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So what does a $25k bass actually get you?

I understand the mentality -- I mean, a good cello can cost more than a house -- but as a musical tool, it also has to justify its existence to some extent. If you're playing Mustang Sally in a local dive bar, you might want to think twice about taking it out of the house, since any pocket money you take home from the gig will be immediately eaten up by depreciation. On the other hand, if you're opening for guys like Pat Metheny or playing in a late night show's house band, you're probably commanding enough of a salary that it'll pay for itself in a couple of years.
 
What are you really buying for your $25k or whatever?
It gets you a "Hello there!" message from the capitalist economy is what. It's the same "what the market will bear" dynamic that introduced the music making world to the WTH Overpriced Used a/k/a "Vintage" Strat at We Buy on W.48th Street back in the 1970s. And $20 million townhouses in Park Slope. And artisinal grilled cheese sandwiches. What it means is that you, me and every other bass player have been noticed as a market and the market knows that some of us are affluent whether or not we could actually earn 10 cents as a player. Now, a $10,000 1960s P bass, which cost maybe $250 when it was new, isn't so unusual anymore.

That said, if you've ever played an MTD or Fodera bass you know that it's a more finely constructed instrument than is produced on any assembly line, even an American one. They just are. They're hand made and require a lot of man hours to take, literally, a log imported from Whereverstan and make it into a sweet playing bass. I watched Mike Tobias build a bass in his garage in Kingston,NY. An assembly line may produce hundreds of instruments every day but Mike makes just one. And it might take him two days to do it. On an hourly basis he's earning less than the average corporate attorney even though the bass might retail for six grand.
 
It gets you a badge.

As far as top notch electronics, hardware and actual instrument craftsmanship (as it applies to playing, NOT aesthetics), hopefully, these are included, though I doubt there’s anything in these areas done by the manufacturer that justifies the price.

If it’s your thing, have at it. If not, don’t. I begrudge nobody for having the bass of their choice.
 
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I thought spending more than $2-3,000 was ridiculous until I played a NYC Sadowsky that would list for nearly $7,000. I went to play it to say - who would pay that much? Fortunately it was used and I got it for less. Now I realized if I had the money I'd buy another since I like both Rosewood and Maple on my fretted bases. I'm saving now.
 
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I'm thinking that I need to start posting ads for my vintage 1985 short-scale Fodera six string soon, while the market's hot.

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High-end players who can afford one of these - usually left at home. Will get stolen on the road.
Some of the 25K basses are truly works of art -- mostly esthetic. SOMETIMES used for perfect intonation for recording. One can usually find a great bass for 1 -2 K Used -- even more choices. You can even buy a less than 1000.00 bass that would be really good -- moght not have exact intonation -- OK for live.
 
Frankly the more years you play the more you will understand and appreciate the subtleties of a higher end instrument. As has been done previously, I also point to Sadowsky as a great example.

I know his stuff is considered very high-quality but he's apparently intentionally just making better/more expensive versions of the Fender product line.
I'm more interested in companies that dare to go their own way a little more.
 
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