You forgot the little red Gib 'thud bass'.
The sound of throwing bricks at a concrete floor is equally as musical. and with stainless strings it's a 'thonk' combination of thud and honk.
90% of talkbass is getting everyone to the same page in the onomatopoeia thesaurus;
For those that want the clank on a jazz, the best way to get there is to understand what you are wanting. Geddy's tone is an easily recognizable one. He seems to play 'through' the string rather than just a bit of pluck, almost like a right hand bend or 'bow and arrow style'. Even without his technique a J through an SVT with the mids and highs up past 5 will add the right kind of percussive character. Running it flat even with that technique you can tell how much the amp is adding to that end result.
The thing I notice is generally the P sound has a bit more percussion on the initial part of the note, while a J kind of revs up and hits you as the note is resonating, not unlike the difference in SS vs tube amps in the 'instant' vs 'blooming' nature of the sound.
Lefty Geddy models aren't so common so I made my own (not very Geddy) version of clanky J with Ultra Jazz, Sheehan Rotos, coil splits on each pup, and a darker tone knob. Mine is also wired with a tone knob bypass and it's great to have the bright strings/dark tone combination for fills then switch to wide open tone for the chorus and unison parts. I tend to run about 3/4 full bridge & 1/4 on neck pup.
You can also go with HB pups and an out of phase switch, but I like to run the neck HB and the bridge single coil to get a different style PJ type sound out of it, where the combination of the P clank and J growl (my onomatopoeia) combine for a very usable tone in harder rock songs. This one is my drop D bass; sounds great through a B7K into a phaser or chorus.
If you want to get rid of one of the characteristic sounds of a J, you have to change your technique or EQ it out, but first you have to figure out the source.
