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Is it a paint finish or natural wood?


Sealing end grain is an excellent practice, I doubt if many production basses have this done. With older instruments, the woods used were better selected and better aged. In many cases the resins were already crystallized by the time they built the instruments. With many newer instruments, due to restrictions and reforestation needs, the woods are still a bit too "green" and will continue to age after the build. It's LESS common with dense oily hardwoods but I see it happen more and more with newer basses. My rule of thumb is that when a NEW guitar makes it through 8 seasons, I consider it stable and expect it to react as such.My oldest rosewood fingerboards are 49 and 40 years old, respectively, and I've seldom treated them; the natural oils endemic to dalbergias (e.g., rosewood, cocobolo) provide sufficient protection without the addition of finishes - unless solvents or cleaners are used often enough to deplete them.I am not aware of any organisms, including trees, that benefit from nourishment after death.
The ebony fingerboards on my double basses date back as far as 1939, and they've never been treated either.
That said, when I make a bass or replace a fingerboard or fretboard, I habitually seal the end grain before installation; it's cheap insurance against checking and warping.
So what's the hub-bub with this maintenance thing? All this stuff seems like common sense. I was wondering if I should lube the tuners, or sand the poles, or something..........

Excessive pole sanding leads to hairy palms and blindness according to Sister Consolata, my fifth grade teacher at Our Lady of Perpetual Sorrow Home for the Rude.
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I would just play the darn thing and keep an eye out for obvious things.
No need to sand poles, fill holes, get a fearful, scrape gum off the headstock, lube tuning machine heads, lacquer the cigarette burns, swap pick-ups, buy an SX, buff the strap buttons, saddle soap the strap, blah blah blah, et al, ad nauseum....