Unless noted otherwise, all trials are fingerpick using the bass specified with TI JF 344's run true stereo direct out (no pots) from each pup into seperate channels of a 2000 Polytone Mini Brute V. 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" as a rule. Pups mounted in standard P neck and J bridge position. 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. Listed pups have been ran in the following order: BARTOLINI PJs (9J-L1, P's have epoxy backing with no ID - 8S /or brighter maybe) DIMARZIO DP 126 PJs (Model P Model J set 1) SEYMOUR DUNCAN HOT P (SPB-2) HOTSTACK J (STK-J2) EMG ACTIVE PJ SET ENGLISH REFLEX SILVER SERIES ACTIVE PJs REFLEX "JP" INVERSION Page 2 FENDER PJ's (P from a 2001 MIA P and J bridge from 2001 MIA Jazz) IBANEZ GSR 200 PJ's FENDER PROPHECY III PJ's & GUTS DIMARZIO MODEL P & MODEL J (set 2 - same as DP 126) DIMARZIO MODEL P DIMARZIO ULTRA J BILL LAWRENCE EB-60P & J45 BARTOLINI ACTIVE 8TC P & ACTIVE 9E J Page 3 DIMARZIO WILLPOWER P W/ DIMARZIO MODEL J DIMARZIO WILLPOWER p W/ DIMARZIO ULTRA J - So far. ----------------------- BARTOLINI PJs (9J-L1, P's have an epoxy backing with no ID but I'd guess 8S) Synopsis: Flatpicked (basic plastic thick tortise shell electric guitar pick) on an acoustically mid range bass. Output on the Barts PJs was better than average and more so than the Bart Js at equal volume settings. The J was actually thinner with lower output at the bridge than the bridge pup in the J set test but the P pup more than made up for it. Quiet, no hum. When P at all was used, very close tones to the Bart J's run but a noticeably deeper, more full tone. Independently, the J sounded like a J and the P a P but together they were very complimentary with good range of sounds. Definitely less growl than the J set but there was no problem getting a good range of solid J tone with good volume output and same with a P tone. I have an instructional cd that uses a Fender P bass and play a few Jazz and Latin riffs out of it in the routine and the Bart P solo was right there with it. Played well to all styles by using more P pup to darken the tone to compensate for the brightness of the pick. The PJs responded with volume loss and less clarity when run into the preamps so I only played through them for a couple tunes. But for the last year I've had these PJs in a bass with a hot rodded Bart TCT preamp and it had some choice tones and good variety of sounds. Except for the response to the preamps, the PJs paralleled the J's in qaulity in every respect - ie., clear definition of tones and equal volume across the board. I've had these pups for a year or so and they're not going anywhere soon. Best sounds and versatility I've run across to date. The Reflex actually produce a broader range of useable sounds but the quality of the tone is not consistent like these Barts. The Rest of The Story Flat pic bass is an Ibanez DX 300 2 octave, Mahogany body (oops, basswood - the Schec was mahogany), and has a very slim neck. Acoustically the bass is mid range. Stuck a Schaller roller bridge on it so I could move the strings in. This bass is only routed a bit more in length than that of the stock PJ pup routings. The design of the bass wouldn't allow any more but I wanted this particular neck for flat picking. It had this set of Bart PJs already in it before the changes so I won't know which Barts these are until I pull them, not long in all probability. Startup was awkward cause it'd been at least a couple weeks since I used a flatpick, since I sold my Beatle Bass and the Schec. The DX was intended to replace the Schec but was a bit slow in the making. So I wasn't used to a pick (application - and tone they put out) or to playing a bass stuck under my chin - or so it felt at first. So this was a struggle and wasn't until I jumped back on it for a while the next day that I felt it was right. I left the amp flat but I suspect you could get usuable tones out of the J solo with tone adjustment. But with flat settings, the J by itself was too thin. I should have checked that out but didn't think of it till now. It was just natural to dial in some P to work it to music. Lots of things I like about flatpicking. One is that different picks give a different tone. Thick was selected here because it more closely approximated fingerpick tone than thinner picks I had so would yield application to a broader range music styles. I think Carole Kaye (sp?) may sell an assortment of picks of different materials. I would particularly like to explore a hard felt and wood pick.