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From my perspective I miss the days when you could tell they'd written songs, and brought them to the studio, rather than assembled a load of riffs and figured out what to do with them. I also miss the classic bass / drums / guitar instrumental breaks... A Farewell to Kings, Digital Man, Freewill, Distant Early Warning, Marathon, Camera Eye etc. the bits of interplay you'd really look forward to. They're noticeable by their absence on most of the later albums.

I’d love to hear a less dense mix of it, I’m not a fan of Nick Raskulinecz‘s production. Paging Steven Wilson!

Interesting how people see things differently. Clockwork Angels is my 2nd most listened to Rush album after (of course) Moving Pictures; I get the imagery of the journey the protagonist is on and The Garden is a fitting finale. (That said, I like lots of other Rush albums too, so there may be a cigarette paper's width between them all.)

I'm so sorry to disappoint you there @Grooverjr 😞

Can you get a new nut and widen that, then you get to play the strings of your choice? I had Rotosound tapes on a Jack Casady, probably after watching that Scot Devine video, and thought they sounded good. The feel of them took a while to get used to, but they're worth a shot.

They are all Burns instruments. Artist Bass and Vibra-Artist Guitars from 1960-62.

With the exception of a couple of tracks, I think it was a miserable album to go out on. Generic, overproduced rock, drained of life. Again, IMO.

Each to their own - I think it's one of their best albums (bar the one track which they didn't play anyway).

Glastonbury 1995, Oasis Vs The Prodigy at about midnight. I was 15 and my friends wanted to see Oasis, I went alone to The Prodigy. No regrets, I don't think it'd be an exaggeration to say it was life changing stuff (along with Orbital and the Dance tent that year) I was already into that sort of music but that was a year or so before I could get into decent clubs so was a real eye opener.

Hi Al, I'm using the Pro version.( I think it cost me £72 for the year). I've just finished a 12 track album that I'm overjoyed with. Still got more to do cleaning up the tracks and mixing but imho it's as good as most stuff I've heard in the genre. I will upload it to Spotify in the end. I'm not expecting loads of listens, but just the satisfaction of creating something I'm happy with is enough. Rick Beato dissing AI music is really getting on my nerves. In one interview he mentioned Spotify marking the tracks as AI so people could avoid listening to them which I find ludicrous. I subscribe to it to listen to good music, some of the none AI tracks he recommends are woeful.

They're also playing Amsterdam. I'm afraid of the ticket prices but I think I'll probably go. I've never seen them live and I'd love to see Geddy at least once...

That’s not a fault of the classical system. That’s a fault of the student ignoring the art element of music and not going out and playing with others outside of the educational structure. I absolutely agree that many classical only students don’t improvise because it’s not a genre that ever requires it. That’s why I said I would also take jazz studies - jazz is the biggest use of improvisation and it is taught and encouraged. Studying both is important but saying playing the line is only 10% just isn’t true. Bass generally requires far less improvisation outside of jazz as it’s used as a foundation for the rest. Playing the part right is always at least 90% of the job.

Hell's Bells - AC/DC

I use Gator Mixer bags circa £30 - £40 for amp bags. Better than over priced manufacturer ones in my opinion Many sizes available and well padded I had the WD800 for a short time and it was a decent amp but ultimately moved it on and got the TE1200 which was better for my needs at the time. That’s also gone now !! since I discovered Darkglass

Ring Ring - ABBA

I agree with Andy here. But it won’t be a big problem leaving it unstrung. As long as the trussrodd is loosened. So it’s not necessary to put on a body and string it. By the time you’re gonna use it and assemble it to a body with strings it will settle. I had a Wal neck laying around for 6 years, now I think of it I believe I even didn’t loosen the trussrod back then… but when it was mounted again on a body it settled right away.

Like the P, bit disappointed it wasn't Jet from Gladiators (on whom I had a Partridge sized crush) playing it!

I'm a lefty so I'd like to offer those necks but you're only the second person who has asked about a lefty neck in 6 months and the only one for a stingray. If we get five orders, we can go ahead with making a mould

Yes the XL25 had 13mm spacing at the bridge. I still have the Pedulla, there's not a lot out there that can replace it and they're not made any more. The Shuker was moved on last year because there isn't much call for a C string in my life and the C string is hard to hear on stage anyway. Anyhow, back on topic. Status Series II 5 strings are getting harder to find in the UK. Plenty of 4 strings around though.

There are, of course, always exceptions to the rule, but my own view is: Best is fitted with strings at playing tension and trussrod set for correct relief at the temperature and humidity it will be stored at Best, if the neck is not fitted to the instrument, is to loosen the trussrod to no bend pressure...for a single action rod, that means just loosen; for a two way trussrod, that means at the middle point between forward bend and backward bend. That said, there are usually methods to straighten a set curve caused by less ideal storage so, most of the time, it's not the end of the world if an unwanted curve has been set in due to those circumstances.