Seems we all get a bit rusty at either pizz (Classical players) or arco (jazz players) when we are not using all methods of making sound, all the time. A regular routine, or set of licks, whereby you can do pizz and arco.. a lot ... is recommended. Pizz exercises or routines for classical orchestral players is a must. Be able to go from arco to pizz super fast, and be able to play all dynamic levels and "depth" to the pizz while HOLDING THE BOW. German bow players especially have some slowness issues getting to and from pizz to arco to pizz. There are plenty of repertory pieces that require this kind of transition (don't expect your stand-partner to do it all), so you'd better practice it at home too. Jazz players are now routinely asked to take "bowed solos" ("take it, Man!") so again, the ability to go from pizz to arco with speed and agility is paramount. But what about a GOOD quality of bowed sound? You gotta practice the weight to speed to angles to placement variables, so that your arco sound doesn't call the dogs in from the alley, or scare away Grandma who WAS grovin' on your pizz sound. Pizz and arco both have depth of sound parameters that need to be practiced... every day. Most string bass players need to have chops in multi-genres these days. So start the season by developing a routine whereby you can get practice at making full, thin, loud, soft, heavy, light, big, small, FFF, PPP sounds from both pizz and arco, and be able to transition between them at lightning-speed.
Best to you all!
PN