Raz59
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Post by Raz59 on Jun 25, 2010 7:18:07 GMT -5
And after a good test drive and tweaking the screws, I think the sounds are more distinct...And more importantly, the controls do what they are supposed to.
I recently checked which coils were active when S2 was up and down. And it is correct, when in phase, the slug coil is used; when out-of-phase, the screw coil kicks in.
John, if I reverse the white and green wires, I supposedly change the phase. The neck coil which is active also changes accordingly, right?
EDIT: I have to seriously apologize for this big mistake. It seems that when I was supposed to switch the green and white wires...I ended up soldering them up to the same spots! S2 is working properly now!
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Post by JohnH on Jun 26, 2010 16:25:13 GMT -5
And after a good test drive and tweaking the screws, I think the sounds are more distinct...And more importantly, the controls do what they are supposed to. I recently checked which coils were active when S2 was up and down. And it is correct, when in phase, the slug coil is used; when out-of-phase, the screw coil kicks in. It is right that when you change phase with the neck in single-coil mode, it changes which coil is active. But, it was actually the intention that it was the screw coil that is active in in-phase mode! This suggests that more coil swaps on the neck would be needed. The issue was not evident from earlier phase test results at posts52 and 73, but looking back, is indicated at post 77 test 2b, where you got a string jump on the slug coil and not much on the screw. If you are happy with the sounds and performance, then you don't have to make this fix. If you do change it, then it will (should) make no difference to the in or out of phase, not much difference to over-all tone (assuming your slug and screw coils sound similar), but should help by making a reduction in hum when both pickups are used together in single coil mode, but no hum change if one is in humbucker mode. So thats a possible hum reduction in 4 out of 22 sounds. Id be in two minds whether to do it or not, not wanting to get into another long loop! (I think I would do it however - provided you are sure that you are currently getting the slug coil when S2 is down) If you decide to try this (your risk!), the idea would be to swap the neck slug and screw coil positions (electrically not physically)without changing any phase. Green swaps with black. Red swaps with white cheers John
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Post by 4real on Jul 1, 2010 3:29:21 GMT -5
Wow...well done...working at last
I'm enjoying mine, however I'm thinking I will want to do more tweaking. Largely due to my powerful overwound pickups and the style of play I do these days...I'm sure that all johns work here might save me if I get into trouble and need to go through some of these processes again.
Also, although mine worked fine, I did not do the magnet reversal and the split combination appears not to be humbucking but it is still extremely quiet for that and this thread has made me nervous to tinker too much with the thing...LOL
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Raz59
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Post by Raz59 on Jul 3, 2010 6:58:46 GMT -5
Wow...well done...working at last I'm enjoying mine, however I'm thinking I will want to do more tweaking. Largely due to my powerful overwound pickups and the style of play I do these days...I'm sure that all johns work here might save me if I get into trouble and need to go through some of these processes again. Also, although mine worked fine, I did not do the magnet reversal and the split combination appears not to be humbucking but it is still extremely quiet for that and this thread has made me nervous to tinker too much with the thing...LOL Yeah...it's a relief to finally hear the switches do what they are designed to do. I would still like to know where the luthier went wrong though, why did he mess up the color coding, even though I have him the Seymour Duncan color chart? As for your guitar, remember to update your wiring to the diagram in John's previous post: Raz - further investigation based on your observations of point 8 in your post above: The following diagram moves one wire at s3 (see thick blue wire - replacing a thin black wire that was going to ground). What was happening though was that the S3 switch was taking the central connection of the neck humbucker (green/black) all the way to true ground, which is OK except when it is supposed to be in series with the bridge humbucker (S1 pulled), in which case it was not only bypassing one neck coil, but also the whole of the bridge pickup. The clue was in the exact resistance reading of 4.25k, which was the same as the neck coil alone and showed that the bridge was being bypassed. And if you have really 'hot' humbuckers, then I suggest trying out wiring a humbucker's coils in parallel and switching the start and finish wires of only one coil to put it out of phase. A parallel, out-of-phase humbucker is a very interesting sound!
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Raz59
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Post by Raz59 on Jul 17, 2010 20:39:15 GMT -5
This forum and the fellow nutters here were invaluable help for my wiring, I still can't thank you all enough for creating a place like this where very educated/creative minds were gathered. I'm taking my time reading newey's new thread and taking notes on how to further personalize the sounds out of just one humbucker!
And this will probably be my last post on this thread. I do hope the issues I had will help people with similar problems in the future.
Ok, so I've been playing with the sounds for awhile. You can say that I'm over the honeymoon phase now. The sounds are interesting, even though I'm using a solid-state 15 watt amp. There's this curious sound I can achieve when I'm in "system series/broadbucker" mode and also with the pickups out-of-phase: turning the neck tone knob down has the predictable effect of reducing the high frequencies to the point that the sound is very bassy. So far, all's fine and dandy.
BUT! If I turn down the bridge tone knob, I actually get a 'wah' effect to it, I can't put it to better words, but it's not the same effect as the the neck tone...it's interesting to hear! I'm not sure if at this point the bridge tone is still a high pass filter or if it's something else...nor can I imagine what's happening in terms of phase relations, because that's currently beyond what I know.
And now regarding the split coils and their phases - it's been suggested to me that the bridge slug coil would sound better than the screw coil...and it's important to note that right now I'm not really caring for the sound of the split bridge pickup.
So! To put an end to the shenanigans, John suggested that - in order to get humcancelling combinations, even in out-of-phase - I have to switch the neck wires around:
"Green swaps with black. Red swaps with white"
But I'd actually rather do this on the bridge pickup in order to have the slug coil as the active one when I coil split it. Given my predicament of the colors being all messed up, how do I go on about doing this on the BRIDGE pickup?
And finally, after all the soldering, tests and measurements...for future reference, in terms of North/South Start/Finish, which colored wires correspond to what?
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Post by JohnH on Jul 18, 2010 7:30:00 GMT -5
the answer is 'yes probably maybe'. But after a few weeks of not having this scheme in my head, it will take a reread to answer properly. Not wishing to provoke another 7 pages of discussion by having it unravel with coil swapping.
Well done for sticking with this though.
When you say that the bridge single does not sound good, in what way do you mean? - because I might agree.
I find the bridge single coil on my LP to be too thin, so I dont completely cut the other coil, but shunt it wih a cap - see neweys latest 1hb thread.
John
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Raz59
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Post by Raz59 on Jul 18, 2010 12:46:30 GMT -5
As you know, in my case, when I split the bridge, I'm only using the screw coil. When I say I don't like the sound of it, I mean that there isn't a big difference between humbucker and single coil.
Bridge Split coil mode simply sounds like the humbucker, but a bit thinner. When in comparison, if I split the neck bucker and alternate between screw and coil, the screw coil seems to produce a deeper sound with some high sparkly frequencies that I associate with single coils. Bottom line: splitting the neck is great, splitting the bridge...not a pleasant tone really, so I want to try splitting to the slug coil.
A pickup winder on the another forum said that the bridge screw coil is the 'slice' coil and the slug is the 'grunt' coil. And it makes sense because of the pickup placement; I think the slug coil will pickup less of the harsh treble, and it'll still have that high end sparkle for a convincing split sound.
By shunting, do you mean putting a capacitor in the "series link" of the humbucker and connecting it to ground? Won't that cut all of the high frequencies of a coil?
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Post by JohnH on Jul 18, 2010 15:46:48 GMT -5
Actually, my cap idea is not suitable in this case on your bridge pup, due to the parallel wiring arrangement.
If you want to try out slug v screw coil at the bridge, i suggest a quick test first.
Set the bridge to full humbucker, and clip a wire to the wire link across the lower two lugs of s4. Connect the other end either to ground or to the volume pot hot (= left) lug, so to cut either of the coils.
John
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Raz59
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Post by Raz59 on Jul 18, 2010 18:55:51 GMT -5
Unfortunately, the control cavity is really messy. I can't see the volume pot's lugs properly and if I shove the wires to one side, I'm afraid to break connections. Too many wires are crisscrossing in front of the wire link in S4...
I can't do the test like this...and I will have to rewire this into something more neat than a colorful bush.
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Post by JohnH on Jul 19, 2010 0:30:42 GMT -5
just looking for a way that you can hear your two bridge single coil sounds, without launching into soldering and wire swapping. In bridge normal Hb mode, Can you clip a wire onto that s4 lug (refered to above - actually the two lugs joined by a short wire, at the bottom of the diagram), then take the other end to anywhere connected to hot - even the jack tip, or the tone pot centre lug, to hear your other coil. Or connect to anything grounded to hear your current single coil (screw coil). John
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Raz59
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Post by Raz59 on Jul 26, 2010 11:16:12 GMT -5
I'm really enjoying this wiring harness, the more I use it, the more it grows on me; so thank you John, I can't "exalt" you enough! I still have to get my act together and do the suggested test, so please pardon my lazyness... But I have question (I don't know if this is the appropriate section):
These JP-styled wiring harnesses are really beasts and possibly an art form in their own right. One thing I don't understand though - is the placement of the ground connections important?
I understand that each potentiometer and metallic component should be connected to ground, but I've seen people insinuate that the way you form the ground wire "C" shape is important to the functionality. An example would be SD's JP wiring - the same people say that it will only fully work if the ground wire forms a "C" shape to it (no wire connection between the bodies of Neck Tone and Neck Volume). Is there any truth to this?
I've also been in a recent discussion regarding the effect of ground loops in a guitar circuit, but that's another story.
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Post by JohnH on Jul 26, 2010 15:49:28 GMT -5
Im glad its behaving itself!
I have stopped worrying about ground loops within guitars. I many electrical circumstances, it can be important to avoid them, such as when wiring up a sound system, where if pieces of equipment are grounded to different outlets, then the small changes in ground voltage at different grounded points cause a mains buzz that is imposed over the music. It can also be an issue within a piece of powered equipment like an amp, where the layout of ground wiring is important.
Within a guitar, so long as each point that needs grounding has a route to ground, it does not make a difference if some points have two routes to ground, resulting in a 'ground loop'. i once checked this out for myself by trying to make a massive ground loop to find out if I could hear any efffect, and I could not.
cheers John
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Post by 4real on Jul 26, 2010 23:38:21 GMT -5
I am of much the same opinion as John on the whole ground loop thing...perhaps it might matter more in active circuits...perhaps...
However, the principles of avoiding them is still sound because it cuts back on excessive wiring. You want things grounded, the notion of "star grounding" taking things back to one point is still valid for instance, as often these things just cuts back on wires and complications.
I tend towards using a consistent colour for ground in my guitars. I also use shielded cable where possible and appropriate...say for running from the selector to the control cavity in an LP.
To make this easier to deal with an neater, I for instance use cable that is 3 individually shielded lengths....two take the pickup signal to the selector, one returns...all the shielding is connected to the selector ground a wire is then connected to the return shield to connect to ground. Therefore, the shields only need to be soldered to this one point and back in the cavity where things can get "messy" you are only dealing with normal wires and the minimum number...the effect is that you avoid ground loops to only connect the shields on one end, but the advantage is that you don't have to deal with soldering braids and risking shorts and such.
Similar to the example of the "C" in connecting the pots or a continuous loop...probably no difference, but you are adding a redundant wire and so two connections. When things get complicated, following the principle of avoiding redundant connections is likely to end up with less wires, less confusion when it comes to troubleshooting things and less connections to be soldered.
What really brought it home to me and make it more of a habit is when I worked with sustainers. These things can induce currents in coils such as the neck pickup and 'deselecting' (leaving the coil grounded) is not enough. Currents and so noise or 'fizz' can be transferred to the ground plane so the easiest approach seems to be to disconnect the entire selector and all grounds and hots, then reconnect the bridge and ground and power. If you have extra redundant grounds hanging about, it can be really tricky to get them all (sometimes there will be one in the selector itself or something) so in rewiring I have tended to make the sustainer switch itself the "star ground" for the entire guitar.
Now, this is an unusual circumstance, but the principle still seems to make things clearer to troubleshoot and less wires and connections that could be in error.
...
It's great that GN2 are prepared to cut through some of the 'myths' about these kinds of things as they have a tendency to perpetuate and confuse. A simple 'test' such as john describes should be enough to dispel such things, but it's no use talking to some people about the reality of these conventions.
There is a reason though to reduce redundancy and making this clearer and often the best way to do this is the same kinds of things that "avoiding ground loops" brings.
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Raz59
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Post by Raz59 on Aug 11, 2010 17:12:42 GMT -5
Bumping this thread with an update and a question.
I can't really alternate between which coil on the bridge is active. But here's the thing: I don't like the sound of the screw coil, but I know for a fact that each coil of the pickup has equal DC resistance.
Given this observation, I'm assuming that they color the sound in an equal manner. The only variable here is where each coil is located - whether it be under a harmonical node or under the place of highest string amplitude (these affect volume?) and whether it's located more at the center of the guitar or more at the string's ends (these affect pitch?).
My point is: since I can only split to the screw coil, and since the screw coil will sound basically the same as the slug coil from a "voicing" perspective, then the next best thing to do is physically rotate the humbucker around so that the slug coil is now closer to the bridge. Does this make sense? Now the screw coil would farther away from the bridge and when active alone, it would pick up less high frequencies... Seeing as nothing is changed electrically, it should be ok to do this, right?
Before doing this experiment, I'm also thinking of switching the screw coil of each humbucker around in order to hear what sound I can get with mismatched coils (~ 4 KOhm mismatch, to be precise). The most predictable thing (in my simple mind) with this modification is less hum cancellation...I'm also expecting the bridge humbucker to become brighter because one coil will have less winds than normal, therefore increasing the resonant frequency and that the reverse will happen in the neck humbucker (more winds in a coil, lower resonant frequency).
Thoughts would be greatly appreciated!
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Post by 4real on Aug 11, 2010 17:38:09 GMT -5
DC resistance is only an indicator, it does not tell you that coils are equal. A slug coil will have a difference than a screw coil, in large part because there is more core material which alters inductance which would be a far better measurement of a coils character (resonance frequency and such). Most hb's have 'mismatched coils' if only from this perspective, but many are mismatched purposely.
Switching coils around would be a delicate operation, as you seemed to be reticent to do the guitars wiring, I'd be even more reticent to take the actual pickups apart...but I suppose your "logic" if I am reading you right is fairly sound. Of course, by switching between the neck and bridge pickups, you would create two pickups of a similar total value when the coils are working together.
On my guitar, my pickup coils are in fact identical, all slug coils, so hard for me to make comment in comparison. My neck pickup sounded overpowered so I had to fairly radically lower (about level with the pickup ring) that pickup compared to the bridge pickup.
In fact, I'm thinking of testing this further as it may be that the neck pickup in my guitar is more like a bridge and vs a v as they weren't labeled and I went only on the lead length...perhaps I got them back to front.
Not sure what your wiring splits have achieved, or if mine is 'as intended', but my pickups split to the inner coils which makes a great sound and a kind of 'quack' when used together.
I've never like a bridge pickup split close to the bridge myself, far too bright...
Anyway, perhaps a little early in the morning to get my head around, I'll defer to the experts...
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Raz59
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Post by Raz59 on Aug 11, 2010 18:11:17 GMT -5
I have much more confidence in guitar wiring as of late...most of it stems from the acquired experience of handling a hot iron to build a dimmer circuit on a hand-made PCB circuit for my classes. From there, I bought my own hot iron and things just flew! I attempted to fix my guitar cable by re-soldering the plug's wires to their respective places; I did the minor wire switches as reported in this thread and recently I rewired my strat to one of JohnH's diagrams (succesfully!). Not a portfolio that I can brag about, but it's enough to give me confidence to do my own wire/solder juggling. I'm still a bit fearful about the coil swap as I understand that the coil wire is thinner than human hair...I might easily break it. Oh, and an update as to what's going on inside my LP: It's official, the bare wire isn't soldered to the chassis... Even though the wires are not set up according to the SD color scheme, they're neatly connected together in the humbucker. The solder spots where the each pair of wire meet have a sort of pink rubber hat that has the end flattened (by heat?), I still have to figure out how to undo that.
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Post by 4real on Aug 11, 2010 20:09:02 GMT -5
Well...it's a delicate operation...the connections are probably protected by heat shrink. The pickup coil wire is extremely fine and easy to break, excessive heat can break it or melt the join from the little lead wires to the coil wire.
However, the coil swap shouldn't mean that you need to unwrap coils or do anything to excessively risky, but you certainly want to watch for heat...it is a risky but doable kind of operation.
Not sure if it's a great idea of not though, still not a forum to discourage experimentation.
Also, not sure why your splits are as they are, mine seem to be the opposite. Perhaps all you'd need to do is swap a few wires around to get the inner coils working like mine to radically alter the sound without such tinkering with the pickups themselves. My inner coils setting gives a nice kind of 'quack' when split, or even with the parallel bridge and neck split. My old original PAF gibson was modified with toggles to split to either coil so I can try different combinations and the inner coil settings were always my favorite on that guitar as well.
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Raz59
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Post by Raz59 on Aug 11, 2010 20:37:55 GMT -5
The wiring diagram, as it was designed, is intended to split the bridge humbucker to the screw coil. The neck humbucker is supposed to split to the screw coil when in-phase and to the slug coil when out-of-phase (this is to ensure optimal hum cancellation). My LP, in relation to the diagram, has the neck humbucker's split controls wired in reverse; split/in-phase = slug coil, split/out-of-phase = screw coil. The neck screw coil is the best clean and articulate sound I can get out of this guitar, so I regularly find myself with two push/pulls in the 'up' position... 4real, as I understand it, what you're suggesting (inner coils in-phase) would require me to swap neck and bridge wires around...I'm really inclined in switching the bridge wires around, yes. But if I do it to the neck pup as well, while I'll be able to combine both the inner coils in parallel/in phase for a quack-y sound, that combination will not be optimally humcancelling...you think it's worth it? BTW, I'm extending the bare wires as I'm typing this...And the luthier did a number on my neck pup...most of the wires and heat shrink were covered by epoxy (or is it wax?). I tried to melt it with the soldering iron, but it seems like it's impossible for me to remove enough to make all the wires moveable. So the "switch the screw coils around" plan is scratched for now.
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Post by 4real on Aug 12, 2010 4:20:17 GMT -5
Well, mine may have some errors afterall, although I didn't swap any magnets around or anything either...my HB's are no names and the wires non-standard codes....but it seems to work as I would have expected and worked directly from that diagram.
I suspect that mine isn't quite as HB-ing as it could in that position. I use the guitar mainly for very clean fingerstyle and the high output pickups sound better in split of parallel mode for this kind of style. I did get a bit of variance with playing with the pickup heights.
However, the entire guitar besides the internal controls are shielded cable and is extremely quiet in all modes. I have got good results by just turning down the volumes as the treble bleed circuits brighten things up quite a bit too...takes any 'mud' out. As I say, very quiet, even next to this computer monitor!
If you can make the swaps around without having to troubleshoot everything again since its taken this long to get it right, yes, I think it may be worth it.
I'd wait to see what john or others might think, it could be as easy as just spinning the pickups physically around (if you have long enough leads)...well it's a thought.
It depends what you are trying to achieve with the guitar, it can't do everything, but the inner coil split makes a nice sound especially clean...it's not a strat, but it does give a nice sound with both pickups on.
I'm really impressed with this scheme, it certainly has variety...I'm also using an LP in an unusual way (clean, fingerstyle or clean soul) and perhaps if I were to do it again (I'm thinking of building another) I'd use different pickups and completely different scheme that gave more gretcsh like sounds, more parallel options perhaps.
Pickups are waxed to stop microphonics, it's not beyond you to play with them but there is a risk and it might not work quite as you think. It's a very interesting idea though for easily mixing coils, but the results might be unknown. Probably best to leave it.
As the guitar is working and it's a bit precious, you may consider getting a cheap but playable strat or similar copy and going to town on it. My main guitar till this one was a heavily modified squier that sounds and plays fantastically. A lot of money went into high end parts in the end, but you could work your way up to it if worth it. But, a test guitar like that can be a lot of fun and work out really well and you get to try all kinds of options and hone your skills further.
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Post by JohnH on Aug 13, 2010 16:46:38 GMT -5
Raz - if you have your humbuckers open, you can at least confirm what wire goes where. What you want is that each of the four wires from the coils has its own wire (having gotten this far, I m sure it has that!), none of those coil wires are connected anywhere to the braid, bare wire or case, and at least one or both of the bare wire and the braid is connected to the case, so you can then ground the case without grounding the coils.
It should be clear enough to see what pair of wires goes to each coil, but may be less easy to tell which way round the two wires from each pair are. When it was unmodified, there would have been a wire from each coil joined together, to put them in series. I would be great if there was still some clue as to which wires those were, and what colours they are now connected too.
John
If it all looks like a neat job, I wouldnt necessarily swap wires within the pickup, you can do that at the other end, in the cavity
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Raz59
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Post by Raz59 on Aug 14, 2010 0:15:50 GMT -5
I did manage to peek inside the bridge pickup and see what wires were connected to where. The stock humbucker wires are like 3 white wires and a black one.
2 white wires closer to the inside of the humbucker (series link wires?), black and white wires closer to the outside. But that's all the info, I don't know if the guys @ Epiphone use the black wire as the lead or the ground.
I think that deducing what wires correspond to the SD color scheme can be done based on the info that this thread provides.
The pickups, as they are now, seem dead. I might have messed when I tried to extend the bare wire...I can solder the bare wire anywhere I want on the chassis, right? The brass chassis was dirty with wax, so I heated it up with the iron, cleaned the wax, sanded it a bit, put some solder on it and connected the bare wire.
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Post by borsanova on Sept 10, 2010 19:52:41 GMT -5
BORSANOVA IS BACK!
Hello guys, I'm impressed: you have been discussing for eight pages on my design! I have read just a few of them and I'm sorry if I haven't been completely clear in my drawing.
I found one misunderstanding right at the start: My drawing is not looking at the guitar from the back, but from the front! This should sort out a few issues as to where the neck and bridge pickup are as well as the lugs on the pots.
Please let me know if you still have other specific issues and I'll be coming by from time to time to try and help.
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Post by JohnH on Sept 10, 2010 20:28:11 GMT -5
wellcome back!
we have had much enjoyment messing with your design - and it has been built sucessfully again twice now. This thread got quite involved, but the latest wiring vetrsion is a post 61
cheers
John
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Post by borsanova on Sept 11, 2010 5:16:36 GMT -5
Hi John, what is a post 61?
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Post by JohnH on Sept 11, 2010 5:58:38 GMT -5
Hi John, what is a post 61? i meant, at post 61 = reply 61, is where the latest diagram is
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Post by borsanova on Sept 11, 2010 8:17:55 GMT -5
But when I pull S2 and S3, it seems I get equal output from both coils! Resistance-wise, only one coil is in the circuit...I don't know what to make of this. Again, I appreciate your help. I'm reading through this thread and I understand you had a hard time when building this guitar. At least I can sort this point out: it is all ok that you hear both coils connected when touching with a screw driver, because in this position the second coil is shunted, that is, it is hanging from hot with both sides.
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Post by borsanova on Sept 11, 2010 8:23:42 GMT -5
Yes, S2 is still inverted, perhaps I should try and invert white and green wires again? I'm almost sure I made swapped wires correctly, but it won't hurt trying it again, to see if the phase is switched. Yes I think I would do that too if I was you It is not enought to swap white and green wires. You must swap all four wires to fix this. So swap white and green and then swap the other two as well. this should not only fix the S2 switch, but also introduce the hum-cancelling with both pickups in single coil mode.
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Post by borsanova on Sept 11, 2010 8:33:06 GMT -5
My point is: since I can only split to the screw coil, and since the screw coil will sound basically the same as the slug coil from a "voicing" perspective, then the next best thing to do is physically rotate the humbucker around so that the slug coil is now closer to the bridge. Does this make sense? Now the screw coil would farther away from the bridge and when active alone, it would pick up less high frequencies... Yes, this is a very simple mod that should have no other consequences on hum-cancelling or else.
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Raz59
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Post by Raz59 on Sept 12, 2010 9:44:54 GMT -5
My point is: since I can only split to the screw coil, and since the screw coil will sound basically the same as the slug coil from a "voicing" perspective, then the next best thing to do is physically rotate the humbucker around so that the slug coil is now closer to the bridge. Does this make sense? Now the screw coil would farther away from the bridge and when active alone, it would pick up less high frequencies... Yes, this is a very simple mod that should have no other consequences on hum-cancelling or else. Wow Borsanova, you really made a comeback to the internet! I was googling around for other JP wirings and I saw that you posted yesterday on the music-electronic-forums about this very diagram! 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!
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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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