Format : Score and Parts
SKU: HL.438859
UPC: 852940000905. 3.25x5.5x2.5 inches.
Well, Carl still spends time listening to his vinyl collection and is still happy he created the Purple Moon, but he wanted to bring this pedal up to 2019 standards. The new 2019 Purple Moon has the Level Depth and Speed controls of the old model, and yes it still has the silicon Fuzz chip with Fuzz and Level controls that allow you to add mind bending Fuzz to that sweeping vibe and yes, this is still the only analog, true bypass Vibe/Fuzz pedal that takes you back to players like Hendrix, Trower, Gilmour or Anastasio....but it's smaller...cooler! Carl eliminated the second speed control in order to save space and reduce the footprint, but he packaged the new Purple Moon in a two-toned, anodized diecast case with head mounted Input/Output/9v and the same heavy duty bypass switch that he uses on every pedal. The Carl Martin Purple Moon uses special CM developed DC/DC converter circuitry that enables us to run the pedal with +-12V internally (which is necessary to maintain quality and headroom) while still powering the unit with a standard 9v external power supply! Bigger sound, bigger tone, all analog, all Carl Martin!
SKU: CF.CM9594
ISBN 9781491154168. UPC: 680160912667. 6.875 x 10.5 inches. Key: Bb major. English. Alfred Tennyson. Alfred, Lord Tennyson (1809-1892).
The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 710, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 1417 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 2225, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 3336. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 3738 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.The text of Alfred, Lord Tennyson'sA There is Sweet Music HereA is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7a10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14a17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22a25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33a36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37a38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.The text of Alfred, Lord Tennyson'sA There is Sweet Music HereA is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7a10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14a17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22a25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33a36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37a38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7-10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14-17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22-25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33-36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37-38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7-10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14-17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22-25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33-36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37-38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words.The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7–10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14–17 as well as those that contain three-part singing.The piano establishes a consistent undulating tempo in mm. 22–25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes.Maintain a consistent tempo when singing the eighth notes in mm. 33–36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37–38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment.Linger with quiet, full and supported singing during the last three measures.
SKU: CF.CM9576
ISBN 9781491153987. UPC: 680160912483. 6.875 x 10.5 inches. Key: G minor. English. Emily Dickinson (1830-1886) , Walt Whitman (1819-1892).
The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsons poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees behalf, who would do such a thing? Whitman ponders a trees silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 712. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 3953). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modes lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 910, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, “Who Robbed the Woods?†and “O Cool is the Valley Now,†combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us.The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson’s poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees’ behalf, who would do such a thing? Whitman ponders a tree’s silent majesty and power and its ability to be “yet say nothing at all.â€The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7–12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39–53).O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode’s lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9–10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.
SKU: CF.CM9634
ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.
Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part†henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio partâ€, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position†cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio†role and actually become a “Men’s Choral Ensembleâ€. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vampâ€. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp†and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.
SKU: CF.YPS243F
ISBN 9781491159903. UPC: 680160918492.
Rider of the Mountain is an exciting piece for young musicians. It features a heroic melody along with varied accompaniments that are both fun and easy to play. With prominent, exhilarating percussion parts and all the sections passing the melody around, every musician gets their time to shine. One can envision themselves on a mountain pass or on rolling hills atop a beautiful stallion. The piece begins early in the morning, with the morning dew settling, and a light fog covering the mountain tops. Soon, the day's ride beings. With each adventure, the cool wind blows against their face and through their clothes. Note to the Conductor If the band is comfortable with the dotted rhythms and gets a good groove going with the percussion, try adding character and bounce to the music by envisioning a rider and his steed. Similarly, really bring out the sway and swell of sections like m. 33. This piece may require some extra attention for the percussion, as their part is slightly more difficult (and exciting!) than the wind parts.Rider of the Mountain is an exciting piece for young musicians. It features a heroic melody along with varied accompaniments that are both fun and easy to play. With prominent, exhilarating percussion parts and all the sections passing the melody around, every musician gets their time to shine. One can envision themselves on a mountain pass or on rolling hills atop a beautiful stallion. The piece begins early in the morning, with the morning dew settling, and a light fog covering the mountain tops. Soon, the day's ride beings. With each adventure, the cool wind blows against their face and through their clothes.  Note to the ConductorIf the band is comfortable with the dotted rhythms and gets a good groove going with the percussion, try adding character and bounce to the music by envisioning a rider and his steed. Similarly, really bring out the sway and swell of sections like m. 33. This piece may require some extra attention for the percussion, as their part is slightly more difficult (and exciting!) than the wind parts.  .
SKU: CF.YPS243
ISBN 9781491159897. UPC: 680160918485.
SKU: HL.438856
UPC: 852940000479. 7.25x12.5x3.75 inches.
The Carl Martin Headroom is the most simple to operate reverb pedal on the market...with a couple extras. This purely analogue 'real spring' reverb has two identical identical channels, each with tone and level controls to select the depth and tone of your reverb. This allows you to have a soft, small room reverb on Channel A and a much more dramatic and dark large-room reverb on Channel B (or vise versa) The two foot-controlled switches control which channel you are in, and whether you wish to bypass the effect completely. It is like having two separate reverbs in your amp! Additional features on the Carl Martin Headroom include solid metal casing, cool vintage chicken head knobs, double mounted springs to minimize stage feedback, and remote jacks for Bypass and Channel Select (which allows you to place the effect in your rack or in the back of your amp to save real-estate on your pedal-board), as well as your input and output jacks. Of course you also get that famous Carl Martin quality that you have come to expect....at no extra charge. The Carl Martin Headroom runs on 9V DC, and as always, we recommend using a regulated power supply for optimum performance.
SKU: CF.CAS74
ISBN 9780825894756. UPC: 798408094751. 9 x 12 inches. Key: Ab minor.
Four on the floor funk tune for strings?! How cool is that! This piece grooves from start to finish containing true funk rhythms, challenging your students, but well worth the effort!.The title says it all. This riff-packed funk piece offers an exciting opportunity for students to explore the rhythms and sounds made famous by Sly and The Family Stone, James Brown, and Earth, Wind and Fire. A sample solo is provided, but fea- tured soloists should improvise their own solos using either an A-minor pentatonic scale (A, C, D, E, G, A) or an A-blues scale (A, C, D, D≥, E, G, A). While soloing, keep it simple and focus on creating short rhythmic riffs using two or three pitches, or choose a riff from the piece and embellish it. Drummers are encouraged to add to the written groove.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: HL.438851
UPC: 852940000851. 3.25x5.75x2.5 inches.
When Carl decided to update the Vintage Series, it did not take long to decide on a drive pedal....the DC Drive. Super simple but extremely versatile, the DC Drive features Level Tone and Drive controls which do the obvious, but it also has the Reg/Fat switch.....this is where the magic begins. In the Reg setting you get a traditional overdrive sound that is very quiet and adds no color to your tone. Dial in just enough to put an edge on your sound or crank it right up to full saturation, the DC Drive is pleasantly musical. Now switch over to the Fat setting and get more...much more. There's more drive, more mids, more bass, more natural compression, more sustain, and... who wouldn't want want more of that? The Fat setting is darker, and much more modern, so you get two distinct drives in one pedal. Only the clean boost was dropped from the original pedal in order to save space. Carl, is a smart man. Check out the new look DC Drive...cool, anodized, smaller footprint, die cast case, head mounted input/output/9v and that awesome Carl Martin DC/DC converter circuitry which allows the pedal to run with +-12V internally (this means better parts and better sound), all while being powered by a standard 9v 200mA power supply. Bigger sound, bigger tone, all analog, all Carl Martin!
SKU: HL.1164630
UPC: 852940000998. 2.609 inches.
What's more groovy than a flanger? A new, smaller flanger loaded with features and painted a bold pyschedelic purple... that's that! Introducing the re-designed Carl Martin Axis Flanger. We simplified the controls to give you all the control you had with our Carl Martin Classic Flanger but reduced the size so you don't have to worry about leaving the Axis Flanger on your pedalboard 'cause you don't have enough room.' Complete with a buffered Bypass footswitch for on and off control (indicated by and LED), Speed, Depth, Pre-delay and Feedback controls, the Axis Flanger comes in a machined aluminum case finished in pyschedelic purple, and those cool Carl Martin graphics. The Axis Flanger must be powered by a regulated 9v Power Supply like the Carl Martin DC Factory, and like all the Carl Martin fx pedals, we use the best parts to make sure you get the best sound! watch out baby... the flange is back!
SKU: CF.SPS54
ISBN 9780825892981. UPC: 798408092986. 9 x 12 inches. Key: G minor.
With its title is taken from the text of Walt Whitman's poem Leaves of Grass, Setting Sail is an epic new piece that is expansive and sophisticated. Its luxuriant, reticent opening moves into beautiful lyrical lines and all-encompassing harmonies before leading into the journey at sea, punctuated with a cool 6/8 groove. To finish, we have a climactic return of the original lyrical material. This is a large-scale work of dramatic proportions.
SKU: HL.438860
UPC: 852940000615. 4.75x7.0x2.75 inches.
As guitar players, we all have that moment where we think, 'How can I do this and still remain analogue?' Once we have achieved the 'ultimate tone, how can we boost that same tone without changing the quality? What if we want to boost the signal before your drive effect in order to increase sustain, or have a boost in front of your gain channel and another after the pre-amp in the effects loop?' Well, Carl thought about this for quite a while and is now happy to introduce the super cool...'Dual Injection'! Carl took the high quality, transparent boost from the Hot Drive'n Boost, and put two of them into one pedal. Each has it's own level control and 'True Bypass' switch, plus there is another toggle which switches the Dual Injection between Serial and Parallel modes. In Serial mode, you use the Input/Output 1 on the back of the pedal and place the boost wherever you want in the signal chain. In Parallel mode, connect the Output 1 before your Drive or Preamp, and then use the Input/Output 2 on the side of the pedal to connect to your effects loop on the amp. So, what does all this do for you? Well, the Dual Injenction gives you 4 different Boost settings... 1)Your normal set up either clean or with effects 2)Boost 1 engaged to a desired setting 3)Boost 2 engaged to a different setting than Boost 1 4) Both Boost 1 and Boost 2 engaged at the same time! The Dual Injection is a high quality effect that can be powered by 9v battery or with the correct power transformer (we always recommend that you use a regulated power supply like the Carl Martin Pro Power). The effect is housed in our diecast case with custom paint, True Bypass Switching, large easy to use knobs and bright LED indicators for Boost 1 or 2.
SKU: CF.SPS54F
ISBN 9780825892998. UPC: 798408092993. 9 x 12 inches.
SKU: CF.BPS133
ISBN 9781491158340. UPC: 680160916948. 9 x 12 inches.
Autumn in the Park reflects the beauty of the warm days, cool nights and vivid colors of this favorite time of the year. Beginning at an easy walking tempo (Andante), the opening represents a stroll through the park, relaxing and reflective followed by a dance-like section (Allegretto) of happy children playing in the park. Contrasting tonal colors and dynamic contrasts are featured as melodies are shared between woodwinds and brass with the careful addition of percussion. Autumn in the Park is appropriate at any season for concerts or festivals.
SKU: CF.BPS133F
ISBN 9781491158357. UPC: 680160916955. 9 x 12 inches.
SKU: BT.GOB-000897-020
SKU: BT.GOB-000897-120
SKU: BT.GOB-000896-140
SKU: BT.GOB-000750-130
