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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.

Personally in the current financial climate I couldn't recommend any DAW other than GarageBand or Logic to anyone who owns a Mac. GarageBand and Logic are two of the things that actively sell Macs to creative users, and remember that Apple makes most of it money out of its hardware not its software, and therefore they are very unlikely to be abandoned any time soon. Everyone else is not looking as good. While Fender have just bought Presonus I wonder how long it will be before they realise that selling software is whole different proposition to selling guitars and they abandon it. Just remember what happened with Gibson and Opcode and Cakewalk. Cakewalk got a lucky reprieve, but Opcode and their innovative products are long gone. Audition is just a curiosity for Creative Cloud subscribers, and Avid stumbles from one financial crisis to another with ProTools not sitting well with the rest of their portfolio and since the platform was opened up to 3rd party hardware it has never been as robust or reliable.

There's no easy way to answer this, without knowing exactly what you want to do and how you expect to work. I'm a Logic user, but there's a good chance that a lot of the time GarageBand would do everything I need. The synth player in my band does a lot of his initial ideas in GarageBand on the iPad because he finds it very immediate. Those GarageBand projects will open up directly into Logic with all the sounds and settings preserved and then we can work on them in more detail if necessary. It depends whether you want to spend £199 on Logic and be faced with an extra layer or two of complexity before you can start composing or recording. My advice would be to start with GarageBand and if you regularly find yourself wanting to do things that are beyond its capabilities then consider upgrading to Logic. As I said you won't loose you existing work because Logic will open all your old projects directly and they will sound exactly the same as they did in GarageBand.