Everyone has their own approach to such things - nobody's is necessarily better than anyone else's, but I'll give you mine:
I'm a bassist - a musician, and the only thing I play is bass. I do that so I'm good at something - I need that focus. I approach basses as tools - they're different things, albeit in the same family. If I were a painter, I'd probably have a bunch of different kinds of brushes. I paint sound, with basses.
What do I need? I need a bunch of different "paintbrushes" - 2 of the same doesn't do me any good. I also don't need or want a lot of paintbrushes - keeping strings fresh on a lot of paintbrushes is costly and time consuming. So, (dropping the paintbrush thing) I keep a small number of diverse instruments around.
I have a fretless - with an ebonol board. Despite some folks' claims, you can't make that instrument sound like it's fretless - mwah oozes out of that thing no matter how you play. For certain gigs, it's just the ticket. For others, ot so much. I have a few fretted instruments - they're all 5 strings with the same necks, bridges, string spacing, etc - when I'm playing a fretted bass, it's mostly in situations where I need to be able to look places other than my fretboard, so having all of them identical in terms of the physical platform of strings is an advantage. But they all have different pickup and circuit configurations - they have sonic diversity. I pick the instrument for a gig by the vibe I want for that gig - whatever instrument fits that best, that one I practice with the week before, and it goes to the gig.
I'm a bassist - a musician, and the only thing I play is bass. I do that so I'm good at something - I need that focus. I approach basses as tools - they're different things, albeit in the same family. If I were a painter, I'd probably have a bunch of different kinds of brushes. I paint sound, with basses.
What do I need? I need a bunch of different "paintbrushes" - 2 of the same doesn't do me any good. I also don't need or want a lot of paintbrushes - keeping strings fresh on a lot of paintbrushes is costly and time consuming. So, (dropping the paintbrush thing) I keep a small number of diverse instruments around.
I have a fretless - with an ebonol board. Despite some folks' claims, you can't make that instrument sound like it's fretless - mwah oozes out of that thing no matter how you play. For certain gigs, it's just the ticket. For others, ot so much. I have a few fretted instruments - they're all 5 strings with the same necks, bridges, string spacing, etc - when I'm playing a fretted bass, it's mostly in situations where I need to be able to look places other than my fretboard, so having all of them identical in terms of the physical platform of strings is an advantage. But they all have different pickup and circuit configurations - they have sonic diversity. I pick the instrument for a gig by the vibe I want for that gig - whatever instrument fits that best, that one I practice with the week before, and it goes to the gig.

