck, inlaid headstock logo, and vintage-style tuners with tulip buttons.

Pickups are the R in the neck position, wound with AWG wire like a traditional PAF for rich, warm, vocal-like tones, but carries a ceramic magnet for enhanced punch and clarity - plus the T in the bridge, wound with finer AWG wire to pack the coils to the max and built with a ceramic magnet for hotter leads, excellent sustain and controllable feedback. These came from the factory without pickguard holes drilled and this one has never had a pickguard attached so no screw holes.

If you've looked at a few of these you're likely aware that this is one of the nicer Plus models you'll find. Includes original brown case with plush pink lining and protective shroud. Includes Gibson black case, warranty, and cream pickguard with mount. With its laminated maple top, back and sides in the semi-acoustic construction of the ES, and a solid mahogany center block for sustain and feedback reduction, the ES-Les Paul is truly a new guitar; an instant classic.

Other features include: mahogany neck, rosewood fingerboard, 12" radius, pearloid trapezoid inlays, 1. Presents as new and untouched with plastic still on the pickguard.

Includes Gibson brown case and certificate. It also has a cool non-destructive modification to make it even better. It will include the Bigsby vibrola with Vibramate that can be easily removed and returned to stock should you prefer.

With the Vibramate kit there's no drilling into the body required so it's as good as new if removed. This model was called the Class 5 Modern Standard later in its production run but it's the same identical guitar.

This limited edition model was available in a rainbow of 7 colors but for me this amber looks the best and looking. Also, if you look around Reverb at other examples this guitar is the best flame you'll find on this model.

Includes custom shop case, certificate, original bridge and tailpiece, Gibson-supplied extra 3-way switch cover, polishing cloth, extra knob set, warranty, hang tag and more. A beautiful top of the line Epi that does it all. It's a dual-humbucker electric guitar, an acoustic with a Shadow NanoMAG pickup, and even records directly to your digital recording deck with a USB output.

Plus, it even has a built-in chromatic tuner built into the bridge pickup ring. Rather smartly, there are two separate output jacks so you can run acoustic and electric summed, or split them to go to separate amps or mixing channels. Plus you get the USB output that's also mounted on the output plate. It features a chambered mahogany body, mahogany set-neck, bound body and neck, ProBucker-2 and ProBucker-3 pickups, a genuine ABR-1 bridge with the wire, stopbar tailpiece, Grover tuners and chrome hardware.

Specs call for a Pau Ferro fretboard but it's very dark, black like ebony so I'm not sure about that. The neck profile is very thin, at least as thin as a '60 Thin Taper, and has a satin finish on back which makes it feel very fast. The rest of the guitar is a gloss finish. The NanoMAG acoustic pickup is discreetly mounted at the end of the fretboard where it picks up both the body resonance and string harmonics for quality acoustic tones.

On the back of the guitar there's a control plate to preset your acoustic bass-treble-gain, along with a 9V battery door. This guitar plays beautifully and sounds Boat Slips For Sale Lake Of The Ozarks Uni excellent electrically with a fairly authentic acoustic tone. It's offered in stunning showroom condition. Excellent value on a USA guitar. At one time I had of the Pine Island guitars and this one was just traded in after three years.

Pine Island, located in Southwest Florida, used good quality parts and, most notably, their own hand-shaped bodies, made of alternative or exotic woods. This one was the most traditional of the Tele's from Pine Island and features a solid poplar body with a butterscotch blonde finish and black pickguard, giving it the appearance of the legendary '52 Telecaster.

Poplar is nearly identical to alder in its tonal properties so, with a set of Fender USA Hot Tele pickups, it has all the Tele twang you know and love. This one also has a modern C-shaped neck, 22 medium jumbo frets, rolled body edges, 6-saddle bridge, WD electronics and Gotoh hardware.

Set up is excellent. An incredible value�read the description: The BR is reminiscent of a fine American , namely the , built prior to WWII, made with the same techniques as their vintage counterparts, including many by-hand processes, and built of all solid woods. The looks, feel, and tone of this guitar are reminiscent of a USA "Golden Era" and you'd never guess it was an Asian import.

Like true quality heirloom instruments, Blueridge guitars aren't overbuilt; they're crafted to be light and resonant. Meticulous craftsmanship is displayed in the traditional, forward-position, hand-carved parabolic X-bracing which allows the solid Spruce top to ring loud and true. It also features a traditional dovetail neck joint, slim mahogany neck, adjustable truss rod, and butterbean-button, Kluson-style tuning machines with an updated mechanism for modern precision and feel.

The BR is hard to find and on back order in many stores. For looks, tone, vibe, and playability, it's impossible to beat this guitar for the price. Specs are the same as the DK24 above. Flawless condition � excellent value in a short scale bass! Unlike a lot of short scale basses, which are lower quality, if not toys, the Mikro Bass has the same quality and backing as their full scale Soundgrear basses. With a It also uses a new truss rod cover door that easily slides to the side - no more screw to remove for adjustments.

The body style is the same as other Soundgear series with the elongated upper horn, short lower horn, and deep cutaway for playing the high notes. I'm amazed at what some of the companies are doing in China these days. This Recording King, Blueridge acoustics and Eastman archtops are clearly in a league of their own.

The fret RPC was inspired by s Gibson flattops, with a cool vintage vibe and a atone that's clear and articulate. With this line Recording King has revived the brand of Depression-era guitars which were originally made for Montgomery Ward.

It pairs an 0-size body with a cutaway design with the longer scale length Amazingly, it features a torrefied Adirondack spruce top, the tonewood of choice for most golden-era guitars, but usually found on expensive acoustics. Torrefied woods are organically aged through a strictly controlled heating process to achieve greater resonance and stability, just like a an old acoustic having a richer, open voice.

As part of the Torrefied process it takes on a vintage-y amber-colored top. Other features are also vintage with its slight narrow waist, stained mahogany back and sides and vintage banner headstock logo.

It is well constructed, very neat all around, with a perfectly cut bone nut and saddle, tip-top fretwork after some bench time , and an immaculate gloss finish.

It has a V-shaped neck that feels vintage but is easy to get your hand around, with vintage Grover butterbean tuners installed.

The wide 1. A pretty radical guitar, even for Gretsch, with an interesting history. The Billy-Bo is based on the original model that Bo Diddley designed in , and one of 3 that Gretsch built for him back in the day.

Eventually Bo gave one of his original Bo's to Billy Gibbons who used it on stage from time to time. Fast forward to the new millennium: Billy and Gretsch teamed up to design this production model Jupiter Thunderbird, model G Cosmetically it's as clean as they come and could be sold as new despite being 15 years old. Action is super comfortable and it sounds excellent with balanced pickup output and by rolling back the volume a tad it's capable of doing a variety of music styles.

Includes Gretsch case and certificate, hangtag, and all other paperwork. One of the legendary OD pedals of all time and a personal favorite of mine. Every small tweak of the knob changes the tonal character, from fat and dark, to cutting and bright. Earlier Rat pedals like this one LMN chip, pre-led eye in the middle of the logo continue to appreciate on the vintage market.

Includes some pics of Ed of course, color chart, specs on each model, and manufacturing pics and details. For pics of each page visit Vintage Kramer , the premier site on the web for all things Kramer. Peavey Wolfgang Special Accessories , pic2 , pic3. This model features that wonderful feeling hand-rubbed Charvel maple neck plus killer pickups - Duncan SH Full Shred in the bridge and a Duncan SH-2 Jazz in the neck - allowing a wide variety of tone and good response to playing style and volume control.

The Full Shred SH is noted for a big, focused low end with incredible sustain while the Jazz has great touch dynamics and a sweet high end that's great for cleans or on the edge of break-up. A heel-mounted spoke wheel allows easy truss rod adjustments while four heavy-duty bolts provide excellent energy transfer from the neck to body.

Note also the sculpted heel which allows easy access to the upper register. The two-piece maple Speed Neck has 24 jumbo and a pair of graphite reinforcement rods to make it as stable as a neck can be. The rolled fingerboard edges give it a nice broken-in feel and seems to allow me to play a bit faster. The neck is a compound radius 12" to 16" with a hand-rubbed urethane finish.

I especially like the output jack location, on the back of the guitar and facing up to prevent accidental pullout when someone steps on your cable. Superb condition, only flaws are very slight discoloration to the maple board and a small glossy spot under the pickups.

It has a fantastic low setup and is a very good sounding guitar. Includes case and trem arm. Housed in heavy duty brushed metal housing with the tube glowing through vents, it's built for the road. If you're using an amp without sufficient input gain, this can be used to beef up your amp's natural distortion, or if you're looking for a Vox amp tone, this thing does a pretty good job on the treble boost setting.

In the Full Range Boost position it enhances all frequencies, adding lows, mids, and some highs while the Treble Boost mode and is good for pushing a slightly overdriven amp into heavy overdrive.

Also good for warming up the tone of a sterile solid state amp. Click here for a demo which moves rather slowly along; just forward to around to hear it after he starts cranking the dials a bit. These are quality pedals, made in Japan, and run on a standard 9V DC power supply or 4 AA batteries which are included. Excellent quality Japan model that has the same vibe and tone as the original 60s Ventures models that I've played.

For being nearly 50 years old it's one of the cleanest vintage guitars I've had and includes both original hangtags and even a Mosrite string pack. Includes a quality original case in similarly clean condition. Semie Mosley wasn't the best businessman so Mosrite agreements and such are written in pretty muddy water. But, based on some web info I've gathered, here's some background on this model.

It was built in Japan as a result of an agreement between Semie Moseley and the Firstman company. It has the classic Mosrite design aspects including a deep German Carve on the basswood body, zero fret, Moseley-branded vibrato tailpiece, two overwound 8. The maple neck has a rather shallow C profile with very rounded shoulders. The bound rosewood fretboard has original medium jumbo fret wire with more meat and height than typical Mosrite wire, exhibiting only light wear beneath the plain strings on frets and fainter flattening of the crowns until fret 5.

The only mod on the guitar are upgraded modern Kluson-style tuners. It weighs in at 9lbs 3oz. Cosmetically it's in stunning vintage condition with just a little patina on the chrome hardware and only a few very minor nicks and scratches in the black gloss finish.

Original Tolex case is in remarkably nice condition as well and included inside are 2 original hangtags and a Mosrite string pack. If you're a fan of the Johnny Ramone, The Ventures, or any of the other Mosrite endorsers from the 60s and 70s, this is a nice find. If you've been wanted to check out the possibilities of playing an extended range guitar and want a killer player without spending a fortune, here you go.

The RG line has been around since the 80's and they offer excellent balance, comfort, and the deep cutaway allow easy access to the upper frets. The RG features a basswood body with a 5-piece Wizard II-7 neck with 24 jumbo frets, 7-string standard fixed bridge with string-thru-body stringing, The neck heel is contoured very shallow which makes playing in the upper register more comfortable.

The neck is 5 pieces, with walnut strips inserted between pieces of maple. A 7-string can open up new doors and can be useful for many types of styles. Jazz great George Van Eps was noted for playing a 7 back in the 30's, using the extended scale for easier runs, while some of today's hottest players, such as Munky and Head from "Korn" use them for a very bottom heavy tone.

Overall this guitar pretty nice shape, although the clear control cover on back is homemade and doesn't look great. WE will cut a better cover in black plastic by the time it ships out.

This was my personal guitar for around 5 years before I listed it on the site. I love the tone, playability and especially the ultra fast shallow neck. It started out its life as a black Ibanez Roadstar but the body is about all that's left and even the body has undergone modification.

The tremolo area has been enlarged to accommodate a Gotoh vintage style trem with heavy steel block, which replaced the original "Pro Rok'r" locking tremolo. A small brass plate covers the remains of the Ibanez tremolo route. The top of the body has been refinished in 3-tone sunburst, and it's not a spray can job, but a pro refinish with nitrocellulose lacquer; the back remains original black.

The big mystery of this guitar is the neck. We have no idea what kind of neck it is and suspect that it's quite possibly a custom built neck due to the unique 3-piece wood pattern visible on the back of the headstock, and the asymmetrical routing of the truss rod hole we will add a truss rod cover at no expense.

The front of the headstock has a flamed maple veneer and the neck has around a 20 degree angled headstock; very cool indeed. Fretboard is some quality ebony with 22 jumbo frets. It also has been pro finished in nitro and there is some discoloration under the clearcoat that indicates it might have been black, or simply hand oils had penetrated the wood prior to finishing. The main thing you'll notice about the neck, however, is the thin profile.

It's at least as thin as an Ibanez Wizard, perhaps thinner. Somebody sunk quite a bit of time into the finish on this guitar and it does have a vintage vibe. A recreation of a modern classic in a new, smaller footprint. Like the original 70s Muff, this reissue has three controls that lets you dial in the perfect harmonic distortion and sustain.

Choose some warmth and edge, over the top aggression, or anything in between. Works equally well for guitar or bass and features true bypass. Powered by any standard 9V power adapter. Catalinbread Sabbra Cadabra Overdrive. The pedal contains two circuits, one modeling Tony's Laney amp preamp circuit while the other models Tony's Dallas Rangemaster.

Like many of the effects of our idols there is some mystery surrounding Tony's modded Rangemaster pedal. Catalinbread ascertained the mod allowed it to be a full-range boost rather than the stock circuit which was just a treble booster.

In the days before hot rodding amps, it was designed to push tube amps into overdrive. On this pedal you can adjust the Range control to tune the boost from treble-boost to a full-range boost.

Controls include Presence, Gain, Volume 4 named after the album , and the aforementioned Range. It is designed to work superbly with your guitar's volume, tone, and pickup selector, including excellent touch-sensitivity. Other features include all-metal chassis, high-quality true-bypass switch, powered by 9V�18V power supply and of course made in the USA. Included in the box are a Sabbra sticker and Catalinbread guitar pick.

Danelectro Dan Echo , pic2. Excellent sounding echo, possibly the best on the market for the money. Ray McCauley, probably the hottest player in North Greenbush, says this is his favorite echo pedal of all time. This is one of the good full-sized pedals with metal case - not the little flimsy plastic series. You get cool vintage tape effects with the warmth very close to an all-tube echo.

The hi-cut cuts the highs on repeats which perfectly simulates the tone of a 60s-era tape echo. It is quiet and is perfect for slap-back and more. Electronics Nova System , front effects lit up , back , stock pic. Electronics builds some of the finest rackmount effects I've had in stock. The Nova System takes TCE's technology and puts it on the floor for the gigging musician who wants something organized, but not as complicated as a rack system.

Above all, it's made for the player who wants quality tone. It also features a vast array of effects taken straight from the king of floor-based processors; the G-System, so you're guaranteed top-notch compression, EQ, noise gate, modulation, pitch, delay and reverb.

This thing is built for the road with a thick metal case and heavy duty switches. Rather than explaining with words, check TCE's site link for videos on editing as well as performance demos. Includes box, power cable and manual. Excellent value in a carved top, gloss finish Les Paul. The LPM was one of the models which featured a facsimile of Les's actual signature and "" on the headstock commemorating what would have been his th birthday year huh?

There are many small enhancements on this guitar which I'll mention but the Gibson G-Force tuning system is the most obvious. An improvement from Gibson's first Robot tuners, these tuners can also be tuned manually, although you'll get around tunings on a charge of the rechargeable battery. The G-Force will quickly around 3 seconds tune your guitar to standard pitch plus remembers a selection of alternate tunings such as Open D and it can even remember your own custom tuning.

This is a blessing to guitarists who use several different tunings, especially in a live pressure situation. Between songs just start your tuning and you can ask the crowd, "how you feeling tonight?! To cap it off they chose a new gold molded case that looks futuristic and can sustain up to a 15 foot drop. Gibson finished this guitar in a nitrocellulose Translucent Ebony which shows the grain very well, especially under stage lights. Pickups are Gibson '61 Zebra with Alnico V magnets putting out a lower output of 7.

They sound very good and are touted as "slightly "unmatched" bobbin windings for a 60s era tone with enhanced highs Realizing that not every player will love robotic tuners Gibson designed this guitar to retrofit with vintage-style Gibson tuners and we can do this swap if desired. But, if you want to experience something pretty cool I recommend you try the tuning system before deciding.

Includes original gold case plus G Force charger, tuner manual, guitar manual, warranty, and color photo. They were initially offered with a stop tail or a quality Floyd Rose trem, which I also have in stock. It's fatter sounding than the maple-top versions and with these Alnico Classic humbuckers, it has much of the classic 'Burst tone which lets your playing style shine through rather than a scorching high-output sound.

Features include all-mahogany construction, set-neck design, fret rosewood fretboard with "XII" inlay on the 12th fret, Gothic cross headstock, side dot position markers only, LockTone Tune-O-Matic bridge and stopbar tailpiece for more sustain and easier string changing, Grover tuners, black hardware, Satin Black finish and This guitar plays beautifully and is in very clean used condition.

Includes hardshell case. Note: A Floyd-equipped model appears lower on this page. One is original cone; other one I had reconed as you can see in the pic. CTS made in '72, 42nd week , manufactured for Fender Doesn't affect performance. If you need original equipment to restore your valuable vintage Fender amp, here's a nice pair. Many feel this series is the best value in a USA guitar on the used market.

By the way, this guitar weighs just a hair over 6 lbs with an unchambered body! Like my last G-series, this guitar set up extremely well and is a joy to play. The stock Godin pickups sound excellent and I don't recommend replacing them. Cosmetically it's in nice shape for a used guitar with no glaring issues.

Includes Godin gigbag. Released in '08 in commemoration of Washburn's th anniversary, this small bodied guitar has the vibe of a genuine antique parlor guitar thanks to the dark stain and factory distressed finish. In addition it appears the original owner wanted it to look even more vintage and sanded the finish a bid more.

It now truly has the look of a guitar that's been handed down through generations. It has top of the line appointments all around including headstock, neck, and body, adorned with pearloid inlays, herringbone trim, and abalone. It has a distinct mid-range hump that any parlor model will have but doesn't sound overly boxy and is much more balanced that I had anticipated.

The setup is very good and comfortably playable in all registers. The most remarkable thing about this guitar is the price. Parlors are one of our hottest selling acoustics and with this cool aged vibe I think this one is especially attractive. Rocktek Pedal Lot , pic2. Good quality effects for a good price.

All are mint in the box. Manual included with Delay and EQ. Trailer Trash Pedalboard and Pedaltrain Case , case. Easy and simple solution for your pedal transportation needs. Board has Velcro already attached so just apply to your pedals and you're assembled.

Pedalboard is Trailer Trash's "Flat Trash 24", a wide board measuring 24" wide, 12" deep. Includes shoulder strap and extra Velcro for your pedals. Bogner Ecstasy Blue Overdrive Pedal , pic2.

It uses Class A gain stages rather than op-amps and diodes like most OD's. The Mode switch selects Plexi or Blue gain levels; the Variac switch gives you the tone and, equally important, feel of a dropped input voltage; the Boost function has an independent volume and gain control; the Pre-EQ switch controls openness and presence of harmonics; the Structure switch offers EQ and gain structures from 3 of your fav Ecstasy amp models, the Ecstasy, Custom Shop , and 20th Anniversary.

Click here for a good demo by Bogner. This is one of the more high-end signatures made with a neck-thru-body design, 7-string, and a Floyd Rose tremolo. The BUZ-7 features a standard Quality hardware and electronics were used including a Floyd Rose trem, Grover tuners, Fishman Fluence SRC Signature active pickups, with a push-pull control on the tone knob that allows you to select between pickup voices. This model comes in quilted maple see-thru black only.

It's quite a striking looking guitar that plays beautifully and sounds exceptionally good. Includes Roadrunner gigbag pictured that's a little long for the guitar but offers excellent protection. Really cool new line from Fender for the fans of real vintage Teles. While Fender has opted to put modern features on many of their "vintage" Tele models, the Vintera unashamedly features the original rounded 7.

It also features Tim Shaw-designed 50's style single coil pickups with Alnico II and III magnets, Formvar-coated wire and staggered and beveled pole pieces, for the real quack and growl of the Tele's of old. Other features include solid alder body, vintage ash tray bridge with 3 brass barrel saddles, vintage style tuning machines, and knurled dome knobs.

Cosmetically it's got the look as well with classic custom colors such as this Fiesta Red, single-ply white pickguard and vintage-tinted neck. It's in beautiful condition with no flaws noted.

Aluminum on the headstock is much livelier than plastic. Drop-in ready, pro assembled. Vintage mint green with cool gold dome knobs and switch tip. Barely used � mint condition.

One of my favorite boutique amp builders, I've loved them since Mark Bartel and I were "next door neighbors" at a Philly guitar show 20 years ago. They nail everything that's great about hand-built American amps. I love the onboard trem and reverb and the watt Sky King also has really cool features like built-in attenuators, one for each channel on this model!

Factor in pure blackface and tweed tones and all things add up to the perfect grab 'n' go combo. The touch responsiveness is incredible with the simple the flip of the mode switch taking you from increased presence in the pentode mode to a spongier feel in ultralinear mode.

Both the channels give a nod to the 50s and 60s Fender and with a tweak of the Mid-Bite control you'll notice tighter gain, more like a Marshall in responsiveness. Both the Reverb and Tremolo are tube driven, with the Trem being the preferred bias-modulated circuit which is much more lush than a signal shunting type.

Both of the effects on this amp are warm, smooth and very lush - and both are footswitchable. Tone King used their "Ironman II" power attenuator on this model. They also sell the Ironman as an outboard standalone attenuator. It allows the amp to go from searing leads to subtle whispers, all with clarity and warmth.

The reactive load technology makes your sound transparent on at any output power selected and it ensures you'll have the same "feel" and responsiveness at full power as you have dialed way back. Again, there is a separate attenuator for each circuit. Love it. Speaker is a 12" Tone King by made by Celestion. It's a top quality speaker than you'll probably love.

It weighs in at around 50 lbs. It also features dual speaker outs with loads of 4 ohms or 8 ohms. Click here for a really good demo. This guy is good. These tones have been available for almost 40 years but you needed a special pickup mounted on your guitar, a digital to audio converter box, and then some sort of synth. It was cumbersome and if you only needed it for a few songs a night, too much to lug around and hook up.

Without any special equipment the HOG allows your guitar to sound like a synth. Just hook it up like any other stop box, from your guitar to your amp, and you're in business.

You'll have control of up to 10 interval pitches including fifth and third intervals, filter sweeps and pitch bends. Using dedicated filtering and envelope filters, with numerous setup and footswitchable options, the HOG is an ultimate performance tool. It can simultaneously generate multiple octaves and harmonics as you play single notes, arpeggios or full chords, all with tracking that's more accurate than most guitar synths that came before.

It also has seven expression modes which let you modify your sounds on the fly via expression pedal, MIDI controller, or the expression button on the HOG itself.

It has the ability to store six of your presets. There's too much to describe here. For a video demo click here. I have two sets of these, solid brass, and my guess would be either Brass Factory or Star Guitars as the manufacturer. Take your pick.

Two of these in stock. Both are new but slightly tarnished but we will polish upon request. These are solid brass and milled, not bent. Great pickup for your Strat. Includes original box, screws and instructions not shown. The Burstbucker features Alnico 5 magnet and wax potting.

Nearly all the accessories you need for restoring or building a Les Paul. Tuners upgraded with Sperzel locking! These Artcore series are the best archtops for the money on the market. They are nicely appointed, have quality hardware and good sounding pickups. I've yet to have one that didn't set up with comfortable action and playability similar to guitars costing 3X the price. The Ibanez ACH1 and ACH2 pickups are medium output pickups that accurately reproduce the cool, complex tones of a hollowbody and work well with effects, notable in a hollowbody.

Features set-in neck at the cost of most bolt-on's , bound body, neck, headstock and f-holes; maple top-back-sides; Quik Change III tailpiece; ART-1 tuneomatic bridge; 22 vintage frets; and Artcore profile mahogany neck. It's also designed with deep cutaways that offer improved access to the upper frets. Cosmetically there are plenty of clear coat scratches but no structural issues at all. Ibanez is at the forefront of producing quality guitars at amazingly low prices and this Artcore is a perfect example.

Notes: 1 Case is a bit large for the guitar; 2 we will be replacing pickup selector prior to shipping. MXR Analog Chorus. It has the usual rate, level, and depth controls, plus low and high EQ cuts to tailor your tone. Click here for a simple demo from MusicToyz. These are very clean other than Velcro on bottom. Fender Supersonic 22 Combo with 25W Greenback - Blonde , panel , top , back � with Greenback , back panel , label , footswitch.

Digitech Whammy 4V , selector , side , bottom. The Original Whammy pedal revolutionized guitar shredding beginning in the late 80s with the original Whammy which was the first pedal that could do foot controlled pitch shifting effects.

In a basic sense, this pedal emulates a guitarist using the vibrato bar on the guitar, but it adds a much larger pitch range and doesn't put your guitar out of tune. This model 4 is the closest model to the original Whammy but it adds Midi control and the dive bomb feature.

I appreciate all the tricks the guitar slingers can do on this thing but for me it's worth the price for shallow and deep detune, which are the chorus effects. Check out this YouTube demo for a better idea. This unit is extremely clean and has seen only a few hours of use. Includes power supply. Kahler Spyder Tremolo. Another Floyd licensed tremolo but not a dead knockoff of the OFR.

Note that one of the saddles is black. Includes trem arm. Kramer Sustainer Circuit Board , installed. From Keeps your Sustainer sustaining. A few of the teeth used to solder in place are broken off but new ones can be soldered on. New in sealed pack. Upgrade that swayback bridge or gnarly saddles. Gotoh Tuneomatic Bridge. For those of you who aren't familiar with USA Customs, they've built a solid following, initially via Ebay sales and more recently directly from their web site, www.

This particular bridge is the Fishman VMV Mannmade, which has piezo saddles which offer a pretty nice acoustic tone out of an electric guitar. The output jack is a stereo jack and with a basic Y-cable you can send your electric tones to one amp; your acoustic tones to an acoustic amp or mixing board.

There are also a number of wiring options which can be used but for now it's wired in the most basic layout. This guitar has seen very little playing time and is in lovely shape. This is a very nice Strat. Very clean early model from Oct '95, serial and signed on the tube chart by the great Mark Baier.

Based in Naperville, IL, Victoria amps are considered by most to be the best "pure" recreations of the classic 50's Fender tweed amps. Other than a few subtle enhancements, Victoria circuits have always been completely faithful to the originals, using the correct caps, resistors, transformers, pots, and eyelet boards, completely hand-wired, point-to-point soldered.

This amp is Victoria's reproduction of the fabled Fender 3x10 tweed Bandmaster produced between '54 and ' Borrowing some technical info here but under its chrome-plated chassis you'll find a vulcanized-fiber eyelet board with precisely the same component spacing as the original with Allen Bradley carbon-composition resistors. Even the wire is an exact duplicate of the solidcore, waxed-cotton Celanese type used in the old Fenders and, yes, wire can make a difference.

Victoria uses a cathodyne-type distributed load phase inverter - a design that excels at maintaining an even balance between the two output tubes and is true to the original. The coupling caps are a special Sprague design that closely approximates the tonal characteristics of the original's halowax-impregnated Astrons. A nice update to Fender's design is a bias-adjustment pot to aid in rebiasing whenever the output or rectifier tubes.

Also crucial to the tone are transformer design and Victoria used Mike Holland input and output trannies. The dual output tubes are mounted in phenolic sockets and secured with spring-and-hat retainers. No detail was overlooked! For a 3X10 amp this one isn't overly large around 20X23X10 or heavy 43 lbs.

This amp sounds incredible, with plenty of clean headroom and a nice articulate breakup when cranked. This baby is officially vintage at 25 years old and it sounds perfect. Refinished in Gold with a black front panel! The Greta is part of Fender's cool Fender Pawn Shop series, reflecting the styling of a 's tabletop radio.

Rated at around 2 watts with a 12AX7 preamp tube, and a 12AT7 power tube, with its volume and tone controls you can actually coax a variety of tone out of it. At very low volume it has a nice clean, but if you want some solid output you'll need to drive it into at least some light distortion. The tone control seems to work very well with the volume and reacts according to how hard the amp is being driven. It's a very pronounced tone control that you'll definitely want to experiment with.

Not really intended to be a studio amp, this baby was built to have fun and to look cool. Some players have these on the desk at the office, or in the living room at home. Most people won't even know it's a guitar amp! Internal speaker is a 4", 8 ohm. Made with pure unobtainium � PRS no longer does quilt tops, even on special orders. Lookie here - another exciting PRS.

This one's an old-factory Custom 24 with a rare quilted maple top and flamed mahogany neck, plus we had a NOS Sweet Switch so I had Martin install that for some more icing on the cake original tone pot and knob are included in the case. PRS has always charged a premium for their quilted maple, well above their price for flamed maple, so you just don't see many of them.

The flamed neck is just a gimme. PRS didn't offer this as an option, usually reserving figured mahogany necks for their ultra expensive instruments. This beautiful example, finished in Vintage Sunburst, has all the old-factory features: small logo, 1-piece Mil-Com tremolo, short neck heel, pearl bird inlays, and original version locking tuners.

The "10" during this era is imprinted near the serial rather than written in gold pen, as shown in the headstock pic. Other features include wide-thin neck, HFS and Vintage Bass pickups, with a 5-way rotary, volume, and tone or sweet switch. This guitar is in beautiful condition. It plays as beautiful as it looks with a superb sweet tone and low action.

Officially vintage now, grab this beauty for less than a new flame top custom. Includes clean original case and all the case stuff. Bottom cab is rated at W, loaded with Celestion G12T's. Top cab is better cosmetically than the bottom and both cabs show hints of road use but all speakers work and they sound good.

Fine Players Edition that features modern enhancements over and above the cool tone and unmatched vibe.

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