Guitar Equipment and Accessories De Soto MO

Having the right guitar equipment and accessories makes a difference. The longer you have been playing the more you know this is true. Serious musicians search for the best knowing it will intensify sound quality. Music is meant to be shared in De Soto, MO. Experienced personnel at guitar shops around De Soto can help you find what you are looking for to create the sounds and effects you desire to make. Below you will find local dealers for all of your guitar’s needs including guitar capo, pickups, strings, picks, cables, support, amplifiers, tuner pedals, cases, cables, effects and more.

Music Connection The
(636) 933-7300
2093 Us Highway 67
Festus, MO
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

Data Provided by:
Marler Music Ctr
(573) 431-2699
219 W Main St
Park Hills, MO
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

Data Provided by:
Drake Music
(314) 426-5545
11089 Wilwood Dr
Maryland Heights, MO
Types of Instruments Sold
Drums & Percussion, Guitars & Fretted Instruments

Data Provided by:
Brillhart Music & Craft
(816) 850-4227
404 W 2Nd St
Holden, MO
Types of Instruments Sold
Electronic Keyboard, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music, DJ Equipment

Data Provided by:
Haug Music
(573) 221-4319
615 Broadway
Hannibal, MO
Types of Instruments Sold
Acoustic Piano, Digital Piano, Electronic Keyboard, Guitars & Fretted Instruments, Print Music

Data Provided by:
Grubville Guitars
(636) 274-4738
Po Box 14
Grubville, MO
Types of Instruments Sold
Guitars & Fretted Instruments

Data Provided by:
Marler Music
(573) 431-2699
219 West Main
Park Hills, MO
 
Mc Murray Music Co
(314) 428-8600
6802 Waterman Ave
Saint Louis, MO
Types of Instruments Sold
Acoustic Piano, Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments

Data Provided by:
Fly By Night Music
(417) 451-5110
103 S Washington St
Neosho, MO
Types of Instruments Sold
Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

Data Provided by:
Circle M Music
(660) 665-9090
218 N Franklin St
Kirksville, MO
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music

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13 Hard Rockin’ Half-Stacks, Guitar Player Staff

13-stackROCK AMPLIFIERS HAVE EVOLVED TO A HIGH DEGREE SINCE THE DAYS WHEN TONYIommi and Ritchie Blackmore laid the foundation for heavy rock guitar tonethrough their Laney and Marshall stacks. These English marques, along withother British and American companies such as Hiwatt, Orange, Mesa/Boogie,Peavey, and Soldano, paved the way for today’s high-gain, multi-channel heads,most of which have features that were unimaginable in the late ’60s, whenBlack Sabbath, Deep Purple, and Led Zeppelin reigned supreme. As metalbecame a style unto itself, more and more amplifier companies stepped up tomeet the demands of players who wanted heads and combos that could deliverthe two essential sonic qualities—searing sustain and massive chunk—thatare about as commonplace now as footswitchable channels, independent tonecontrols, and high-powered output stages of up to 400 watts.

Look around most any music store now and you’ll find plenty of evidencethat the quest to improve and refine the tones created by overdriven tubes andtransistors continues. In terms of features, sounds, and price, Joe Six Pack neverhad it better. Fact is, you could probably pick a new half-stack blindfolded, takeit straight to the gig, and be reasonably satisfied with its performance. To betterunderstand the state-of-the-art in rock and metal rigs, we selected 13 tube,hybrid, and solid-state multi-channel amps and put them to the test using aSchecter C-1 loaded with EMG 81-X pickups, a PRS Custom 22, a Fender EricJohnson Signature Strat, and a Gibson ’68 Black Beauty Les Paul reissue. Mostof the amps we received came with matching speaker cabinets, and the onesthat didn’t were played though a Mesa/Boogie Rectifier 4x12, a cabinet knownfor its ability to stay tight and focused at punishing volumes.

We gave all of the amps a thorough shake out to evaluate the range andcomplexity of their tones, the amount of sustain they could generate, and evenhow loud they could get. For this last test we placed a RadioShack digitalsound level meter three feet from the speaker cabinet with its mic aimedstraight on at the speakers. Using the dBA setting on the meter, we turnedeach amp up as far as possible (excessive hiss was often the only limiting factor)on one of the overdrive channels, and banged out power chords until themeter gave its verdict. Testing 13 big amps presents lots of challenges—notthe least of which was the potential for hearing damage when exposed to themrunning at full volume. So for the loudness checks we went so far as to put avideo camera on our sound level meter, and played outside the sound lab withthe door closed—a method we’d highly recommend should you decide to trythis stunt for yourself.

  • B-52 LS 100
  • Bogner Uberschall Twin Jet
  • Carvin V3
  • Diamond Decada
  • Engl Fireball 100
  • Fryette Pittbull Hundred-CL
  • Krank Krankenstein Jr.
  • Kustom Double Cross
  • Line 6 HD 147
  • Marshall MG100HFX
  • Mesa-Boogie Dual Rectifier
  • Peavey 3120
  • Ra...

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