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J vs P output

#4
Bear in mind that this is a very subjective issue, and that, due to the very different frequency responses that the two pickups have, a P pickup will appear to sound louder simply because it delivers more sonic energy in the low-mid portion of the frequency spectrum.
 
#5

Resonant Peak EMG:
P, P5, P6 Pickup = 4.5 KHz
J, J5, J6 Pickup = 4.8 Khz


Resonant Peak Seymour Duncan
Quater Pounder J = Bridge: 3.9 KHz (bridge)
Quater Pounded P = 10.2 KHz (bridge)


BUT ALSO


Peak Output Voltage EMG:
P, P5, P6 Pickup = 1.4V
J, J5, J6 Pickup = 1.0V
 
#12
pin_head_47 said:
I realize that, but doesn't being in series affect the impedance, which affects the output as well?
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No more than a series connection on a split coil J pickup such as the Dimarzio Model, Ultra Jazz, and Sadowsky J. These J pickups are normally wired in series and have outputs compariable to single coils.

But as said series will be louder than parallel.

I look at the P pickup as just a lot more area to wind. Bigger stuff, more wire, more signal. But there are other factors that can offset the ones I just mentioned.
 
#14
DavePlaysBass said:
No more than a series connection on a split coil J pickup such as the Dimarzio Model, Ultra Jazz, and Sadowsky J. These J pickups are normally wired in series and have outputs compariable to single coils.

But as said series will be louder than parallel.

I look at the P pickup as just a lot more area to wind. Bigger stuff, more wire, more signal. But there are other factors that can offset the ones I just mentioned.
Click to expand...

Huh, I never knew those particular pups were wired in series. I always assumed they were wired in parallel just to get rid of the hum.
 
#15
P pick ups do as a rule have more output than a J, but it must also be remembered that you get more string movement in the traditional P position which in turn creates more signal. This is why even on a JJ config the neck p/up tends to be lower than the bridge p/up.
 
#16
Ezbass said:
P pick ups do as a rule have more output than a J, but it must also be remembered that you get more string movement in the traditional P position which in turn creates more signal. This is why even on a JJ config the neck p/up tends to be lower than the bridge p/up.
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Yes for 99,9% pup´s, but I must repeat that if you use Model J and your bass doesnt have enough deep cavity for pickups you can encounter problem like me-Dimarzios are extra "tall". So I couldnt put them lower like another pickups and in whole sound , J pickup was very dominant - P was in normal position not too low not to high.

It was crap, sound was perfect on E and A string but on D G it sounds thin and like treble overgained (not mean overdrived :D)

But still they are great pickups, but you have to have right bass :D

I would never think I say this but best PJ pickups for me were EMG´s....togehter they are heaven&hell, soloed they are weak.....
 
#17
SGD Lutherie said:
The Model J mixes well with a P. I had a fretless a P/J with DiMarzios back in the 80's and it sounded great.
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That's the combo I'm looking at for my P-J fretless. I'm curious how you would describe the tone: more "vintage"? or more "high-output rock and roll"? Something else? Dimarzio's descriptions are a bit vague.

I'm actually looking at that set for financial reasons; I have a friend who's a music store manager, and he'll cut me a deal on them, which is pretty attractive, if I like the pickups. If I don't like them, it's not much of a deal at all. :p

Thanks for your input.
 
#18
I'd say they are louder replacements for the originals. They are wound a bit hotter and use ceramic magnets, so they have a bit more lows and highs, but aren't what I'd call "modern". And they aren't as raw as Quarter Pounders. You've probably heard them on countless recordings and they fit right in. In the 70's everyone had a P bass, and after a while half of them had model P's installed... or so it seemed anyway. You saw those cream colored pickups all over the place. :)
 
#19
Yeah - I was one of those folks using that cream colored Dimarzio back in the 70's. Not now. I've tried a few of Dimarzio's J pickups in recent years. Maybe they would be an OK replacement or upgrade for a stock MIM - but tonally they do nothing for me. I am admittedly an unabashed fan of 'vintage 60's and 70's style J's and P's. I want that raw edgy quality they have and not the boomy overwound thing. Conrad Lozano, Harvey Brooks, Darryl Jones - that's pretty close to the sound in head so to speak... that of course colors my choice in pickups.

To me the big deal in a PJ set is striking a good balance interms of output and the basic tonality of the pickups. The P typically overwhelms the J. The J often get's overwound to compensate and over wound pickups tend to lose tonally as they acquire a larger than life low mid's presence.

I have had 2 really well done -sort of - off the shelf - PJ sets. 1. Lawrence P-46 & J-45 - very clear, almost 'transparent', kinda 'modern' sounding. 2. Aero Type 1 raw and punchy sounding. Best balance between the P&J of any vintage sounding set I've tried.

My take on it is that you are better served to save your dough and work with a custom guy on getting a well balanced PJ set that has the basic tonality you're looking for. Yes it's going to cost a bit more to start but - if you know what you are looking to accomplish and describe that well - you're probably going to end up with a set of pickups you'll stick with... HAS, SDG, Pete Biltoft at Vintage Vibe - all those guys can do it better than ANY of the off the shelf guys - because they can listen to you and build what you want. It doesn't really cost much more than stock.
 

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