lownote

Agree absolutely, although I am now persuaded that a fretless P with flats can sound even better on an Ashdown with big ol' woofly 15 incher.

@wateroftyne you are as a God to me. Yesterday's edit took 5 hours and earthy imprecations. Today, 20 minutes and I am in a state of grace.

Seems to work like a hot buttered dream. Please have a high five (or six here in Norfolk).

I'm trying to batch process a couple of hundred RAWs into TIFFs, cull the no-hopers, edit the remainder, then render as JPEGS. I've been trying to do this going from Lightroom to PS then back to Lightroom but I really have no grasp of the logic of it all. I know there are tutorials on line but just wondered if anyone had an easy workflow on here. This isn't so much dealing with individual shots and but quickly handling a fair number of them in one go.

Does anyone have a reliable accurate workflow invoilving Lightoom/ Photoshop for processing they'd be willing to share? I'm not sure I've got the idea and am wasting hours repeating, bodging and generally tearing my hair out.

OK, this is one of those threads where you get to spend the OP's money. I love unlined fret-free. Currently abusing a Vintage 940FL and a Revelation P and I don't know why anyone would want to play fretted [waits examining nail while tough guys approach swinging bassball bats]. But here's the thing. I also love five strings (BEADG). Can anyone recommend a fairly cheap but lush five string unlined fretless? Other than investing in commissioning a Fodera, Overwater, etc etc. Thanks, ta, multsamesc... and may the thermic shock never jiggle your truss rod....

Nubya Garcia and her band. There is nothing else, I am like a moth at the light. And the new Sanborn Sessions go google on UTube

90% - me certainment 😂

I've always avoided 15s as too wooly and thuddy. But I'm working on a faux upright sound at the moment - fretless, flats, .etc. At the nosiy end I have an Ashdown 300 head and tried coupling that to alternately a Markbass 121 and an Ashdown 15. The 15 gives me exactly the sound I need - the Markbass 12 is just a tad too nutty for this particular project, though I have loved it in the past for other basses and other sounds.

My original understanding on the relaxing tension thing was to give the neck more flexible options if Captain Courier decided to use the parcel as a caber.

I just had a bass returned by a BCer buyer. The bass left me alright but he claims when it arrived the varnish had cracked and lifted at the machine head end of the skunk stripe in the neck. Having now got the bass back there is a small area maybe 1/4 inch across of the varnish around the tip of the skunk strip which has chipped out and cracked, although I can't detect any lift in the skunk strip itself. The buyer and a chum of his opine the cause was me relaxing the strings for transport without relaxing the truss rod at the same time. Effectively, they say, the tensioned truss rod without counter-tension from the springs has in some way 'sprung' the skunk stripe while in transit for 24 hours, enough to crack and chip the varnish. I find this causality extremely unlikely but then what do I know, so I thought I'd canvass the expert opinion of the hive brain on whether their explanation is feasible.

No idea why people buy TC. I had one of their amps and it did much what you describe for no reason. Real charged me almost as much as it cost to fix it.

Don't know for sure for sure about the ceramics, just follows a chat with Mr Tone Rider... who's name is Andrew, not Tony. Anyway my latest chapter of foolish fiddling is now closed. On to the next idiocy.

It appears the difference is between Alnico pups and Ceramic pups. Alnico sound thick and vintage (that's me) apparently. Which is why they're awesome on old school P basses but not necessarily on all basses, esp those with more modern brighter and active circuits. Got that John? Yup, thanks. Still learning something new every day? Yup. Expensively? Yup.

I only got into unlined because I bought one by mistake, thinking it lined . I had no choice but to try it and found with just a little practice it was easy, at least down the bottom end.

Well I have now answered my own question. Toneriders do not sound good on a Vintage 940FL. Having paid to have the conversion done I have tried every conceivable combination of amp and bass EQ setting and nothing sounds as good at the Wilkinson pups combined - even if the latter were thin on the bridge pup. Now I'm going to have to spend more of my pension reversing the swap. Why can't I leave well alone? In the interests of fairness I have to say Toneriders sounded great on my old Squier P clone. But.. So boys and girls, listen to Uncle John and don't fiddle. If God wanted your Vintage fretless to have Toneriders installed he'd have done it himself.

Cheers RedX I've just been fooling with the cabs again and TBH I don't like the mix much even in my bedroom. Each cab has a likeable characteristic sound that somehow becomes less pleasant when married with the other. As I only have an Ashdown head now I may as well stick with the Ash 15 and keep trying to flog the Markbass cab.

I have an Ashdown 15 and a Markbass 1x12 I can't sell. So I'm wondering if pairing them would be an idea, and was something others had tried and liked. Obv I have tried it but I can't make up my mind if it sounds good or not. I know there are massive threads on the pros and cons of mixing speaker sizes. Just wondered if others had tried Ashdown with Markbass and found a particular EQ setting that cuddled them up together?

Upgrading to Ki0gon is a must and no brainer. Might exclude the pre amp idea though.

What else can I have?

Not at all. I am a player and nothing more. I currently have two basses and a rig to sell which are the product of GAS over two years. I have had four calls and one sale TODAY ALONE alone from FB. Nothing from BC in weeks. BC may have many strengths but marketplace clearly isn't one of them