LeftyJ

Nice. Did you upgrade the pickups to real Barts yourself, or did it come like this? I believe these had the Bartolini-licensed Mk1's originally?

Seems very weird to me why it would have a lefty bridge! Seems impossible to get the intonation right with that in place. That's a fairly rare bridge because not many lefties were made, but it's also damaged (it's bent at the low E side).

I'm usually fine with sharing my cabinet (but I do check with the other bassists if their amp output power and impedance match), but generally don't like sharing my amp. Like @thodrik, I do expect the other bass players / bands to ask in advance.

Unsurprising this came from a company that normally makes family cars roughly similar in size

Makes me think of the insane Ashdown rig John Entwistle used in his last years with The Who. Ashdown designed and built some huge 18" horns for him! Note the stack of power amplifiers in that rack:

This one can imitate a shortscale with digital modelling.

I tried a few (far more affordable!) Dugain picks for guitar and own two myself, and they're WEIRD. I think they're aimed mostly at gipsy jazz guitarists. I have one in Acetate (tortoise style plastic) and one in buffalo horn. For starters, they are THICK. Second, they force you to hold them in a specific way with their shape. There's a hollowed-out area where your thumb goes, and a small channel on the other side where the side of your index finger falls. This way of holding a pick doesn't suit my (lack of) technique at all, so I've always felt very uncomfortable using them. And because they're so thick and immensely hard, there's a lot of very bright pick attack added to your tone.

I've tried something similar, the Fred Kelly Bumblebee thumbpicks. They're fun, but didn't work for me: I have fairly big thumbs, and they wouldn't fit me comfortably. The thumb clips come in regular and large size, and the picks come in light, medium, heavy and extra heavy. And because the thumbclip is not symmetrical, they even do a lefty version (which I have). I ordered one of each gauge in the large size, but they're not for me. They also required me to change my pick technique (I like a pick that slightly bends along when I hit the strings, the thumbpick forced me to adjust my angle of attack in both up- and downstrokes). My favourite pick for bass is the Dunlop Nylon series, in 0.88 mm and 1 mm. They're not too hard and rigid, still have some flex to them, and they offer excellent grip.

Try putting one of these in a lefty Stingray.

Lovely! I was eyeing this one up as well, but already have two Status S2 Classics so it would be overkill. One was for sale on this site almost 2 years ago at the same asking price, and gone in a flash:

I was going to say Warwick Corvette Taranis (or Vampyre Dark Lord, if the body style is your thing) and Yamaha TRB-series too, pleased to see people were ahead of me

Be aware that most active Warwicks are not switchable to passive. Most have active pickups (the gold label MECs) which require 9V at all times. There's only a switchable EQ bypass, but they're never fully passive unless they have silver label MECs.

Fun exception: djent without guitars, with two bass players.

I was unaware they made these in a short scale length! That's pretty cool. I see there's one in their online shop that was a special order by a Japanese dealer. They also made this incredibly cool shortscale Streamer CV with Gibson EB-0 specs! But €5000 is eye-watering... They made shortscale basses under the Rockbass brand too, those might be more easily within reach. In the second generation Rockbass line (with the two-point Warwick bridge) there were a shortscale and medium scale Corvette. I don't know of any Streamers though!

Aye! I found it surprising I had to scroll all the way down before finding a mention of these The (late) 1980s also spawned the most iconic and successful of all Ibanez bass designs, in 1987:

For emulating an acoustic tone, I'd say the amplifier is much more important. A passive splitcoil (i.e. P-bass) or the neck pickup of a Jazz Bass through a wide-range amp with a good presence or brightness control to shave off the brittle top end to your taste will actually get you fairly close IMO as long as you keep things clean and properly EQ'd. That said, installing piezo's in an electric bass isn't all that hard. Most will come pre-mount in a complete bridge assembly, and will only require hooking up the electronics to your existing jack, stashing the preamp and battery somewhere in the electronics compartment (if there's room, since most piezo systems will be active and require a 9V battery) and adding a blend control or switch. I've owned an Esh Stinger I for a couple of years that had a Schaller 2000 piezo bridge and it worked great. In that particular bass, the piezo's are there to compliment the magnetic pickups and Esh wasn't going for an acoustic tone at all, just added brightness and cut to the magnetic tone. However, through my EBS amp with the EQ flat it did sound a bit like my ABG.

OMG! Looks like there's still some Ibanez ST980 left somewhere in there, but you need to look hard!

I've seen that for sale, I think it was in the Netherlands? Absolutely gorgeous! Looks like an S2 Classic neck through, with the old Hyperactive soapbars. I have a bolt-on 4-string S2 Classic with those same pickups and it's LOUD. I think mine has the old Board 300 preamp without a trimpot for the output level, unlike the current Board 303 preamp.

My Warwicks came with this absolute unit of a wrench

I also have the CruzTools multitool, but I much prefer using a few good, separate tools. Especially for truss rod adjustments, a perfect fit is very important because you don't want to damage the truss rod nut. I have the CruzTools in my gigbag for small adjustments to the bridge, or quickly fastening a loose screw.

Exactly! The "Custom projects" page on their site pictures the original model with an Eastwood-logo photoshopped over it, but the final product never looks (and sounds!) exactly like the original.

I remember drooling over this on eBay somewhere between 10-15 years ago and ALMOST pulling the trigger on it. The only thing holding me back was potential resale value if it wouldn't suit my taste, because Goodfellow is fairly unknown outside the UK. It still grabs me, it's such an elegant interpretation of the classic Jazz Bass shape!

Funny thing though: Warwick barely do oil finishes anymore. Most of their satin finishes are now a thin polyurethane lacquer finish, including their necks (!). So "OFC" doesn't really cut it on the recent models if it does indeed mean "Oil Finish Colour".

Cádiz is still on my wishlist, and Ronda

Wow, that sounds very weird and unusual! Still kind of cool though, and I can definitely see that working well as long as the EQ frequencies make sense