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Post by newey on May 16, 2024 11:28:32 GMT -5
stevebruin- You can send the member a PM but they won't see it unless they either log in or have email notifications set up. You can tag the person, as you did with me above, the person will see that when they log in. But they'll see the PM at the same time. frets logs in pretty regularly but not daily. If she has her email address in her profile, you can email her which she might see quicker. The only advantage I can see to having both V and T on a single pot is to avoid another hole in the guitar. But a concentric pot with a separate knob would take care of that as well. The idea of a single knob for both, it seems to me, would work better with a dual gang pot, although dual-gang pots with a push/pull are pretty rare items. With just one gang in the pot, you could set a volume level, pull up to set a tone, but if you than push it in again, the volume is going to be at the level where you set the tone control.
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Post by newey on May 15, 2024 21:47:59 GMT -5
stevebruin- Hello and Welcome to G-Nutz2!frets and Jack TriPpEr got into a discussion on drawing software and apparently no one actually looked at the diagram. Perhaps frets can shed some light. It is also helpful, with any switch but especially with rotary switches, to number the lugs. It makes tracing things out a whole lot easier.
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Post by newey on May 15, 2024 19:14:55 GMT -5
fuzzface25- Hello and Welcome to G-Nutz2!I don't have any good answers off the top of my head, but I'm sure someone will be along. Has the guitar been rewired or modified in the past, or is it as it was from the factory? Was it working at one point, and then something changed? Also, there are several different ways of wiring a guitar for stereo output. We're probably going to need a diagram of the guitar's current wiring. But we'll try to get you at least pointed in a likely direction.
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Post by newey on May 13, 2024 11:20:45 GMT -5
I'm surprised that I've been unable to find any examples or discussion online of people using the bottom coil of an Area stack for cancelling hum on other pickups in the guitar, whether those are split humbuckers or traditional singles. It seems so obvious that I feel like I might be missing something? Good question, but I think it is that, even though the lower coil is buried underneath, it will still sens the strings to a certain extent, and therefore won't sound exactly like a HB coil split by itself. Certainly the desire for hum-cancelling posiitons only is worthwhile. It may be a few days before I can look deeper at this and see if there will be a dead spot issue with the P/Ps both up. Would I be correct in assuming that the 3-way switch is the same configuration as the std Gibson-style toggle, with three solder lugs?
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Post by newey on May 13, 2024 5:38:18 GMT -5
OK, this is a bit confusing because it looks like Peavey has a different color scheme for the neck pickup than for the bridge. This is probably done because the pickups are a matched set, where the neck pickup is wound differently than the bridge, so different wire colors are used to distinguish the two.
We have a wire color chart in the References section, and it lists Peavey, but these colors don't seem to correspond with the reference, and I'm not sure that the location of the wires coming out of the pickup gives a clue as to which coil is which.
Per the chart in our references, Peavey colors are listed as:
Black- North Start White- North Finish Red- South Start Green-South Finish
(the bare wire is always a ground for the pickup frame and is always grounded)
From the diagram, I see:
Neck Pickup:
Red to output (presumably, it's South start but not sure) Blue- presumably South Finish, in place of the green, but again, not sure White- North Start- again presumably Black- to ground, presumably North Finish
Bridge, I get:
Red to output Gray to ground
White and green connect together, so presumably its red/white and green/gray for the two coils.
To be sure which coil is which, we'll need to get further into this diagram, I didn't have time to go through the whole thing as I'm off to work at the moment. Let's let someone else chime in as I'm not certain.
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Post by newey on May 12, 2024 21:43:28 GMT -5
Does this seem like a sound approach? I'm having trouble understanding what would happen if I split both humbuckers simultaneously, or if I had both push-pulls for a given humbucker up. We'll have to put pen to paper to know for sure, but I think "Both up" mode might be a problem. But, I note that your proposal doesn't have the Area by itself as an option, so if pulling both push/pulls up for both HBs cuts the HBs out, then I think in the center position of the 3-way, you'd get the Area by itself. Maybe? Maybe not a bug but a feature?
Assuming this all can be done, you may also find the guitar to be overly "switchy", but the exercise to try all the different possibilities can be useful. Probably better for studio work than stage. My 4-pickup Strat build has some neat tones, but trying to remember how to get to the various settings can be a challenge.
You may also find that not all of these combinations sound distinctively different. Many of the members here built the "all everything" axe at some point, but then wired their next guitar with just the ones that they liked best and used most.
Another option, just to throw this out there, would be to wire each HB in what we call a "binary tree" scheme. Using the 2 push/pulls for each HB, both push/pulls down gives the usual series humbucker, both up gives you the HB coils in parallel; Vol. up, Tone down gives the N coil, tone down, Vol up gives the south coil.
If you replaced one of the mini toggles with a DPDT On-On-On switch, the Area could then be switched from the stack to either of its coils. The other mini toggle (if it's a DPDT On-On) could then be used as a "neck on" switch to turn the neck pickup "on" in conjunction with whatever is selected by the 3-way toggle. This then gives you not only the N + B (and you could chose either coil alone, parallel HB or series HB for each one). It also allows for all 3 pickups to be "On" together.
Will this be overly "switchy". Maybe, I guess it depends on one's intended uses and personal tastes. Also, this way will make some combos that will not be hum-cancelling. But you'll have pretty much all the possibilities to play around with.
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Post by newey on May 12, 2024 11:42:43 GMT -5
dday- Hello and Welcome to G-Nutz2!4 concentric pots; 1 for eack pickup and 1 master(each using pull/top tone and push/bottom volume). I'm sure we can put our heads together and come up with a diagram for you, but first, I'm not clear on why the concentric pots need to be push/pull pots? Concentric V and T pots for each pickup, I got that, but what are the switches doing? In any event, a couple of considerations. First, I suggest you source those parts first- the only concentric push/pull pots I've seen are pretty pricey. And I've seen concentric 250K/500K ones, I don't recall seeing 500K/500K ones. Also consider that, when you have the N and B pickups together on the 3-way switch, with a master V and T after all that, you'll have 6 pots in the circuit, which can muddy the tone quite a bit. Add the middle pickup, and you've got 8 pots in the circuit- I doubt you'll like the results with that many. No-load pots would ease the problem, but I don't recall seeing any concentric no-loads. As for the diagram, it's a little complex because of all the pots, but if you break it down, basically the wiring from each pickup to its V and T pots will be identical for each pickup, it's just like the V and T wiring for any 2 HB guitar with separate pots, like an LP. The output from the V pot for each HB goes to the 3-way, and then to the jack as with any 3-way toggle switch wiring scheme. The mid P90's output goes to the mini On-Off, then to the jack. Again, we can help with a diagram, might take a few days. But if your game to try your hand, you can work up a preliminary diagram and we'll make any necessary corrections. Just so we're clear, your order of components for each of the 3 pickups will be: Pickup >>>>>V and T pots>>>>>pickup switch>>>>>output jack
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Post by newey on May 9, 2024 17:17:18 GMT -5
I second all of the above. I don't know if you had considered this, but SD's "Triple Shot" pickup rings are tailor made for the P-rails. Two small slide switches give you eithe rhe rail or the P90 coil by itself, or combined both in series or both in parallel. No body mods needed to mount them, either. The downside is the switches are tiny, not great for switching mid-tune. And of course there's the cost. But I thought you might want to consider that option.
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Post by newey on May 9, 2024 11:16:48 GMT -5
No resistor would be needed to do this. Ever play a Fender Esquire? It uses just a cap in one position of the 3-way switch, no resistor. I have a guitar wired this way, using a .033µf cap for what Fender used to describe as a "fixed Bassy sound". It's basically like turning the tone control to "0". Using a smaller cap value, as you suggest, will cut less of the high end. .01µf is what folks often use for the Clapton "woman tone".
A cap only shunts a portion of the signal (in your example, the highs) to ground. A resistor will reduce the output across all frequencies uniformly. Usually, a cap and resistor combo like you desrcibe is used when one wants to equalize the output of 2 disparate coils, whether with a cap or not.
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Post by newey on May 9, 2024 5:20:37 GMT -5
chrisdurham- The diagram is good, so I suspect a bad connection in there somewhere, probably a bad ground from the split switch. The quick, "down and dirty" fix is to hit all your solder joint again with your iron and remelt the connections. That will often fix a bad connection. Also, wiggling the wires a bit will often disclose a bad solder joint. If that doesn't work, more extensive troubleshooting will be needed. This is one of those things where having eyes on it helps a lot; it is difficult to diagnose wiring issues over the web whereas a quick look might disclose a problem. So, I suggest the above methods first.
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Post by newey on May 8, 2024 17:35:23 GMT -5
It makes me wonder if a head stock mounted piezo could produce enough juice to avoid the need for a pre-amp, but running the wire up there, maybe through the truss rod shaft, would be tricky business. I don't know how much effort you want to make to play around with this "silly idea" and it would mean mounting more pieces to the headstock, but my first thought was "wireless". Mount the piezo to the headstock, run it into a 9v battery preamp, then into a wireless transmitter. You might even be able to power the transmitter and the preamp off the same battery. If you wanted to fancy it up, the whole thing could probably go into a small enclosure mounted to the headstock. You might even get away with omitting the preamp with the wireless signal. We have had folks build guitars with piezos without a preamp, the difference in levels makes it hard to mix it with a mag pickup, but if you're using the piezo by itself you can crank the amp up and get an OK acoustic sound. A preamp does help, though. Another route that was discussed, not sure if it was ever actually built or not, is to run the piezo through an external preamp in a stompbox, using it to switch between mag and piezo and preamping the piezo, zero gain buffer for the mag pickups. Just spitballin' here, ya unnerstand . . .
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Post by newey on May 7, 2024 8:36:01 GMT -5
I guess there's no real disadvantage to splitting this way rather than sending to ground? We have had folks suggest over the years that shorting a coil to itself somehow affects things adversely, but I think that has pretty well been debunked here. I've split coils both ways and never heard any difference.
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Post by newey on May 7, 2024 4:58:24 GMT -5
I'm saying that in order to have a north split / series / south split on a three way, for the south split you have to allow either the green or red to go to hot, but neither the OP's diagram nor Duncan's allows this. Look again at the SD diagram. With the switch "up" (on the diagram, lever would be down), green is grounded, red connects to output. The black/wire wires are then shorted together, so you get the red/green coil alone. Same thing on the diagram by lordofp90s although the wire colors are different.
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Post by newey on May 6, 2024 11:53:54 GMT -5
Is the active mid-boost working as it should? Not sure why you're having these issues. Let's await someone else taking a look at this. As to the volume pot not working, the only thought I had was that you may have cooked the innards the pot by applying heat for too long. You would need to remove the pot from the circuit to test it properly with a multimeter. Or, if you have a known-good pot of the correct value, you could just swap it out for the new one. As for the tone control, I have no idea.
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Post by newey on May 6, 2024 11:36:19 GMT -5
mrbauhaus- Hello and Welcome to G-Nutz2!Always happy to hear success stories. Please report back if you do build another for yourself!
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Post by newey on May 6, 2024 5:27:34 GMT -5
stateofepicicity- I think the coil split diagram (from SD, apparently?) above assumes that one is using a DPDT On-Off-On switch. This would then give the full HB in the center position, with the black/white coil with the switch "up" (bearing in mind that the lever's position is opposite of the lugs it connects) and the green/red coil with the switch "down". lordofp90s- Get yourself a pair of DPDT On-Off-On switches for the coil splits and you'll be fine.
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Post by newey on May 5, 2024 14:15:31 GMT -5
Neck & bridge pickups would still face this hum-OoP issue, but OoP between neck & middle pickups and middle & bridge pickups shouldn't have this issue, right? If the middle pickup is a 4-conductor type, you would wire the phase switch to that pickup and it would give you the middle OOP with the bridge and the neck OOP with the middle. No problem with that arrangement. The issue is that, with a braided shield serving as both the signal negative and as a shield gfround for the frame/cover of the pickup, when you flip the phase switch you're connecting the cover and frame to the "hot" output. This will potentially be noisy, but people have certainly done it over the years. It is also possible to dissect the HB and run a separate shield wire, but that may be a troublesome exercise, if not done right it would be easy to ruin a pickup. In any event, if you want both the middle OOP and N + B OOP, you'd need a secong phase switch on either the neck or bridge pickup.
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Post by newey on May 5, 2024 14:04:28 GMT -5
tellynorman- I can't see very much from your pictures, unfortunately. I assume they gave you a diagram of some sort to use. Perhaps if you post that it may help.
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Post by newey on May 3, 2024 14:18:37 GMT -5
lordofp90s- Hello and Welcome to G-Nutz2!Your pickup switching looks OK. The coil split switches need to be of the On-Off-On type. I question the tone controls, though. By daisy-chaining them together and using a single capacitor, all three tone pots are always in the circuit, in parallel. This could dull your tone. I suggest giving each tone pot its own capacitor. This also allows for different cap values for the P90 and the HBs, which you may find useful. Caps are cheap. Leo Fender saved a few cents by having a Strat's tone controls share a capacitor, that adds up when you make thousands of Strats. You, OTOH, can afford to spring for a few more caps. Then, you also need to move the tone pot for each pickup so that it is wired between the coil split switch and the on/off switch. That way, if a pickup is off, its tone pot is disconnected.
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Post by newey on May 1, 2024 19:54:01 GMT -5
brak- Hello and Welcome to G-Nutz2!I'll give you my take on this, but please await the input of others. IOW, my confidence level in this response isn't peaking. I think the cap combinations and the switch wiring is fine for what you want. You can certainly use the same caps for both B and N, but my question mark is with regard to the center position on the 3-way, where both pickups are active. Might be some bigger issues there that I'm not aware of. What I do see as the bigger issue is the single volume and dual tone controls setup. With that, both tone pots are connected, in parallel, and thus will interact- turning one down will affect the other. That's why the set-up using concentric pots is preferred- the pots are wired as in an LP. There is still some control interaction in the center position, but not as bad as with the single V pot. Given that you don't like concentric pots, the solution is to get a dual-gang pot, which is like a concentric pot but with one shaft turning both the elements. Then you wire it the same way as the concentrics, like an LP wiring scheme. You still have your master volume but with less control interaction. But again, let's let others chime in . . .
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Post by newey on Apr 30, 2024 20:43:36 GMT -5
Is there a Wiring 101 section? Yes. It's the "Intro to wiring" course, offered by the School of Hard Knocks at the Seat of Your Pants University. Seriously, though, YouTube is your friend on that sort of thing, it's been done better (by multiple people) than we could ever have done.
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Post by newey on Apr 30, 2024 14:03:59 GMT -5
Seems like the former member was a bit thin-skinned. He made a statement as to what he believed Bill Lawrence had said. YogiB asked where he had seen that, pointing out that all he had found were some other writings whose expertise he questioned. The deleted member said it was just a recollection of something, and he had no citation to it. I would have thought that should be the end of it.
Where in all of that there was any reason to go off in a huff is a puzzle to me.
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Post by newey on Apr 29, 2024 19:02:32 GMT -5
So my 284Ω is insanely too high. Maybe it’s my meter Those two things may be related if you pushed the probe through the paint layers a bit.
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Post by newey on Apr 29, 2024 13:49:56 GMT -5
cem- Yes, this should be good, I double-checked Yogi's latest and it looks right.
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Post by newey on Apr 29, 2024 4:59:19 GMT -5
Yes, that's better, eliminates the double wiring to the 3-way, I didn't "see" that. Thanks, Yogi B!
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Post by newey on Apr 28, 2024 17:35:27 GMT -5
Here's the revised version, which hopefully fixes both of the issues Yogi B identified:
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Post by newey on Apr 28, 2024 7:30:26 GMT -5
No problem with copper foil - just spot solder all the pieces together, and solder to a ground lead Even easier is to buy the copper foil with the conductive adhesive. It's more expensive but not unreasonably so, and it works well. I've used it for years. You just overlap the pieces and it all has continuity. No soldering necessary.
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Post by newey on Apr 26, 2024 6:06:11 GMT -5
The Fralin diagram uses Fralin wiring colors, where green/red make the series junction, black is grounded and the white is the "hot" output. The Fralin diagram also shows the wiring to the pot, which is being used as a volume control. The first diagram omits the wiring to the pot, presumably because that pot might or might not be used to control that pickup, or might be used for something else. Also, with the first diagram, we have to make the assumption that the blue wire from the lower right lug and the green/bare wire pair are both being grounded to the body of the pot; the diagram implies that, but it is a bit unclear the way it is shown. At any rate, either diagram should work, with the above caveat. Since it isn't working, a bad connection is one possibility. Assuming you've checked the connections and they are good, there are only two other possibilities-either the switch is faulty (fairly unlikely but possible) or the wire colors for the pickup you are using are not what you think. Are you sure it is an Artec? If you are sure it is an Artec, then I think you've got the colors correct. You can also test a pickup to ascertain its wire color scheme by using this technique: www.projectguitar.com/tutorials/electronics/how-to-determine-the-color-code-for-a-humbucker-r35/ But if the manufacturer is known, the manufacturer's information is presumably accurate.
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Post by newey on Apr 26, 2024 5:39:30 GMT -5
Yogi B's technical explanation is obviously better than my layperson's take.
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Post by newey on Apr 26, 2024 5:36:09 GMT -5
Nice work! The headstock mod is especially clever.
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