Baloney Balderdash

Looks great, except for the fact that it seems to only be capable of 3/4 and 4/4, which makes it useless to me.

Wouh, these pickups sounds awesome, at least judging from the demons/samples provided on the homepage, and are quite reasonably priced too. Especially love how the bridge Mountain Lightning J sounds in the samples provided, might need to get this one for the bridge J pickup on my reverse EMG Geezer Butler P/J bass. So much snap, punch and power, but at the same time beautiful articulated clarity and definition. Sounds like it might even have me living on the bridge J alone, even if I love the tone of the neck/middle Geezer P (something the demo of the quite similarly speced Gemini Ocean Thunder P pickup confirmed for me, being my absolute favorite of the Gemini P pickups (judging from the demos provided on their homepage at least)).

Have You Seen the Saucers - Jefferson Airplane

Death :

Take Five - Dave Brubeck Quartet (written by Paul Desmond)

On note of flexibility though, quite a difference between the P Bass tone traditionally used in Soul/Motown, and then the one traditionally used in Punk. So yes, a P Bass is definitely capable of a wide variety of tones too, depending on which strings the bass has been equipped with, picking technique, position, and strength applied, whether foam mute is used or not, DI'ed or through cab, which cab, and which amp and amp settings is used, as well as what else is done to the signal after it leaves the bass.

OP doesn't really specify this, but in case they currently are utilizing floating thumb technique I wouldn't advice to sacrifice this, beside loosing the general freedom this technique gives you having to completely relearn how to do things such as proper muting (as far as I can see sacrificing floating thumb technique in favor of a fixed anchor, if this would be the case, would create more issues than it would solve). However if OP does in fact currently utilize a fixed anchor it would be the obvious answer and a sound piece of advice to just move that anchor to the P pickup. And, yeah, as otherwise suggested, just practice, and keep correcting yourself and reposition your hand over the desired picking position over the P pickup whenever you find it drifting towards the position closer to the bridge over the J pickup out of old habit. You might also want to experiment with the general position of your plucking arm, and see if there is possibly a way you can make adjustments that will make the desired picking spot over the P pickup feel easier/more natural to you.

It's true, the tone is in the spirits that lives within the wood. They communicate with your fingers and tells them where to go. Hence where the "tone is in the fingers" sentiment comes from, though really it is the spirits. The fingers are only, so to speak, the origin of tone secondhandedly.

On a more serious note, to solve the issue if you plan to keep on doing this, get a mute pedal and place it at the start of your signal chain, right after your bass. Some true bypass pedals will work for this purpose when engaged without being powered, and most true bypass pedals will if plugged in in reverse when engaged and powered, though pedals specifically made for this purpose do exist, and it would be relatively easy and cheap to make one yourself as well if you own a soldering iron and know how to solder.

Well, what I questioned was not that most pro bass players play J Basses, they probably do, what I did question was the claim that most pro bass players mainly play J Basses over P Basses.

Out of my top 12 of favorite bass players 5 of them play P or PJ basses, 2 play J (one of those plays just about as much Höfner Violin Bass, and sometimes double bass, and the other mainly plays a fretless J Bass), 1 plays double bass, and the remaining 4 play on various other non P or J pickup based electric basses. So not sure if it is actually true that a majority of pro bass player plays J basses rather than P basses, certainly not from my point of view.

Some of the sound comes from the specific design of the pickup sure, but by far predominantly the specific sound comes from the specific position of the pickup. So a bass with any random type of pickup placed in the traditional P pickup position is going to sound more like a P Bass than a bass equipped with an actual P pickup that is placed elsewhere than the traditional P bass position. Also I think you misunderstood it a bit, I don't think sound engineers/producers in general necessarily go to a length to make every bass sound like a P Bass, but most of them do prefer to work with a P Bass in the first place, because that is what most of them will have most experience with, knowing how to manipulate it to get whatever bass tone they are aiming to achieve out of it, and exactly how to make it work well in a mix, to a much higher degree than is that case with just about any other type of bass, which typically will be somewhat more out of their comfort zone.

I'm sorry, can't help you, just wanted to make you aware that there is most likely not going to be any notable difference between the two single coil positions, but of course entirely up to you whether it is worth it to you, personally I wouldn't bother. And the only really worthwhile options as far as I am concerned would just be being able to switch between having the two coils in respectively either in series or parallel connection. Though I am certain someone who knows how to is going to chime in with how to wire up what you have in mind properly, if you still want to go through with it.

I get the same if I knock on a turned on microphone with a drumstick. Any suggestions how to avoid that?

I would have though the difference between the SY-300 and SY-300 to be just about that same.

The roundwound set seems fine, but the flatwound seems really heavy and will have super high tension and be super stiff and hard to fret. Flatwounds got more tension in relation to gauge than roundwounds, and Rotosound flats are known to be extra high tension. My advice would be to get a gauge .095 to .040 flatwounds, those will be closer to the tension of the roundwound .100 to .045 string set you are planning on buying, and also I would advice getting a different brand of flatwounds than Rotosound as well. I am not really an expert on flatwounds though, so which other brand you should get instead I really have little idea of, but i am sure someone with more knowledge will chime in and suggest a good set.

Belly of the Beast - Anthrax

Check out some of Phil Jones's bass combo offerings: https://www.thomann.de/gb/solid_state_bass_combos.html?manufacturer[]=Phil Jones&gk=GIBACOTR&cme=false&filter=true

Coughing Up Tweed - Sonic Youth

D'Ad Oreo (no strings attached) D'Ad Oreo and The Biscuits Dad and The Darios Dawn of the Dads Night of the Living Dads Dead Dad Dodo Dodo Daddy-O Daddy-O and The Dodos Daddy-O and The Zeros Daddy 0

It's all analog technology though and not digital. Look up the definition of digital.

Class D is not partially digital either, not based on a CPU running binary 0s and 1s based software, and I have hard time imagining how a poweramp could possibly based on that. Try to look up the definition of digital.

Get a new set of D'Addario XL gauge .095 to .040 balanced tension (.095 - .070 - .055 - .040), and remember to give your bass a proper setup while you are at it (tons of great guides online) once you have changed the strings.