I can't help thinking basses are a bit like razors...
You can keep adding strings/blades and each one adds a bit more, but at some point the law of diminishing returns must set in.
Back in the mists of time, top quality hi fi used volume controls with multiway switches and resistors instead of crackly, poorly matched pots.
These got associated with a quality feel...
Well the Bass VI started in 1961 and they periodocally do reissues.
But at the moment only a Squier version is available.
Note that it is intended to tune E to E, so a different range to most sixers.
Bass Terror isn't notched, which is just as well as it gets very loud very fast when the gain is in the golden zone (where how hard you play has a significant impact on tone).
They have a very light wood for the body which will affect a fiver. Never worried me though, I'll just get another wide lekato memory foam strap, ideal for heavy basses but also super grippy.
Intended to be used with a preamp.
Funnily enough I was thinkg yesterday of reboxing my Joyo BadAss with a PSU and a 500W class d driver. Only wesk point is lack of balanced di and a noise gate on the compression. Both could be added...
Something like the Joyo using the fx send with a powered cab would work well for effect-sparse blues rock.
The Warman? Yes silly cheap. But the main variables for pickup construction are style, wire gauge, number of windings and magnet choice. That means making a good one need not be much more expensive than making an awful one.
I generally take two basses and swap over at the break. It means I have a spare and I enjoy giving different basses an outing. When I go to a jam I usually take something unusual as jams are all about fun.
The best way to learn things like shuffle and triplets is to play along to modest tempo songs with clear simple basslines and focus on getting a good groove going.
Experience tells me that some people who rely solely on tab or notation have little 'feel' despite technical competence (commoner in keys players than bassists).