HowieBass

That'd be way too high for me; assuming the neck relief is set correctly and the nut has the right depth slots it'd mean the neck would need a fairly substantial full neck pocket shim to raise it or the bridge inset into the body in order to get the action acceptably low. A Jazz with the action you describe is close to unplayable IMHO.

Welcome! Just wait until the GAS kicks in!

I was thinking "right I know what Warwicks look like" started scrolling down then was like "oh wow! that's NICE"

BASS FACE!!!

The pedant in me winced every time I spotted one of Chrissie's spelling mistakes...

The OP is saying 9th fret sounding harmonics happen "regardless of where on the neck my left hand is fretting" which isn't the same as intentionally creating a harmonic at the usual 5th, 7th, 9th, 12th etc fret locations.

You'd have thought they'd have put the bridge on straight!

The Squier Active Deluxe Jazz is a very nice bass for the money - lots of tone shaping options with the three band EQ plus slap switch...

[quote name='RhysP' timestamp='1390839407' post='2350128'] I'm not sure I'd agree with this - I met up with another bassist once & less than two weeks later I broke my foot. [/quote] Ouch! LOL

I'd also say stop 'worrying' as you've clearly got the gig by virtue of your ability (and your ear is probably as good as many others) though there's clearly no harm, and probably a lot of good, can come from meeting up with other bassists.

I believe Roland Lumby of The Amp Clinic is very well regarded, not far from Salford Royal Hospital (used to be known as Hope Hospital) https://en-gb.facebook.com/theampclinic

I'd be inclined to swap the pickguard for a black one but nice looking woods

You get a LOT of bass for your money with Cort

Out of interest does the MM Sterling have steel roundwounds on it? Nickel will feel nicer than steel - I've steel flats on my fretless Cort and also on my fretted Westone Spectrum LX and really notice the difference when I go back to another bass that I've not yet switched from steel roundwounds to nickel. Having a few basses does give you the luxury of having both rounds and flats on fretted instruments though and I enjoy the sounds I'm getting from all of them; they each have their own personalities

Those harmonics you're hearing might be sympathetic resonances coming from your open strings - you might try a fret wrap (hair scrunchie) behind the nut as a dampener - I'm using some velcro cable ties as cheap fret wraps - I bought a pack of 10 from Asda, 10"/25cm straps just about wrap double around the neck/nut area.

At least you can start by selling one for which you have the least attachment and see how you feel about reducing the collection by one; if it doesn't feel like much of a loss then onto the next...

Bargain!

I'd be asking myself which basses can I later easily replace with new purchases for those I'm ready to sell now (assuming that at some later stage you have more room in a different house and some disposable income or come your way as more gifts). What you can't easily replace I'd say are the Yamaha (custom finish and sentimentality), and the Peavey T-40 and the Line 6 Variax since they're no longer in production.

... and if a few days of adjustments to the truss rod will get the relief right, why on earth haven't they bothered to do it?!

Since you've decided to replace/move the bridge (because of that sheared mounting screw with the existing cheapo bridge) you're no longer having to get a bridge with 5 matching mounting holes for what was there orginally; this opens up your choices and also means you might only need to move the new bridge mounting holes a few millimetres fore or aft of the existing holes and still have plenty of wood to go at.

Those two are STUNNING, you're not helping my Precision GAS much *sigh*

More bass tones for those yet to hear SMV... have fun checking out the gear! http://youtu.be/kO7Y6UEjydY

More 'new' music for me to enjoy! Sweet

Two videos to consider. With this first bridge test (stock vs high mass) the results are minimal: http://www.youtube.com/watch?v=PAz5b-0GE_E The second (Gotoh vs Badass) shows a greater difference (to my ears): http://www.youtube.com/watch?v=ANiEWEQel4U I've read stories of people trying out high mass bridges and later going back to the stock (BBOT) bridge because it sounded better. As always YMMV.

I think the accepted wisdom is set the saddles horizontal rather than angled (as they have been on your bass in some attempt to match fingerboard radius) and in doing so get the action the height you prefer, then set intonation if needed (and small adjustments to get the intonation right will have only minor effect on the saddle height even if the intonation adjustment screw on which the saddle rides is at a bit of an angle). I realise it might be a bit of an iterative process homing in on correct intonation and saddle height, but for me that's almost enjoyable, knowing that I'm setting an instrument up to the best of my ability.