I did a session once where the engineer wasn't happy with my L2 and asked me to try my P bass (with rounds) instead. He was happy and that was what ended up on the album. I was just a sideman so no skin off my nose.
The next time I used the L2 was as a member of a celtic band with the bass detuned a whole step to DGCF. That engineer had no comment whatsoever, he was fine with the sound.
When strung with roundwounds and the controls wide open like most engineers prefer (so they can EQ as needed during the mix) my L2 is really, really bright. That "piano string" sound. That's hardly suitable for all styles of music!!! It can certainly be EQed during the mix for less treble or if the engineer is OK with the player rolling off some treble, using flats, stuffing foam under the strings, I think it's versatile enough. It has one huge advantage over a typical P bass...the note definition is never lost regardless of the tone control setting.
From an audio engineer's perspective, subtractive EQ is always preferable to additive EQ. In that regard, the XL is a perfect, neutral platform to begin tone shaping. It's much easier to remove any unwanted frequencies than to try to create those that aren't present to begin with!