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Post by newey on Dec 13, 2021 9:38:05 GMT -5
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Post by newey on Dec 11, 2021 21:45:39 GMT -5
but i swear he wants to split both coils run them through the rc circuit to shape the tone then link them in series so they are both acting as a single coil That's not what frets said, she means the RC filter could be either in series with the split coil, or in parallel, but she's still splitting coils.
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Post by newey on Dec 11, 2021 20:31:07 GMT -5
Splitting both pickups with one DPDT is easily done. Making it sound more like a single coil? Not so easy. Adding a cap and a resistor to the split coil will always cut some signal at some frequencies, you can't get more than you started with. A split HB coil is significantly smaller than a SC Strat pickup, that's a big part of the reason they don't sound the same.
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Post by newey on Dec 11, 2021 9:17:06 GMT -5
The above- and this whole post- is one big run-on sentence without punctuation, and it is therefore very difficult to discern your meaning.
The only thing omitted from your diagram is the string/bridge ground wire. This is understood to be needed, and is omitted for clarity. The only thing going between the lugs of any pots is the treble bleed resistor and cap on the volume pot (which is optional in any event). No other "jumpers" are needed.
As to pots, if you measure between lugs 1 and 3, it should give you the value of the pot, plus or minus the 20% tolerance most pots are made to meet. Measuring between the other lugs will give varying measurements depending on where the knob is turned, and also depending on the taper of the pot. JohnH's "Tone Controls" section has more data on how pots vary as you roll them down.
If you have the guitar still wired up at present (and not working, as you said), you can do the testing exterior to the guitar by connecting your meter to the tip and sleeve of a cable. Make a table for all resistance values for all the various switch positions.
I mentioned checking the jack as it is an easy mistake to make to wire it backwards. I always have to look closely at the jack to be sure which lug is for the tip.
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Post by newey on Dec 11, 2021 0:51:46 GMT -5
This may seem to be, and is, pretty obvious if one knows how the full 4 Pole Supewrswitch works. But if anyone should ever need to know,here is the skinny on the 2P5T Half Superswitch. It is literally one wafer of a two-wafer full Superswitch: In diagrams, it can be depicted thusly: This is a very useful switch, as it will fit into a Tele cavity without modification, and other places no Superswitch dares to go. For a Strat-type guitar, it can be wired to give the N + B at position 3
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Post by newey on Dec 11, 2021 0:29:45 GMT -5
Slow progress. Got everything dismembered and got the new Bootstrap pickup installed. Shielded the control cavity FWIW. Started wiring tonight but my cheapo soldering iron bit the dust. Off to pick up a new one tomorrow . . .
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Post by newey on Dec 10, 2021 22:25:38 GMT -5
psiloguitarensis- Seems to me like you're chasing your tail a bit here. You've wired it upo, it doesn't work, but instead of troubleshooting the problem, you're starting over with new components and redoing the whole thing, when there might be only one or two things wrong. Don't assume a switch is bad, test it with a multimeter to see if it works or not. If you don't have a meter, get one. The money you'll save in new switches will pay for it. Before you start ripping wiring out, test it. Does it have 3 positions or only 2? Assuming it has 3, test it. Try removing it from the pickguard. If you get 5 positions with it unmounted, then the slot in the pickguard is too short. If it still won't go into position 1, then you may be right about a bent lever. If so, see if you can see where it is bent, it may be that a bit of (very gentle) pressure can bend it back. Then test the switch. Double check that you have the jack wired correctly and not reversed. And if you haven't yet taken my advice to remove the shielding from the jack area, I'm still recommending that.
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Post by newey on Dec 10, 2021 9:37:00 GMT -5
A kill switch makes sense too. I usually think of that for stutter effects and such, where you wouldn't want to put it on a push-pull. But I can see the appeal if only when sitting it on a stand during a break or something. Even when I use a headstock tuner, I have a pedal tuner on my board essentially as a mute switch for that reason. Not exciting, but useful. I have a late-'60's Univox semi-hollow body, sort of like a ES 335 clone with some Gretsch-ish features as well that has a "kill switch", but back when the guitar was made, they called it a "standby switch" for just that reason, so you could leave it plugged in onstage. As for the active possibilities, getting a 9V battery into the F-hole may prove easier than getting it out again. . . .
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Post by newey on Dec 10, 2021 6:24:12 GMT -5
but something not working right If you want our help troubleshooting the problem, we'll need more specificity. What exactly is it not doing?
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Post by newey on Dec 9, 2021 23:20:24 GMT -5
ninethirty- I couldn't recall whether I had appropriately welcomed you previously, so better to be duplicative than omissive: Hello and Welcome to G-Nutz2!All of the following is just my not-so-informed opinion, so grain of salt and all that. - I think the switchable tone cap thing is overblown. Minimally useful IMO. - Phase, yes you'd have to dewire/rewire the connection to the covers. Whether it's useful or not I guess depends on how much of a fan one is of OOP sounds? - A "sorta Varitone" type of circuit would have some appeal. 2 push/pulls could give basically 3 options (with the 4th position a bypass) So, your other P/Ps would be wired to cut bass frequencies, these would cut treble. Between the 4 pots, you'd have a bunch of variations. - I like the solo/blower switch idea also, but I think it works better with a toggle switch. If'n yer gonna be a'soloin', it's the flick of a fingertip to hit a toggle switch. Much quicker than using bwo fingers to lift a P/P pot up. -Active circuits opens up a whole 'nother subject. I'd vote for an onboard FuzzFace clone . . .
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Post by newey on Dec 9, 2021 6:09:01 GMT -5
The LP Deluxe wasn't on her list. Probably because she doesn't play.
But I did buy the things that were on the list, including WeatherTech floor liners for her pickup and the perfume she likes.
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Post by newey on Dec 8, 2021 21:03:56 GMT -5
Yes, but it may be a few days before I can draw something up for you.
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Post by newey on Dec 8, 2021 16:36:51 GMT -5
im not entirely sure what i’m looking at:/ could you perhaps label the switch/ toggle? i just need more of a reference. im not sure where wires coming from/going. im a little green i will admit. First off, @angellahash's diagram is a schematic, not a wiring diagram. It is drawn using a 4-pole Superswitch and a DPDT "On-On" toggle switch He uses only 3 of the 4 poles of the superswitch; the commons of each pole are labeled "C", with the corresponding lugs numbered 1-5 for each pole. The DPDT toggle is in the upper right of the diagram, with its lugs labeled 1 through 6. The three pickups are shown as inductors (which in fact they are); these are the 3 squiggly lines at the left-hand side. Each one has a "+" symbol to indicate the "hot" line. To implement his scheme, you would need to buy a Superswitch or a Megaswitch M. These are both 4-pole, 5 throw switchs ("4P5T"). For a Superswitch, angellahash's diagram will translate directly; for the Megaswitch M, the lug assignments are differently ordered, so the diagram would still be used, but we would need to translate the switch lug labeling to reflect the differences. You stated that the switch you have is a Megaswitch "S+T". Per Schaller's website, that type is only a 3-position switch, not 5, so it won't be suitable for your needs. That Ibanez toggle switch is apparently also a specialized switch, to work with their proprietary 5-way switch; I can't tell what it's doing from your photos, but getting a standard DPDT On-On toggle is no problem, they're fairly cheap. But you would have to buy either a Superswitch or Megaswitch M, as you need at least 3 poles to do what you want (and there are no 3-pole 5-way switches, so you'd need a 4-pole one). Typically, we use a schematic to work out the details of a scheme, as angellahash has done here. Then, we translate the schematic into a wiring diagram before you actually start soldering. Often, we would ask you to draw the wiring diagram from the schematic yourself, so that you better understand what is happening with a particular scheme. We would then double check your wiring diagram against the schematic before you start in. But work from here depends on the switch you select, as above.
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Post by newey on Dec 8, 2021 16:08:12 GMT -5
Let me put it this way, RT- I really really love my wife, but she's not getting an LP either.
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Post by newey on Dec 8, 2021 14:31:57 GMT -5
String winder? Gross of guitar picks? Strap, cables? Power supply for pedalboard? Or, if it's someone you really, really love . . .A new Gibson LP Deluxe! Santa's just thinking out loud here . . .
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Post by newey on Dec 8, 2021 12:03:31 GMT -5
glee-
Hello and Welcome to G-Nutz2!
I was responding to your previous post when you deleted it. You were having trouble uploading images, and I was pointing you to the instructions for doing so, which are in our Forum Info section (in "Harmonious Notes")
Your current post does clarify things more. Still, a few questions. Am I right in assuming that "p" and "s" in your list of switch positions refer to the pickup combinations being in parallel versus series? Second, in your previous post, you mentioned a Megaswitch M; now you said a Superswitch. Which one will you be using- the two types are equivalent, but the connections will differ. Also, will you be reusing the mini-toggle? If so, we will probably need some well-focused images of that 8-pin clip to which you referred.
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Post by newey on Dec 7, 2021 21:36:10 GMT -5
Or not. But I take your point. cynical1 would probably agree.
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Post by newey on Dec 7, 2021 19:13:03 GMT -5
When I was a kid, the pedals to have were the “bear trap” style Yes, and for us wanna-be racer-chasers, you had the bear trap pedals with the metal toe clips. Mine was a Schwinn "Varsity" 10-speed. Also had the extender-levers on the handbrakes. I got the white finish 'cause that got you the cool black decals and handlebar tape- all the other colors came with white letters and tape.
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Post by newey on Dec 7, 2021 16:53:43 GMT -5
chman-
Hello and Welcome to G-Nutz2!
Sorry, I don't know of any pedals that clone the Watkins Copicat. A quick search found a bunch of VST plug-ins to emulate that unit, but no hardware.
Someone else may be along with a suggestion for you. I've never even seen a real Copicat, much less played through one, so I don't know much about it. My first thought was that (I think) the Roland Space Echo had multiple playback heads as well, and I know Boss makes a digital pedal to clone the Space Echo (Boss RE-20), but I don't know whether that was similar to the Watkins 3-head system you describe.
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Post by newey on Dec 7, 2021 14:10:12 GMT -5
but I do think that the copper tape in the jack cavity is not grounded to the copper tape in the pickup cavity. Maybe that is causing it. But current grounds are all working and when I say grounding the plate I mean the actual plate. Unless you ran a wire between the control cavity and the jack cavity, how would that grounding occur? The shielding in the control cavity and the pickup cavity on a Strat are usually connected via the shielding on the underside of the pcikguard, but the pickguard doesn't extand to the jackplate. I have had problems in the past with trying to use copper tape to shield the jack cavity on Strats, the clearances in there are often too close. There is really no need to shield that jack cavity anyway, the small little wire runs in there aren't likely to be a significant source of noise, and the metal jack plate will provide some shielding anyway.. I'd try removing that little bit of shielding from the jack cavity and see if the problem goes away.
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Post by newey on Dec 7, 2021 11:59:23 GMT -5
If running an extra ground wire solved the problem, then the original ground was likely not well-connected. On your diagram, the output jack negative (the sleeve connection) is shown as being grounded to the back of the volume pot, and the other grounds are collected there as well. That is fine, assuming good connections are made there. I try to avoid soldering to the backs of the pots, so I use a "star grounding" technique, but grounding to the pots is fine if done properly and if good connections are made.
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Post by newey on Dec 6, 2021 16:59:34 GMT -5
donbazarov- Hello and Welcome to G-Nutz2!I concur with angellahash, the diagram does what you have listed. This arrangement leaves the neck pickup "hanging from hot" in a couple of positions of the switch. While we try to avoid having coils "hanging from hot" where possible, sometimes it is not possible- and this scheme would seem to be one such instance where it is not (someone smarter than me might be able to rejigger the wiring to eliminate the hanging coil, but I'm not seeing it). Anyway, if you like the scheme otherwise, the hanging coil issue shouldn't deter you. It is a "best practice" to avoid it, but sometimes it can't be avoided.
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Post by newey on Dec 3, 2021 8:17:27 GMT -5
Well, first off, bear in mind that the total resistence will not be 500K for your HB or 250K for the single coils- because you haven't added in the resistance of the tone control. With the 500K Vol and 250K tone pot, the overall resistance is about 166K&Omega, and with the extra resistor the single coils are seeing 125K- the difference between the 2 loads is therefore only about 41K, not 250K.
Again, I think this is a solution in search of a problem. On Fender's "Fat Strat" models, they are wired with a separate Bridge tone control and a neck/middle tone control. They use 1M&Omega tone pots for both tone controls, and a 500K volume pot, so when the HB is in circuit at position 1, the total resistance is 330KΩ. At position 4, which is the bridge split-coil + middle, the total is 250K. So, for the single coil position, they get 250K because both tone pots are in circuit. But the difference is still only 80K.
But, hey, do as you wish, it's your guitar
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Post by newey on Dec 3, 2021 7:41:58 GMT -5
If you're going to wind your own custom pickup, why not just forget the split coils and make a single coil with 5 pole pieces? Get a P-Bass pickguard without a hole cut for the split-coil pickup, cut your own hole to fit what you made. If hum is the worry, make it a humbucker or a stacked coil, shield the cavity, i.e., do all the things normally done to combat hum. Remember that the original P-basses had a single coil pickup, your 5-string could look "vintage" . . . Just my 2¢ worth
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Post by newey on Dec 2, 2021 16:02:24 GMT -5
also i notice noone said anything about needing 2 caps one for hb one for n/m coils so im going to assume that aint no issue since tone and volume are 500k? Apples and oranges, psi. Don't confuse pot values with tone control capacitors. Whether one has a tone cap at one value or another only affects the frequency curve as you turn the tone control down. With the tone control at "10", you would be unlikely to hear any difference in cap values as the cap is effectively out of the circuit at that point. You can consult JohnH's extensive discussion of tone controls to see, graphically, those differences. The resistance value of a pot does change the tone somewhat, even at "10"- unless it is a "no-load" type of potentiomenter. But having 2 500K pots (V and T) for single coils isn't "wrong" or anything, it's fine. If it's a bit too bright, just dial the tone control back a notch or two. As we have said many times, you can always reduce excessively bright tone, but if it's dark to start with, you can't make it brighter. I have a Strat-type guitar with a single HB, a very low output type which is already brighter than most HBs. I put a 1MΩ Vol pot in it with a 500K Tone pot. It is VERY bright sounding, but I just usually play it with the tone at about 8 and it sounds just fine.
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Post by newey on Dec 2, 2021 13:01:23 GMT -5
Note: My guitar’s single gang 500K tone-pot has 2 1meg 5% tolerance resistors soldered between lugs 1 and 3. Those resistors change the single gang into 250K. Works wonderfully for me! Yes, the resistor(s) are wired across the outer lugs of the pot. But that isn't what axedoctor wants, he wants to change the pot's value for only some of the switch positions, not all the time. To do so would require switching the resistor onto/off of those outer lugs for those switch positions (meaning another switch). As I said above, there's way too much worry about pot values, it's a fairly minor issue as far as I am concerned. With 500K pots, single coil pups will be slightly brighter than with a 250K pot, but the difference is fairly minimal. I'd be willing to bet that, if I removed those 2 resistors from your volume pot without telling you I had done so, then handed the guitar back to you, you would be happily playing it and never notice that those resistors were gone. Bear in mind that ol' Leo used 1MΩ pots back in the 1950s, no one complains that their vintage Tele is too bright . . .
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Post by newey on Dec 1, 2021 22:36:20 GMT -5
That dark red wire has been removed, but now your top left Superswitch lug is free of connections? 😔🤔 EDIT: Oh, sry, my mistake… you added a green wire connecting the top left lug of the push/pull to the 3rd pole from the top left lug of the Superswitch. You obviously, read and understand tons better than me. Don't second guess yourself, unreg. You were right the first time. psiloguitarensis: This, from jhng: You connected it (i.e., the green wire from the P/P) to lug #3, not to the pole (common) lug.
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Post by newey on Dec 1, 2021 17:10:28 GMT -5
Yes, that all checks out, as jhng said earlier (and I concur) This statement is what confused me. It reads as if bridge HB should be position 5. In any event, I also concur with jhng- why connect those wires to 4 and 5 on the upper left hand pole at all? Superfluous connections aren't "optional", they're not doing anything- and the less soldering one can do, the better. Earlier, you said "across the lugs of the volume pot". But that's not what you have here. The resistor is fixed (in positions 2-5), so it is in circuit at all times in those positions, not just as you turn the Volume pot down. I think that's going to muddy up your single coil sounds significantly, but perhaps try a Spice simulation to see the effects first. I'd just leave the volume pot at 500K and not worry about it. If the single coil positions are too bright-sounding (which I doubt), reducing the tone control to about "8" would solve it. If you're really concerned about this, get a 250K/500K dual-gang pot.
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Post by newey on Dec 1, 2021 12:29:43 GMT -5
in positions 4 & 5, BSH is actually connected to BNL to configure the bridge in humbucking mode Not what I'm seeing. I think you're mixing up the positions on your 5-way switch. The top left-hand pole of the Superswitch connects BNL and BSH at the topmost 2 lugs. I think jhng and I were both assuming that was positions 1 and 2, not 4 and 5, since the neck pickup hot connects to the corresponding lug #1 on the lower left- hand pole. If you meant positions 4 and 5 are at the top, then BNH is disconnected in those positions, so you would not get the HB at all. If the topmost left pole lugs are 1 and 2, then BNH is connected to position 5 on the lower left-hand pole. Now is also an appropriate time for me to pull out the soapbox, as I often do, regarding position numbering on 5-way switches. No one does so consistently, not even Fender, but the vast majority of Fender diagrams call "position 1" the position closest to the bridge, with the opposite end (closest to the neck) as Position 5. If using the standard Strat wiring, Position 1 is thus the bridge position, neck is #5. I have always tried here (without much success, unfortunately- hence the soapbox) to get people to adhere to Fender's typical designation, just so that at least we have some standardization here, even if nowhere else on the web . . . I'm also not seeing how that resistor is across the legs of the Volume pot, it appears to be in series with the "hot" line.
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Post by newey on Dec 1, 2021 11:34:35 GMT -5
talking with creator of program now to learn how he using the 2p4t to simulate a 2p2t switch so i can try get it working. Again, I don't know this program, but are you sure you didn't mean a 4PDT? The only 2P4T switch of which I am aware would be the "Baja Tele" lever switch, which is a different animal entirely. If you meant to type "4PDT" (as I suspect), this is just 2 DPDT switches side-by-side (unless it is one of the unique Kent Armstrong 4P switches), so presumably you would just wire 2 poles of the switch aand leave the other 2 poles unwired. Typically, a series/parallel switch requires 2 poles, as I show above, using a DPDT. jhng's idea only requires one pole because he is using the empty pole of the Superswitch to switch the other connection. So, follow his description, you will only be using one half of the DPDT Push/pull (or toggle switch, whatever). Referencing your diagram of the CTS Push/pull pots, wire the neck pickup ground to C1, wire lug 2 to ground, wire lug 2 to the superswitch as per jhng's instructions. This should give you normal operation with the p/p down, series when pulled up (as I assume you want it).
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