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TEA??? Rubbish! A coffee, please. I'm also with Frank on the arched window.

I refer the Honourable Gentleman to the previous comment

I like the idea. Polycarbonate (e.g. Lexan) like they use in rally car windows might be a better choice as it cuts much better. [Edit: I see that later down the thread, @SpondonBassed mentioned polycarbonate]

Nah, the Round Window was definitely best, but then again, I am probably descended from a Hobbit. Tea, anyone..?

Another Primal Scream fave of mine is their cover of 96 Tears, I had it as the B side of Kowalski (still have it). It was their first single with him on board. Nothing too complicated but it's another fine example of Mani's good-time feel. They were obviously having a blast when he joined!

The Arched Window on Playschool was the best window, fact.

I also chose my compressor after a similar chat with compression guru @Osiris who also suggested an optical compressor. I went for the Effectrode PC-2A and, like you, couldn't be happier.

Sold Lee a DIY 1978 Stingray type preamp. Fast payment, good communication, highly recommended. 👍🏻👌🏻

I think the issue is that I'm still not 100% sure on what they do and what I want them for! Although, watching a few reviews where they show the sound wave and a talk with ChatGPT has been pretty helpful in me half figuring that out. From my understanding so far....... I don't really want them to shape my tone (although I don't mind an added bit of warmth, def don't want anything too clinical), what I want is help with evening out the dynamics. So an Optical or Tube compressor would be best? Given that tube compressors aren't cheap, then optical compressors might be the best route to go down? I do like the look of the Spectracomp, but I'm kinda torn on it. I love the simplicity of one knob (ooh err), but with all of the settings hidden in Toneprint, it makes making changes at band practice a bit more of a faff.

I think it's either an Aria Cardinal or Thor Sound.

First and last words are not often seen in the same sentence, glad to hear in this case they belonged together

Sold Kevin a preamp, all was smooth and easy. A+++++++ as they say elsewhere.

I have some spare perspex, I am happy to post it to Si so he can play with it

I once had the pleasure of walking into a rehearsal room to find the provided bass cab was the old Carlsbro ProBass 4x12 with the centre port. Plugged my SM900 into it and it sounded simply awesome. Wouldn’t like to schlep that cab to gigs though 😬

Sold a Thumpinator to Gary. Super quick transaction & a pleasure to deal with. Cheers Gary 🍻

This is voodoo magic. But I might give it a try next full moon. Thanks.

I was thinking something stylistically like this: but opaque. So a square cab, with glassy smooth sides and button fixings at the corners. I think it would have to be a skin over a traditional wooden box. Thin perspex rather than structural. As I said, it was only an idea, Rob started it by saying piano grade smooth, which started off me thinking of a glossy piano black cab....

Impressive! If that system doesn't have some slick LED features HK are missing a trick. More seriously, does it help to have no corners anywhere in the enclosures? If so; I wonder how audible those benefits are?

Loosen each dull string, one at a time, until you can pull it up from the fretboard about an inch to an inch and a half. Let it slap hard back down on to the fretboard, repeat this moving your lifting position up and down the fretboard about 20 times or more. Then retune that string. It will then be brighter than before. Compare to the brightness of the other strings before moving to the next string. I think it has nothing to do with removing dust/grime, it's more to do with relaxing the outer roundwound wire from the central core. Then repeat for the other strings.

Compression is a pretty decisive subject as a trawl of the BC archives will demonstrate 😉. My advice before spending any money would be so a bit more homework on the subject. Admittedly, it a pretty nerdy topic and there's a lot of misinformation about it our there, which IMO, is based more on misunderstanding about what they are, what they do and how best to use them. In fact, you'll get a more objective opinion about the subject from sound engineering sites than sites like this! Only you know what you want from a compressor, and that usually comes from experience and the type of music you play. With @Linus27 being a fretless player, an optical compressor was the obvious choice as they tend to be more on the smooth and mellow side in terms of their action. But it's very much a personal thing. But one thing to bear in mind is that compression is more of a feel thing than anything else. And what works for some doesn't work for ithers. I suspect a lot of people who don't get on with comps but one expecting an obvious effect like you get from a distortion pedal, but it's mostly way more subtle. So in answer to your original post... It depends. I appreciate that probably doesn't help, but it's something that you'll figure out if you decide to dive into that particular rabbit hole. But the Spectracomp is a great starting point as it'll give you an idea of how different parameter settings can affect the bass. If you're in a band, definitely try it in the mix with other musicians as that's where you're more likely to feel what's happened. FWIW, I've been through loads of different compresses over the years, including most of the highest regarding pedals, and I've stuck with the humble Boss LMB-3. It does something that I haven't been able to get from any of the more boutique pedals. It's not expensive or sophisticated, but it does what I want a compressor to do.