LeftyJ

They're always too far away from the strings to my taste, and never in the spot where I want to pluck. I really should get more acquainted with the floating thumb technique.

I love them on my Status basses. There's just one thing I don't like about it: the claw that holds the ball end slides freely over the finish of your bass body. The saddles lay on a brass base plate, but below the claws. I wasn't aware of this until I had to remove one because the spring between the claw and the tuning wheel had an annoying resonance I wanted to get rid of.

Nice! I don't think those are the stock pots (my E-series Strat surely didn't come with CTS pots) but that's a very nice and useful upgrade. The electronics were most definitely the weak spot of my Strat. Otherwise build quality, hardware and finish are excellent.

I've had many kinds of tuners, and to be honest I've never felt the need to replace any and just rolled with what was on the instrument. With one exception: on my Fender Japan JB75-US I replaced the stock tuners with matching Hipshots when I mounted a D-tuner, because the patina of the stock tuners really didn't match the shiny new chrome plating of the D-tuner. Based on my experience with various tuners, I would just get what my luthier recommends or what matches best with the overall appearance and the other hardware on the bass. On a bass with vintage looks I would want nothing other than clover leaves, but I don't mind what they look like on the back of the headstock (i.e. vintage tuners or ultralights).

It is not. The interval between the frets is exactly the same as on an instrument with parallel frets. The sole benefit of multiscale basses is the evenness of tone and string tension across the neck. The Buzz Feiten system addresses intonation by placing the nut closer to the 1st fret, and putting the open strings slightly out of tune so that intonation is more accurate higher up the fingerboard. Some electronic tuners have a special setting for "Buzz Feiten tuning" for this. On a Dingwall, all the intervals and the tuning are exactly the same as on any parallel fret bass with regular tuning.

Fender Japan has a finish called "Old Lake Placid Blue" (OLP) that also has the greenish hue you're describing - but I don't know if that finish was around already in the 80s! It could just be naturally aged Lake Placid Blue. It has been known to turn quite green with age and exposure to UV light. For example, this 1969 Mustang Bass was once Lake Placid Blue, but now more closely resembles Ocean Turquoise Metallic:

That orange one is stunning! I love it.

Almost the same, but with an added patch bay where all our other signals went through to split them between our own IEM sets and the FOH. We used to play with a stereo backing track with synths and backing vocals and a click track. I think we used Ableton Live on a Windows laptop.

Awesome, enjoy the experience! Amsterdam is a beautiful city, and tourism isn't back at pre-covid peak levels yet so you can actually see all the pretty stuff behind the crowds What venue are you playing?

https://www.ebay.co.uk/itm/154958669307?hash=item241441a5fb:g:R-4AAOSwb~FiYUUQ Pretty cool.

Me too! Great find. If it's anything as good as the E-series Squier Strat I own, you're going to love it.

It's difficult to tell from these pictures if it's the entire fingerboard, or if it's just the binding that's coming loose. It does look like the neck has a bit of a bow whereas the fingerboard has not. These basses have a very rigid "resinator" fingerboard (50/50 wood fibres and resin) that may make the neck harder to adjust. Could be an easy fix. I've always find these basses intriguing, I like the pickup switching options on these.

Korean Tobias 4-string neck-through on Gumtree: https://www.gumtree.com/p/guitar-instrument/gibson-tobias-left-handed-bass-guitar/1425615922

I tried to take a selfie asbestos I could:

It has a matching headstock though, I think the general consensus here is that's a no-go? I quite like it on this one though! Oh, but it's sold 😉