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Post by borsanova on Jan 28, 2017 11:06:38 GMT -5
Sadly the User Manual is gone. So I lost it. I guess I should really drop by more often!
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Post by borsanova on Jan 28, 2017 10:34:57 GMT -5
I apologize for my long absence. But after I've completed my guitars I've moved on to totally different projects. To tell you how distant: Currently I'm writing a historic novel. Now that you made me think about it: the process and result is quite similar to my wirings: intricate and most complete. I should be writing the Epilogue now, but I got a little writing block, that's why I'm here.
In any case, it's a while that I'm out of wiring and I sometimes even fail to understand my old diagrams. I'm glad that I remembered at least my password for guitarnuts, but it took me four tries to enter and I had to prove to be actually human.
Anyway, my Twenty-Dual Master (which I built) is still clear in my head, so I'll try to help if I can. You find my latest version on page one of this thread. I'm not totally sure about the Twenty Dual Mix, which I never built.
The main difference between my diagram and that of John is that I show the guitar from the top, in a front view as if you were looking through the wood, and JohnH shows it from the back. I know that this is a bit strange, because when you're doing the wiring you're always forced to think it upside down. I was only starting then, trying to conceive what was possible, without thinking that I'd actually have to wire it. If you find that difficult you might simply download the file, open it with a graphic editor and flip it upside down. Another problem in my diagram is that it has no wire colours specified, but JohnH has provided some guidance on page one.
Now to address your questions: The 3-way-switch and the jack are all original. You need to do nothing on those.
Let me know if there is more. I'll try to show up from time to time then, not only when I encounter a writing block.
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Post by borsanova on Jan 20, 2017 9:02:45 GMT -5
I notice that my idea for a bass cut using a cap in what I once called a broadbucker configuration is now widely used in many settings.
Your diagram is impressive and I like the idea that it preserves the original configuration.
However it lacks one combination that I find the most useful of all: the B+N out of phase which is quite essential to achieve a Telecaster sound. With the right strings it is extremely charmful and I always use it for Pretenders or Reggae.
My own take on the Strat has it, but it lacks other goals that you have achieved. Here is the diagram:
I apologize for the poor quality, but this was the first diagram I ever did. The guitar is a Fender Stratocaster deluxe with a stock switch button that adds the bridge pickup in parallel. So the first seven sounds are stock. I added an additional button switch that puts the neck pickup out of phase. I could have chosen the middle pickup, but that wouldn't give the B-N sound. Moreover it has another curios sound, B+M-N, which sounds like the transistor radio in Wish You Were Here, good for crappy solos and funky rhythm guitar. I guess you get similar sounds from your out-of-phase-combinations. This brings the available sounds on my guitar to ten. Then I noticed that the other side of the stock switch was still available and so I used it to throw in the bridge pickup in series. This is the reason why I don't preserve the original config, since with all buttons pulled the selector switch in bridge position gives a humbucker of BxM. For switch positions B and B+M the original config is preserved with the add-button down, for positions M, M+N, N with add-button up. In the humbucker configuration the middle tone control can be used to mix certain frequencies between the two pickups which results in a broadened sound with full bass from the humbucker and stingy trebles only from the bridge pickup. This is what I gain and it brings the available sounds to twelve.
This is the guitar. The lower button was from stock, the upper one was added by me.
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Post by borsanova on Jan 19, 2017 16:51:46 GMT -5
Hi col,
I'm truly sorry to hear that, especially as I notice that we had many things in common: the same name, almost the same age (8 months difference), the same hobbies...
Hopefully he is jamming in guitar heaven with Buddy, Eddie, Jimi, Rory, Stevie Ray, George, B.B., J.J., Les, Chet, Weird and Gilly and all the others.
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Post by borsanova on Jan 17, 2017 18:41:41 GMT -5
This is so simple and effective, that nobody seems to believe it!
Maybe a case for the Truly Nutzoid Schematics?
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Post by borsanova on Jan 17, 2017 18:27:18 GMT -5
Since this thread is a little active at the moment thought I'd just add a thank you to Borsanova and JohnH who did the diagram on page 2 that I followed to complete mine (see the gallery on kahler trem LP)... Worked/works brilliantly and logically....and a great clean look on this guitar. I did the cardboard template thing which I think is kind of essential and ran flying leads to the pickups to be sure it all worked before installing...you can see these in the pic above...then neatened it up and taped it appropriately before installing it. I've found on this guitar with identical fairly high powered no name HB's that there is hardly any noise even in splits and non-HB combos and without cavity shielding (all pup and selector wiring is shielded though)... Particularly nice is that it works exactly as expected (LP) with nothing pulled...having the splits on the tones "makes sense" and I tend to use these...the bridge local parallel (which is unique in this JP scheme) is a real winner and I use it a lot along with the splits. I played an LP for years and that was modified with three way mini switches to split to either coil and used it a lot when I played in bands so coming back to the LP after going fender types for quite some time, I wanted a bit more versatility and something a 'bit different'...this scheme provides a range of flavours that the fenders don't as well as that LP Vibe, body and sustain... It's not my #1 guitar at the moment, but I may do another Lp one day...the tele has been supplanted by my HSS strat with 30+ selections with a modified MR scheme...but I learned a lot doing this one and it is still really cool to pick up this guitar and mess with the controls to get some unusual sound and see what that might inspire to play...it is a solid performer and the B-scheme wiring in it a definite winner. It's good to see that people are still messing with the ideas...but it would take a lot to convince me to change anything much about the scheme! PS...is the "42" sounds in the title a typo ( I thought it was 22...hence twenty dual?) ... or referring to the meaning of life?I just came along to say hello after a long time and noticed that I never answered this post. So I thank 4real for appreciating my schematic and posting his guitar. Regarding his question, the "42" sounds are not a typo. It's true, there are "only" 22 pick-up combinations here, but using the tone controls for broadbucker effects achieves a lot of additional sounds. I don't remember how I counted them, but 42 was the approximate result, without considering that it corresponded to the meaning of life. What was the question?
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Post by borsanova on Nov 9, 2013 7:44:18 GMT -5
Hi dannyhill,
the easiest way to think of this is by addition.
In a broadbucker config you'll have your high end from the bridge pickup alone and your low end from both pickups in series. The mids depend on your cap value: A lower value takes the border between the two areas towards the high end, a higher value towards the low end. If you connect your cap to a tone pot instead of a switch you can even regulate it.
The broadening effect will be stronger with single coils, because then you'll have a full humbucker at the low end and a single coil at the high end. With both humbuckers you'll get a very full sound with four serial coils at the low end and decent trebles from a bridge humbucker. The strongest effect, however, would be with a humbucker in the neck and a single coil in the bridge.
I hope this makes it clear.
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Post by borsanova on Jan 17, 2011 11:19:27 GMT -5
I actually built my guitar to the specifications of your second combos scheme, and so it has already 15 hum-cancelling combinations and 7 humming ones. I don't know why you think that it didn't, but maybe it's due to a misinterpretation in my scheme. In fact, I didn't specify any colors and when I first built it, I had to correct the connections of one pickup from 1234 to 2143 in order to get it hum-cancelling with two single coils.
But I noticed another thing: since in your new scheme you have only two combinations with two single coils, both of them with heavy hum, you might also swap one of your pickups and that would give you two more hum-cancelling combos.
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Post by borsanova on Jan 15, 2011 13:08:56 GMT -5
Now I understand. I think you changed only one connection. But the result looks a bit confusing, since you sometimes have to selecte the treble or rhythm position in order to have both pickups on, while in the middle position you have three coils. I guess it's just the time to get used to it.
But as far as I can see, you lose some useful combinations, especially the two single coils humcanceling in parallel (in and out of phase). Yes, you still got it, when you switch to the rhythm position, but it is using different coils, so it's not hum-canceling. I refer in particular to the fourth line from below: Bridge South in parallel with Neck North out of phase. You didn't sign it, but this should give lots of hum. All in all it seems you get twelve humming positions, two of them quite strong.
So how are your additional sounds? Do they add a particular color?
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Post by borsanova on Jan 14, 2011 19:50:48 GMT -5
Hello all together, and a special Welcome to dw3000.
I see everybody needs to draw his own schematic to understand my wiring. I really appreciate that, it is like a writer being translated in several different languages. The fact that you manage to translate it in your own symbols means that my schematic wasn't too obscure. But since everbody uses his own language, it is not necessary true that I can immediately understand each version. At least I'd need to study your languages for a while.
So first let me say that front or rear view should not be a big issue, especially on a Les Paul, where you need to work on both sides.
Now I've checked dw3000's, it took a while, but since it's quite clear I followed it through. I can see that you built the master version, and I could find no faults. So if I got it right everything seems to be okay. Congratulations!
In any case I couldn't tell the north/south issue. On my guitar with two different pickups I had to sort it out by trying. If your first try "1234" doesn't give you humcancelling with both pickups in single mode, swap one of your pickups to "2143"! That'll do.
As to asmith's drawing it seems to be a variation of my mix-version, but I couldn't tell the differences, since there are too many elements I don't get. It claims to give 24 sounds and I can't understand how he does or what they add.
Best wishes for the New Year and have a great time building your JP Twenty Dual!
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Post by borsanova on Sept 15, 2010 20:09:57 GMT -5
My DeArmond has single coils, just as you demanded. If you want a permanent Broadbucker config (without full humbucker option), just take a tone cap and add it to your series switch.
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Post by borsanova on Sept 14, 2010 16:25:02 GMT -5
I don't exactly understand why there is that huge bump around 1k, but it looks like representing quite well what I hear. The mids are somehow reduced, but without the result sounding twangy (on the contrary it takes out the twang if there was any). Moreover I confirm that it sounds even more interesting with a very trebly bridge pickup, that is, with a single coil or a dual humbucker.
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Post by borsanova on Sept 14, 2010 15:15:24 GMT -5
They're not going to hot, but to the hot side of the bridge pickup and through that to ground. Since they didn't pick up any high frequencies from the neck pickup, the load is all hot to pick up what it can get from the bridge pickup.
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Post by borsanova on Sept 14, 2010 15:06:47 GMT -5
Okay, the left swithc is a Series parallel for the left HB, the middle switch is a tone bypass switch.. but the right switch has me stumped.. unless its to put the two Hb's in series/parallel? Thinking about it, couldnt you modify this drawing to work on single coils. Ill get a quick drawing Your assumptions about the three switches are all right. But I don't get your drawing. Where is your 3-way switch? You'll still need that. But you are looking in the wrong place here. Take one step down in the same folder and you'll find my post "Only one switch for serial HB & out-of-phase!" guitarnuts2.proboards.com/index.cgi?board=schem&action=display&thread=3152 There you'll find exactly what you're looking for and even one additional option.
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Post by borsanova on Sept 13, 2010 20:09:16 GMT -5
I had another look though the diagram, and I see I have both tone caps going to ground, whereas the neck one should not. So thanks for checking Bors!. Ill do an update to it soon No need for alterantive realities. John Okay, finally we're getting to understand each other. I don't fully understand your concept of the broadbucker. I'm not sure that I have it in my guitar either. JohnH's diagram is complicated, but the results are simple: I hear a louder, darker sound; each volume pot still controls each pup and when one goes to zero, it doesn't kill the sound (independent vol. controls) And the tone controls are like a normal LP, they cut the highs from each pup, respectively. I suppose your 'broadbucker' setting would increase treble frequencies rather than remove them? Right. What you hear on your guitar (louder, darker) is a full series sound. This is like a high output motherbucker (~20kohm). Those pickups tend to be very powerful, but loose trebles. My broadbucker concept is a remedy to this loss. It is not exactly a treble booster, but the result is very similar and in my ears even better. Turning back your neck tone control you get the lower frequencies from both pickups (for lots of drive), but the higher ones only from your bridge pickup (lots of trebles). So the result will have exactly the same trebles as your bridge pickup alone, but more power in the lower range. For these reasons the broadest sound comes best with the bridge pickup in dual mode. Think of Slash in November Rain and you got an idea of what to expect. With the tone capacitor relocated you will soon listen to it.
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Post by borsanova on Sept 13, 2010 10:14:53 GMT -5
What happens if you put a tone control between two pickups in series?If you hook up first your bridge pickup, then the tone control and at last the neck pickup, you can get super distortion bass and mid frequencies while keeping the full trebles sound of your bridge pickup. This is particular effective with a very brilliant original bridge pickup and that's for instance what Slash is trying to achieve with the piezo in the bridge of his Les Paul. This is what I call a broadbucker configuration. We have discussed this in several threads, especially those regarding my Twenty Dual design. The most important one is in the Truly Nutz section. Read there what other users think about it.
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Post by borsanova on Sept 13, 2010 9:47:05 GMT -5
Hhm, maybe I'm wrong because I don't exactly understand how a tone cap works. So I want to deliver a description in simple terms of what I thought to the present day: I thought that there were different parts of current carrying different frequencies and that a tone cap would provide those carrying the higher frequencies a way to leave the circuit before passing through the pickup. In such a world those frequencies would be lost even when the current passes the second pickup. Therefore the current would not be able to pick up the higher frequencies of the bridge pickup. In a different world however this might still be possible, thus allowing broadbucker sounds on your wiring. Reconnecting the cap as I proposed would have converged the lost current to re-enter the circuit before passing the bridge pickup. But in a world different from my imagination this would not be necessary. In any case, my design might be useful to avoid a load loss due to the neck tone cap. What do you think?
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Post by borsanova on Sept 13, 2010 9:25:10 GMT -5
Cute location for your switches!
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Post by borsanova on Sept 13, 2010 8:52:32 GMT -5
I'll chime in about the broadbucker mode in JohnH's drawing. This is a very interesting setting. It is indeed the loudest setting when both humbuckers are on full. Weird things happen, though, and I don't know if they're intentional. When I pull S1, I can still seemingly control how much signal each pickup is contributing to the mix with the volume and tone knobs. The toggleswitch seems to be bypassed seeing as flicking it up and down has no bad 'killswitching' effects or other weird stuff. If, however, S1 and S2 are pulled (system series out-of-phase), if all the the knobs are on 10, the bridge tone knob gains a strange property and it doesn't cut the high frequencies normally. It seems like the bridge's tone capacitor lost capacitance like from 22nF to 10nF and the resulting effect is more 'wah'-ish. Borsa, what exactly did you intend to do? Bypass one pickup with a capacitor to mix in only the high frequencies of it? I still don't quite get how JohnH managed to put the volume controls independent from each other in this design but that's my lack of experience talking. I can only make sense in the diagram, I think it's easy if you know how to properly read the supplied schematic. 1: As already pointed out, I wonder if there is a real broadbucker mode in John's drawing, at least without the mod I proposed. But then again it is easy to misinterpret maybe only one connection which changes all. 2: Full series is the loudest and fattest indeed. 3: The bypass on the 3-way-switch is also in the master version. But I still wonder if my mix design is good for individual volume controls. At least John's is. 4. I know what you're talking about. My master version does the same thing. It's a really cute wah sound and it's nice to add some special effect when ringing out a chord. Some results on my design go indeed far beyond what I've planned. In the first place I didn't even plan the broadbucker effect. I discovered it while playing around with my controls and only afterwards I came up with a rational explanation. As regards the wah effect, since John hooked up first the neck pickup, I thought you'd have it on the neck tone, but it seems you have it on the same as me. So what's happening here? I can make only a few suppositions. I agree with John that oop circuits create all kinds of interesting interaction between the two pickups. In some case they can even revert the current without switching, simply by manipulating the knobs. I don't know if that's what is happening here, but I used that trick on my DeArmond to achieve series, broadbucker and out-of-phase (three different sounds) with just one switch (view the respective thread). 5. Yes, that is exactly how broadbucker works. But you need to bypass the darker pickup at the neck to achieve a broadened sound. In this case you get the lower frequencies from both pickups, but the trebles only from the bridge. In the opposite case you get the trebles only from the neck, which doesn't make much sense. 6. I do, but I can't seem to translate it in my diagram.
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Post by borsanova on Sept 12, 2010 18:29:18 GMT -5
JohnH did only one revision to the new drawing. I'm not entirely sure if that's what you're referring to... and your original schematic had the bridge tone capacitor coupled to one of the lugs of the switch, that was changed in the new drawing and it may not be the only thing to differ from the original. This in turn complicates transforming Mix to Master, as one of the instructions you wrote no longer apply to the new drawing. You're right, I've studied John's schematic and it is completely different from mine, though it achieves almost the same goals. So you can't thus simply switch to the master version. Moreover that tone capacitor coupled with a lug had an important function in my design. While checking John's circuit I have noticed that it probably not allows for good braodbucker sounds. I have proposed to fix it by reconnecting a tone capacitor (this time the neck tone) to a switch lug. You can see my proposal on the other thread in the Nutz board. Let's wait and see what John thinks about it.
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Post by borsanova on Sept 12, 2010 18:14:34 GMT -5
Well, I think I'm still a little confused since it's a long while that I didn't check such complicated wirings and sometimes it takes a while to remember all the secrets of my former inspiration. So here are a few precisations: The capacitors on volume pots are always hooked up like a bypass, so it was stupid from me to look for that item. It was just the wrong place, since what I wrote applies to the tone control capacitor. Thus I can say that on your wiring the neck tone control will not work independently and as a consequence broadbucker configuration will not work properly. That is, you can still use the bridge tone control to achieve the same electronic effect, but soundwise it's a stupid thing, since you muffle the treble pickup and leave the darker one unaffected and so, instead of broadening the sound, you will compress it.
With my little fix however you will be able to use the neck tone control for the same effect and this time your ears will be totally satisfied.
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Post by borsanova on Sept 12, 2010 17:44:07 GMT -5
Okay, I understand that this is even more different than I thought. I understand now that the green wire is the neck position and the red wire is the bridge (previously I thought the opposite since my schematic goes the other way). Now I have to see where it gets me. First I notice that you have a completely different way to override the 3-way-selector and I have to understand how you do it.
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Yes, now it is clear and I've followed it through. First of all I learned that in your series mode you hook up first the neck pickup and then the bridge pickup. When I first came up with my broadbucker idea I thought that it would be impossible to achieve it that way. But then I learned that it was possible by hooking up the first pickup's capacitors like a bypass and two years ago I built it that way on my 345 copy which is working fine. Let me see where you hid that bypass ...
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Oh yeah, there it is on S2: in series mode the volume capacitor (and resistor) is connected to the bridge pickup, thus bypassing the neck pickup. But the tone capacitor isn't. That's a minor downfall since it will work on both pickups instead of only one. Let's see if we can fix it.
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Yes, we can! Instead of grounding it, the lower end of the tone capacitor on S3 should be connected to the upper right lug of the switch S3. Thus in series mode it will work as a bypass same as the volume cap.
I have to say that you did a great job on this wiring. You changed it completely round, but it seems you achieved the same goals and maybe even more, since I have that problem with the neck volume in series mode you made me notice. And at the moment I don't know how to fix it. I thought your wiring might give me some inspiration, but since it's so different I have to go on studying its secrets.
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Post by borsanova on Sept 12, 2010 14:17:38 GMT -5
The more brilliant your bridge pickup the better results with the broadbucker config. But you might also consider a dual sound on your bridge humbucker as it is figured in the second schematic (left switch).
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Post by borsanova on Sept 12, 2010 14:12:55 GMT -5
Yes, I just studied that and I've found at least one more issue regarding the green wire from S5 which should go to the center lug of S1 instead. I posted it in the other thread which is in the Truly Nutz folder. Moreover I'm not getting what he changed on S1 and there might be another issue on S4. Let's wait and see what he says.
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Post by borsanova on Sept 12, 2010 13:23:20 GMT -5
Btw. maybe you should post your new schematic in this post to, so it would be easier to discuss.
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Post by borsanova on Sept 12, 2010 13:20:38 GMT -5
Hi John,
I've been studying your new wiring schematic for the Twenty Dual mix and I must admit that there are a few points I don't get.
First, I think that there is a bug with the green wire on the 3-way-switch which shouldn't go to the middle lug of S2, but S1 instead.
Second, I don't understand how you rewired the right side of S1 and why you did it.
Third, I don't get which wires are grounded. For instance it seems in your diagram that the blue wire on S4 is always grounded. But this would be wrong in series mode. In my wiring schematic it is intended to be grounded only in parallel mode but in series mode it goes to the neck volume and pickup. Otherwise how could it be series mode?
Fourth, in my own schematic I am still in doubt over the functionality of the neck volume control, since you made me notice that its middle lug is disconnected. Let me know if you have some idea how to fix that. Or do you think it works anyway?
I controlled it on my master version and in series mode the neck volume pot affects the sound, but not like a volume control and it's most probably due to the bleed capacitor as I said.
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Post by borsanova on Sept 12, 2010 11:03:49 GMT -5
Thanks for the original sketch, the Twenty Dual Mix is an incredible concept!! It's mind boggling to have a normal LP with the switches down and then be able to have independent volume controls for both pups in series. I'm still wrapping my head around the whole idea. Then the treble bleeds are thrown in, the 'killswitch' spots are removed and everything seems to work without a hitch and flows seamlessly. Speaking of which: looking at the current diagram (revised by JohnH), how easy is it to switch to Twenty Dual Master? Oh, and welcome back! Thanks Raz, So you built the Twenty Dual mix and you say that it works! I had a little mind boggling question on the other thread with JohnH about the neck volume pot being disconnected in series mode and I started wondering if it actually worked. Did you change anything in that point? Is that a bug in my schematic? I only built the 20 Dual master, so I never checked it. To your question: switching from to the master to the mix version requires to change only two connections (more precisely the capacitor on the bridge tone and grounding of the 3 o'clock lug on the bridge volume). A nice trick to see the differences is downloading the two diagrams and watch them with the Windows photo show function. You'll see a few wires move, but most of it is only cosmetic, only two actually change connections. When you download the diagram, you can also flip it (upside down or right to left) in order to have a rear view of your guitar wiring. Make sure you turn your guitar the same way you flipped the diagram (vertically or horizontally). I hope you enjoy your Twenty Dual. After all the trouble you went through you deserve it.
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Post by borsanova on Sept 12, 2010 4:37:13 GMT -5
The SummaryA pair of coils in series will cut more highs, but present less load to the pickups, thus giving a slightly higher output. (Because of greater inductance/impedance.) A pair of coils in parallel will allow more highs to pass through, but load down the pickups a bit more heavily, thus reducing the output some small amount. (Because of less inductance/impedance.) Or, think of Old Mr. Ohm and his law. V = I*R. I = V/R. If voltage remains constant, a greater resistance reduces the amount of current demanded of the pickup. A lower resistance demands more current. In this case, that current demand is the load. Thank you both. These words make sense and got me clarified a few concepts. Now this also explains why, with an unevenly matched pair of pickups in parallel, the one with lower impedance prevails over the hotter one.
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Post by borsanova on Sept 11, 2010 19:53:51 GMT -5
Hi John,
thanks for the questions.
to #1: I don't know if you refer to the master or the mix version. When the bridge volume switch is pulled on the master version, the bridge volume knob turns into a master volume. Thus the neck volume is not needed anymore. Therefore it is correct to disconnect it. But if I remember well, it still affects the sound somehow, maybe due to the treble bleed. I'll have to check this tomorrow. The situation is different with the mix version where the neck volume is intended to continue working properly. If it were disconnected, that would be a bug. But it is still connected with the two outer lugs, though I don't know if this is enough to keep it working. Interesting question: since I only built the master version, at he moment I cannot tell you if there is actually an error in my schematic.
to #2: As I intended it, the whole schematic is having a front view on the guitar. So I copied what I found on my Epiphone. If I remember well, I flipped the volume pots' connections to the reverse wiring so they don't cancel each other with one of them at zero (later when I learned the machine gun effect I regretted a bit). But I didn't change the lug connections on the tone pots. I admit that I'm always having some problem in understanding how potentiometer connections work and why some of them shut down the guitar and others not.
to #3: I learned about the main toggle override on this board, but the dual bridge coils were my own idea and contribution to the further development of the Jimmy Page guitar.
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Post by borsanova on Sept 11, 2010 19:13:54 GMT -5
I'm not an expert on interaction between two parallel pickups, and I admit that I don't really understand how the "loading" effect works.
But I have listened very carefully to all kinds of pickup combinations on my 22 Dual and this is what I found.
First, you are right by saying that 2 pus in parallel may appear to have less volume than each one of them alone. Certainly their output will be smoother, which may contribute to the impression. If there is really a loss in overall output (and there is no reason why not believe it), it is however much less perceivable than in any oop configuration.
Since we agree on what happens with out of phase, I want to investigate a bit more into what happens between two pickups in parallel (in phase), exposing what I found on my guitar.
My Twenty Dual offers pickups with very different impedance, especially in the bridge position where I have the humbucker with about 14 k, the single coil with 7 k and the dual with overall 3,5 k. If I put these in parallel with the neck pickup (7,5 k), their interaction varies noticeably. What happens is that the pickup with lower impedance prevails in the mix. Thus with the humbucker I hear much more of the neck pickup's signal and with the dual I hear more of the bridge pickup, while with the single coil both pickups seem to be evenly matched. Note especially that in the parallel mix with the neck pickup my bridge dual pickup results not only louder than the single coil, but even much louder than my humbucker. These things get even more evident if I use the neck coil tap and combine for instance the neck single coil (4k) with the bridge humbucker (14k). In this case the bridge humbucker is almost completely overshadowed by the neck pu.
When I first noticed these interactions, I thought about using resistors in order to have my pickups evenly matched, but then I saw that it would have been far too complicated. So I gave up on it and accepted the situation. In some case it is possible to use one of the volume knobs to correct a bit, especially when I'm looking for the thinnest sound in out of phase mode, but usually I won't take the time, except sometimes when I'm recording a reggae rhythm or something similar.
I remember that, time ago when I first exposed them, these results of my studies were criticised by an electronics expert among the board users (maybe not on this board, in any case I don't remember the name), but they are empirical findings and as that they cannot adapt to theory, but theory must adapt, trying to explain the evidence.
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