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Yep, heard last week that this was to be announced today. Will try for tickets but if they're as expensive as I'm expecting, I may have to sadly withdraw from going...

From a functionality POV, the only benefit I can see is that the switches aren't too cramped together. I've run into exactly this issue with the JAM Rattler, anyone with a foot larger than a size 4 is almost guaranteed to press the on switch and boost together. (There's a cheap workaround however - a switch topper on the main switch that's used.)

I'm going to Toronto in August, I've seen them maybe 20 times over the years, they're my all-time favourite band. I'm really stoked to see what they'll do with the songs and the staging, it won't be Rush, that band died with Neil Peart, but Lee and Lifeson are way too good to quit, Anika Nilies is a phenomenal drummer and it'll be a chance to see how those boys play their music in a different format. I'll be trying for tickets for the O2 in 2027 too.

A piano

I think it's for people with big feet and/or chunky boots! Especially ones who are a bit more energetic on a dark stage - they don't like the switches being too close together.

I started with Pitchpipes, coming from an acoustic guitar background… When I joined my first band, the guitarist used a tuning fork, so I went out & got one for myself… Tuning up was a nightmare at rehearsals with everyone making a racket at the same time, whilst everyone tried to tune? A Boss tuner was out of my reach, funds being tight but I did eventually buy a Seiko chromatic tuner which proved to be a revelation only problem being it had no ‘through’ output, so I couldn’t keep it ‘in-line’ & had to unplug to play… We’re totally spoilt these days with what’s available?

Looking forward to meeting as many of you as possible at the show this weekend!

First of all, congrats on taking this from an idea to an available product with website! I see you've already acted on some of the earlier feedback, i.e. the background on how you ended up in China etc. As the site develops - and I do appreciate that all this is a work-in-progress - you might consider tweaking some of the copy or rethinking how you present your key selling points. All the info you have up there is good, but I think some of it could be reorganised for clarity. For example, I'd take this paragraph from its place in the middle of your FAQ "Our mission is to deliver powerful low-end, enhanced articulation, and unwavering stability—transforming your instrument without losing its soul. This is for players who demand consistency, reduced playing effort, and the elimination of dead spots, in any environment." ...and place it in its own section on the home page. For example: An Aurok composite transforms your instrument without losing its soul. Our necks offer Powerful low end and enhanced articulation Unwavering stability in any environment Precision and consistency for an optimized playing experience Others have pointed out that your workshop photos aren't what they expect! Perhaps there's a wider marketing point that people associate what they perceive as a high tech product with a high tech manufacturing process - whether or not that's the case in reality. Careful photography will help. But maybe there's also an opportunity to tie manufacturing in China with the high tech aspect, presenting it as the ideal location for technical expertise and value. Tap into the growing awareness in the music world that Chinese manufacturing isn't automatically associated with a lower quality product. I'm sure your previous construction products company has given you valuable experience bridging the gap between western clients and Chinese businesses? I would be bigging that up. Anyway, just another random internet person's food for thought.

Brown... i have the GSR200

I think the basses he used in those iconic studio vids have way more historical meaning. Still looks like nice pair of original Dimarzios which are worth having

Apart from mini pedals, which are just nonsense, I really can't work with pedals shaped like the Tone Hammer V2 or Vintage Ultra, especially compared to the Tone Hammer V1 or Vintage Deluxe which have a much more sensible shape/form. Reducing the length above/below the pedal achieves nothing, I'm not putting anything there.... but then increasing width just means you're eating up board space. Really illogical design if you spend more than 5 secs thinking on it. Not sure why this type of format is being pushed more and more, it doesn't make sense for common brands of board like Pedaltrain, maybe it's a cheap chassis? (Both companies now owned by Korg so it makes sense quality would eventually diminish in favour of cost-cutting...) I've owned both of these, and almost immediately gone back to the previous versions as this form-factor is a hindrance.

If in a three piece... the guitarist, anything more then whoever's standing closest to me. Still do as bass pitch is nowhere near as critical as treble pitch.....I can 'tune up' in a sec just listening the overal din onstage.

Hey guys, first post here so sorry if I've done anything wrong. I'm looking into getting the ibanez mikro in OPW however I can't tell what the colour is. I'm looking for a nice deep cool brown bass however some pictures it looks red. I know lighting makes a difference but can I see yours in different lighting? There's few pictures that aren't studio Very red (not my picture) Lovely brown (also not my picture) Pictures are just colour references, I'm looking for pictures of your ibanez MIKRO Thank you!

Just a heads up ! I’m not going . I’ll stay with the memories I have of the times I’ve seen them in the past ! For those of you who are going ( or trying hard to get tkts), I wish you good luck ! Let us know the cost 😀

I used a tuning fork which, if you put the 'sharp end' between your teeth (bite it lightly), it rings in your head so you can hear over noise! Always used/use harmonics, even with a tuner. As my TC electronics dooby is used for guitar too I leave it on that setting then harmonics seem to work better. Why do people always leave their clip on on the guitar for the whole gig? I think it makes me look like a complete noob so always take it off. Mostly I'll have something to step on on the floor anyway mind. Didn't John Entwistle famously have perfect pitch then had to submit to tuning to Pete's harmonica? Must have been hell....

Much as above; tuning to piano at home (I had to keep asking my piano-playing sister which was the right key), and lucky enough to have keys in my first band. I trained on violin, so well used to using pitch pipes. For many years I owned a mid-1960's Vox Special Mk.VI teardrop 6 string guitar which had wacky onboard active electronics, including a feature that if you pulled a switch on one of the tone controls you'd hear an audible top E tone to tune to. British engineering way ahead of its time.....