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I could dig a sub forum for this stuff.

You can't go wrong with a set of SDQPs. Everything else is for the eyes, those are for the ears. They transformed my Squier P-bass Special, which is still my favourite 4-string

That's the best mod-job I've ever seen on a Ricky 4001.

Worth bearing in mind that any recorded bass in a track will have multiple stages of compression contributing to the final sound. Taking a classic setup you've potentially got compression from a (mic'ed) amp, a channel compressor, tape saturation and a mix compressor. Potentially extra channel and/or bus compressors and a tape bounce or two! A lot of these will only be shaving off the odd dB or two but it all adds up. In my opinion, the best way to use compressors on bass is to use several of them, with none of them working too hard individually. That way you can choose the sound sculpting you want practically independently of the dynamic range reduction.

I'm sure that will be coming shortly.

What?! no ki_ogon wiring loom? Can't be right 😂

A bit more Pink Floyd than punk maybe? Just my view comparing the bass to the Roger Water sig. bass.

Old but still amusing:

We had one on Sunday, and our other bass player remarked afterwards that he'd had a health check at work and they'd noticed a deterioration in his hearing, and wondered if he had any ideas why that might be the case... He pointed out to me that he had earplugs, and duly showed them to me. You could see by the perfect winding of the string joining 'em they'd never been out of the box!

Delta Lady (The Immortal) Joe Cocker

Just sold a Jad Freer Capo to Ian. Great communication throughout and prompt payment. Top BassChatter! Enjoy the Capo.

OK I did say I thought you could achieve all of these, I did say thousands to do it well though. I was hoping for you to prioritise A lot of these lights can be quite compact, I carry six of the 1 metre length light bars in a single bag shown above including the mains leads. In small venues I have used two of these pointing backwards and set to static to light the band, two out front on a sequence to light the audience and two at the back to colour wash the stage. I've also got stands so that some of the tunes can be mounted vertically. I also have two small and cheap lasers that mount on top of the light bars and make pretty patterns on the ceiling. You could achieve most of this with the PAR lights described above and these would be more compact to carry. The light spread would be different however. You could also mix the lights of course. The advantage of having six identical lamps is that there is only one system to learn and you can also be certain that the DMX protocols are the same, that's important if you want to link lights so that they perform in the same way. Without DMX they will all do their own thing. This system illuminates the band and you can see what you are doing well, the rest of the stage is bathed in colour or colours if you use a sequence. The real failing is for the audience area, if it is any size at all it needs a lot more light and more going on. I also have a set of four lights on a bar like the Stairville ones but a couple of generations older, they are bigger and bulkier but sit in a case the size of a bass case, so not impossibly big. I've done gigs with just these at the side with one light illuminating each band member and with them running a programmed chase. That looks really dynamic out front and you can usually choose a chase where none of the lights go out completely so you are never plunged into darkness. Nowadays they sit behind the band and give the audience a show in most venues. These are most peoples first attempt at lighting and are really simple to set up and operate mine has a 4-way footswitch and remote control so it's plug in, put on the stand and just select your pre programmed display. Two of these raised really high will illuminate the whole audience area and make a good display viewed from their perspective. Those Stairvilles are the only ones I've found where you can have one can static to illuminate the stage. Two of these would make the band really visible and be good for the audience. They won't do the illumination of the instruments so well. I also really like the system set up in @gazhowe's video a really strong stage wash with smaller spots to illuminate the instruments. The slow fade in the wash I think adds some drama and the band are the centre of the illumination and therefore the show. Thats a little more complex as most of the fades are too fast so you'd be limited as to what lights you could use or have to learn DMX. Fortunately the contollers are really cheap Fortunately all of these things are expandable, you can add lights anytime to fill in what you find is lacking, but its better to have a plan and buy a few 'good' lights that do what you want rather than just the bargain on Ali Express. Time to go out and see what other bands are doing I think.

https://bassbros.co.uk/product/jaydee-series-4-roadie-ii/ There you go! Almost suspicious seeing a Jaydee at that price...

Thought I'd found my board's final form, but then the Bassrig Fifteen dropped, I realised I have no need for two drives, and I decided I preferred the Julia over the Analog.Man (probably going to sell it if anyone's interested). It does leave one loop empty, but it'll be a guest loop or.... something.

If only that were true.

We love playing at the Crew in Nuneaton (downstairs from Queen's Hall if you're familiar). It's a rock bar and they like it loud, so we properly rocked out. It's a great atmosphere with guitars and posters on the walls and ceiling. Hot again too. It took the Stingish bass again, but have a hankering to fetch out my Sire P7-5 next weekend for a bit of P-bass goodness. It's been a while. A couple of malfunctions: my amp overdrive footswitch needs rewiring, and a riff run that I've messed up two gigs in a row needs practice!

Magnus recently bought my Squier 40th Anniversary Vintage Precision. Top man, great comms, payment with no fuss.