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Where did you got yours, and what was the approximate price? Steve's shop is so far away...

Turn the treble down?

A dark and lightweight 5-string Overwater Progress (Custom, because 19 mm is a must) looks very tempting. The price tag doesn't. One luthier is making an unlined fretless 5 to me, so money's too tight to mention.

An update: (First of all, sorry, I have no sound samples.) Our rehearsal place was opened few days ago (it was closed because of the quarantine) and I took the cab there. Plugged to my Glockenklang Soul amp. Sounds surprisingly good, far better than I thought. Goes down low and is relatively loud. We were only 5 today, so the level was more than adequate. Now I would like to find an SWR Interstellar Overdrive for home use with the cab. Before I find one, I think I have plenty of time to paint the cabinet...

Not this: https://www.3leggedthing.com/ but this: https://www.novoflex.de/en/products-637/camera-support-systems/quadropod-4-legs.html

A grey Harley Benton Noise Gate NG-100. All parametres can be tweaked easily. Even the effect level. I have one in use and one as a spare. 2nd hand unit costs around £20 or so.

Agree, that is probably the worst "feature" of the unit. I have adjusted the knobs so, that I can turn the knobs to certain values between songs. Helps a lot, because then I know what the settings will be - after a while.

An unorthodox, but costwise solution is to leave the preamp out and put that money to a better pickup. 1 bad + 1 bad = not good. 1 better = same price, isn't it? I have one bass without any adjustments and it is my main bass at the moment. I know the price of the pickup was steep, but I can control the sound through my bass amp, or the pedalboard when in need. https://www.q-tuner.com/product/transparent-q-tuner-q2-0-bass-5-string-pickups/

For me the comp is nearly like a leveler. If I want to make my sound pretty flat dynamically, I will put it in the beginning of the pedal board. Then the effects will get (dynamically) flatter sound and I can not control the behaviour of the effects so much. When the comp is in the end, I have more control over the effects through my playing. An envelope filter is one good example here. But it is also true, that when my hands do not follow my brain, things get more complicated. Another thing is that comps tend to be different with different basses. That's why I have few. Basses. And compressors. At first sight the t c electronic SpectraComp may be misleading, because it has only one knob and still is so powerful. But if you are ready to step on a thin ice, please follow me and try a Hypergravity. You can do the same as with Spectra, but have also three extra pots to adjust the parameters. And yes, the Spectra's adjustments including presets are published. They offer good templates that you can tweak to your own preferences. Love it - but it takes quite some time to adjust and master the details. You must have the Toneprint app.

Dear @Stuart Watson, any chance to share any pictures of these amps?

No. Check this video at around 1.50 - 3.30. There you see how to restring and how to reach the reasonable breaking angle at the nut.

Open string ringing may also tell something about the stringing: is the angle at the nut big enough?

Carved frets were mentioned earlier. I remember seeing a Lane Poor Minima and a Bond g-word. The first Ashula (the white one) was a chore for me. The sound change was so big, that changing between fretted and fretless was not a option within a song. Soloing up with two strings could be a possibility, but I am a true bassist which equals no so lo.

tc electronic spectral comp is 1U, and can be found in mono and stereo. Cannot be very expensive. Triple-C.

This might fit (to remind the build year):

If it was constructed like a Gretsch Bikini, that would be very, very tempting.

https://www.spaltinstruments.com/instruments/special-projects/vviper/

Actually, it is very helpful to learn two beat first. When it is functional, it is time to take a step forward and learn four beat. Check youtube, as there has to be lots of examples. If the chord theory is clear, playing will be very easy. In short two beat is playing half notes (just play 1 and 5 in one bar), and four beat is like playing quarters 1 1 5 3 in one bar. After these two, walking bass is much easier. Just play the seventh chord notes - one exception is that usually maj7 is played as 6. Try to play the notes ascending and descending, because when you go up, you have to come down sooner or later. Mike Richmond's book "Modern Walking Bass Technique" has many of the "tricks" used while playing walking bass lines. Recommended reading.

With model MN, you need a multimeter. Start with the top of the pot. 1) Number the lugs like in the picture below. 2) Turn the pot axle to the middle position. 3) Connect the test probes to the lugs 1 & 2 or 2 & 3, you should see 500k or 0 k. Ground is on the 500 k side. If the 500 k side is 2 & 3, then the top ground is #3 and bottom pot ground is #1. Outputs are #2s.

Very rough estimation is that nickel RWs have flatter response (more middle), and SSs sound a bit like smiley eq curve.

At one point I wanted to be Louis Crandell, but I had no nerve to grab the line... A former GF of mine, a teacher, told me that one of her pupils wanted to be famous, a satellite!

DC7 is able to push continuous 600 mA and maximum of 660 mA / output. That is 7 x 600 mA x 9 VDC = 37.8 W (continuous) 7 x 660 mA x 9 VDC = 41.5 W (maximum) Your digital FX units are very power hungry, to say the least. Their input power figures are very high, although it may be so that the numbers relate to their short time maximum consumption: C4: 165 mA SDrum: 500 mA JamMan: 900 mA HX: 3 000 mA (3 A!) In total this is 4565 mA = 41 W (@ 9 VDC), which is about the same as the DC7 is able to push out. It is no wonder your power is hot. If you have a 40 watt lamp at hand, put it on and feel the heat. No, please do not burn your fingers.