Skinnyman

And then there’s this.... https://www.snap-dragon-guitars.co.uk/snap-dragon-e-bass-4-p.asp

I spent quite some time looking at the many travel guitars on the market, some of which have demountable (not folding) necks. I don't believe that (apart from the Hofner? Shorty) that there is a similar travelling bass. A Steinberger is pretty portable though and may already be a reasonable solution for the traveling bassist. I have no idea of potential market size but if you come up with a decent solution it should work for guitar as well and that's where the money seems to be. There's a shop in Brighton who specialises in travel guitars - can't remember the name offhand but a quick Google should turn them up - their website was very comprehensive and showed the different solutions that already exist. A final note - a friend of mine had one of the traveller guitars and I found it virtually unplayable. The string action was at cheese cutter levels and the design meant it couldn't easily be lowered Good luck with the research

Exactly - and how many female bassists are also cyclists and will be affected by it? Huh? There - that should do the trick....

Shrewd move....

I was distracted by the two little bald-headed chaps sat on her knee

Good. They should be free to choose their own...

I don’t have names for my basses but Mrs Skinny does. We started with Scary Bass, Sporty Bass, Posh Bass, Ginger Bass (which is actually a ‘burst finish) and Baby Bass. The more recent additions have been called, in order, Nora Bloody-Notherone and Annie Moranamoff.

I’d want them to come ready fitted to a nice Precision for that price.

Unless they're playing Crazy Little Thing in which case it's handy to know the major scale at least twice during the song 😀😀

No, I'm not confusing these two things. We just have a difference of opinion about their relative importance. We both agree that it's important to know them. I find it useful to practice them, you don't. Our mileages vary. Er, that's it

And that's your experience which is fine. I was describing my experience which is also fine. Our experiences are different and that's a Good Thing as the OP now has two different perspectives.

Which is fine and I agree..... But in answer to the specific question “what is the point of learning to play scales?”, for me, when I play live, I am inevitably playing selections of notes from a scale, so I feel that it’s important to practise said scales in order to improve my speed, dexterity and muscle memory. I’m not a good enough player to get away with not practising and scales are - for me - an essential part of my practise routine.

I think the reality is that they use the international language of the Internet - which is of course, American. We shouldn’t delude ourselves that foreign bands who choose not to sing in their own language are singing in English English. They’re singing in the language of good ol’ Uncle Sam.

I don't practice as much as i should but when i do, i like a routine. Some scales to warm up, then a quick whizz through songs or bits of songs i already know, particularly ones that give my fingers a work out. Then i play 'Ruby' because i adore it, then it's onto whatever I'm learning at the time. If I'm not learning anything new, I'll just play some or all of the setlist. I should do this every day, but i don't. I try to do it at least a couple of times a week if I can - other times I just pick up the bass and noodle...

You're thinking of Chic

I was surprised that in a programme about guitar effects and the innovators who developed or popularised them, John Martyn didn’t get a mention. Other than that, I thoroughly enjoyed it.

That's an idea. I'll get the costs and then, as you say, stick a post on here, TB and the Rich forum. Might be worth looking into design registration first as you suggest. The actual materials cost will be negligible - it's amending the designs for the different variations of Ric and the opportunity cost of printing (while he's printing my rests which might punt for £15 or £20, he's not printing the commercial components that he charges thousands for. Still, worth investigating...

I need to see if my buddy is prepared to run off a batch and how much they'd cost. So far he's done these two at mates rates but his printers run pretty much 24x7 so I'd have to order and pay for a few and it would only be fair to pay him the proper rate. I'm also not sure how big the market is for them - but it might be worth getting a dozen or so and seeing....

That's a very pretty bass. I've been looking at those as I'm thinking of adding a short scale to the stable.... And a nice, neat solution to the rest problem.

Pictures of the Mark II version - very pleased with this one. All I have to do now is finish soldering the ground connections and screening the electrics as I managed to introduce a loverly hum when i took the pickguard off....

+1 for Faun

Yeah? Speak for your self! I’m not a balding fa....... oh, hang on. As you were

A valid point and one that we tend to forget. There is much wrong with the BBC these days and they could (in my opinion) have done more with this series - but these programs were so much better than a lot of the awful stuff that passes for documentary and pollutes the airwaves these days. I enjoyed all three programs. Yes, there was a lot of stuff I thought they missed out and, yes, they spent more time than was necessary on other stuff - I got the distinct impression that much of the content was dictated by budget; the cost of concert footage and interviewees and the savings to be had from reusing material where possible across all three programs. But it was a decent set of programs with some interesting material and a broad appeal that extended beyond those of us who play to include the wider listening public and for that I think the BBC should be given due credit. Other opinions are, as always, available and valid....

You beat me to it 😀😀

Well we have to get it out of our systems somehow....