Guitar Equipment and Accessories Lumberton NC

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 Lumberton, NC. Experienced personnel at guitar shops around Lumberton 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.

McFadyen Music Co.
(910) 618-1819 , (910) 618-1380 (fax)
3467 Lackey St.
Lumberton, NC
 
MRS MATILDA S SCHOOL OF MUSIC
(910) 738-8565
207 E 4TH ST
Lumberton, NC
 
Guitars Usa
(336) 236-2009
406 National Blvd
Lexington, NC
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

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J J Dumplin'S Music
(919) 557-2101
1927 N Bryson Ct
Fuquay Varina, NC
Types of Instruments Sold
Sound Reinforcement, Guitars & Fretted Instruments

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Separk Music
(336) 723-0794
636 W 4Th St
Winston Salem, NC
Types of Instruments Sold
Band & Orchestral, Guitars & Fretted Instruments, Print Music

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AUTRY MUSIC CENTER
(910) 738-8899
1512 GODWIN AVE
Lumberton, NC
 
MILLIGAN MUSIC CENTER
(910) 863-3802
PO BOX 334
Bladenboro, NC
 
Guitar Stuff
(910) 895-1099
637 E Broad Ave
Rockingham, NC
Types of Instruments Sold
Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

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Music Stop
(336) 778-9000
2668 Lewisville Clemmons Rd
Clemmons, NC
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music

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Don'S Music City
(336) 288-6363
2623 Battleground Ave
Greensboro, NC
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, 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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