One thing I like about the Underwood even now 40 years later, after owning most of the pickup offerings out there, is that given all the sound variables of playing gigs, all the adverse variables AND the positive variables, the Underwood is very clear about what it can do and what it cannot. It excels in getting you the bassist a clear, quick , kind of compressed, laser of a sound that enables your ear to react with (not behind) the pace of the music..............When I play with the Underwood I cringe at the TONE, but I love the drive and effortlessness and the rhythmic clarity and definition.
Same here, it's got this sonic profile that sits right in the midrange and cuts through a enthusiastic drummer. Soloed, it's not a warm sound. I had one of the early ones that Don made a few at a time in his shop, before he refined the production process.
The elements were a little larger and thicker, so the pickup had a bit warmer quality. When I switched back to a newer Underwood several years later, something was not as pleasant about the new ones. Don designed the pickup to be a dual element sensor
so, I always used it that way. He did make a couple of double wafer ones that had a second set of elements encased inside the outer ones. Glen Moore and David Friesen had them, with a dual channel amp and phase reverse you could throw them in and out
of phase.