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For Sale/Trade this beautiful ZON ELITE I, Made in USA March 1991, Is in excellent conditions for the age,it has only some small dings in body and Crack in the lacquer, It has Graphite Neck Curly Maple Top wood Bartolini pickups Bartolini preamp ZP2 Hardware Chrome Comes with original Hardcase and pappers. Price : 1970£/2300€13 points -
WITHDRAWN; apologies - Here is a stunning example of Stuart Spector's work, this CODA is adorned with a superb piece of high grade buckeye burl and has a Pau Ferro fingerboard fitted with quality abalone Spector crown inlays. Neck NECK CONSTRUCTION: 1-Piece Rock Maple, SPECTOR® 1962 Neck Shape™ FINGERBOARD: Pau Ferro NECK INLAYS: Abalone Spector inlays NUMBER OF FRETS: 20 SCALE LENGTH: 34" RADIUS: 7.25" WIDTH AT NUT: 1.5" STRING SPACING AT BRIDGE: 0.75" Hardware BRIDGE HEX KEY SIZE: 2mm TRUSS HEX KEY SIZE: 5mm COLOR: Chrome BRIDGE: Hipshot A style TUNERS: Schaller® STRAP BUTTONS: Dunlop® Dual Design™ Electronics TONE CIRCUIT: Aguilar® OBP-2™ with passive tone and active/passive switching CIRCUIT TYPE: 9-Volt Active BRIDGE PICKUP: Aguilar® J™ NECK PICKUP: Aguilar® J™ PICKUP TYPE: Passive - Single Coil, This bass is Active or Passive via Push-Pull Pot Body SPECTOR® Original Coda™ Body Shape BODY CONSTRUCTION: Lightweight Alder PICK GUARD: None Top: Buckeye Burl top - £400 option FINISH OPTIONS: High Gloss Weight: 4kg/9lb 2oz Condition is excellent/unmarked other than a single ding on the body top inside edge; shown circled in one photo. Comes with a Spector Hardcase with key (made in Canada by TKL), a Spector Deluxe padded gig bag, a pair of Dunlop strap locks and the truss rod and bridge allen keys. Price is £2,200 by cash/bank transfer collected or local delivery/meet up close(ish) to Hertford. Thanks for looking. More info and review below the photos. Please PM me for more info/photos. ABOUT THE CODA 4™ It is no joke that Stuart Spector is always thinking about new ways to bring new avenues to improve player experience and offer new soundscapes for musicians to explore. The Coda™ Bass is the perfect example of how Stuart looks to take classic ideas and put a decidedly SPECTOR® twist on them. Part homage to the great bass sounds and styles of the past and yet new and refreshing because of the attention to detail and hand-crafted construction, the Coda™ is nothing short of a new SPECTOR® Classic. "But why do something that's been done before?" Do not let the familiar and more traditional styling deceive you. This bass is a thoroughbred SPECTOR® through and through. All of the things that make our NS-Bass™ models so popular are present in the Coda™. It's these little details and the fact that these basses are hand-made by Stuart Spector and his master craftsmen in our Woodstock Workshop that sets the Coda™ apart from the rest. SPECTOR® players are always first to point out how the necks of their guitars and basses are notably better than any instrument they've ever played. We invite you to try a Coda™ and see if you don't agree with us. "We feel we've created something new and special honouring those classic designs of years past. " ~ Stuart Spector Spector Coda Review 2011 Stuart Spector is a legend in the bass world. His instruments have provided the backbone to bands like Metallica and Living Colour, and have often been imitated. Spector’s Coda series is made by hand by the man himself and his small team in the USA, and unlike his more sleek models like the NS, which still looks futuristic over 30 years after its debut, the Coda pays tribute to an altogether more vintage aesthetic. THE LOWDOWN I reviewed both the Coda 4 (four string) and Coda 5 (five string) basses. Each features: a one-piece rock-maple neck with a 20-fret Pau Ferro (Bolivian rose¬wood) fretboard carved into Spector’s 1962 neck shape; a lightweight alder body; Aguilar OBP-2 active tone circuits; passive Aguilar J single coils; Schaller tuners; Dunlop Dual Design strap pins; and 34-inch scale lengths. The fret radius on each instrument is a curvy and comfortable 7.25 inches. Lined or unlined fretless fretboards are available at no additional charge. The Coda is available in four colours: creme, solid black, candy tangerine and metallic blue. I reviewed the Coda 4 in Candy Tangerine and the Coda 5 in solid black. The workmanship of both basses was absolutely flawless. The crucial neck joint area is unbelievably tight, ensuring unfettered energy transfer between the wood grains of the neck and body. The finish is perfectly applied – something you really appreciate on a jet-black instrument like the Coda 5 on review – and the fretwork is incredible. Bass players often aren’t as picky about the condition of their frets as guitarists, since there’s less bending involved, so I’ve played some basses with pretty woeful frets. The Codas leave them all in the dust. The sheer smoothness of the fret ends encouraged me to get more adventurous in my arrangements, throwing in more slides and grace notes than I would otherwise attempt, simply because the instruments felt so damn agreeable to such techniques. FACE THE BASS The Coda’s tones are very punchy, powerful, dynamic and balanced. The low end is deep and tight, the treble is present and raspy (in a good way) and the midrange is very musical, placed smack bang in the middle of the midrange spectrum rather than being an overly boomy low-mid or overly honky upper-mid voice. The bass’ unplugged tone is noticeably piano-like in tone, attack and sustain, and I quite happily spent about an hour and a half playing the Coda 5 unplugged before it dawned upon me that I should plug it in and hear what it could do through an amp. The Coda’s “plugged in” tone is similar to it’s unplugged voice: balanced, sustaining and with great dynamics. Because the pickups are passive and only the pre¬amp is active, you can switch the preamp off and use the bass with a more vintage tone, which is great for straight-ahead rock and old-school soul and R&B. The ability to boost the treble and bass via the active pre-amp maintains the balanced tone and sustain characteristics while building upon them for a percussive, snappy slap-and-pop tone, and dipping out the treble and keeping the bass up high creates a killer dub voice. I also liked using the bass pot to reduce the low frequency a little, to allow the instrument to sit more neatly within a recording that featured double-tracked seven-string electric guitars. IN A CLASS OF THEIR OWN The Codas are world-class basses that are built with a discriminating touch to create, dare I say it, champagne tones. The workmanship really is second to none, and the only reason I’m not immediately wiring money to the distributor so I can keep the basses instead of returning them after the review is because my bank manager would kill me. By Peter Hodgson Price: RRP $4199.99 (Coda 4); $4399.99 (Coda 5)10 points -
When I were but a lad, a cheap bass was just that - a cheap bass and pretty much a piece of unplayable tat. There was a reason for saving up for something with Fender (or similar) on the headstock. These days, most of the cheap basses I've tried recently play and sound as good as (or better than) big name instruments from 30/40/50 years ago. It seems to me that in just the last five years or so the same thing has happened with FX pedals. I've had all the ludicrously expensive pedals you can imagine (with Earthquaker Devices at the top of the list) and they've all worked very well, done exactly what it said on the tin, done exactly what I paid for. But the pedals that have blown me away recently have been things like pretty much all of the Mooer and Hotone ranges ... superb kit at stupidly low prices. Example? Two pedals that I have used extensively since Covid are the Digitech Drop and the Digitech Luxe. That's about £350 worth of kit (if you can find them) and very nice they are too. I broke my Drop at the last gig - trod on the p/s at the pedal socket, doh! - and I simply have to have a whole-tone pitch-shift for one particular song so I went looking for cheap alternatives. I found the Mooer Pitchbox MPS1 for £59. It's about a third the size of the Drop, it does exactly the same job only with rather better tracking, and if you flick the switch from setting #2 (pitch-shift) to #3 (de-tune) it also does exactly what the Luxe does. Cheap and nasty plastic? No longer - these things are now built like tanks, just as they should be. 1980s Behringer-stylee pedals are pretty much a thing of the past. I realise that it's only a matter of time before someone tried to tell me that they're cheap because they're produced by starving Vietnamese orphans or something, but you know what? I don't think so. £60 for an FX pedal seems about right to me, given that the components cost about a fiver and (since no one has invented a genuinely new effect since The Beatles) there's no R&D cost to be recovered. I think we've all just got used to being robbed blind by the big-name pedal manufacturers and their marketing budgets plus - of course - our own insatiable desire to have the latest trickbox.5 points
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I don’t normally post these, and I never thought I’d even own a Squier, let alone get excited about it. After years of mostly owning Mexican and American Fenders, I’ve somehow ended up with this: 2013 Squier Vintage Modified PJ from @hooky_lowdown A recent peek into the world of short scale in the form of a Squier VM Jaguar, has made me think about looking after my back and opened my eyes to the fact that there are lighter basses out there outside of Alder bodies. For some time I’ve been wanting to try one of the Fender American Special P basses, made from circa 2011-2014 (Highway One update I think), after hearing that they have slimmer necks, and lighter, slimmer bodies than standard Ps. Well apart from the fact that mine says Squier on the headstock, I think the VM PJ offers the same, if not more, than the American Specials, from what I can see: P width at nut, but a slim jazz like front to back thickness at 1st fret of 0.792 (virtually the same as the Am Specials) as opposed to the 0.839 of the 2008 USA P bass I have. Whilst that’s not a baseball bat by any means, the slimmer PJ one feels more comfy to me. The weight (advertised by seller as 7.6lbs) comes in at 7.2lbs / 3.2 Kg (exact same as my SS Jaguar) on my own digital luggage scale and it’s so nice to strap on. Perhaps they missed a trick with not mentioning the slimmer neck on the online specs as they show ‘Modern C neck’ implying it’s the same as a Mexican / American P neck when the reality is it’s a fair bit slimmer front to back. So, this has the slim neck of the American Specials, an even lighter weight (I believe they are around 8-8.5lbs), is less than half the used price of one, and has a hi-mass bridge and the bonus of the extra J pickup. I think this is a great bass for the money. I’ve never been crazy about side jacks, probably because the only one I had before (MIM Deluxe active jazz) always felt in the way during sit down practice and it was before I discovered right angled leads. But with the right angle jack looped over the strap, I actually really like the clean look of not seeing the jack when looking down at the bass. Even thought it sounds great already, I’ll be putting in a Kiogon solderless wiring loom, changing it from VVT to VBT, and giving option to easily change out pickups if I choose to. The Candy Apple Red is a delight to behold. Photos really don’t do it justice. I had a Chrome Red for years and that was quite bright and almost looked a bit pink in certain lighting conditions, this is a more deep red and has a copper / orange tinge to it that is a lot more noticeable in person. It’s a really nice colour and it’s so great to be back to a red bass with black plate. Never thought I’d find a nice lightweight P bass with slimmer neck. I’ve never had a PJ bass before and now I have two! Freshly strung with Roto Swing bass 66 steel rounds, fancied a change as I normally use the Nickel played version of those, a bit harsh on the fingers but sounds so good with just a bit of J blended in.5 points
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Gorgeous sire, hardly played. Excellent condition, as new other than the pickup cover is fitted. deserves more use as I’m not using it anywhere near enough. plays superbly. sounds great with the sire preamp and pickups. Weighs 9lbs 4 oz pickup in Stalybridge near Manchester, sk15.5 points -
Up for sale is my Dingwall NG2. Laguna Seca blue with maple neck and matching headstock. Being the NG model, it comes fitted with the Darkglass tone capsule 3 band preamp for bass, lo mid, and hi mid. Frequencies are 70hz, 500hz and 2.8khz. It’s a very versatile preamp, as is the bass itself. Hipshot ultra lite tuners, and it’s currently strung with Payson 45-105 strings. I know we’re used to seeing these being used with a plethora of Darkglass pedals and a brutal distortion tone, but I’ve used this for all kinds of genres and it’s always worked well. It does have a couple of marks on it, there’s a small crack in the finish between two of the control knobs and unfortunately this has chipped a very small amount of the finish away. I’m sure it can be fixed, but it’s never really bothered me too much. There are also some string rub marks on the pickup casing. This is the later, rounded end pick up model. I’ve been trying to find the exact date I bought it, but I’m fairly sure it’s a 2018 model. I was really struggling to put a price on it, the newest model is now around the £1699 mark at Bass Direct, I did do a couple of searches for used but couldn’t find one the same as this, closest I could find was a combustion 4 at £1200. I bought this before they came with a gig bag, but I do have a generic Warwick Rockbag that it will come with. I don’t have a hard case or box so I’m reluctant to post it, but I’m more than happy to travel 100 miles or so from Bristol to do a meet up. I’m not looking for any trades on this I’m afraid, I E got too much stuff already! Open to sensible offers, but I’m not desperate to sell so no silly low ball offers please. Thanks for looking, if I’ve missed anything, please just ask, and if you want any more specific pics, again just ask. * Edit: fresh set of Dunlop nickel steels fitted now. *Price drop to £1075*4 points -
Utterly amazing. I was blown away by everything Adam Lambert, awesome Roger Taylor's voice on These are the days of our lives, sublime Whoever is playing bass was stunning and my wife asked me how I knew 'Another one bites the dust' was next. (she plays bass but wasn't looking) Brian May, what is there left to say about this genius, humble gent4 points
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Space Heater and Slampegg are brand new from the latest batch (played only to test they work so I don’t serve up a lemon to someone). Selling to help fund my brother’s wedding. Fluffy Kitten and SBVT I imported a while back. Both work really well, too. Prices include postage in the UK (usually via Royal Mail Special Delivery where that method is available). I'm willing to post outside the UK if the buyer is willing to pay postage and bear any taxes/duties. Any questions or desire to see further photos of the pedals, please just message me. Sushi Box FX SBVT - SBX’s take on the SVT. An absolute beast propelled by two 12AX7 tubes. No box - £240 Hand-wired Sushi Box FX Slampegg Pre X - SBX’s take on the B-15N. Driven by a 12AX7 tube. Top spec hand-wired version made to order (rainbow's end finish and silver knobs). I don't really want to sell this but it's arrived two weeks before my brother's wedding so I’m inclined to sell for a fair price as weddings aren't cheap - £260 Hand-wired Sushi Box FX Space Heater - Top spec hand-wired version in rainbow’s end finish with silver knobs. Driven by a 12AX7 tube. Simple and powerful way to add tube warmth to a rig. Wedding-related sale - £180 Sushi Box FX Fluffy Kitten Fuzz - £80 Idiot Box Effects Hobo Santa Fuzz - £80 Fox Effects Killface Bass Overdrive v 2 - £110 Tech 21 SansAmp Bass Driver DI v.2 - SOLD Shift-line A+ Buzz Drive v.2 - SOLD Strymon Timeline Delay - SOLD Strymon NightSky Reverb & Sequencer - SOLD EHX HOG 2 & EHX Expression Pedal - SOLD Radial EXTC Stereo Reamp Box - SOLD4 points -
I have a tracking number. It's getting real.4 points
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M. M.4 points
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And delightful fretless tone, appearing in 1987 with recently in vogue pop singer, and some bloke on guitar.3 points
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Put on a CD at a good volume (EQ is very volume dependent) and play along. Tweak each control at a time and see what it does. Even better if you can have someone else tweak while you play so you get instant signal changes. What it does in the mix is far more important than how it sounds alone. Often they are very different. This process will help you learn what each does on your amp. All amps are a little different. On some the Bass knob could be 40hz or 60hz ish. On others it might be as high as 80Hz. So they are all different, so always ignore the knob positions and trust your ears. Have a look on youtube for Isolated Bass Tracks. These are the actual bass tracks from famous recordings. Listen to the full recording and then the bass part alone. You'll usually find that when heard alone the bass part is far dirtier than expected and may have a bit of a nasal quality to the sound where a lot of highs and super lows have been reduced. Sounds horrible on it's own, but brilliant in the mix. Ultimately though it's just somewhere from 3-5 knobs on most amps. Have a good tweak so you learn to hear what they do.3 points
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Just an author day. macca3 points
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One thing I should mention is that neither Veijo (Rautia) or Nuno (Lusithand) claim their respective products to be copies of the original, Wal items. I don't believe they have tried to backwards-engineer (taken apart!) the original, Wal parts, and set out to copy them. What they have done is understood the design concepts (eg, 8 coil, humbucker per string, pickup design), and sound they were trying to emulate and apply those to their own products. On this bass, they both work together brilliantly.3 points
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Frank's Wild Years Tom Waits3 points
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I identify as 6'5" regardless of my real height. 🤨3 points
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I liked the first bass sound better, second a bit full on for me though I can see/hear where that would fit nicely in a mix3 points
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Here you go - hopefully makes it a bit clearer3 points
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I bought this beautiful sunburst and rosewood US EB MusicMan Sterling from here recently. This is the American made Sterling not to be confused with the cheaper - albeit very well made - product line. I love the sound and playability but I prefer the maple board on the MM Sterling that I recently withdrew from sale. This instrument is very light for a MusicMan at around 3.8 kgs. This one was built in 1996. There are a couple of minor dings and the strap buttons are replacements. There is a basic non Musicman case with it. I found it more comfortable than the StingRay models owing to the narrow neck, smaller body and contouring. It’s currently wearing Daddarios. The neck is very similar to a Jazz in feel and is very comfortable, the preamp is excellent giving a wide range of useable tones. Postage will be around £30 UK only. More pics to follow. No trades unless you have a maple board US Sterling.2 points -
I just found out that Richer Sounds are offering the Wharfedale A15 mk2 Sub at a decent price. I went into their shop in Exeter today and had a chat and it seems they have a deal with Wharfedale who will deliver direct via Richer Sounds. this Sub is about £70 cheaper than other suppliers in the UK. Looking over his shoulder it looked like they also have access to supply all or most of their PA range. I've had great experiences so far with Wharfedale gear (I own a complete EVP PA) and it's pretty budget in prices for genuine pro quality. I've also had good service from Richer Sounds for years. It's an unlikely place to buy PA but I thought it worth putting out there. I've no vested interest in this but I'm just curious. I guess they are selling Wharfedale hi fi so it's not much of a jump to sell their other stuff.2 points
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2 points
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Long term project, no rush, make the odd dent or scrape every now and again. It is a PB50-SB body I acquired unexpectedly. A HB jazz neck I always liked but found the body too heavy. Didn't like the remodel on the headstock done by previous owner. So I hacked the headstock even further, bunged the neck on, and voila! It was unplayable. I've heard talk of shimming, never been much of a shimmer myself, but in for a penny. So I shimmed. Can't recall what I used but when I threw it all back together it was perfect. Literally. Action, intonation, all of it. The gear gods were smiling down on me. Oh, it even sounded good. But the body was pristine. Spotless and shiny. I didn't want it that way. Never relic'd anything before so I was a little nervous as I raised the lump hammer for the first time, but it produced a very satisfying and above all believable dent. Once that was out of the way I felt happier proceeding. Anyway, here's the first pic. Headstock. Having already been altered I had little to play with, hence the shape isn't perfect. It was also too clean by a long way so once I'd applied and torn a fake decal I used a match and then a soldering iron. I also recommend a mismatched set of strings for that much used look. More pics to follow.2 points
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Wasteland The Mission2 points
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Forstners deffo.2 points
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Me too. I'm in bass love.2 points
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You're such a tart Karl2 points
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Peter, Paul, and Mary, the early years?2 points
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Sneak peek at the back - the four screws visible are for the pickup cover, didn't want them visible from the front.2 points
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They're having a clearance sale. https://reverb.com/uk/shop/dbs-gear-garage2 points
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Right, sorry it has taken a while to get back to this one. I've nearly finished all the cosmetic stuff today and will post some pictures later. The bass will need a full service and set up including the ole "washers and graphite grease" job on the truss rod. But other than that, it's turning out to be another corker!! I might end up playing it more than my 76 P! (Maybe not ha ha!)2 points
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Progressing with Twiggy. I took her into the makerspace and did some chopping to try to slim down the neck; I'm just going for it! It will probably turn out badly, but I'll be learning loads. Aiming for a C profile with a thickness of 18mm at head to 25mm at body end. I just rasping, shaving, sanding, repeat and feeling/measuring it now and then. I'm finding it amazingly relaxing; total immersion in the process; the smell of sawdust; loving it! Sadly a crack has developed in the bottom section (body as such) of Twiggy; it does not seem to have compromised the structure much (if at all) I'm going to try to glue/clamp it and hope it hangs together for a while. I'm totally prepared to need to set Twiggy aside at some point as having met her intent of providing a platform for me to prototype some stuff, but it would be great if she actually survives and plays ... the sustain I've been getting on trial tune-ups has blown me away and with a lovely grunty growl! The tuners are a nightmare tho, they shift position as I tune and require two hands to stabilise; I can tune up but it is a trial! I got hold of some Nylon filament (Nylon has one of the higher tensile strength ratings of printable material) and am printing some tuner ball catcher bits, something like these. But with a cylindrical cross section rather than the pictured flat one. I've recessed the ball hole slightly at the bottom so under tension it should not pop out of the slot. I'm just going to see by trial and error if they are strong enough to cope with the string tension; I do have a backup plan to add in a couple of thin longitudinal M2 bolts to add strength, the other option is to mill them out of some aluminium rod (But I don't have any to try with at the moment). S'manth x2 points
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I put together a board with cheap pedals a while back as a bit of an experiment. It had a Caline Orange Burst, a Valeton octaver and FET preamp, a Kokko compressor and reverb and a Sonicake chorus. They were all extremely good at what they did and the only one I sold was the octaver because I had another option and the price went a bit nuts on them. Wouldn't hesitate to gig any of them (in fact I have on multiple occasions).2 points
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Think it's still Neil Fairclough on bass?2 points
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Sure everything SOUNDS decent, but then you'd expect that from a professionally recorded live video. However this arrangement is entirely lacking in all the things that make the original so captivating. And Dave Gilmour's guitar parts are terrible pastiche of the synths in the recorded version.2 points
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Wild wild life. Talking heads2 points
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That seems about right to me. Maybe 25 -35. Who knows I have met someone there who was 93 and waiting for Idles to come on. He had been going since the very first festival. Didn't once say it was better in his day.2 points
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Rod Liddle is a professional joy vampire so I'd be more shocked if he actually admitted looking forwards to something. Taking a straight average age of attendees is deceptive because, although some people do take young kids the numbers of under 18s attending is tiny. So the average gets dragged up by the those attendees who continue to go in their 40s, 50s and 60s with almost no under 18s to balance it in the other direction. What it doesn't mean is that most attendees are over 40. It would be more informative to look at the median statistics for attendees, or just by numbers from each age group. I suspect the single biggest demographic of attendees would be in the 18 to 30 range.2 points
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What a great song and my introduction to TW - never could stand that damned dog 😆 Wild Boys - D22 points
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I don’t know whether a headstock should rock, I like Fenders, got most things right, straight away, but it shouldn’t cause the neck to droop and be tasteful. I think this is pretty good.2 points
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Already Gone - Eagles2 points
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They've released a demo of the Hiwatt model, complete with a bit of bass! I'm very happy to hear that the drive sounds just like my Leeds pedal.2 points
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Try this SS...2 points
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Bob Babbit did mine; but then, in an interview Carol claimed she did them, not him! To be honest, it’s all a bit hazy now.2 points
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I prefer big basses, then I can hide my gut behind them.2 points
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I'm the exact opposite. I think the Fender headstock is pretty much the ugliest thing I've ever seen on an instrument. I can just about live with the Telecaster shape, but the P and J basses with their bulbous shape and huge, flat, elephant ear tuners are hideous. It's the main reason I'd never buy a Fender or one of their many clones. I just couldn't bare to play something with a headstock that ugly and the rest of it varying degrees of blandness.2 points
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I went 3 years in a row in the 80s. I have no idea who was playing.2 points
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Glastonbury had its day years ago. You can create the experience yourself though by playing loud music in your garden, pitching a tent in your garden then pissing up the side of it and stealing your own shoes.2 points
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I remember when all this were fields.2 points
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Back up for sale, G & L Tribute Kiloton bass c/w hipshot detuner. In pretty much unmarked condition. Finish is 'Irish Ale' over a swamp ash body. Plays beautifully. Not getting used since i bought my Dingwall, so here she be for sale. Sub 4kg in weight so not a boat anchor by any means. All the usuals come round, meet up or pay (insured for a courier. Specs.. CONSTRUCTION: bolt-on SCALE: 34" PICKUPS: Leo Fender†-designed G&L MFD™ Magnetic Field Design humbucker made in Fullerton, California BODY WOOD: Swamp Ash NECK WOOD: Hard-Rock Maple w/ Maple fingerboard NECK WIDTH AT NUT: 1 1/2" NECK RADIUS: 12" NECK PROFILE: medium C FRETS: 21 medium jumbo, nickel TUNING KEYS: Traditional open-back + Hipshot de-tuner on E string BRIDGE: Leo Fender-designed G&L Saddle-Lock™ ELECTRONICS: 3-way series/split/parallel mini toggle, volume, tone **note: scratch-plate is the original tortoiseshell, but covered in car wrap carbon fiber effect.2 points -
I think its obvious the weak link in the chain is the Handbox WB-100 all valve amp, so I would do the decent thing and take it off your hands 😁2 points
