Wow! This is GREAT information...Thank You. I will need to study this some more. I will do my best to correct my mis-information. Thank you for that as well. My first time, I must have been nervous...
The scale length, from nut to bridge is ~34" (~86cm) It is currently tuned BEADGC; but your string recommendations I may switch to std. guitar strings and tuning. In many ways this is much like a guitar, in terms of sound properties, just deeper, lower and has more presence. A different sound ultimately.
Thank you again
trobitaille
My pleasure! A couple points:
1), type of strings. I must stress that you are not limited in your choice of strings - you can choose any kind of string available for bass guitar, thanks to the standard long scale (there's simply way more stuff out there than for shorties or middies) and floating bridge (while intonation of the middle strings may not be spot on, at least you don't have to be limited by a bridge placement optimised for steel-core only or nylon only strings, and within the first group you can adjust for different gauges and types - e.g. roundwound vs. flatwound vs. black nylon -wrapped AKA tapewound). Electric strings, "normal" acoustic strings (steel-core bronze), 1/8 size double bass strings, even rockabilly weed wackers, whatever you may fancy.
I discussed nylon-core string options above because I use them and because you mentioned Thomastiks. As for the latter point, I now notice that you might have meant their Jazz Bass flatwounds (JF346), which do go for about 120 dollars, and not the Acousticores as I assumed. If so I generated quite a lengthy unsolicited digression there! Oh well, might as well keep at it...
As I said, I use nylon-cores (a Savarez 4-string set for 82cm scale, to be specific) and like suggesting them to ABG players, because I like them a lot and especially because they're really inexpensive to try. Also, rather than seeing them as the poor man's Acousticores and an outright cheap alternative thereto, they could serve as a gateway solution: if you end liking the 20 buck set, you may be more comfortable with spending 6 times as much for a respected company's product which is probably worth every penny but with no guarantee and no way to know in advance (apart from Youtube videos) if it is for you or not.
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2), tuning. The EADGBE option came to mind for two reasons.
First off, and banally, the Thomastik-Infeld set is the only low B option for nylon-core strings, so the gateway/ersatz plan would entail putting off modern standard 6-string tuning for the time being.
The other reason is that, in the context of the history of long-scale 6-string basses, your instrument is a really interesting oddball even if we disregard the fact that it's acoustic: it's close in time (and possibly neck specs?) to Anthony Jackson's first BEADGC sixer, built by Carl Thompson in 1975. In fact I wonder how many other long-scale ones, bespoke or small production, came out that early. If we talk E-to-e there were Danelectros and the Fender Bass VI and others of their ilk, but they were uniformly short-scale, with the lone exception of the Rickenbacker 4005/6 (standard long Rick scale i.e. 33.75"). Octave-down guitar tuning was, in any case, the closest thing approaching a standard in those times, before players and builders adopted the low B pioneered by Anthony Jackson - and also Jimmy Johnson and Tony Bunn with their respective 5-stringers.
Hence my questions about the tuning, and also string spacing at nut and bridge.
À propos, seriously, could you please measure them for me? I'm really really curious.
So, while I tune my bass-VI type guitar E to e myself, it's not like I go around trying to convince anyone to adopt it instead of the current standard, far from it.
Now: if, after all the clarifications, you do find the EADGBE option worth exploring regardless, a word of caution about the natural temptation to approach it as a giant standard guitar: just as pianists rarefy chord voicings the more leftward they go on the keyboard, chordal work on a bass, be it tuned like a guitar only an octave down or not, requires putting increasing distance (a sixth, a seventh, an octave) between the lowest two voices the lower you go on the fretboard. In practice you will find it's often better to leave the second lowest string in a chord-shape unplayed especially in the lowest positions (some attention may be needed in the middle strings as well in order to clean up the voicing).
The reason is a physio-acoustic phenomenon called "critical bands". In short, every pitch projects a virtual buffer zone above and below it: any other concomitant pitch that falls within such area will be partly masked and the result is usually perceived as muddy-ish. These minimal distances increase, in relative terms, the lower you go in the audible spectrum, to the point that even perfect 5th intervals - "power chords" in rock guitar parlance - start sounding muddy beyond a certain point, no matter the instrument. My personal threshold as regards 5th intervals is, avoid them altogether below A1+E2; your mileage may vary of course.
Have wanted one for years, but never played one I would like to own, and I had long term concerns with glued down wooden bridges peeling or Spruce warping etc. I normally play the upright. So I decided to look for an old style metal suspension bridge set up that screwed to the bottom of the body. I had no luck, until this month. 
