Cutting different coils for series and parallel.

I didn't get a chance to check the diagram, but have you considered that, by selecting the outermost coils in parallel and innermost in series, you may not achieve hum-cancelling, depending on the pickups used?

Both may be humcanceling, or neither may be, but check the coils first.

I assume you've seen JohnH's JP mod? Not what you're looking to do, but read what John has to say about control functioning.

How about like this:




Also, theres a few other ideas that you might be interested in:

Borsanova shuffled the switches slightly so that the bridge pup changes from local series to parallel instead of coil cut, and gets its coil cut when you also cut the neck pup:

guitarnuts2.proboards.com/index.cgi?board=nutzoid&action=display&thread=3772&page=2

I chipped in with a new wiring diagram for it, and the last version of that is reply 25. Raz59 and 4real have built this one recently.

When it came to rewire my own Gibbo LP however, I chickened out of putting in all those PP pots. I really like the firm simple action of a standard pot. So I have built a design that gets the coil cuts without changing pots, using the tone controls, and I put my S/P and phase switches on the back of the switch cover. This one is still my favorite LP wiring:

guitarnuts2.proboards.com/index.cgi?board=schem&action=display&thread=4571

It has a basic cavity wire up, then a range of interchageable switch options - of which the most basic (coil cuts only) has no new parts needed.

cheers

john

Usually, I wouldn't double post, I'd edit my previous post. But I think this 'new' development deserves a separate post.

Instead of the changed Twenty-Dual Mix, we're just going to use the original one, but I'm going to swap some volume control lugs around. In Bors's 'Mix' scheme, the Neck volume is bypassed in series mode, but we want it to work. Bridge volume works as a Bridge 'bypass' still, as in the 'original' scheme. I've got a signal route for this that ought to work. The only drawback is it'll result in 'volume coupling' on the use of the Neck volume in parallel mode, but to be fair Paul's so used to the 'standard' Gibson wiring he'll live with it.

Fine and dandy. The Broadbucker configuration's really looking like a nice idea as well - for the ones hopefully learning from this post, the Broadbucker concept is explained on the diagram in the link above, next to the 'BV.' Here's Newey re-posting Borsanova getting excited about it and explaining the concept.

This is where the problem occurs. In Borsanova's original scheme, the signal path is

Ground -> Neck Pickup -> Neck Volume & Tone -> Series Connection -> Bridge Pickup -> Bridge Volume & Tone -> Hot

The idea as sketched out numerous times being that if you turn down the Neck Tone, the Bridge trebles bypass the Neck pickup and go straight to hot.

Surely that's wrong?! In that signal path, turning down the Neck Tone would send the trebles from the Neck back to ground, effectively shorting them on the Neck pickup, leaving the Bridge pickup's full output in series heading off to the amp. To achieve the Broadbucker configuration, you'd have to go:

Ground -> Bridge Pickup -> Bridge Volume & Tone -> Series Connection -> Neck Pickup -> Neck Volume & Tone -> Hot

That way when you put the Neck tone to zero, it acts as an open gate for the trebles from the Bridge pickup to hit the Series Connection, run through to the Neck Volume & Tone and then to Hot.

I realise that guitar circuitry is based upon alternating current so that essentially the signal is 'traveling both ways.' I realise that in some cases this stuff has been built. But am I wrong, or do I need to go ahead and change the series wiring?

Last night, I wrote that previous post, racked my brains some more, turned off the computer and went to bed. As my head hit the pillow, I closed my eyes and thought:

"Of course it works both ways you pillock."

Cheers John.



There's volume coupling in parallel mode, as per usual Gibson. In series mode you can turn down either pickup and the other will still be on.

Bingo.

I don't have a TV, haven't had one for more than 40 years, but....

On occasion, at a friend's house, or in a bar somewhere, I'll look at the boob toob from time to time. One my favorite commercials in recent years was for Coors. The devilish smile a L.P.'s face tells us that he could've been a good actor, but the look on the kid's face, that's priceless! ;D

Wanna Hear my Rick's broadbucker settings?

im sure this will be great, but when there is a choice of sounds that are very similar, and one is lower noise than the other, I think it is better to suppress the sub-optimal sounds, for the sake of playing simplicity. On these JP-type designs, it is perfectly possible to have all combos with no more than a single-coil amount of hum, and have all two-coil combos nominally humcancelling. It maybe just a symptom of obessive/complusive disorder, but its nice to have it all as optimal as possible. There will be hum to some extent, due to unbalanced coils, but no more than minimum.

After postage delays and only soldering when really available, we have a sort-of finished model. But there's some kinks that need working out. (Kinks jokes here please)

We have a Seymour Duncan 59 Model as the neck pickup, and a Custom 5 in the bridge. The screw coils are towards the bridge, the slug coils towards the neck, which is how we wanted it. The pickups are uncovered, so as far as I know - which isn't particularly far - it shouldn't make a difference to the sound, but I'm including that tidbit of information in case it does. Either way, the "Seymour Duncan" text on the bridge pickup is right-way-up if the guitar rests on a stand, like this, and I think Paul is more of a sucker for that than he'd like to admit.

This was my first solder-fest in a long time. I expected problems along the way. More solder was used than I'd like - [url=http://www.google.co.uk/search?q=smug+tt]I'm only super accurate on the fretboard, ho ho ho[/url]. Common sense tells me I ought to have 'built up' to so complex a mod, but I'm not an electrical engineer first, I'm a guitarist.

After using the screwdriver test, the push/pull pots mostly do as they should to pickup selections. More on that mostly later on in this post.

The first issue we have is that I accidentally wired both the pickups 'backwards.' When selecting the single coils, the scheme selects the screw coil on the neck pickup and the slug coil on the bridge pickup - namely, the inner coils. We wanted the outer coils, to give more accentuated sounds. That's easily fixable with another afternoon of soldering.

The second issue is that I wired the Bridge Tone Control backwards. I don't know how I did this, but I know that I constantly have a tendency to double and triple-check everything, give myself the green light, and proceed to bugger up something without fail. So, this isn't unexpected.

The Neck Tone Control just doesn't seem to work. I'm suspecting a short circuit from a too-large glob of solder. Hopefully a quick fix.

The pickups being in and out of phase is very difficult to tell apart, so much so it might be my brain playing tricks on me that there is even a difference. I'm going to see if there's a short on one of the push/pull DPDT lugs from too much solder or something.

The thing that bugs me the most, and what I'd like the most feedback from here please, is that when playing, a note seems to come through the amp like so:

noteNOTE

Instead of:

NOTE

A symptom of a problem with the guitar wiring? The obvious way to check is to try the guitar with another amp - that'll be another week until we can get the guitar into another amp. Hence my request. I realise most of this post comes across as a needless update that says rather pointlessly, "I'm not finished yet."

I'm hoping one of the gurus here can read over my problems and say, "Have you thought that it might be this?" That has the potential to save me afternoons of frustration.

Gracias amigos.