prowla

To some people, Neil Peart was Rush and there is a quite fanatical (ahem) fan base, so I can see why it's happening. There are other bands who've gone down that route though: Yes without Anderson and/or Squire, Deep Purple without Blackmore, The Who without Keith Moon, The Jam without Weller, etc.; they tread a thin line between being authentic and being a tribute with varying success. I'm happy that the two remaining members want to play their songs and good luck to them. However, I won't be going to the gigs: dynamic pricing is a rip-off and the O2 is a soulless venue; I want to actually see the musicians who are playing and if I have to watch them on a screen then I'll wait for the video so I can watch it at home. I commented earlier about them cashing in and it's up to folks whether they want to pay; they've done it on some of their reissues as well, where the only way to get the hd Steven Wilson album remixes is to buy a £300 limited edition box set of each album; that's a no from me (and contrast with Yes doing the lot for around £50). If they do new material and an album I'll probably buy it.

I saw them from a corporate box. It was well away from the stage and completely detached from any involvement.

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.)

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

The first album: Finding My Way was on the OGWT; I went out and bought the album next day.

I saw the Scorps on the Blackout tour.

I last saw them on the Clockwork Angels tour at the O2. TBH, I've felt more involved listening to an album or watching a gig on TV. They've recently decided to cash in in any way they can; their re-releases are too expensive and I'm not up for paying inflated prices on tickets. It's a bit disappointing, really.

I find dangly things annoying.

I was exploring the possibility of getting a narrower post to fit to one of the other models, but they didn't have any of those either. Which model are you looking at?

Cue the discussion about what's a Watt, etc.

Hmmm - must've been a screw loose.

I have an idea, and it is.

Is that a Chinese knock-off TRC?

I've got some very good MIM Fenders. No Japanese ones though, but I'm not sure that the factories they came from were pushing out the world's finest instruments at the time; mostly midrange stuff.

The Ric one is the BT5. I think the BT1 has the same base plate but a wider post.

I also have:

(I want a couple more!)

I have them on several basses; they work. When tuning you do have to operate a couple of times back and forth to cover off string slackening/tightening variations. The dropped position has a small thumb-screw adjuster. There are like-for-like models for most common bass tuners (they discontinued the Ric ones, though). They are drop-in replacements for the stock tuners, but you do have to use their countersunk screws rather than the original raised-dome ones (they need to be flush-fitting for the clearance of the moving part over the base plate). When choosing, they do gold/nickel/chrome/black finishes. BTN & Allparts sell them in the UK.

You can still just about read that the brand is Squier.

Maybe take it offline.

I'm not sure I'm onboard with that!

A bit of this and that.

Well, my point is that the sound quality defines the quality of the content which reaches your ears. However, I do get what you're saying; I've been to a couple of Hi-Fi shows where a lot of suppliers were playing lounge jazz, which simply bores me.