|
Post by merseymale on Mar 11, 2018 0:30:28 GMT -5
I'm looking for a Wiring diagram not a pickup but I hope this is the right place! have a couple of those 4 pole SUPER SWITCHES on the way, so, has Anyone, out there, got a Wiring Diagram for an HSS 'super strat' where I can have both neck & bridge in parallel when switch is in position 3 (i.e. NO middle PuP) and with the bridge like this: digital.premierguitar.com/march-2018#!mod-garage ...when in positions 2 & 3 (or at least parallel with themselves) but either way, still in series when selector is in position 1, please? Thanks in Advance for any ideas CHEERS!
|
|
|
Post by JohnH on Mar 11, 2018 1:41:32 GMT -5
Hi MM, nice to see you again. We have advanced HSS designs, some with super switches, that can get the options you probably want. But could you spell it out a bit clearer? I couldn't see what you were refering to in the PG link.
cheers
|
|
|
Post by Yogi B on Mar 11, 2018 2:16:41 GMT -5
I couldn't see what you were referring to in the PG link. Blame Proboard's automatic URL parsing, only half the link is linkified: this ought to be better. (If not it's "The Sound of Silence", pages 114-115 [or actually 112-113], basically half-splitting an HB by inserting an R and a C between the series link and ground.)
Notable Observation: The diagram in the link is wrong: it gives half-split or full split. Or at least is wrong compared to what one would reasonably expect it to do (and what the Fender version does): full humbucker and half-split.
merseymale
You're wanting this?
- Bridge Humbucker
- Bridge half-split + middle
- Bridge half-split + neck
- middle + neck
- neck
I don't really see why you'd want the half split modes though in terms of hum-cancelling: bridge split + middle and bridge split + neck could be made hum-cancelling with the correct coil splitting -- only half-splitting the bridge means they would not.
Therefore I'm guessing that this is more about getting a more convincing single coil sound when the bridge is split?
|
|
|
Post by merseymale on Mar 11, 2018 7:01:32 GMT -5
Hello again JohnH & thanks again for all your help!
I'm including the relevant parts of the link at the end of this post but if Yogi B is right (& I'm beginning to see what he's getting at, I think...) then that's not an ideal situation anyway!
Yep, Yogi B, that's it in a nutshell OR at least in my newly foil-lined bargain swap Strat!
"The 0.1 µF capacitor and standard 1.5k-ohm resistor rang a bell. After analyzing the wiring more closely, I realized what we had here: an adaptation of a wiring Bill Lawrence developed in the late ’80s. Though this isn’t new, it remains a very effective hum-reducing scheme. Let’s see how it works and what it’s doing.
When splitting a humbucker to emulate single-coil tone, one of the coils will typically be shunted to ground, leaving the other coil active with all the hum and noise that’s associated with a single-coil pickup. That holds true for this specific wiring, but the two humbucker wires that are wrapped together are not directly connected to ground. Instead, they run through an additional RC network (0.1 µF C plus 1.5k R in series). In this network, the capacitor plays the most important role. The cap shifts the resonance frequency of the coil that’s sent to ground, moving it down to near the typical 50/60 Hz hum territory. But that’s not all—it also shorts out the frequencies we hear as tone. For the hum frequencies, the coil that’s sent to ground is still active, but the tone frequencies—those located above the hum frequencies—no longer exist. In layman’s terms: The pickup still operates like a humbucker (i.e., both coils are active) in the frequency realm of hum and noise. Yet for all tone frequencies, we’re essentially in single-coil mode.
The additional resistor mutes the superelevation resonance of the coil that’s sent to ground. So this clever little trick works much like a “virtual dummy coil” when the humbucker is in split mode.
In a way, we can say we’re abusing one of the coils by diminishing the mids and treble using a series RC network connected in parallel to the coil. The coil still “sees” the bass and hum and noise frequencies, and acts like a virtual dummy coil with the other fully active coil. This was Bill Lawrence’s basic idea that Fender adapted to their wiring for this Jazzmaster.
As always with analog technology, there’s no distinct separation at, say, 70 Hz. The virtual dummy coil covers the whole range of hum frequencies, but is also partly active above these frequencies, and it uncouples slowly... so to create credible single-coil tone, the mids and treble must be uncoupled.
The resistor is important because it allows an even transition when uncoupling the capacitor, so both components work together. This interdependence opens the door to experimentation!
Let’s see what it takes to transfer this special Jazzmaster wiring to your humbucker-equipped guitar. We’ll do this by transferring the S-1 switching matrix to a push/pull or push/push volume pot with a common DPDT switch that’s connected to a humbucker for splitting"
(I AM GOING TO TRY TO FIND A WAY TO ADD DIRK WACKER's DIAGRAM HERE...)
"Basically, we can influence three parameters with the values of the two components: • The voicing of the single-coil emulation (governed by the cap’s value). • Hum-cancelling effectiveness (governed by the cap’s value). • Voicing of the cap’s uncoupling range (governed by the resistor’s value). So as not to bore you with analog-system theory, I’ll simplify some explanations that aren’t critical to this mod. One common question is about the order used to connect the cap and the resistor in series. Actually, it doesn’t matter, but from a theoretical point of view, electromagnetic compatibility (EMC) states the cap should be connected to ground as shown in Image 2. I’m using the Seymour Duncan humbucker color code for this illustration. Let’s see what happens when you tinker with the values of the two components:
Resistor. Fender’s 1.5k resistor creates a little hole (about -5 dB) in the mids, at around 2 kHz. Depending on the pickups and the amp, this can sound good. But when using Fender blackface amps, this isn’t as desirable because of their inherent scooped midrange. Increasing the resistor value to 3.5k will eliminate the little hole in the mid frequencies. My personal favorite value is 3.9k ohm, which yields absolutely no mid hole. If you want more choices, you can wire a switch with two different resistors (for example, 1.5k and 3.9k) or use a 5k linear pot for a stepless control of this factor.
Capacitor. The cap’s capacitance lets us influence two factors, and we can deduce a relationship between them: 1. The smaller the capacitance, the better the hum-cancelling feature. 2. The higher the capacitance, the better the single-coil emulation. Here’s a way to understand the cap’s function in this wiring: As the cap’s value drops to zero, it’s effectiveness is reduced. Zero capacitance is the same as using this wiring with no cap at all. With very high capacitance values, the coil will be shorted out more and more, until it is completely shorted, leaving only one coil still active. A good range of cap values is from 0.01 µF up to 0.1 µF. You can use these—and everything in between—to balance the relationship between hum-cancelling and tone. The Fender value of 0.1 µF will result in maximum single-coil-like tone with a bit of hum cancelling—still much more than without the additional RC network. A 0.01 µF cap will result in a very high hum-cancelling ability (almost 40 dB), but with a tone that’s quite fat and closer to a humbucker than a single-coil (think P-90 through a warm tube amp). Explore these cap values, combined with resistor values from 1.5k up to 5k ohm, to dial in the midrange behavior. This will keep you busy for hours! For even more flexibility, you can implement a rotary switch with several cap values and a switch to turn the complete RC network on or off. All this can be applied to our Fender wiring. Its stock values guarantee maximum single-coil emulation, but the downside—perhaps not for you—is less hum-cancelling and a tone that exhibits a midrange scoop. I think changing the values to a 3.9k resistor with a 0.047 µF cap will result in an authentic single-coil-like tone with no midrange cut, but with the benefit of greater resistance to hum and noise. In the end, it’s about finding the right compromise, so experiment with the values of these two components to find a tone you love"
|
|
|
Post by merseymale on Mar 11, 2018 7:10:16 GMT -5
Can't seem to add photos? (Anyone know another way as I'm not used to DropBox really...) But I think this link might work: www.dropbox.com/sh/xs1xg
|
|
|
Post by newey on Mar 11, 2018 7:45:23 GMT -5
Your dropbox link doesn't work. Use the button marked "add image to post" located in the upper right of the "create Post" box.
|
|
|
Post by thetragichero on Mar 11, 2018 10:59:42 GMT -5
oooooh i have a guitar setup for high gain metal that this would be fantastic on the bridge hb (as it is, the coil cut switch is never used) thank you!
|
|
|
Post by JohnH on Mar 11, 2018 14:12:35 GMT -5
I'm getting the idea now. Ive tried a few half-splitting schemes myself, and I found they can be a good alternative to a full split particularly on a bridge Hb. Its worth trying a few values. My LP ended up with a 0.047uF cap across one coil, and it keeps a bit more weight in the tone than full split. My neck Hb I preferred full split. I've also tried it with resistors but never resistor plus cap - we should analyse it because I bet no one ever has. I've also tried caps from 0.022 up to 0.22uF.
I suggest to pick the arrangement on tone, and don't hold out for too much benefit from hum cancelling. From what I found, it may help a little of the 60/50hz, but not the higher frequency buzzes that can go with it.
|
|
|
Post by merseymale on Mar 12, 2018 0:12:26 GMT -5
Your dropbox link doesn't work. Use the button marked "add image to post" located in the upper right of the "create Post" box. Just can't see that at all -I'm using an iPhone for all this & not a PC so maybe that's the problem?
|
|
|
Post by merseymale on Mar 12, 2018 0:16:49 GMT -5
I'm getting the idea now. Ive tried a few half-splitting schemes myself, and I found they can be a good alternative to a full split particularly on a bridge Hb. Its worth trying a few values. My LP ended up with a 0.047uF cap across one coil, and it keeps a bit more weight in the tone than full split. My neck Hb I preferred full split. I've also tried it with resistors but never resistor plus cap - we should analyse it because I bet no one ever has. I've also tried caps from 0.022 up to 0.22uF. I suggest to pick the arrangement on tone, and don't hold out for too much benefit from hum cancelling. From what I found, it may help a little of the 60/50hz, but not the higher frequency buzzes that can go with it. Cool but can that Lawrence/Fender SemiSplit be available with the 4pole OakG SUPER SWITCH? It'll be fun experimenting with caps&resistors to tune-the-tone!
|
|
|
Post by JohnH on Mar 12, 2018 0:46:35 GMT -5
Yes a 4pole superswitch has plenty of poles to select any combination of pickups in parallel, with the Bridge hb split or half split or not split as you wish in each position.
|
|
|
Post by merseymale on Mar 12, 2018 11:47:23 GMT -5
Yes a 4pole superswitch has plenty of poles to select any combination of pickups in parallel, with the Bridge hb split or half split or not split as you wish in each position. That's great to know👍 Now that my switches have been delivered can you please point me to a diagram that has: 1)B H/B 2)B(fender/lawrence)+M 3)B(fender/lawrence)+N 4)M+N 5)N ...Please? Thanks in Advance🙂
|
|
|
Post by merseymale on Mar 12, 2018 12:48:57 GMT -5
You know, now that I think about it, after having experimented with Series switches and Phase switches and the like & based on my own opinions of where their strengths & weaknesses lie on different pickups & various positions, I can imagine that, on an HSS style Strat, it would be an easy few steps to double the usable tones.
IF I can locate a Wiring Diagram that can achieve:
1)B H/B 2)B(fender/lawrence)+M 3)B(fender/lawrence)+N 4)M+N 5)N
(Where fender/lawrence is the network used on the Bridge 'bucker to achieve an acceptable, switchable, non-brittle Single Coil tone at the bridge and '+' means Parallel)
All you'd need is to put a Series switch after the Bridge PickUp & a Phase switch after the Neck PickUp & you have the following:
B H/B. that good strong lead tone B(fender/lawrence)+M. a nice clear tone- many people will be happy to live right here?
B(fender/lawrence)+N. not quite Strat & not quite Tele but still a Fender tone!
M+N. you know it/ya love it
N. as warm as you'd want your Strat.
B(fender/lawrence) in series with M. another strong lead tone AND it's right next to that other one too!
B(fender/lawrence) in series with N. NOW we gettin Tele-ish? it's as if Gibson built a Broadcaster! Good Rhythm.
B(fender/lawrence) out of Phase with N. it's hollow but it sits in the mix
M out of Phase with N. Funky!
B(fender/lawrence) in Series AND out of Phase with N. admittedly THIS might be too much the 'wild card'. Though some have a Danelectro as their main axe, so...
All in All, there are 10 different tones using 3 switches & not even changing the visual layout of the Strat if 2 of the tones are Push/Pull.
Of course ALL this is moot if I can't find a Wiring Diagram that has can accommodate the original 5 I've proposed!!
Heck, throw in another Push/Pull on the Vol & there's your Passing Lane/Blow Switch! &Why not make those tones a G&L style Bass Cut & Treble Cut & you've got the only passive strat you'll EVER need?!
|
|
|
Post by merseymale on Mar 12, 2018 12:56:08 GMT -5
(P l e a s e forgive my Brainstorm, above but I believe it does illustrate that IF we can come up with a Wiring Diagram that can achieve:
1)B H/B 2)B(fender/lawrence)+M 3)B(fender/lawrence)+N 4)M+N 5)N
(i.e: the original 5 I've proposed)
Then we'll have a really useful 'canvas' that can be a start for various other 'modules' to be added onto, I reckon 👍
|
|
|
Post by JohnH on Mar 12, 2018 14:07:54 GMT -5
Your basic 5 is a simple design, although it isn't drawn just yet. But If you are interested in adding the series and phase options, then best to start with that intent. This design is very close to what it could be: Strat SP hssIt has the N and B at each end and each pair BM, BN, NM in the middle three. There's a series/parallel switch, a phase switch and a coil cut switch, all designed for optimum humcancelling. All that would be needed if you want the half coil-cuts instead of full coil cuts is to insert a cap and resistor in the coil-cut switch. This is not a bad option because its a starting point that has been built and tested.
|
|
|
Post by merseymale on Mar 12, 2018 17:53:48 GMT -5
Your basic 5 is a simple design, although it isn't drawn just yet. But If you are interested in adding the series and phase options, then best to start with that intent. This design is very close to what it could be: Strat SP hssIt has the N and B at each end and each pair BM, BN, NM in the middle three. There's a series/parallel switch, a phase switch and a coil cut switch, all designed for optimum humcancelling. All that would be needed if you want the half coil-cuts instead of full coil cuts is to insert a cap and resistor in the coil-cut switch. This is not a bad option because its a starting point that has been built and tested. Righto! That IS amazing -no doubt about it! Just 2 points: Can the DPDT in the fender/lawrence diagram replace the 'SPST' implied in your link? Can my (currently) fictional wiring be considered a stripped-down version of yours? In which case what do I need to take away from your wiring to make it mine? I can imagine that the following link: www.seymourduncan.com/blog/the-tone-garage/guitar-wiring-explored-introducing-the-super-switch-part-1...once A master volume/tonal arrangement can be forced on it (how would I do that exactly…? I suppose I could link the yellow wires to ALL common tabs?) would be Very Close to it too, as would: www.seymourduncan.com/blog/the-tone-garage/my-versatile-hss-wiring-schemeBut I'm not too sure how to proceed with that Cap&Resistor network on the Bridge PickUp...
|
|
|
Post by merseymale on Mar 12, 2018 18:11:02 GMT -5
I couldn't see what you were referring to in the PG link. Blame Proboard's automatic URL parsing, only half the link is linkified: this ought to be better. (If not it's "The Sound of Silence", pages 114-115 [or actually 112-113], basically half-splitting an HB by inserting an R and a C between the series link and ground.)
Notable Observation: The diagram in the link is wrong: it gives half-split or full split. Or at least is wrong compared to what one would reasonably expect it to do (and what the Fender version does): full humbucker and half-split.
merseymale
You're wanting this?
- Bridge Humbucker
- Bridge half-split + middle
- Bridge half-split + neck
- middle + neck
- neck
I don't really see why you'd want the half split modes though in terms of hum-cancelling: bridge split + middle and bridge split + neck could be made hum-cancelling with the correct coil splitting -- only half-splitting the bridge means they would not.
Therefore I'm guessing that this is more about getting a more convincing single coil sound when the bridge is split?Actually, now I have another look at my original link: this ought to be better...from my first post (the one that Yogi B helpfully fixed!) I can see that, as there are only two poles of the DPDT used -& they're common to each other- it IS, essentially, a SPST anyhoo! However I am still a touch troubled by Yogi B's pointing out: "Notable Observation: The diagram in the link is wrong: it gives half-split or full split. Or at least is wrong compared to what one would reasonably expect it to do (and what the Fender version does): full humbucker and half-split" as it's the "...reasonably expect it to do (and what the Fender version does): full humbucker and half-split" that I'm needing & I can't quite see what Yogi B is getting at, now, when I compare BOTH diagrams in that link (although, oddly enough, I thought I could when Yogi B 1st pointed it out)
|
|
|
Post by Yogi B on Mar 12, 2018 19:23:14 GMT -5
I can't quite see what Yogi B is getting at, now, when I compare BOTH diagrams in that link (although, oddly enough, I thought I could when Yogi B 1st pointed it out) In Dirk's diagram (the push-pull version): Pushed (upper terminals connected, as it's orientated in the diagram) :The switch isn't connecting anything additional, thus the series link is grounded via the resistor and capacitor i.e. one coil (the north as drawn) has the RC network in parallel with it -- the HB is half-split.Pulled:The switch is shorting the resistor and capacitor by connecting the series link directly to ground i.e. the north coil is completely shorted -- the HB is fully split.It doesn't really matter since you're not directly using that diagram, you just have to know that in order to half-split a humbucker you need the RC network in parallel with one of the coils. Plus as usual with coil splitting a bridge pickup an important consideration is which coil you're (half) shutting off. Normally people prefer to shut off the coil closest to the bridge, which would be the South coil assuming standard orientations -- not the north coil as shown in Dirk's diagram (I don't know which coil's the Fender diagram shunts without knowing how the wire colours correspond to the humbuckers' coils). Further Observation: It seems odd to me why someone would want to split "Wide Range" style humbuckers, as in that article, surely that would throw off the regular string balance when split? Perhaps trying to avoid that is why Fender employed the half-splitting in the first place?
|
|
|
Post by JohnH on Mar 12, 2018 20:24:12 GMT -5
That Strat SP hss scheme can be adapted to do the half splits with cap and resistor, when Sw3 is pulled. In that case the split will happen in all positions involving the bridge bucker. Its not set up though, to do the split just at pos 2 and 3 and not 1, using just the 5 way.
If you ultimately want the series and phase features, best to just build it all but the fade and tone control action might be reviewed.The fade is for reducing one pickup when in series mode. Maybe instead you might like it to affect the gradual splitting of the bridge?
btw. wrt to Dirk Wackers articles. Let me know if you find one that is correct. Ive never seen one yet.
|
|
|
Post by merseymale on Mar 12, 2018 20:45:13 GMT -5
Yup I must confess to being bewildered by Dirk Wacker! On the one hand he is obviously at the cutting-edge of modding & certainly seems knowledgeable but then goes on to publish deliberately(?) in error I've put what I think is a valid correction -thanks to Yogi B for pointing things out, BTW- over here: guitarnuts2.proboards.com/thread/8221/vari-tap-2...does that seem correct? If so then I just need to know HOW to intergrate that with a 4pole/5way AND still have a Full, Series HumBucker in Position 1 on the Super Switch Anyone Any ideas?
|
|
|
Post by merseymale on Mar 12, 2018 23:28:09 GMT -5
Trawling thru Google Images & I found this wiring I've not tried it but from the look of it am I right in thinking it offers the 2 distinct points I've previously mentioned for an HSS wiring? Namely B + M in position 3(no solo Midd PuP) and a coil tap Bridge PuP at position 2&3? Ignoring the tones for a minute is it CLOSE? If so then I think I know enough to 'tweak' it!
|
|
|
Post by merseymale on Mar 12, 2018 23:36:14 GMT -5
Your dropbox link doesn't work. Use the button marked "add image to post" located in the upper right of the "create Post" box. Sorted Out the photo posting! -thanks Newey
|
|
|
Post by merseymale on Mar 13, 2018 0:15:22 GMT -5
Your dropbox link doesn't work. Use the button marked "add image to post" located in the upper right of the "create Post" box. Sorted Out the photo posting! -thanks Newey -S I G H!- so this is a ScreeShot this from YouTube & it's yet another variation! I'm getting too lost here... I'll wait in hope to see if others can find a Wiring Diagram? Thanks everyone for your time & I'll keep trying to work one out but till then keep me posted if you discover a way of having: Neck Neck+Midd Neck+Bridge(fender/lawrence) Bridge(fender/Lawrence)+Midd Bridge(series)HB
|
|
|
Post by JohnH on Mar 13, 2018 2:08:04 GMT -5
The coloured complete wiring from google has some of what you want but its got mistakes too like the humbucker is split in what should be just n+m. It also has skme split/dummy-coil thing happening on m and n with their red wires.
But your diagram could be like that in terms of general approach. You can put the 0.1nF and !.5k in tbe split circuit (red/white there). Its not well set up for going to a series mode later though. Also, did you want a seperate switch for the half splitting? or do you want the 5 way to do if by default in pos 2 and 3 buf not 1?. How do you want tone controls to act? What makes of pickups do you have?
|
|
|
Post by merseymale on Mar 13, 2018 4:16:50 GMT -5
The coloured complete wiring from google has some of what you want but its got mistakes too like the humbucker is split in what should be just n+m. It also has skme split/dummy-coil thing happening on m and n with their red wires. But your diagram could be like that in terms of general approach. You can put the 0.1nF and !.5k in tbe split circuit (red/white there). Its not well set up for going to a series mode later though. Also, did you want a seperate switch for the half splitting? or do you want the 5 way to do if by default in pos 2 and 3 buf not 1?. How do you want tone controls to act? What makes of pickups do you have? Thanks for pointing out those disrepancies👍 DiMarzio PAF pro and two Texas specials SuperSwitch 500k Vols & Tones Various Caps & Resistors...etc. At minimum I still want an HSS with no Midd PuP(don't seem to ever use it on SSSs so I can't imagine suddenly wanting that 'meh' tone now); a Series Bridge 'Bucker; a Bridge S.C parallel with a Neck S.C; also a solo Neck S.C at the other end of the Switch & those 2 inbetween Strat tones @ positions 2&4. I'd be happy enough with just that TBH but I admit I do find a 'Passing Lane/Pot By-Pass' on the Volume Pot useful & I tend to hardly ever use the 2tones on Strats & Les Paul's (do use tone on teles though) & I am as intrigued by the G&L master Bass/Treble cut as I am by this new(to me!) fender/lawrence 'tuneable' split & this might be just the guitar to try that out on. I'm not overly fond of TOTALLY split HumBuckers -except, perhaps at the neck- as, when I've tried them, they've sounded sorta brittle? I've never owned an HSS but I now got enough parts to assemble one. I often put a treble bleed network on Volumes but if I have a 'blow switch' kinda thing on the volume then there'd be less of a use for it? I want something different than what I've got, basically & I want useable tones, easily got at, over an 'all-singing-all-dancing' Mega Axe but even so, I think my ideas, mentioned earlier in this thread, of a potentially bright sounding phase option for the 2 Neck PickUp mixes and a potentially thicker sounding Series option for the 2 Bridge PickUp mixes would be fun but as I say the main thing is to have some sort of HSS that has a 5way that goes: 1)B H/B 2)B(fender/lawrence)+M 3)B(fender/lawrence)+N 4)M+N 5)N (Where fender/lawrence is the revised 'Wacker network' used on the Bridge 'bucker to achieve an acceptable, switchable, non-brittle Single Coil tone at the bridge and '+' means Parallel)
|
|
|
Post by merseymale on Mar 13, 2018 4:22:29 GMT -5
P.S: I don't want to have to mess with another Switch after working the 5way just to do the fender/lawrence thing on mixes that use the Bridge PuP & then have to switch it back when I want the Bridge PuP alone.
That means sacrificing a Bridge S.C sound but I've put together a Strat style SSS guitar that does that fine👍
|
|
|
Post by merseymale on Mar 13, 2018 4:39:13 GMT -5
P.P.S: If I've the choice of EITHER a Phase Switch on the Neck S.C OR a Series Switch at the Bridge then I'd prefer the Phase Switch BUT as I say, I don't HAVE to have either as long as there is a 5way that easily gets:
1)B H/B
2)B(fender/lawrence) in Parallel with M
3)B(fender/lawrence) in Parallel with N
4)M in Parallel with N
5)N
|
|
|
Post by JohnH on Mar 13, 2018 6:48:13 GMT -5
Sounds like a plan.
So you could have your 5 sounds that you want, with PTB tone wiring - That would be a good system.
I can sketch that out in the next few days unless someone else wants to do it.
Could you work out some magnet polarities?. ie, what are the wire colours on your DiMarzio humbucker that go to the coil which is attracted to the neck pickup when placed face to face?
|
|
|
Post by merseymale on Mar 13, 2018 7:51:12 GMT -5
Sounds like a plan. So you could have your 5 sounds that you want, with PTB tone wiring - That would be a good system. I can sketch that out in the next few days unless someone else wants to do it. Could you work out some magnet polarities?. ie, what are the wire colours on your DiMarzio humbucker that go to the coil which is attracted to the neck pickup when placed face to face? Will sort that out ASAP! Thanks again for your help 🙂
|
|
|
Post by merseymale on Mar 13, 2018 8:49:38 GMT -5
Sounds like a plan. So you could have your 5 sounds that you want, with PTB tone wiring - That would be a good system. I can sketch that out in the next few days unless someone else wants to do it. Could you work out some magnet polarities?. ie, what are the wire colours on your DiMarzio humbucker that go to the coil which is attracted to the neck pickup when placed face to face? HumBucker leads: Red Black Green White Earth SLUG(R&B): 4.1k SCREW(G&W):4.2k Screw Coil:N O R T H Slug Coil:SOUTH Midd: 7.90k-SOUTH Yellow:EARTH White: H O T Neck: 7.50-N O R T H Red: EARTH White: H O T
|
|