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Ok, show me some examples of current young practitioners whose business model is to post on online platforms either within music or art, who are genuinely innovating and pushing boundaries (not just pandering to algorithms), and are generating enough of an income from that to buy homes and feed families. Not people with side jobs, not people who are surviving off pre-social media fame and success - genuine newcomers who are making work with creative integrity. Reaching an audience is not the same as getting paid. If you're on TikTok, you can have an audience of 400K if you fart into a phone. Engagement and success are not the same thing, and engagement without the support that comes with it is just attention without value. I don't know of many young people in the Gen Z range genuinely innovating and making art making an actual living purely from posting stuff online right now, and that's when we're still in the early days of AI. The current functional model is either to post clickbait, or to have a day job and do creative work on the side for pocket money. But feel free to show examples of current creative young innovators who are really pushing boundaries and paying off mortgages and feeding families from the online distribution model of their own creative output. To me it seems like wishful thinking, and it's only going to get worse as AI content grows, but I'd be happy to be proven wrong. I see lots of talent and artistic vision out there, but I don't see any of those people surviving without jumping through hoops right now, let alone when AI content corrupts things even further. And those are the people who would need to be investing in products by NI to keep the company going. Ageing boomers nearing the end of their creative careers - and even Gen X artists - are not going to sustain these software companies for much longer.

Holes should be pilot drilled, to the correct depth, otherwise the screw will bottom out and you will round out the screw head. Pilot Drill, correct fitting screw driver, and a bit of hand soap (block) or candle wax on the screw threads. Lots of holes.. so a job not to ne rushed Mark the hoes thru the achie head plate with a scriber or nail I use a hand inion wirly drill and slow and steady as to clear the hole and not break the drill bit. Good Luck

Has anyone got any tips/hacks on centering those pesky tiny screws on machine heads, there's got to be an easy way that I'm just not seeing, (you've guessed by now I'm a newbie to this malarkey) it's doing my loaf in. So I've left my work shop, lights off, come back later. Please help, ta.

Its great and it does normal to madness I moved mine on only due to having the full fooger but its a great pedal

Nonsense, it's the tonewood neck, stainless frets, and the tonemetal skeleton of the guitar body. And the toneair between the tonemagnet tailpiece and the tonemagnet "bridge".

Yep! You could feel the age of the wood, since the softer pores were worn off by the very long time. Nearly like it is fossilized. The body will be high gloss, so it will be like a piece of crystalized wood when ready. No pots or switches - just a pickup in wooden casing, the same materials as in the bass itself, direct connected to the output jack. We didn't want to clutter the beautiful top with a lot of "bits and pieces". Fretless unlined ebony board with green Luminlay side dots.

It makes sense to silly old me...😄...which is why I still own the Studio 220 head. A very specific sound, not for all occasions and definitely not for everyone but quite remarkable IMO.

He has a whole 1 subscribers? Wow, such authority!

The Baby Blue 2 x 8 combo is on my radar but is fairly rare here in the UK. There is one for sale in Italy at the moment, but by the time you add post-BREXIT import duty and VAT it becomes uneconomical for me.

Hier kommt Alex - Die Toten Hosen

If you had, you would have remembered. There is a clarity and authority that you get with SWR that you just can’t get with other amps IMHO. Yes, you can get ridiculously clean tones from other amps but they sound sterile to my ears. SWR has that clean but with warmth and authority (if that makes sense?)

Did he not explain what a time amp is? If it's a device for making your day longer, I might be interested in one but I'd need to check in with Gazz to see if I should get one with valves and what modulation goes best with it. If you do see him, pass on my regards and tell him I said, "See you next Tuesday, Gazz."

After looking at some pics online I think I’m gonna stick with black 3 ply. I can always get something different later. Was possibly going to go full black hardware to make it pop even more.

I can understand not liking a guitar tone. (Taste is subjective, and all that.) I realise some people feel like they need to share this dislike in a short comment. Then there is Gazz. I do not know Gazz personally, but he felt the need to respond to a little 45-second video at some length: He goes on...dare I say my atrocious tone seems to have offended him quite personally... Apparently, I'm doing absolutely everything wrong..."but what [does he] know??", he humbly ventures... Ah, wait, there it is: Did Gazz actually want to offer his useful (read: unsolicited) advice, or did he just want an opening to brag about his collection of amps? (And isn't it funny how some people think that they can foghorn the most patronising screed at you, but as long as they say "don't take it as an insult," everything's A-OK?)

Your pics don’t work unfortunately.

Is it 2006?

Nice to see a Spector on the front. And it be a proper one with EMGs.

I thought this was a duplicate post relating to the new magazine The Bassist.

I met Stuart and the band in 1982 when they were doing a few warm up gigs around Scotland prior to their first UK tour. Thoroughly nice bunch of guys, and very down to earth. They sat pre-gig at a table having a beer in the lounge with everyone else in the club. The gig that evening was at a local Disco Club called the Mayfair Lounge in my hometown in North Lanarkshire. I was still in my teens at the time, a big SKIDS fan, and quite thrilled to speak with the man himself. Tony Butler was also a complete gent and was quite happy to talk about his rig. It was the first time I'd ever seen Trace Elliot gear in the flesh. He was using a four cab setup with two amp heads, and that evening was playing an Aria Pro II TSB bass. Stuart and Bruce were both using their early trademark HH combos and Yamaha SG's. Mark had an enormous drum kit. I always remember that gig well as it was very LOUD but super clear and perhaps a bit overkill for the size of the club. The next time I saw them live just a few months later was at Tiffany's (the Locarno Ballroom) in Glasgow playing to a crowd of thousands when they hit the big time with their singles Harvest Home and Fields of Fire, and of course their album The Crossing. I always remember them as a lovely bunch of down to earth guys, and fantastic musicians. They made some iconic music in their time, and were great influences for me musically.

Anyone have old bad condition bows going that need some love? Don’t mind if they need tlc.