I suppose some people might be able to tell the difference in tension having an extra inch or two of length between the tuning peg and the bridge, but I can't possibly imagine how that little bit of distance could make any noticeable difference...

Unless I'm mistaken, the length between the tuning peg and bridge isn't relevant at all. Tension is a factor of (1) the distance between the bridge saddle and the nut, (2) the mass of the string between those two points, and (3) pitch. That's all that matters.

The only way a righty neck on a lefty bass would affect anything is if the neck was asymmetrical and was actually shaped to be used for a right handed player. I don't think that's the case with this bass, as it was used for a left handed player... and I doubt GF would put an incorrect neck on any bass.

I suppose some people might be able to tell the difference in tension having an extra inch or two of length between the tuning peg and the bridge, but I can't possibly imagine how that little bit of distance could make any noticeable difference... personally, I cannot tell the difference between basses that have strings "through body" or "through bridge" in either feel or tonality, so I might be the wrong person to discuss this topic. I even recorded samples of my Lakland strung both ways, and it was impossible to tell.

I also see people say that lefty basses that are strung righty will be damged somehow over time... this doesn't make any sense to me either since necks are not designed to support more tension on one side over the other. If necks were designed to support more tension on the bass side versus the treble side, I could see that there might be a difference after years and years and years... but, honestly, the strings are so close together at the nut, the minimal difference in tension between the treble and bass strings would be a total nonissue.

Mike Lull adds a "string through" ferrule for only the B string because he believes it makes a difference...

Thanks for all the help guys. I will call Gf to clarify...now I know that as soon as I buy it, the roscoe LG3005 I've been saving for will emerge....decisions, decisions...

There are some VERY smart builders who believe it does make a difference... Mike Lull adds a "string through" ferrule for only the B string because he believes it makes a difference... and Rob Elrick has a special "extended B" headstock design that allows the B to be wound to a tuning peg furthest away from the nut, at the end of the headstock.

It's hard to argue with these guys since they know WAAAAY more about this shit than I do... and maybe it does make a bit of difference to guys with a really light touch... but I'm pretty heavy-handed and don't think it would make a bit of difference to me.

Doesn't that have more to do with creating more 'downforce' on the bridge saddle by guiding the string over the saddle in a sharper angle to enhance transfer of vibrations to the body? I believe it doesn't change a thing about the string tension from bridge to nut, but it's done because the output of the B string is naturally slightly weaker than the other strings.

It certainly doesn't increase string tension, given the scale length, pitch, and string mass are the same. I highly doubt Lull and company are claiming the string thru ferrule or extended tuning peg affects tension. They would be arguing against a physical law.