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Post by angelodp on Jul 1, 2009 20:06:32 GMT -5
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Post by newey on Jul 1, 2009 20:44:52 GMT -5
Ange- Any choices you make are going to be compromises. Since the 2 single coils can be put in series, and since the bridge is a HB, 500K for each pot would be logical, but that might be too bright with the SCs alone selected. If both were 250K, that would be logical for the SCs, but the HB, as well as the SCs in series, might be too dark for your tastes. Your proposal of one 250K and one 500K is a compromise between the other 2 options. It's as good a call as any, it all really comes down to how bright or dark you like your sound. In other words, season to taste.  |
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Post by angelodp on Jul 1, 2009 21:32:56 GMT -5
Bright, I tend to go for bright as i have lost some of the high freq over the years.
ange
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Post by JohnH on Jul 1, 2009 21:56:01 GMT -5
If you like bright, then both 500k. Thats what I use with mixed/complicated pickup switching. Treble bleed 220k resistor and 680pF to1nF cap on the volume pot too.
If you ever find it too bright, roll the tone down, and a 500k tone pot set at 5-7 has almost exactly the same effect as having a 250k instead of a 500k for the volume pot.
John
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Post by ashcatlt on Jul 1, 2009 22:05:08 GMT -5
I'd go with 500K (or bigger) for both. You can always attenuate high frequencies (with the Tone knob, for example) if it's too bright. You can't really make up for it, though, if it's too dark.
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Post by angelodp on Jul 1, 2009 22:47:38 GMT -5
really.... as in 1 meg Vol, 500k tone, hmmmmm
ange
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Post by angelodp on Jul 1, 2009 22:51:55 GMT -5
What is the difference in wiring the tone pot in this alternate way. I have seen both ways of doing tone pots. ange   |
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Post by newey on Jul 2, 2009 5:33:39 GMT -5
Ange- I know this has been discussed in the past here, but I'm unable to find the link at present. So I'll give you my answer, which may well be subject to rapid correction- IOW, I could be dead wrong on this.  By wiring the tone cap to the wiper and the "hot" to the CCW lug (as in your alternate take), with the tone control at "10", the cap is never completely out of the circuit. It will continue to affect the tone to some degree. Therefore, if your goal is a brighter sound, you would not want to do this. |
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Post by JohnH on Jul 2, 2009 7:46:49 GMT -5
I would say that it makes no difference
John
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Post by D2o on Jul 2, 2009 8:42:55 GMT -5
really.... as in 1 meg Vol, 500k tone, hmmmmm ange Ash, is this what you are implyin'? or Ange, is this what you are inferrin'? I would have thought you might want at least the same "k" for tone as for volume. EDIT: Never mind - thinking about it a little, I guess I see that it's really two different varieties of punch with the 1 meg vol / 500 k tone. |
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Post by sumgai on Jul 2, 2009 12:48:29 GMT -5
There is no "magic" formula that pinpoints the exact values for the pots. However, the rule has already been stated correctly - the higher the pot's overall resistance, the brighter the tone will be. As newey points out, "season to taste" is the name of the game. But just to get people to stop repeating the "mantra" of 250KΩ for single coils and 500kΩ for humbuckers, I'd like to remind everyone that in the early days, Fender used 1MΩ pots in every guitar model, for both volume and tone. Most other manufacturers did the same thing. (Notably, Gibson chose to go with 500kΩ almost from the beginning. Something about jazz not needing all that bloody treble, I believe.  There are lots of theories about why the industry started using lower-valued pots - I'd guess that none of them are correct. But if you want the brightest tone possible out of your axe, then use higher valued pots, and be done with it. HTH sumgai |
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Post by sumgai on Jul 2, 2009 12:56:25 GMT -5
ange,
The two layouts you show are identical except in which terminal of the pot is connected to ground (signal return). The pot doesn't care which way it's hooked up - really!
Not to mention, it also doesn't matter whether the pot comes first and the capacitor is wired to ground (signal return) or the the two are hooked up in reverse order - it's a series circuit, and in such a case, the order of the components doesn't matter.
HTH
sumgai
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Post by newey on Jul 2, 2009 13:08:11 GMT -5
Ange-
OK, I was wrong!
As far as pot values go, it's not only ancient history to use 1MΩ pots. Fender has issued several variations on its "American Deluxe Fat Strat" which is a HSS design like yours- except it has 2 tone controls. Fender's website lists several different parts lists for these guitars, some of which use one or more 1M pots. Others use 250Ks, still others use a combination of 500K and 250K. I have no idea why there is this variation, unless it's based on different pickup designs in different models of the guitar.
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Post by angelodp on Jul 2, 2009 13:17:34 GMT -5
Ok question answered. Its circuit so the connection points ( here ) can be either or. That's interesting that the earlier fenders used 1meg ( as did Danelectro's ). I will season to taste.
Thanks again.
ange
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Post by ChrisK on Jul 2, 2009 22:45:23 GMT -5
A typical tone control is a series RC circuit. As sumgai mentions, the component order is of no matter.
However, the correct two terminals have to be used on the pot in rheostat mode (you want diminishing resistance for increased tone cut). Usually this means diminishing resistance as turned CCW.
The easiest way to verify is to look at the back of the pot and turn it the wrong way in your mind's eye.
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Post by sumgai on Jul 3, 2009 1:50:09 GMT -5
newey, The reason why Fender used 1MΩ pots for the first decade or so is easy - they were the same as what he was putting into his amplifiers. Why buy two different parts if you don't absolutely need to?  sumgai |
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