Regarding the balance between pizz. I have a bit different perspective than some of you, probably due to the type of work I did. For context, the last pickup I used professionally was the original Realist. The closest current model is the Copperhead.
As I mentioned, I played primarily at two gain levels (low and high). The low level was used for classical style, where I was expected to blend with other bass instruments. I was playing in a concert band, which tends to be louder on average than an orchestra. I set the gain so I could hear the bass, but not really well enough to correct intonation problems. I would say that I could hear myself slightly better than when I played acoustically in a full-size symphony orchestra. I could usually hear my stand partner's bass in orchestra, but could not clearly hear my own bass.
While using the low gain setting, I felt that my pizz and arco balanced pretty well and was perfectly in context for the music.
Occassionally I used two low gain settings because sometimes we performed chamber pieces with mostly or exclusively woodwinds. This type of piece was normally significantly quieter than the full concert band, so very little volume was required from my amp. I sometimes had trouble managing the dynamic range required with these arrangements.
When I played commercial music or jazz, my role changed to bass player in the rhythm section. In this role the bass is expected to carry the ensemble, so I used a lot more gain/volume. I would say that my pizz and arco volume still balanced well, but I can't imagine a setting where I would ever play arco that loud in relation to the ensemble. It would be totally out of context and inappropriate IMHO. Also, in my experience it is next to impossible to play the bow with any sort of nuance at the volume....it's just plain obnoxious!
On rare occasions, I had to fill both roles within one composition. So sometimes I might use an intermediate gain setting. The idea is it would be slightly too much gain for classical and not as much gain as I would like for commercial. I handled the volume difference to the best of my ability with technique, meaning I played one or two dynamic levels below normal for classical, and waled on the bass a bit for the commercial stuff.
In addition to playing through an amp, I was also put through the PA. This freed me to adjust my gain more for my own needs as a player, because we had a good audio tech who I trusted to make it right in the house mix. As necessary, we coordinated and worked out whatever compromise was necessary.
