BigRedX

All over the place:

The Revelation Bass VI is still on their web site. The harley Benton one has been out of stock forever. ATM the easiest model to get hold of the Squier bass VI. If you are lucky you might find a Burns Barracuda, but the list price is considerably higher than the Squier.

If it's the sound of the bass VI more than anything else you are after, then you need the right pickups in the right places. That means a pickup arrangement that matches or is very close to that of the original Fender Bass VI. So you need 3 single coil pickups all individually switchable. Neither of the basses mentioned in the OP come close to this arrangement.

Got to say that's a boring looking bass, but then again it goes nicely with Hue and Cry's boring sounding music. 😉

The sickness of the height adjuster grip which will eventually lead to the plastic disintegrating, is AFAICS completely down to Hercules using the wrong, or a dodgy batch of plastic for some their stands and has nothing to do with how the stands have been stored, or used/abused. If the plastic is wrong the grips will eventually become sticky and then the mechanism will fail irrespective of how you look after the stands. The good news is that Hercules and their distributors have acknowledged that there is a problem and have been putting it right. The replacement stands I got 2 years ago for my sticky ones are still fine and have no problems at all.

TBH these days nearly all vinyl pressing is good quality, because it has to be in order for it to compete with digital formats. Certainly no-one is going to accept the appalling quality of pressings that were the norm in the late 70s and early 80s. And while there are plenty of brokers in the UK offer vinyl production services you'll find that nearly all of them farm out the actual pressing to plants outside of the UK (not that there is anything wrong with this - if they can offer a good service in terms of turn-around times and production quality) If Diamond Black do actually press in the UK it would explain why they are consistently much more expensive than all the other quotes I've ever had.

The plastic parts disintegrating is a side/effect development of the sticky plastic syndrome. I was lucky enough to get 4 of my Hercules stands which had developed sticky plastic grips replaced with new ones FoC by the UK distributor. I kept a couple of the dodgy stands as backups should I need them, as the sticky plastic while annoying was not really a terminal issue. A couple of months ago when I was doing a major tidy up of unused things in my house I came across these stands and the handles on both of them had broken in the manner of the ones in the OP. So IMO the sticky plastic syndrome while not being terminal in itself, will eventually lead to the plastic parts disintegrating.

I don't think there are any pressing plants in the UK anymore. IIRC the two Terrortone vinyl releases were pressed in the Czech Republic and France. They were handled through Media Hut and Mobineko respectively.

That's good to know. I just had a look at my Newtone Axion strings which are my current favourites for Bass VI and it would be very marginal whether or not they fitted a 34" scale bass. Having said that I'm sure Newtone would wind a custom set of Axions for a longer scale length.

Do cabs have a sound based on the size and configuration of the drivers? Certainly all the cabs I've owned that have had the same driver configuration have sounded very different to each other.

One thing to consider on a 34" scale bass that you intend to string E-E is how easy it will be to get suitable strings for it. Although bass VI sets tend to be longer than standard 30" scale to allow for the vibrato mechanism, you are going to be right on the limit as to whether they will fit 34" scale instrument. Having just measured the excess on my Squier Bass VI so long as the distance between the bridge saddle and the anchor point is less than 40mm you should be OK with LaBellas but probably not with the Newtone Axions which are tapered at the machine head end.

Unfortunately not. The problem that we are finding with the typical Bass VI design is that they are essentially guitars with longer necks and fatter strings. I get the impression that they are designed for guitarists who want some lower notes rather than bassists who want an instrument that doesn't sound like bad jazz guitar in the upper register. For me the 30" scale length and the 3 pickups are what gives the Bass VI it's unique sound that works well for both bass and "guitar" parts. Longer scale lengths tend to make the higher notes sound wrong to me. The Burns Barracuda that I am currently using has a wider string spacing at the nut, but narrower at the bridge compared with the Squier, so that won't be any good for you. I just had a look at the GVB1006, it's 34", and the for that price you could have something custom made to your exact specification, which I suspect is what you will need to do.

Still at least 90 Days before it comes into effect.

Depends on the bass. Some instruments suit one style of finish some another. However I don't like instruments with worn or damaged finishes.

Large body will definitely help - that's why the double bass is so big. IME the bodies of most acoustic basses are only marginally bigger than their guitar counterparts which is why they struggle without amplification.

CITES affects any import/export outside of a customs zone. For the moment that means anywhere not in the EU if you are sending from the UK. If/when the UK leaves the EU it will mean anywhere not in the UK. With those woods you should be OK although I would also want to get written confirmation of the woods used from the manufacturer of the bass to satisfy any over-zealous customs officials.

Whichever one it is your acoustic bass will be for looks only. In order for it to be heard (even over a quietly strummed acoustic guitar) it will need amplification.

Before you sort out any shipping quotes does your bass have any CITES restricted woods in it? Rosewood fingerboard for instance? If so you will need a CITES export licence, and your buyer will need an import licence. UK export licence is £76 IIRC, and I would suspect that the import licence in Israel will be about the same. Without this paperwork in place before you send it, if there is any suspicion that the instrument contains CITES restricted woods it will be seized by customs (and probably destroyed).

No Scratchplate.

I run a Helix into an RCF745, and I don't really bother with amp modelling either. After all an amp is a device primarily designed to make your solid electric instrument louder, and any "sound" it might have is mostly accidental due to the constraints of technology or budget. For my 5-string bass patches I use an EQ module rather than an amp sim. and where I have used an amp sim it was picked for its drive sound instead of using a distortion pedal sim. For the Bass VI I mostly use the amp sim base on the Roland Jazz Chorus as the EQ frequencies match up nicely with sonic space left over by the synths and the the drive tone works well on the top end. I haven't bothered with any speaker cab sims at all.

I'm just going to put this out there: Bear in mind that the Deepmind synths are based on the Roland Juno series that very few people bought out of choice when they were originally available. They were bought because we couldn't afford the synths we really wanted - Jupiter 8, OBXa, Prophet 5 etc. I'll leave you to your own conclusions (and the fact that the only real way you'll find out what is best for you is to try them all).

I always stand up to play. All my important playing (at gigs and band rehearsals) is done that way; so I simply can't see the point of playing whilst sitting down.

What keyboard(s) are you playing? Unless it's something either very old or very esoteric I'd look at hiring the same model out there and taking all your patches on a laptop or other suitable device and loading them in to the hired keyboard.

Isn't that essentially a Fender neck anyway?

That exaggerated grain effect shown in the OP is done by staining the wood and then sanding back lightly to remove the stain in the soft grain areas and retain it in the harder ones. Then the wood is stained again so that the doubled stained areas end up darker.