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If you're also gonna have any sorta neck PU, then knowing where
certain models of Wick put the bridge PU is meaningful only if you
also copy the neck PU location. The best example I know of just
happens to occur in the EBMM Bongo line.
On a dual PU Bongo, the bridge PU is always a humbucker, and is
located closer to the bridge than the humbucker on the single PU
[humbucker-only] version. Owning both types, I can says that it
seems like EBMM has good reason for this.
Anywho, EBMM aside, since the blending/balancing of dual PUs
essentially creates one "large aperture" PU, the size/length of
that large aperture PU should influence your decision on where
to locate the entire PU system, not just the bridge PU location.
Put another way, if the solo PU sound of a TJ at a certain close
distance vis-a-vis the bridge is a sound you need to have on tap,
then you must put that TJ in that spot ... but NOW you hafta be
equally concerned about how far toward the neck your whole PU
system extends. IOW, the neck PU position becomes equally as
important as locating the bridge PU.
Again, I'm forced to reference EBMM, whose non-StingRay type
of latest models have three PUs, so that you can "relocate" the
neck PU a the push of a button. Some of these have a SC bridge
PU and some have a bridge humbucker. Both neck PUs are SCs,
and each of all three PUs has its own on-off switch.
Enuf food-for-thought to give you indigestion !
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