My review:
I recorded the opening chords of Joe Pass's version of Misty, then some cliche SRV lick above the 12th fret. I played them with the Air Norton S coils in series, parallel, then split. Then I swapped in the Satch Track and compared.
The mids of the Air Norton S really want to push your preamp into distortion, and the coils in series-humbucking have a boomy quality to the bass that I don't care for - Low Cs really rumble. With amp EQ, I'm able to get it to impersonate a Les Paul neck tone. Though a dark-sounding humbucker, the neck-facing coil on its own is surprisingly chimey, with the parallel option about 25/75 between the two. Playing solo, you can hear the difference - But in a mix, running the coils in parallel successfully apes the single-coil territory without fear of hum. I wouldn't describe it as sounding strat-like in any of the options, but they're all workhorses - I only replaced it for the sake of auditioning the Satch Track.
The first thing I noticed about the Satch Track in series-humbucking was how clear and clean the lower-output and quarter-pipe EQ curve made the jazz-chords. Thumbing single-note arpeggios brought me a pleasant surprise - To my ears, this pickup has the singing midrange of some of my favorite hollowbodies, and it translates to a Satriani-scream when cranked up.
The pickup becomes very sweet-sounding when put in single-coil or parallel; with the differences between the two much harder to pick out than with the Air Norton S. The midrange-honk is sacrificed for a Hendrix-y glassiness that begs for double-stop licks.
In short, the pickup was everything I'd hoped for, with the bonus of the series-humbucking embellishing my sorry Joe Pass impression in a flattering way. All that remains is seeing what a pain it might be to balance its relatively-low output against the Kiesel Holdsworth I have in the bridge.