SKU: 73858984494
tiger lily tremolo

tiger lily tremolo TIGER LILY TREMOLO (OC-TLTn)

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Description

tiger lily tremolo TIGER LILY TREMOLO (OC-TLTn)Features The TIGER LILY TREMOLO is one of the most versatile tremolo pedals on the market. This pedal sports a broad spectrum of tremolo intensity which will not disappoint. BJFs tremolo design was inspired by early Gibson and Premier amps, hence, a sine wave oscillator promises an authentic and smooth tremolo. Specifications Input impedance: 180K Output impedance: 10K Drive voltage: 9V Current consumption: 1. 5mA S N ratio: 80dB Size: 39Wx100Dx31H mm


Features
The TIGER LILY TREMOLO is one of the most versatile tremolo pedals on the market. This pedal sports a broad spectrum of tremolo intensity which will not disappoint. BJFs tremolo design was inspired by early Gibson and Premier amps, hence, a sine wave oscillator promises an authentic and smooth tremolo.


Specifications
Input impedance: 180K
Output impedance: 10K
Drive voltage: 9V
Current consumption: 1.5mA
S/N ratio: -80dB
Size: 39Wx100Dx31H mm (excluding protruding parts)
47Wx100Dx48H mm (including protruding parts)
Weight: Approx. 160 grams
True-Bypass Switching
High Quality Aluminum Enclosure
Power: 9V Battery or Standard DC Power Supply


Bjorn's Description
The Tiger Lily is a tremolo pedal that allows for the mellowest of sounds to appear only at the tail of musical phrases. In order for the pedal to have a broad range, I included several controls to give the user complete control. AMPLITUDE control and DEPTH affects different parts of the circuit. This unique combination allows the player to alter the tremolo sound ever so subtlety. Whether you want a predominant tremolo sound, or a lighter presence, the controls on this pedal will help to make your vision come to life.

To set a mild tremolo, use minimum DEPTH and adjust the AMPLITUDE to where the tremolo begins to appear on the end of phrases.

To set standard tremolo, place the DEPTH knob at 12 and adjust AMPLITUDE to your liking.

To set a heavy tremolo, use maximum DEPTH and adjust AMPLITUDE to your liking

PHASE Switch
The intended use for this switch is to solve problems. For example, it allows you to bridge two channels on amplifier types like Twin Reverb, where channels are out of phase. How? Follow these steps:

Plug your guitar into input #1 of one of the channels

Connect input #2 to the input of TLT

Connect the output of TLT to either #1 or #2 of the second channel on amp and you will hear when both channels have volume that when TLT is set for -180° phase sound will become stronger since now both channels of amplifier now are in phase and added in phase.


When using TLT in parallel with another effect, the phase switch can be used to correct the phase so that both parallel chains are added in phase.

- Bjorn Juhl



TIGER LILY TREMOLO Manual.pdf


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SKU: 73858984494

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David R. Papke
Carnegie, 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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DoubtfulReader
Louisville, 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.
Draper, 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 19, 2021
J
Verified Purchase
J. Christian
Grantham, 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
C
Verified Purchase
Classics professor
Houston, 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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