This clarinet is one of Buffet Crampon’s historic models. Created in 1955 by Robert Carrée, the R13 clarinet was a big hit in the United States and still meets with unprecedented success. Its tone is focused and rich, and it is powerful in all registers. Its flexibility lends itself to all repertoires: symphonies or chamber music, soloists, teachers, military bands, students or amateurs.Key: APitch: 440 HzBody: carefully selected, treated and stained African blackwoodBore: poly-cylindrical according to the Buffet Crampon methodKeys: 17Rings: 6Thumb rest: adjustable, enabling the use of a neck strapKeywork finish: silver plated or nickel silverSprings: blue steel springs for ease and accuracy of key movementPads: superior quality, double fish skin
The MA-301fet is a multi-pattern large diaphragm, solid-state condenser microphone. Based upon the popular MA-201fet designed by David Royer, the MA-301fet adds a 3-posistion pickup pattern selector, a15dB pad and a switchable bass roll-off.Utilizing a 3-micron gold-sputtered capsule, high-quality Jensen audiotransformer, military-grade FET and custom designed low-noise resistors, the MA-301fet performs at a level reminiscent of some of the bestloved classic condenser microphones. Each MA-301fet microphone iscarefully tested and evaluated, then packaged in its protective casewith a professional grade shockmount.Features:- Multi-pattern: Cardioid, Omnidiectional, Figure-eight (Bi-directional)- Switchable 15dB pad- Switchable Bass Roll-off- Hand-selected 3-micron 1 capsule- Jensen audio transformer- Military-grade FET- Custom designed low-noise resistors- Ultra clean signal pathRecommended Applications:- Vocals- Voice Over and Broadcast- High SPL sources, such as Kick Drums and Bass Guitar Amps- Electric Guitar- Piano- Drum Overheads, Drum RoomsTECHNICAL DATATRANSDUCER TYPE: Externally polarized, pressure gradient capacitor - double diaphragm.DIAPHRAGM: 1-inch diameter, gold sputteredDIAPHRAGM THICKNESS: 3 micronsPOLAR PATTERN: 3 patterns; omni, cardioid and figure-8FREQUENCY RESPONSE: 20 Hz to 20 KHZ, +/-3 dB at flat setting of bass cutswitch. Bass cut switch provides 6 dB per octave attenuation below100 Hertz in cut settingSENSITIVITY: -40.5 dB, re. 1V/paMAXIMUM SPL: 120 dB with pad off, 135 dB with pad on.DISTORTION: SELF NOISE: 14dB nominal, not to exceed 16dB (A weighted)PAD: 15 dBBASS CUT: 6 dB per octave below 100 hertz.IMPEDANCE: 550 ohms, transformer balanced (Jensen)POWERING: 48VDC phantom power; current 1.2 mADIMENSIONS AND WEIGHT:Carrying case with microphone, shock mount: 10 x 9 x 4.5, 4 lbs.Microphone: 7 5/8 X 2 (194mm x 51mm), 1 lb. (0.45Kg)
MA-201fet Condenser MicrophoneMojave MicrophonesThe MA-201fet is a large diaphragm, phantom-powered, solid-state condenser microphone with a fixed cardioid pattern. With its roots in a lineage of microphone designs by David Royer, the MA-201fet gives warm, full-bodied reproductions of vocals and instruments, with none of the shrillness and high frequency distortion artifacts that are often encountered with modern condenser microphones.Utilizing a 3-micron gold-sputtered capsule, high-quality Jensen audio transformer, military-grade FET and custom designed low-noise resistors, the MA-20fet performs at a level reminiscent of some of the best loved classic condenser microphones. Each MA-201fet microphone is carefully tested and evaluated, then packaged in its protective case with a professional grade shockmount.Features:- Hand-selected 3-micron 1 capsule- Jensen audio transformer- Military-grade FET- Custom designed low-noise resistors- Ultra clean signal pathRecommended applications:- Vocals- Voice Over and Broadcast- High SPL sources, such as Kick Drums and Bass Guitar Amps- Electric Guitar- Piano- Drum Overheads, Drum Rooms- Acoustic InstrumentsTECHNICAL DATA :TRANSDUCER TYPE: Externally polarized pressure gradient capacitorDIAPHRAGM: 1-inch diameter, gold sputteredDIAPHRAGM THICKNESS: 3-micronPOLAR PATTERN: CardioidFREQUENCY RESPONSE: 20 Hz-20kHz, +/- 3dBSENSITIVITY: -39 dB re. 1V/paMAXIMUM SPL: 125 dBDISTORTION: SELF NOISE: 14dB nominal, not to exceed 16dB (A weighted)IMPEDANCE: 550 ohms, transformer balanced (Jensen)POWERING: 48VDC phantom power; current .68mA.DIMENSIONS AND WEIGHT:Carrying case with microphone, shock mount: 10 x 9 x 4.5, 4 lbs.Microphone: 7 5/8 x 2, 1 lb.
Water MusicSuite No. IIHistorical information about Händel´s Water Music Suites is limited, but certainly these works were intended for two, possibly three, parties given by King George I on the Thames River, London, between 1715 and 1736. Händel and his orchestra played on a barge. Since then the some twenty-two separate original pieces have been organized into three Suites and nicknamed Water Music, each having a separate key and likely corresponding to these river parties. This transcription of Water Music Suite II for saxophone quartet has two purposes: to make this music available to saxophonists for performance and education, and to provide in one volume the entire Suite II. The exception to the latter, because of the limits of endurance, is the exclusion of the short Adagio, a brief interlude between the fi rst two movements. Included though are the Allegro, Hornpipe, Minuet, Lentement, and Bourree. These works were originally meant for an outdoor performance, and one of the original intentions of the saxophone was to play in French military bands, also an open-air purpose. The original scoring of brass, woodwind, and string instruments (but no continuo) transcribe well for saxophones. Matching the ranges of instruments of the original to the saxophone quartet was a primary objective. In addition, this arrangement strives to disperse melodic material to all four saxophones so as to make the arrangement pleasing to all the members of the quartet while providing variety to an audience. Any dynamic, articulation, and tempo markings are to be taken only as suggestions so as to allow interpretation by the performers. The musical study and performance of all styles while using examples of composition and performance that represent excellence is necessary for saxophonists who wish to be well-rounded musicians. For the above reasons saxophonists are urged to listen to recordings of the original orchestration in order to learn and imitate proper interpretation of Baroque style. There are currently a number of excellent recordings of Handel´s Suites on period instruments, such as (but not limited to) those by conductors John Eliot Gardiner, Christopher Hogwood, and the ensemble Tafelmusik. The Lewis-Clark State College Saxophone Quartet has for many years enjoyed performing Suite II for concerts, ceremonies and social settings, and I thank Advance Music for the opportunity to bring these great works to the profession.Allegro - Hornpipe - Minuet - Lentement - BourreeNombre de pages :44