three

I haven't used the Fodera strings but use the Pure Blues and find them to be excellent on long-scales. Very nice feel under the fingers, fairly bright, and compliant

Viv seems to use a few different types of tuners, so some of this depends on what's on your bass. I find that Viv is very responsive so maybe a quick message to him would help to clarify what's available or possible workarounds?

I didn't but I'd have been horribly tempted if I'd seen it in time - and it was just up the road. All the Wilcocks I've played have been superb in every respect. It's not difficult to understand why they're so sought-after

I was going to suggest JF324 strings but the 324H sounds like a much better idea given the capstan dimensions. I have a set of JF324s in a drawer but never use flats - about time I moved them on!

Lovely video - thanks! I went through an extended period of experimenting with Fender-type basses and owned a few Celinders (some of which Andy above probably played - and with far greater skill than me). All were superb, though some have their idiosyncracies. Beyond tone, one of the remarkable aspects of Christian’s bases is their ergonomics. I don’t know how he did it (does it?) but the basses I owned had a kind of ‘wrap around’ feel and were immensely comfortable to play. I have a feeling that I owned the jazz in the video - I’ll drop a pm

Tasteful and classy - a sympathetic complement to the bass

I've not yet had the pleasure but need to seek out an Acinonyx - I read nothing but very good things!

I'm sure that there will be many different perspectives here. For context, I learned to play on a borrowed late '60s Mustang many decades ago, then played long-scales exclusively for three decades, moved to a combination of short and long-scales about 15 years ago, and have gradually drifted to short-scale almost exclusively. Age, reach and back pain have influenced the decision. Whilst short-scale basses can be heavy (I have two very heavy shorties), overall I they tend to be a lighter. On the questions: 1. In my case, a very long time indeed. However, I played both for an extended period (and still use a couple of headless 34" scale basses). I didn't really notice the transition or any problems. With fairly regular use, I wouldn't have thought that the shift would take longer than a couple of weeks (though it depends on the individual, of course, and possibly the bass?) 2. There is a vast range of shorties available - more seem to pop-up every month. Some of the more vintage shapes do seem to feature a bit of compression in the body - the shorter top horn can affect balance. However, many designs balance beautifully in my experience. I have a Wilcock and that is possibly to most beautifully balanced bass I've played - it's genuinely remarkable. The same is true with Spector shorties (the balance is much better than long-scale Spectors for me). So, it's worth shopping around and consideration of where the strap pin sits with respect to the 12th fret - a massive generalisation but a useful rule of thumb. It's also worth thinking about the placement of the bridge (back-end of the body?) 3. You also mention tone/sound - there's a perception that short-scales tend to be a bit thumpy/dull. I think this it true of some models, but others are very different and some can be extremely bright and pokey. I have a Spector that is capable of sounding very bright and alive. Alembics are weird full stop, and the shorties, whilst they are capable of the characteristic piano tone, sound more like an upright than a grand piano to me. That said, an enormous range of tones is possible with the filter electronics. The small-bodied shorties are a nightmare on a strap - again, bridge and strap pin placement. So in sum, probably worth taking a really good look around and trying a wide range of shorties - the variety in balance, tone, weight etc. is enormous, and I'm sure that there's something in the mix to which you could adapt fairly readily