This gives all series/parallel/single coil possibilities of two coils at a time with two 4 wire humbuckers. This is very PRS 5 way-like, but fills out the matrix.
The rotary switch uses some trickery to reduce wiring. If you look at the 4 position decks, you'll see that a simple shift of the stripped pickup wire leads thru the two decks suffices since the 4 position selection will repeat three times for a complete rotation.
I can do this with the Grayhill switches, but one might have to do some digging.
If one can't find such kit to make switches this way, a 12 position 4 pole will suffice (the clever way didn't reduce the number of decks, just the wiring).
If you want phase reversal for one of the pickups, you'll have to use a 4PDT switch since 4 wire mode is used.
Post by Mike Richardson on Aug 18, 2006 5:34:41 GMT -5
Don't get me wrong--I'm not complaining!! I just saw the word "all" and figured I'd count them. He's done a great job of getting as much as he did, and the other sounds probably aren't of much use, anyway.
Yeah, I guess that I could have been more exact. I kind of focused on hum canceling combo's since PRS also did so. I refer to a 4PDT toggle for phase reversal, for hum canceling RP modes. Aside from the single coil modes (which PRS does not do), the RotoBucker is hum canceling. 12 is somewhat limiting, but a single rotary switch and the two pots (whether PP pots or whatever) is all that I'm willing to put in my PRS (You rarely see one with with a "switch rash".)
I'm not a big fan of singly using the different coils on a neck humbucker (unless hum canceling reasons direct me to) since the aperture variation ratio at the neck is not as harmonically different as at the bridge. While I see a difference between A*/+(C/D) and B*/+(C/D), I don't see nearly the difference between A*/+C and A*/+D.
adding 2 sounds like A+C OoP and A*C OoP (those ARE hum-canceling) might be the icing on this cake.
Have at it.
If someone looks at one of my designs and rejects it 'cuz it doesn't do exactly what they want, I'm disappointed. If they look at them and see how they work and view them as structures and building blocks, I'm elated (a new "fisherman"!). I purposely left the volume and tone controls off for this reason.
If you recall, the first Mike Richardson Strat scheme used the DiMarzio super switch, which was different that the Fender (and most aftermarket) ones. Having the uncanny (and often rare) ability to actually see (visually observe) how the switches worked was crucial in translation.
(Actually, since I don't believe in [any] magic, it was most logical.)
Also, I do have a digital volt meter with continuity checking. Doing ANY guitar (or amp) circuit futzing without one is like driving with your eyes closed. If the "magic" is with you, you might not hit much.
We should encourage all to "fish with the swimmers".