SKU: 79940783231

JS Series Spectra Bass JS3QV

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Description

JS Series Spectra Bass JS3QVVielseitiger Style und gewaltiger Klang treffen beim neuen, 5 saitigen Jackson JS Series Spectra Bass JS3QV aufeinander. Bei der Entwicklung der brandneuen Offset Korpusform wurden die Bedrfnisse des Knstlers bercksichtigt. Der Pappel Korpus mit einer Decke aus Muschelahorn ist mit einem hornfrmigen Design an der Oberkante ausgestattet, das fr gleichmige Verteilung des Gewichts ber das gesamte Instrument sowie fr perfekte Balance sorgt, Neck Dive

Vielseitiger Style und gewaltiger Klang treffen beim neuen, 5-saitigen Jackson® JS Series Spectra Bass JS3QV aufeinander.

Bei der Entwicklung der brandneuen Offset-Korpusform wurden die Bedürfnisse des Künstlers berücksichtigt. Der Pappel-Korpus mit einer Decke aus Muschelahorn ist mit einem hornförmigen Design an der Oberkante ausgestattet, das für gleichmäßige Verteilung des Gewichts über das gesamte Instrument sowie für perfekte Balance sorgt, Neck Dive vorbeugt und angenehmes Spiel über mehrere Stunden hinweg ermöglicht. Der verschraubte Hals aus Ahorn mit Graphitverstärkung und Schäftung sorgt für solide Stabilität während die Speed-Neck-Kontur und das Lorbeer-Griffbrett mit 12"–16" Radius (mit 24 Bünden) für blitzschnelle Spielbarkeit sorgen.

Der Sound des Spectra Bass JS3QV ist so einzigartig wie der Bassist, der ihn spielt. Ob für Funk, Hardrock oder Gospel – die dualen, passiven Jackson Medium-Output Humbucking Pickups sorgen für einen monströsen, tiefen Sound, während die HiMass™-Brücke für mehr Stabilität, verbesserte Klangdauer und satten Ton sorgt. Der Sound kann mithilfe eines 2-Wege-Kippschalters für (mit Push-/Pull-Wahlschalter zur Umgehung oder zum Aktivieren der aktiven Schaltung für 3-Band EQ) justiert werden. Durch den Push-/Pull-Wahlschalter musst du dir nie wieder Sorgen machen, dass dir die Batterie ausgeht und es zu Einbußen beim Sound kommt. Ein kurzes Ziehen am Volumen-Poti überbrückt die aktive Schaltung, sodass der Bass auch ohne Batteriestrom wieder erklingt.

Der Spectra Bass JS3QV mit einer 35" Mensur bietet mehr Sound für weniger Geld und ist mit einem lebhaftem Alien-Burst- oder Purple-Phaze-Finish mit schwarzer Nickel-Hardware und der einzigartigen Jackson 3x2 Kopfplatte mit dezentem J-Logo erhältlich.

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SKU: 79940783231

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4.3 ★★★★★
Based on 16 reviews
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D
Verified Purchase
David R. Papke
Whiting, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
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Verified Purchase
DoubtfulReader
Chelsea, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
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Matt M.
Grantham, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
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Verified Purchase
J. Christian
Massapequa, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014
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Verified Purchase
Classics professor
San Leandro, US
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 20, 2017

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