Two pickups, nine-plus tones

[asmith]

In light of Roadtonever's thread, (which quoted this scheme originally by sumgai) on how to achieve the sounds from The Pezzecaster using three poles instead of four, I gave the original Pezzecaster an overhaul. Previously, the Phase Switch of the original scheme did nothing when actuated in the "Bridge only" or "Neck only" positions. We could use the extra pole to get more out of the guitar.

Please can I get other pairs of eyes to take a look, and get a check-over from the board that it does what it ought to.





Click here for a diagram of version 3. This diagram had an intentional "off" spot in Pos. 1, phase switch pulled. Still a viable diagram, although I personally prefer the latest version above.

Click here for a diagram of version 2. This diagram had issues with the "low cut" capacitor affecting position 1.

Click here for an old diagram of version 1. I spotted a mistake in my wiring.


As before, the asterisked Outputs from Position 2 indicate that the Tone Control has been moved from being a "Master" control, to only operating on the "Neck" pickup in a BxN configuration. This allows the "broadbucker" effect.



In positions 5 (Bridge only) and 1 (Neck only), the Phase switch now does different things.

In Pos. 5, pulling the Phase switch now yields a "Half-Out-Of-Phase in Parallel" sound, denoted by the asterisk next to it.⁽¹⁾ The capacitor is in series with the Neck Pickup, in order to achieve the high-end of the bassiest pick-up, and so hopefully the mids overall, being the most "out-of-phase" of the freq. spectrum.

In Pos. 1, pulling the Phase switch also yields a P-HOOP position, denoted by the double asterisk. This time the capacitor is in series with the Bridge pickup. This should only give the top-end of the freq. spectrum the out-of-phase "snap."


Thanks in advance,



A.

1) HOOP in Parallel: as far as I figure, sticking Roady's original module in series with another pickup will cause both pickups to be affected by the cap, weakening the sound even further. Series OOP with a cap in parallel with one of the pickups is already "Position 4, Phase Switch on."

---

EDIT: Spotted my own mistake in the diagram and fixed it.

EDIT: In previous versions viewable on those small links, I included a tone control which was effectively the Schaller/Framus Tone Circuit with a control pot. However, it messed up Pos. 1, adding in the Neck Pickup as the tone was turned down. Also originally left the HOOP cap's position as optional - but dictatorially, I think it will work better in its current spot.

[dannyhill]

BUMP.

Anybody check this out and/or get this working?
I'm looking to implement this, as well as 3 extra switches to permit:
N with treble roll off/B with treble roll off
SHOOP (any difference in tone where the cap goes?)
Treble and bass cuts on neck which is parallel to the bridge/Treble and bass cuts on bridge which is parallel to the neck

Do I need an S1 as well, or will just a couple of p/p DPDTs plus another DP3T get me this?
Cheers,

Daniel

[newey]

Hmmm, I don't know how no one vetted that when originally posted. I don't even recall seeing it before, although I remember the back-and-forth with roadtonever's scheme.

What I see so far looks OK, but it's off to work now- this may take some time to double-check.

I'm not entirely clear on what additions you are proposing. asmith's footnote 1 discusses the problems with SHOOP in this scheme.

N with treble roll off/B with treble roll off

Do you mean a fixed cap for both neck and bridge pickups? Or, by "roll off" do you mean something to do with the tone control?

[dannyhill]

Hi Newey!

Wrt SHOOP comment I'm trying to follow the symbology.
"Position 4, Phase Switch on."
Shouldn't that be position 2, phase switch on? Position 2 is parallel, surely?

" - N with treble roll off/B with treble roll off""

"Do you mean a fixed cap for both neck and bridge pickups? Or, by "roll off" do you mean something to do with the tone control?"
Sorry, yes I meant a fixed cap treble cut.
Have fun at work!
Cheers,

Daniel

[newey]

Well, still need to double check this fully, but I think asmith misspoke in the footnote. Position 4 is both pickups in parallel, so POOP at position 4. Position 2 is the series position.

Of course, this depends on which way one numbers the terminals, but asmith shows a legend so I'm using his terminology.

[dannyhill]

Great!
I would have 3 or potentially 4 guitars use this wiring. I realised that using a super switch and/or S1 switch, although perhaps not so intuitive would save on adding 2-3 toggles and repeat throws.
Looking forward to you checking this through.....

[dannyhill]

Actually, now I got my head around how a superswitch's lugs connect, it all checks out!
Great stuff!
By the way, in the second position with SW2 up, the SHOOP you have uses the tone pot. Most I have seen use a fixed cap from 0.001 to 0.100uF, gradually thickening up from smaller to larger cap. What will happen here with the tone pot added into the circuit?

[dannyhill]

No worries.
I modelled it.

[harryhirsch]

Hello asmith,
I would like to get the capacitor values for the caps in the drawing.
Thanks
harryhirsch

[newey]

HH-

Hello and Welcome to G-Nutz2!

asmith didn't specify any cap values, expecting that anyone using the scheme would "season to taste", so to speak.

There are three caps used in this scheme. The one shown down at the bottom of the diagram is the tone control capacitor. The value for that will vary, but .022µf is pretty standard for single-coil pickups, while .047µf is often used for HBs.

The other two caps are used for the "half out of phase" settings. Roadtonever mentioned using a .01µf for half OOP, others liked the results with a .022. Someone mentioned .033µf for a bass guitar. That should give an idea of the kind of range we're talking about, anyway.

One could experiment with different caps, or one could model the circuit to get some rough idea of how varying the cap values affects the response curve.