Depending on what you post in the next "episode", I might move these to separate threads. While search engines (be they ours or Bingle) can find things inside of threads, I think you'll agree that once someone enters our domain, they tend to wander around looking at a lot of other stuff, often initially by thread titles.
But that's a decision for another time. For now, just keep 'em coming!
Rule #1: All Lives Are Final. Make sure that the life you have just been issued is appropriate for your needs, before departing the womb.
Rule #2: In case you don't like the life you have, see Rule #1.
Sumgai, You’re correct and Newey brought up the whole question; so, I think it best that I hold off until the group makes a decision. Otherwise, they just clog up the subcategory.
Not necessarily. It depends on the content. But we'll determine the criteria for that amongst us Staff members. It can just as easily go from one extreme to the other, or end up somewhere in the middle, I dunno at this time... and it's a bit too early to make any predictions.
Thanks frets, Yes we'll make a plan for how this sub-forum can keep developing. what Id like to do, and what has been missing from the first batch of articles, is to have a thread that goes into the basis of these mid-shaping circuits, like I did with other generic types. Ill put that on my to-do list. Meantime, your circuit is definitely a powerful tonal device and Im working out how best to deal with it. What I plan is to add a couple of parts to GuitarFreak to capture it, then we can explore in a new htread - watch this space.
John, first, thank you for such hard work to provide testing and subsequent validation to a control that I feel is a considerable tonifier. Secondly, I do have some 3H Audio Signal Transformers; and, will make the modifications and report back. Lastly, from qualitative perspective, I’ve not noticed any volume reduction. I’ve not caught that, but I will listen more attentively and report back.
I hope other guys on the forum will try this mod out. It really does dial in a vast multitude of tones, more than any control I’ve built. Thanks again. Once the admin group decides the best manner for these member mods to be posted, I have others to offer. I’m sure other members do too.
I'd say that if you have mods that you have found to work by building them, please go ahead and post them and let's discuss them. If, like the last one, it is a tone control idea, then you could post them as a thread in this tone control sub-forum. If it's more of a switching or other idea, or it's an idea that you or others havn't built yet, then best to go initially in the general wiring section. We might move a thread around sometimes for house-keeping reasons, but that's no problem. Also, it would be best if you could give a few descriptive words in the title that tells readers really what it is about.
From what Mr. McInturff says on his website (and looking at that one photo of the configuration), it appears to be primarily an Inductance filter setup probably similar to Bill Lawrence’s Q-Filter, Rothstein’s Midrange Shaper and/or Torres’ Midrange Cut; but, adds a low pass element to the system.
All in all, it’s aimed at fiddling with midrange frequencies with a high pass filter that he calls “Warm” and a RLC network that he calls “Sweet”. (I can’t get to the second link you provided to research it more. )
If it’s what I think from what he says, it’s most likely to be a tone control comprised of RLC circuit; i.e., an electrical circuit comprised of a resistor, an inductor, and a capacitor. Or an RC circuit, a resistor and a capacitor. It probably is both.
First off, he’s using a low pass filter, a filter that passes signals through that have a frequency below a set cutoff frequency, while attenuating higher frequency signals above the set cutoff frequency. In other words, part of his circuit looks like it’s focused on trimming the treblely bits while accentuating something around 200-300 Hz, part of the “fullness and body” area of an electric guitar. That’s my guess. He also speaks of the “Woman Tone,” made popular by Eric Clapton when he played with Cream in the mid to late 60’s. Listen to “I Feel Free” on Disraeli Gears and you’ll get a real clear sense of what the “Woman Tone” is. “Sunshine of Your Love” is another great example of Woman Tone. They call it Woman Tone because it is supposed to be akin to the voice of a female vocalist. It’s a tone around 165-200Hz. So I bet he’s definitely focused his “warm” filter around 200Hz - give or take.
It clearly looks like the second part is a midrange scooper. His “Sweet” Filter probably is where the inductor or audio signal transformer comes into play. That’s his RLC circuit or maybe just an inductor on a pot. It’s pulling the midrange frequencies out in degrees while one rotates the sweep of the pot that controls the inductor/capacitor/resistor combination - or - it could just be an inductor allowing lower frequencies to pass through more easily than treble. Either way, I believe he’s focused on controlling the upper mids. That’s why he calls it “Sweet.” A sweeter top that reduces brightness.
You can compare his “Sweet” Control to a Rothstein Midrange Shaper or a Torres Midrange Cut. Midrange Scoopers are really powerful tonifiers (I think). You can Google those and give them a listen to compare with Mr. McInturff’s. After listening to their sweep, you’ll get a real good idea if you like the sounds or not. Oh, and don’t forget to listen to Bill Lawrence’s Q-Filter in comparison to Mr. McInturrf’s Maxi-Q.
He has his different kits for Strat, Tele and LesPaul that all seemingly are aimed at what I discussed above.
Like I said I couldn’t get that second link you posted to come up. But I did listen to his YouTube Video and it confirmed what I think is going on in this product.
I could not find how much the Maxi-Q sells for.
So I don’t have direct experience with the Maxi-Q; but, I build (and a lot of us do) similar sounding circuits. One thing I can tell you is the guy builds beautiful guitars.
The whole enchilada reminds me of a push-pull midrange control that has on one side, the RLC circuit, and on the other side, has the RC circuit.
I guess I recommend that you compare his system to the others I mentioned, consider prices, and decide for yourself which tone system that fits your style of play and tones desired.
What you get is a remarkable "expanded rainbow" of tones from YOUR guitar, right there on your knobs, no batteries involved, it all sounds natural/organic/un-hyped......no new holes, very few solder joints...pro installation is recommended but in the majority of cases, good basic soldering skills are all that are needed!
From the vaunted old-skool "woman tone".. to gorgeous dipped-mids/wide-clear soundscapes.. to a bratty mid-forward presentation that makes a statement......all the while being able to gently, musically tweek your tone right there on the guitar...a whole subtle-to-rad "sweep"..the TCM MAXI-Q delivers.
And it is made of 100% tour-ready components...assembled/made by me, Terry McInturff.
I really need to find a source for those tour-ready components. All my builds have just plain-vanilla regular components. 😏
I found this impressive bio early this morning about Terry, “In addition to the guitars he’s built for Jimmy Page and Eric Clapton, he’s also created instruments for Joe Bonamassa, David Hidalgo, Brad Whitford, Audley Freed and others. For the maker himself, though, this kind of star-player uptake has been invaluable for its constructive feedback. “Sometimes, someone will just say a sentence or two,” McInturff says, “make a suggestion, and I am on the way towards making an even better tool.”
But more seriously, there do seem to be some nice sweeping controls available using pots, caps and inductors, and frets you have come up with a few yourself. I think one of the key features of such a thing is that it should be switchable so you can take it right out of circuit for when a very pure clear sound is needed. Also, I think they often work best when other tonal controls are out, So if there is also a normal tone pot, it can get switched out or is no-load.
Viable considerations to the techy crew, Happy 2021. I have always felt tied to the old electronics ways, which has(ahem) cost me many hours of tinkering and hardship, but... I have to say that the key to tone control is knowing the frequency that your axe is designed to put out. Now after that, you can idealize the ways to control it, but the only way how is to alter the freqs... and I mean alter! like say if an axe is putting out about 20hrz as a signal processor, then the arc of freqs that will change the tone is from 32hrz to around 15hrz... Now these aren't like, hook me up to the scope and read me a high tone at 32hhz.. these are like (and I say this lightlly) quavers of hrz that cause fast pulses or slow pulses. So assuming our buzz box is screaming at 32hrz with some ear drum peircing screetch that is uncontrollable to the volume, you could call that feedback, which must be avoided entirely. So the whole idea here is to find a happy medium between 32 and 15 that will speed up or slow down according to the turn of the button.
So that wasn't so good, things got hot, static was everywhere, and the drawing board was empty, so I did what I always do... BACK TO THE EGG. Baxandal created a tone control circuit that feeds back capacitance on the high end, and feeds back resistance on the other. This drives the circuit into overdrive, but doesn't drive the source into feedback... which I thought was neat. Modern guitar electronics efficianados will tell you most of the tone used in pro equipment uses a system similar to this tone control.
I want to digitize this baxandal, and use the outcome as analog in a freq based compensation system of parrallel parrallel(device system) -(to) series(amp out) so that I can learn the reasons why parrallel and series are incompatible sometimes. With a set of three pickups wired through a 5 way in series, hum bucking(which was the original term for feedback screeching) was set up so that a player could jam feedback into the system at the throw of a switch. I am not a screech artist. So I'm not really interested in overdriven feedback issues.
There has to be a way to get good deep lows and nice tinny highs at the turn of the tome button, and I am really wanting to find out how without the use of a digital circuit and a 9v battery.(what we used to call a powered circuit and today they call an active circuit which was something else entirely whey I learned electronics! booyah!)