Post by roadtonever on Jun 21, 2011 9:03:31 GMT -5
The goal of the diagram is to have a multitude of useful settings and addition variable inductor-based tone controls alluding to active controls which hopefully help to even the variables you might be faced with when working with varying audio reproduction situations, venue acoustics etc. Equally important is a good basic tone in a more reproducible setting such as in a recording environment where controls can be set to suit the song.
Thanks go to JohnH, ashcatlt, cynical1, 4Real, sumgai and newey.
Post by roadtonever on Jun 21, 2011 14:06:51 GMT -5
To break things down somehow.
Advantages over standard diagrams
Series resistors in the parallel setting removes typical honk and scoop and retains tone set by external capacitance(I think)
Funky half-out-of phase setting
Some active-like/low-impedance tones can be set and shaped to resemble mid cut, low cut and bass "boost"(after input gain has been raised to compensate) Even a mid boost effect can be aproximated by selecting the series setting, flooring the control named 'Vari-Q' and dialing 'Master tone' and 'Q-tone' for the desired strength.
Doesn't use too much real estate, should be able to fit in a J-bass if you make use of two dual concentric pots
Less running back and forth to your amp and trying to signal the sound guy
Disadvantages over standard diagrams
No individual volumes or tone controls - don't really work in practice
A 500k volume pot is used yet the pickups are designed for 250k pots. I usually keep it at 5(linear pot) and raise it slightly to counter the treble loss from the series caps in the parallel setting or to swiftly push an amp into distortion.
Possible future revisions/additions
Moving half-out-of-phase to a 5th position on the switch. The series cap doesn't do anything useful when the neck or series setting is selected.
A series of caps on a rotary for half parallel tones and maybe an additional pot to vary the effect. In this capacity the rotary could double as a tone cap selector for non series settings as well. I believe this will warrant a new moniker if added. (Would that make it a 'Truly Nutzoid Scheme' d'ya think?)
Sorry that no one has seemed to chime in on this. It seemed, I guess, like you had matters well in hand, up until the tone control.
Let me stare at this some more over the weekend, and we'll see what others chime in with. Off the cuff, I'd say that the extra pot is just too much of a resistance drag on the circuit, but again, let me look at it in more detail.
EDIT: BTW, this is not meant as a criticism, but while this started out as a more-or-less finished scheme, it's become more of a back-and-forth of questions- which is probably better suited for Guitar Wiring than for the Schematics section.
But I didn't move the thread when it first left the realm of "completed schematics", so I'm loathe to do so now. But a thread in Guitar Wiring is more likely to generate a conversation; folks don't generally look for Q and A in the schematics.
Post by roadtonever on Jul 1, 2011 19:32:47 GMT -5
New revision with seemingly functional tone control has been added to the first post(All it took was an extra connection between the middle lug and hot out). This will possibly be my final drawing of 'Bass in Space - DRAFT'. Any further significant changes such as those discussed in post#2 to this diagram will be presented with a new moniker.