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It was duller compared to a P-Lyte (EQ flat), Squier Standard 2005 (close to a CV) or a Precision Player Plus unless I engaged treble boost, in which case it had slightly more top end sizzle. All tone controls up as the starting point (my mistake?) and volume around halfway. Centre detents for potentially cutting bass and boosting volume to compensate would have been useful, maybe. Rotosound SM66N across the board.
Bear in mind that the EQ is passive on an L-series bass. If it wasn't, it wouldn't work when the bass was switched into passive mode. That means there is no boost for either treble or bass. If you want more treble, you have to cut the bass and vice versa. As such, a center detent is not really needed. I'd just start with the bass and treble all the way up and cut as needed.
Funny thing is my L2500 CLF is that color. It came with an installed string nut tuned EADGC It also came with the regular Nut For BEADG tuning. Those pickups were made for BEADG. Unfortunately the truss rod snapped when I tried loosening..Mine is not a 750 though. Looks tempting.
The thing with L series G&Ls is that because of the strong full spectrum response of the pups, starting off with all controls full up is not a very good place to start. Starting with everything at about 75% will help making dialing in much easier... IME. 
I've always cut some bass to get into more conventional P territory.
I, too, would describe the L2000 as strangely dull, or maybe flat. I've had two and while I do like mine, it's a very calm, flat, soft sounding bass, which was shocking when I first played one given the descriptions online being "super duper mega hot pickups with monster toan where you have to keep all the knobs at 50%".
I've found both of these L2000's (one early 80s, one modern 2021) to be much lower output than my Stingray or Sterling, very lacking in sizzle or bite in the highs, unless I keep the treble boost switched to on, and always needing a lot of EQ added to the bass to get some girth. I'm generally a person who keeps my amps flat and lets the bass do what it's going to do.
I just recently played the newer L2000 live and the sound engineer told me it was lacking "punch" and he had to crank the gain in the board. That was with all knobs around 80%, neck pickup, and series.
I've found both of these L2000's (one early 80s, one modern 2021) to be much lower output than my Stingray or Sterling, very lacking in sizzle or bite in the highs, unless I keep the treble boost switched to on, and always needing a lot of EQ added to the bass to get some girth. I'm generally a person who keeps my amps flat and lets the bass do what it's going to do.
I just recently played the newer L2000 live and the sound engineer told me it was lacking "punch" and he had to crank the gain in the board. That was with all knobs around 80%, neck pickup, and series.
There aren't many basses on earth that are brighter and punchier than the L2000. Something is not right there.
Honestly, that thought is how I ended up with two of them. I thought surely something was wrong with the older one so I decided to try another.
1) They sound exactly the same
2) I absolutely love the way the newer one feels and looks, and it sounds great for the way I use it. But it's certainly not in the realm of my other basses, it's much more gentle like a P bass.
How does it sound with everything full up?
I almost never roll anything off on my fretless L2500 and it sounds massive in series and parallel modes. The point of rolling back the controls is to "tame" it. If you don't want "tame", run it wide open.
Oh by the way, I sold my purple jb i was so proud of showing off all the time but it left a void in my life which I replaced with well a g&l jb, this time not purple.
When I had my Kiloton, I mostly used it in the SC mode, with the volume 100%, adjusting the tone knob for full treble,
or more mellow tones.
Running through a Tech21 VT DI pedal into a Fender Bassman 120 tube head, I had a lot of control over the input level,
and never had the problem of overdriving the amp.
I also used parallel setting often, but tended to stay away from the OMG setting. (Which could get a bit farty,
unless I turned down the volume). Mostly I didn't really like that setting for ensemble playing.
Pics or it didn't happened
I prefer this alder body to empress, which though light, felt brittle.
I like a little heft, to me it just feels more solid. You can't go wrong with 3TSB with a rosewood fretboard. That's a great looking bass guitar.
