I have never heard either of the players you mentioned, so I'm not going to be of much help, but I think it's a bit ridiculous to expect a change in pickups to give you the tone of X player. There are many more variables you need to consider, such as amplification/EQ settings and playing technique.
You didn't even mention what kind of bass you have and what type of pickups you are looking for?
Janek Gwizdala (British dude. Plays with Jojo Mayer's Nerve and his own solo project. Check out his CD's "Live at the 55 bar" and "Mystery to Me"...I also believe that he has an "Ask Janek" thread on this forum...maybe i will...)
Hadrien Ferraud (French dude. I am only familiar with his solo stuff... Youtube him... He's nasty good).
I completely agree that having the same pickups and electronics that they have will not enable me to sound like them. Their plucking technique, fretting technique, etc undoubtedly plays an enormous role. I was merely asking if anyone knew anything about the electronics/preamp and pickups in their basses.
I know Gwizdala plays a Fodera and Ferraud plays a Ken Smith primarily.
Manager and Partner, Fodera Guitars (as of 10/14/09)
Join Date: Mar 2008
Location: NE United States
Janek plays with Fodera / Seymour Duncan Dual Coils for PUPS and has the Pope / Fodera (Generation 1) Preamp. Of course the sound comes also from the overall way the bass is built AND Janek's incredible talent, musicality and touch!
Looks like you and me are after similar sounds . Ive noticed that pickup position (particularly the bridge) affects the tone moreso than the electronics themselves. Think 70s jazz placement. My old Spector Euro 6LX and current Sandberg Custom have gotten me reasonably close and on both the pickups are somewhat pushed towards the bridge. Then I'd pan towards the bridge and boost the highs and lows a bit. While it's not perfect it makes me happy
__________________ Source Audio Sourcerer #22 Club Clement #73 Markbass Club #231
Quote:
Originally Posted by geeza
I thought your name was one of those "it's spelled 'Kwesi', but it's pronounced 'Craig'." kind of names.
Yeah, Janek and Hadrian are just mind-blowingly good. I can't dream of ever achieving their skill level, but, it would be cook to have a similar tone...
Janek and Hadrian, if you are out there... Keep on keeping on...
If you're referring to tonally clean and sweet rather than harsh tone, I'd say it's mostly in:
1. the pickup placement— j bass spacing.
2. the preamp— can you run passive with a tone roll off...
3. the woods— the difference in tone between say Richard Bona's Imperial and Matthew Garrison's sig line has much to do with woods. Richard's has a fatter sweeter sound, while Matthews has a woodier more mid range sound.
I have a Tom Clement with Nordstrand Big Splits in a close to j-bass spacing, Glockenklang pre - with a push/pull passive switch and tone roll-off, and the woods are an ash body, redwood top, maple wenge neck and ebony fingerboard.
The tone is somewhere between Marcus and Victor when slapped and not too far from Richard Bona's Imperial... and in fingerstyle Jaco mode I play in passive and roll of the treble. Very sweet sound— think Bona ( without the flawless technique )....
Previous to this I had dual coil Barts in my bass—*no j sound and no flexibility....modern but not juicy.
. Ive noticed that pickup position (particularly the bridge) affects the tone moreso than the electronics themselves. Think 70s jazz placement. My old Spector Euro 6LX and current Sandberg Custom have gotten me reasonably close and on both the pickups are somewhat pushed towards the bridge. Then I'd pan towards the bridge and boost the highs and lows a bit. While it's not perfect it makes me happy 
