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Flight Peter Moss Signature Concert Ukulele

Flight Peter Moss Signature Concert Ukulele

If you haven’t yet heard Peter Moss play the ukulele, go and do that now! When you do, you will understand why we decided to collaborate with Peter and to create a one-of-a-kind ukulele! This ukulele reflects everything about Peter’s playing style – sophisticated, precise, warm and unique. Peter, who is a long-time player of our Flight Spirit Concert model, wanted to keep some of his favorite features of the Spirit like the scalloped cutaway, offset fret markers, active pickup and our famous Flight signature headstock.  He then wanted to combine these features with a classic wood combination that isn’t featured on any other Flight ukulele – spruce and mahogany!This combo combines the brightness and projection that you expect from spruce with the warmth and roundness of mahogany – offering the perfect balanced sound. To add to this timeless pairing, the moonburst stain gives this uke a really striking appearance. This ukulele is like an old classic with a modern twist, what more could you ask for?A classic gets a makeoverSolid African Mahogany paired with solid spruceWe paired a solid African Mahogany body with a solid Spruce top for a sound that is both traditional and modern. Mahogany is a warm and resonant sounding tonewood with a long heritage in the making of ukuleles. The mahogany body combined with a solid spruce top adds brightness and projection, providing a ukulele that is balanced, responsive, and chimes like a bell! Sophistication and styleUnique Moonburst StainSpruce, although a great sounding tonewood, can sometimes look quite plain so we decided to ‘spruce’ up the appearance of this ukulele with a dark burst. Imagine a sunburst in black and white and you have our ‘moonburst.’  The result is a classic look with a modern twist! Tasteful AppointmentsPearloid Rosette, position markers and white bindingThe gorgeous pearloid rosette and white binding tastefully finish off the sophisticated look of this ukulele and add a touch of luxury. The off-set fret markers are eye-catching and are easier to see when playing. Side position markers also add to the ease of reference. Beautiful rosewoodRosewood fretboard and bridgeLike many of our Royal Series from 2020 onwards, the Peter Moss model features a gorgeous chocolatey Rosewood fingerboard and bridge. Historically a very popular hardwood for fretted instruments, rosewood can add warmth to the sound of an instrument while lessening harsh higher frequencies of an instrument.Beautiful rosewoodRosewood fretboard and bridgeLike many of our Royal Series from 2020 onwards, the Peter Moss model features a gorgeous chocolatey Rosewood fingerboard and bridge. Historically a very popular hardwood for fretted instruments, rosewood can add warmth to the sound of an instrument while lessening harsh higher frequencies of an instrument. Real temptationStylish cutawayThe scalloped cutaway that has been so popular with the Spirit, Mustang and Victoria models was also included in this model. This intelligent design allows for playing up the frets but without the compromise on volume and tone that many full cutaways inflict. It also showcases the absolute craftsmanship and mastery of our luthiers. Infinite sustainString-through bridgeThe string-through bridge is used on many of our Royal series ukuleles and is one of the latest ukulele trends. It makes the top resonate better, as the strings are attached directly through the soundboard, and not to the bridge. Changing the strings might seem a bit confusing at first, but actually it is easier – check our YouTube channel for a tutorial on how to change the strings if you are unsure how to do so. Strings ‘Worth’y of the instrumentWorth Brown strings as standardWorth Browns were an obvious choice for this ukulele as they perfectly match the tone and looks of the instrument: offering both a precise clarity with a warmth that is as balanced as the uke itself. Small yet mightyDouble C1U active pickupThe controls for the active pickup are mounted underneath the sound hole, meaning that a cavity does not have to be created on the side of the ukulele for the pickup.  The Double C1U is easy to use, and sounds great! The famous Flight headstockBold and strikingOur now famous signature headstock is bold and striking, infusing innovation into all the benefits of a slotted headstock. Its round, airy shape not only looks amazing, it also makes the headstock lighter than most. You will certainly be turning heads…and tuners..with this headstock. SpecificationsEvery tiny detail matters.BodyBody Shape: Concert (17 frets)Top: Solid SpruceBack & Side: Solid MahoganyBridge: RosewoodNeckNeck: MahoganyFretboard: RosewoodNut & Saddle: BoneNut Width: 36mmStrings: Worth BrownOtherOffset Position Markers: 3th, 5th, 7th, 10th, 12th and 15th frets.Premium Features: Offset position markers, Moonburst Stain, Scalloped cutaway, Rosewood fretboard, Unique headstock, String-through bridge, Worth stringsDeluxe 20mm ...

SEK 4405.00
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Lebuïnus ex Daventria

Per Nørgård: Symphony No. 6 (Score)

Per Nørgård: Symphony No. 6 (Score)

Per NørgårdSYMPHONY NO. 6AT THE END OF THE DAYfor orchestra, 1997-99Preface / Programme Note?? with the Lord a day is like a thousand years, and a thousand years is like a day?(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean ?when all is added up?. However, in my opinion, nothing ever quite adds up, there is always ?something? missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still ?something?, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of ?other worlds?, is revealed ....The symphony is dedicated to Helle, my wife.Per Nørgård

SEK 2134.00
1