Unless noted otherwise, all trials are fingerpick, using the bass specified with TI JF 344's run direct out (no pots) into a 2000 Polytone Mini Brute V with settings remaining flat (= setting of 5) - barring momentary exploration (update: flat settings didn't last long but hadn't noticed I hadn't altered this description). If two pups then ran direct out true stereo into seperate channels of the Poly. I've ran pups through various rigging and the charactistics of the pup follow it just as the acoustic tone inherent in a bass follows it. My standard pup setting is as high as they'll go without driving the strings into them, maximum 1/8." Pups mounted in standard Fender P mid-position with neckmost pup sensing E & A strings. Also all are played to the same tunes in the following styles: Reggae, blues, country, Rock - some Jazz, 60's R&B, and Latin, with a few Stanley Clarke riffs thrown in solo. The latest review is marked by ====== EFFECT OF LOCATION/ARRANGEMENT ON SPLIT P PUP TONE Pg.4 ALEMBIC P (w/Alembic preamp) Pg.4 BARTOLINI P (8S ?) Pg.1 BARTOLINI ACTIVE 8TC P Pg.4 BILL LAWRENCE EB-60 P Pg.4 CELINDER (from Classic 4) Pg.1 DIMARZIO Model P/DP 122 (from DP 126 set - pup 1) Pg.1 DIMARZIO Model P/GIBSON EBO NECK Pg.1 DIMARZIO Model P (DP 122 ran parallel - pup 2 ) Pg.3 DIMARZIO Model P (split strings pairs ran stereo - pup 2) Pg.3 DIMARZIO Model P (pup 2)w/Radio Shack Piezo Pg.3 DIMARZO Will Power Middle P (DP 146 "Billy sheehan") Pg.3 EMG active P Pg.1 FENDER 2001 MIA Pg.2 FENDER MIKE DIRNT P Pg.4 IBANEZ GSR 200 (2000 model) Pg.3 LIGHTWAVE OPTICAL (Hi-tech P - sort of) Pg.3 REVERAND 10K SPLIT P w/Note on REVERAND 8.7K ======== SEYMOURE DUNCAN Hot P Pg.1 80's SEYMOUR DUNCAN 1/4 POUND P (P position reverse Fender arrangement)Pg.4 80's SEYMOUR DUNCAN 1/4 POUND P (Bridge Position) Pg.4 80/s SEYMOUR DUNCAN 1/4 POUNDER (Mid position) Pg. 4 So far... --------------------------------------- BARTOLINI P (epoxy backing unmarked so I’m guessing 8S but they may be brighter version) Passive single wire w/ground. Loaded into an acoustically bright bass. SYNOPSIS: Output noticeably less than average. Minimal hum. Could get irritating finger transfer with the treble up but tones that worked had treble cut so was not a problem. The pup produced a good dark to upper mid “P” sound but has a predominant midrange focus. Some nice warm, rounded tones. Not much on the bottom end. Bass would fade noticeably on the E string from 3rd fret down and volume/tone in general fell off some on open strings. Some excessive brightness of the G string with treble up. No growl to speak of. Could get pretty punchy on all strings moving up the neck. Volume, sensitivity, tone, clarity, and cut were fairly even across the board except as already mentioned. Played at least passably to all the tunes and fairly well to the majority. Nothing killer but some good, solid, fun tones on a number of tunes. Hooked the NTMB up briefly. Noticeable volume drop and couldn’t get an acceptable adjustment so chucked it. In spite of that Bart hi-fi like tone typical of most of their pups, these pups still had some unrefined character that the preamp just sucked right out of them. In all, decent pup with decent tone. FLUFF: Never played just a P pup and I’m only use to using one to flavor a J in a PJ configuration. In fact this pup is out of my PJ set. To my knowledge, manufactures do not design a “P” pup only to be used in a PJ set. They are all available separately as stand alone P’s - and the J's go into a J set accordingly. Took a bit to figure out a combo but what worked for me was Bass, Mid, and Treble cut to 3 and adjusted fairly minimally out from there. Logically I’d thought if they’re all set at 3 then it should be the same with all of them flat but setting them flat made mush. Could have just been my positioning relative to the amp but that was the experience. With them set on 3, Bass or Mid rarely were altered more than a step and usually stayed the same while Treble was adjusted. Treble ran between 2 and 5 (flat). Probably the most pleasant tone was with Bass and Treble set @ 3 ½ and Mid a 3, but that didn’t work for a lot of tunes but was a decent solo sound. Boosting Bass or Mids could make tone muddy fairly quickly – especially if Treble wasn’t boosted to compensate. Also found I had to dig in to get decent tones. The fairly light touch I’m accustomed to produced a pathetically thin, boring tone that would have led to a pup change if transformation hadn’t occurred. I've since obtained a second Bart P and it sounded the same so I'm more inclined to this this was an 8S Bart.