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Post by sumgai on Mar 14, 2018 11:20:19 GMT -5
thetragichero has the issue of green "Hot" correct - it has to be deleted. newey's diagram is correct, with the modification of connecting one side of the switch to the bass control instead of directly to the vol pot's input terminal.
Ro_S, you'll learn to put the schematic into drawing terms soon enough, it just comes with the territory, and with experience. Consider it like this: if you simply took a wiring diagram and hooked it all up in your guitar, what did you learn? Nothing, except perhaps how to keep your fingers free of burn-blisters.
Whereas, if you want to actually design something, a circuit that accomplishes X purpose, then you're gonna make things much more difficult for yourself if you don't separate the design process from the asssembly process. Attempting to make one process act like the other, that's a nerve-wracking exercise in wasted time.
We Nutz do strive to serve the guitar-modding community by teaching as well as just doing some of the work for you, and others. We get our jollies out of helping others to solve puzzles, and that's pretty much the sum-total of our mission. Don't worry, even grasshoppers will eventually grow up, it just takes time and patience.
HTH, and more in a little bit....
Oh, and while I've got your attention..... who's this sumbai person you've been talking to?
sumgai
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Post by sumgai on Mar 14, 2018 11:39:33 GMT -5
I need to address something here, I should've done this when it first cropped up. Sigh, me and my letting real life get in the way of what's important... when will I ever learn?
Anyways, the issue is this: Rotation direction of the bass cut/not-cut is determined by which terminal is connected - NOT the taper of the pot. Taper will deliver to you a degree of control over how quickly/slowly the effect takes place, and that's all it does.
If you want the maximum amount of bass (least amount of cut) at 10, then hook it up so that one of the two wires is connected to the clockwise-most terminal, as you view the pot from the shaft side (as if your axe was assembled, and you were playing the thing). Of course, the cap will span these two connections. At this point, the signal goes directly from the wiper to the connected terminal, which in turn means that the capacitor is out of the signal path. Rotating counter-clockwise will introduce resistance into the signal path. This forces some of the signal to go through the cap. At Zero on the knob, the resistance element is all the way into the signal path, so all of the signal goes through the cap. But as we expect, the cap is denying the lower frequencies, and thus passing only the higher ones. Voila, bass cut galore.
Use the other terminal, if you want maximu bass cut at 10, and normal bass at Zero.
HTH
sumgai
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Post by sumgai on Mar 14, 2018 11:54:17 GMT -5
Ro_S,
I think your latest iteration will make the grade!
Provided of course that you remove the green "Hot" wire, as previously discussed.
As I see your diagram, you are currently set to have the maximum amount of bass at 10 and maximum cut at Zero, like I discussed a few moments ago.
<Discussion for all to peruse> What I did not mention in my last blurb was that numbers on pot terminals are not cast in stone, and therefore are not reliable references. When I look at the diagram under current scrutiny, I can say "use terminal 3" and that would be correct - for this particular diagram. But the diagram displayed in the next thread may have the pots rotated, meaning the terminals might face up, or to one side (or even at a 45 degree angle!). In such cases, a standard numbering scheme would help, but alas, there is no such thing. Sigh. Thus the use of clockwise and counter-clockwise, with the appended "from the shaft side".
(Unless you reside just outside of a certain port city that's upside down, then all bets are off!) </Discussion>
Time to get to soldering!
sumgai
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Post by reTrEaD on Mar 14, 2018 12:11:18 GMT -5
to my eyes, the purple wire from the blower switch connects that lug to 'hot,' no? otherwise the volume pot is hangin' from hot when in solo mode? Your eyes serve you (and us) well. The green wire is not only unnecessary, it causes issues. Not just having all the stuff from the volume wiper (and everything before it) hanging from hot. Not just the loading of volume pot and all that stuff before it, on the output. The greatest evil posed by the green wire is that if the volume pot is at zero, the solo switch won't work. The output will be shunted via the volume wiper to volume ccw.
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Post by Ro_S on Mar 14, 2018 16:09:14 GMT -5
I need to address something here, I should've done this when it first cropped up. Sigh, me and my letting real life get in the way of what's important... when will I ever learn?
Anyways, the issue is this: Rotation direction of the bass cut/not-cut is determined by which terminal is connected - NOT the taper of the pot. Taper will deliver to you a degree of control over how quickly/slowly the effect takes place, and that's all it does.
If you want the maximum amount of bass (least amount of cut) at 10, then hook it up so that one of the two wires is connected to the clockwise-most terminal, as you view the pot from the shaft side (as if your axe was assembled, and you were playing the thing). Of course, the cap will span these two connections. At this point, the signal goes directly from the wiper to the connected terminal, which in turn means that the capacitor is out of the signal path. Rotating counter-clockwise will introduce resistance into the signal path. This forces some of the signal to go through the cap. At Zero on the knob, the resistance element is all the way into the signal path, so all of the signal goes through the cap. But as we expect, the cap is denying the lower frequencies, and thus passing only the higher ones. Voila, bass cut galore.
Use the other terminal, if you want maximu bass cut at 10, and normal bass at Zero.
HTH
sumgai
sumgai (not sumbai - sorry, I'm a bit dyslexic especially with new words) That's really useful, thankyou. So which outside lug one wires to on the bass pot is a matter of personal choice, dependant on which direction of rotation one wants to affect the cut / no cut. As the bass cut control in the PTB is merely passive and a cut - like on a conventional (treble) tone control on a guitar - I would find it conceptually easier to have the bass cut control knob configured so that it rolls off the bass content in the SAME direction as one rolls off the treble on the treble cut control knob. So I would want zero bass cut (or full bass content) to be when the bass cut control knob is at 10, i.e. fully anti-clockwise as operated when playing the guitar (with the front of the guitar facing away from one); correct? Therefore, If I have understood correctly, I need to move the wire on lug 3 of the bass pot on my last version of my wiring diagram, to lug 1 of the bass pot instead. Correct?
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Post by Ro_S on Mar 14, 2018 16:33:01 GMT -5
thetragichero, sumgai, and others - Dear All, Many thanks for your ongoing help and advice. I really appreciate it. I note that I need to remove the notorious GREEN wire completely from my diagram. I shall revise my diagram accordingly and post a new version for perusal. Thanks
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Post by reTrEaD on Mar 14, 2018 16:39:08 GMT -5
sumgai (not sumbai - sorry, I'm a bit dyslexic especially with new words) You misspelled lysdexic. I would find it conceptually easier to have the bass cut control knob configured so that it rolls off the bass content in the SAME direction as one rolls off the treble on the treble cut control knob. Your current wiring does exactly that. But unless you change the bass pot to a reverse-audio taper, you will absolutely hate the way this functions. It will be almost switch-like when rotating from full clockwise to slightly less than full clockwise. Therefore, If I have understood correctly, I need to move the wire on lug 3 of the bass pot on my last version of my wiring diagram, to lug 1 of the bass pot instead. Correct? Let's evaluate the effect of that move. That would result in no bass-cut when the knob is fully counter-clockwise (zero) and full bass-cut when the knob is fully clockwise (ten). That would match the natural action of an Audio Taper pot. Unless you plan to change the pot to a Reverse-Audio, this makes the most sense. The change will be more gradual than if you wired between lug 3 and lug 2.
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Post by Ro_S on Mar 14, 2018 16:53:33 GMT -5
I would find it conceptually easier to have the bass cut control knob configured so that it rolls off the bass content in the SAME direction as one rolls off the treble on the treble cut control knob. Your current wiring does exactly that. But unless you change the bass pot to a reverse-audio taper, you will absolutely hate the way this functions. It will be almost switch-like when rotating from full clockwise to slightly less than full clockwise. Therefore, If I have understood correctly, I need to move the wire on lug 3 of the bass pot on my last version of my wiring diagram, to lug 1 of the bass pot instead. Correct? Let's evaluate the effect of that move. That would result in no bass-cut when the knob is fully counter-clockwise (zero) and full bass-cut when the knob is fully clockwise (ten). That would match the natural action of an Audio Taper pot. Unless you plan to change the pot to a Reverse-Audio, this makes the most sense. The change will be more gradual than if you wired between lug 3 and lug 2. I mis-wrote above: I already had the wire on Lug 3 of the bass pot. EDIT: no, I was correct; it's on Lug 3 at present. Now I'm confused, cos your two points above about how the taper will work seem to contradict each other? EDIT, Let me read what you wrote another time
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Post by reTrEaD on Mar 14, 2018 17:03:10 GMT -5
Take whatever time you need to digest what was said. This isn't a test. You aren't being graded.
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Post by newey on Mar 14, 2018 21:18:44 GMT -5
Well, if I was being graded, I obviously failed on the green wire question. Mea culpa . . Given the last several posts on this thread, I thought I should trot out something I posted in the Reference section about 6 years ago: Potentiometer OrientationSG is right that there is no convention on the numbering, but I think the majority of manufacturers designate things as shown therein. I also neglected to mention that the wirings shown are correct for right-handed guitars, left handed guitar's pots are wired in reverse.
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Post by sumgai on Mar 15, 2018 0:01:06 GMT -5
Take whatever time you need to digest what was said. This isn't a test. You aren't being graded. OH? I was planning on giving a pop quiz this Friday.... Guess that's not gonna happen now.
j/k!
sumgai
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Post by Ro_S on Mar 15, 2018 1:35:36 GMT -5
Okay, below is the revised wiring diagram for perusal/checking, please. This incorporates the following changes: 1). I've removed the GREEN wire that was discussed. 2). the wire connecting the bass cut pot and the volume pot now connects to lug1 - rather than lug 3 - of the bass cut pot. Plus, I've changed the format. sorry. I did that to better reflect where things will actually be mounted on the scratchplate and chrome control plate for when I do the wire for greater ease of reference. Important: I do NOT intend to use a reverse taper pot for the bass cut pot. A question about where the kill switch is wired: would it be feasible to wire this instead to hot output (green wire) at the 'solo switch' rather than to the output jack? I ask cos it would save on wire and avoid a long wire run. (The kill switch will be mounted about half way between the solo switch and the output jack, which are very far apart.) Thanks
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Post by reTrEaD on Mar 15, 2018 3:31:12 GMT -5
It won't matter which end of the green wire you connect the kill switch.
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Post by newey on Mar 15, 2018 5:28:38 GMT -5
The latest revision looks OK to my eyes.
I suspect you will find that the ability to switch between 6 different caps on the treble cut is overkill, that is, there won't be more than a couple of those settings that you'll ever use or that provide a distinctive difference in the use of your tone control. But, to each him or her own.
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Post by Ro_S on Mar 15, 2018 10:37:35 GMT -5
It won't matter which end of the green wire you connect the kill switch. I made a change to the wiring diagram, to alter how the kill switch is wired. Have I done it correctly? Thanks. See revised diagram below. The only other changes are cosmetic only.
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Post by sumgai on Mar 15, 2018 11:39:37 GMT -5
Ro_S,
Your last two iterations look perfectly usable to me. And I feel compelled to once again "alert" you to the fact that wire run lengths are of absolutely no concern. You could literally run 20 or 30 feet of wire in there, and unless it's 12 gauge house wire, there will be no problems of any kind. (Said house-sized wire is pretty hard to bend around corners....)
But there is a "but..." You said earlier that you wanted both the treble and bass cuts to operate in the same rotational direction - counter-clockwise increases the amount of cut, clockwise increases the amount of full signal... do you recall that? Whereupon reTrEaD and I both said that your wiring was correct for that operational capability.
Then you said, most recently, that you were not going to use a reverse-taper pot, so you flipped the connections on the bass pot to act in the manner of full tone in the Zero (counter-clockwise) position, and full cut in the 10 (clockwise) position. Are you still wanting that? Have you thought through all the ramifications like ease-of-use and such? It seems to me that you've changed your mind, and not explained why. Or did the mention of not using a reverse-taper pot seem to be enough, IYO?
When everything's all said and done, it is your choice. We just don't want you to have to go back in and redo something, that's all.
HTH
Now for the $64 question. Your picture shows other pickups and other switches. Care to let us in on your plans for all of that?
sumgai
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Post by Ro_S on Mar 15, 2018 12:27:47 GMT -5
sumgai & newey - Thanks for the verifications ! I feel compelled to once again "alert" you to the fact that wire run lengths are of absolutely no concern. You could literally run 20 or 30 feet of wire in there, and unless it's 12 gauge house wire, there will be no problems of any kind. (Said house-sized wire is pretty hard to bend around corners....)
Yup, I hadn't overlooked that. I made that last change, concerning what the kill switch is wired to and where, on the basis of logistical efficiency. The revision seems to be an objectively better design to me? Provided, of course, there's no negative effective on the function or anything else; there isn't, is there? Also, I feel it will be easier to wire and install and maintain that way. But there is a "but..." You said earlier that you wanted both the treble and bass cuts to operate in the same rotational direction - counter-clockwise increases the amount of cut, clockwise increases the amount of full signal... do you recall that? Whereupon reTrEaD and I both said that your wiring was correct for that operational capability.
Then you said, most recently, that you were not going to use a reverse-taper pot, so you flipped the connections on the bass pot to act in the manner of full tone in the Zero (counter-clockwise) position, and full cut in the 10 (clockwise) position. Are you still wanting that? Have you thought through all the ramifications like ease-of-use and such? It seems to me that you've changed your mind, and not explained why. Or did the mention of not using a reverse-taper pot seem to be enough, IYO?
When everything's all said and done, it is your choice. We just don't want you to have to go back in and redo something, that's all.
RE: the way the bass cut control is wired (lug 1 or lug 3 issue) - Thanks for your concern and addressing this. Ideally, I would prefer the bass cut knob to operate in the same rotational cut direction as the usual treble cut tone knob on a guitar. I expect to NOT use a reverse taper pot for the bass cut control. reTrEaD (or was it someone else?) said that if I wire it a certain way with a non-reverse pot then the taper will work more like an on/off effect rather than as a gradual taper. I did not like the idea at all, so I certainly want to avoid that. I thought I had now wired to the correct lug to achieve what I want, but now I am not sure. I want a gradual taper using a non-reverse taper pot (as opposed to a crappy almost on/off effect), and ideally I want zero cut when the bass knob dial is on 10 (i.e. the same as how a tone control normally works on a guitar). So, please could you clarify: As per the latest version (#5) of my wiring diagram, how will the bass cut control work in terms of both (i) CW/CCW cut direction and (ii) graduation of taper? Have i messed up? Thanks. Now for the $64 question. Your picture shows other pickups and other switches. Care to let us in on your plans for all of that?
I wanted to concentrate on the latter part of the circuit, first. Two main reasons why: (1) It's more genetic and there are aspects I may well use on other guitars too, such as the PTB wiring circuit. (2) If I did all the wiring planning at once it seemed too much and therefore too daunting and complicated, so I opted for a modular approach.
I shall post a diagram about the earlier, pickup selector switching part of the circuit, shortly.
There are 4 pickups involved, which encompass 6 coils. The bridge pickup is a triple blade pickup (a Fender 'Triplebucker' pickup I have surplus, removed from my Fender Marauder guitar)
What I post will be mainly a conceptual diagram at this stage, rather than a proposed wiring diagram draft, though.
I would welcome yours and others' views about it, at this early stage, certainly. There may be polarity problems or something.
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Post by reTrEaD on Mar 15, 2018 13:01:52 GMT -5
Ideally, I would prefer the bass cut knob to operate in the same rotational cut direction as the usual treble cut tone knob on a guitar. I expect to NOT use a reverse taper pot for the bass cut control. reTrEaD (or was it someone else?) said that if I wire it a certain way with a non-reverse pot then the taper will work more like an on/off effect rather than as a gradual taper. I did not like the idea at all, so I certainly want to avoid that. I thought I had now wired to the correct lug to achieve what I want, but now I am not sure. I want a gradual taper using a non-reverse taper pot (as opposed to a crappy almost on/off effect), and ideally I want zero cut when the bass knob dial is on 10 (i.e. the same as how a tone control normally works on a guitar). So, please could you clarify: As per the latest version (#5) of my wiring diagram, how will the bass cut control work in terms of both (i) CW/CCW cut direction and (ii) graduation of taper? Yes, that was me. If you use a standard audio taper pot, the wiring you have in the latest version (#5) will give you the best result. Full bass will be at zero. (not your preference) Smooth transition from full bass to bass-cut. You should ONLY change the wiring on the Bass control from your latest version if you ALSO change the pot to a Reverse Audio.
Your ground system should work but you might want to do a better job of defining it with the actual wires. The ground symbols make for a less cluttered drawing in the beginning but I think it's time to replace those with wires. Be sure to include the string ground. (wire to bridge or trem) The two wires from the kill switch could be replaced with a shielded cable. The ground symbol on the sleeve of the output jack should be erased. I'd suggest a wire from the right side lug of the kill switch to case of the nearest pot. That could be your central ground point where all grounds meet. Do not depend on foil backing of a pickguard to connect your pot cases together. Any signal ground (like lug 1 of the volume pot, the junction of all the tone caps, etc) can be attached to the case of a pot, but the case of the pot should also have a wire going to the central grounding point.
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Post by JohnH on Mar 15, 2018 14:22:06 GMT -5
If you want another reference for PTB, last night I put up a diagram for merseymales HSS build: guitarnuts2.proboards.com/thread/8219/advanced-hss-neededIt uses a standard audio taper for the bass cut, so has max bass at 0. If a reverse audio pot is found, then the opposite outer lug of the pot gets used and max bass is at 10. If you cant find one of these hens-teeth, but really want max bass at 10, use a linear pot. The tonal range will be the same but the transition will be much less smooth.
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Post by reTrEaD on Mar 15, 2018 15:05:01 GMT -5
If a reverse audio pot is found, then the opposite outer lug of the pot gets used and max bass is at 10. If you cant find one of these hens-teeth, but really want max bass at 10, use a linear pot. The tonal range will be the same but the transition will be much less smooth. To clarify, a linear pot can be used in either direction but tends to be too quick in the transition from full to less than full. It's a small step in the right direction if full bass at 10 is a must. In my opinion, it's still a compromise I wouldn't make to get the desired direction of rotation. Beats a standard Audio Taper wired the opposite way by a long shot, though. YMMV
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Post by JohnH on Mar 15, 2018 15:19:16 GMT -5
If if were mine, Id rather a standard log pot wired for max bass at 0 than the linear pot. A knob that doesnt transition smoothly might as well be a switch. But theres nothing really fundamental about which way a knob should turn once you get your head around it. If you have that normal-log bass pot combined with a normal treble control, one could consistently appreciate that turning either of them up to 10 makes the tone brighter ie more trebly/less bassy.
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Post by newey on Mar 15, 2018 16:14:41 GMT -5
You quickly adapt to the reverse pot rotation. In a similar vein, I have a Strat-type guitar with the Volume control wired "lefty", so that turning the knob counterclockwise turns the volume up. I did this because with regular Strat wiring, I find that my strumming would often hit the volume control and turn it down, which was annoying. Wired backwards, if I hit it while playing it stays full on at "10" if I hit it, or, if I had it turned down a bit to begin with, it turns the volume up, which is preferable to losing signal.
After about a week with that guitar, the backwards volume became second nature to me, I don't even think about it anymore, even though it's my only guitar wired that way.
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Post by Ro_S on Mar 15, 2018 16:54:23 GMT -5
reTrEaD JohnHI definitely want the effective taper on the bass cut control. The compromise of the reverse rotation will be something I can accept. So I will stick with the wiring I have. Thanks. reTrEaD - Yes, good point about the ground wires, I should add those in, in full.
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Post by Ro_S on Mar 15, 2018 17:35:14 GMT -5
Below is a initial wiring diagram for the first part of the circuit (concerning the pickup switching). I have not yet done the wiring for the rotary switches.The diagram states the switching configurations. There are FOUR pickups: - (bridge pickup) a Fender 'Triplebucker' triple coil pickup I have surplus, removed from my Fender Modern Player Marauder guitar. Humbucker-sized. This pickup comprises THREE 'rail' coils which can be wired and split in a variety of ways. 6 wire output plus bare wire. Each 'rail' coil has a DC resistance of approx 5k. - (middle pickups) TWO Danelectro style lipstick pickups. vintage output; approx 4k DC resistance each. Note: the two lipstick pickups have the same polarity. - (neck pickup) a P90 style pickup (humbucker sized casing). A key part of the project represents including Danelectro lipstick style pickups and allowing them to be used both on their own - both singularly and in series together - as well as in conjunction wired in series with other pickups to essentially produce unusual custom dual coil and triple coil pickups configurations. The second image below provides further details about the pickups. ABOUT HOW I PROPOSE THE SWITCHING AND PICKUP SELECTION TO WORK: The bridge 'Triplebucker' triple coil pickup to have its own 4-way (or 5-way) mode selector switch for different wiring permutations of its three 'rail' coils. The two lipsticks to have a 3-way toggle switch (on/off/on DTDP) to allow either pickup alone or both in series (as per the vintage Danelectro wiring). A 5-way rotary switch to select the configuration of the outputs of the bridge pickup and the lipstick pickups. A master 3-way (Gibson style) toggle switch to select between the above and the neck pickup or both in parallel. I count 80 pickup switching permutations based on the above model. That's ignoring the multi tone cap selector variations. However, allowing for the the 'direct through' (bypass) mod, that means 160 permutations. Note: This guitar's wiring is not intended with quick pickup selector changes as a priority (!) I would welcome people's views about what I'm proposing. Does anyone see any problems or issues? e.g. polarity or out-of-phase problems?
sumgai , as promised... Oh, and here's a photo of Tom Verlaine in his Televison days with lipstick pickups substituted into his Fender Jazzmaster guitar:
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Post by reTrEaD on Mar 15, 2018 18:55:52 GMT -5
That seems like quite a few switches. Speaking of switches, here's a thought on how you might manage the tone caps on the rotary switch for the Treble-cut. Since you're only using the right side, all the lugs on the left side can be chained together to provide places for the ground side of those caps to attach. As-drawn vs Using the left side as attachment points.
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Post by Ro_S on Mar 16, 2018 7:58:57 GMT -5
here's a thought on how you might manage the tone caps on the rotary switch for the Treble-cut. Since you're only using the right side, all the lugs on the left side can be chained together to provide places for the ground side of those caps to attach. Thanks! I'll incorporate into my next revision (see next post). Question: given I can have 6 cap values, would there be merit in having one position with no cap? How would that affect the sound compared with a selector position with a cap where the pot on 10?
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Post by Ro_S on Mar 16, 2018 8:23:11 GMT -5
Latest wiring diagram revision (re: latter part of the circuit) is shown below. For checking, please.CHANGES MADE: - I've added all the GROUND WIRES in full - as per reTrEaD 's suggestion. - I've also incorporated reTrEaD 's proposed revision to the grounding configuration of the multi tone cap selector rotary switch. All ground wires are coloured charcoal/black. GROUND WIRING, WHAT I DID The rear of the volume pot is the common grounding point. Added a grounding wire from the rear of the volume pot to the cavity shielding paint. Attached the ground wire from the output jack to the rear of the treble pot, and then put a grounding wire from the latter to the rear of the volume pot. Incorporated the grounding wire in regard to the tremolo/bridge (it's a Strat style one) which comes from the spring claw bracket in the rear cavity. Added a ground wire from the kill switch, as suggested by reTrEaD . Note: I read that the bass cut pot does NOT need a grounding wire. How did I do with my ground wiring? Did I do good? QUESTIONS:1. Have I implemented the ground wire from the kill switch correctly? reTrEaD 2. Does the two-way 'solo' (direxct through mod) switch require a ground wire? 3. There is chrome control plate (as on a Jaguar or Jazz Bass) which some of the pots/switches are affixed to. Does that affect how I do the grounding? I'me assuming it's irrelevant cos the tone treble pot is attached to it? thanks!
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Post by newey on Mar 16, 2018 8:35:53 GMT -5
I think the grounding looks good. You can certainly ground the frame of the direct out switch. I've never found that grounding a switch's chassis made any difference in noise levels but in theory it might do so. The chrome control plate won't make any difference in how you ground things.
With this scheme, you have quite a few grounds going to the back of the volume pot, which is going to present a soldering challenge- getting good grounds for all without overheating the pot and melting the innards. You may want to consider using star grounding or a grounding buss instead.
Another option is to move some of the grounds you currently show on the volume pot to the tone pot (which is then in turn grounded to the V pot).
As for the bass cut pot, I can think of no reason not to ground that pot if you are doing the others. Just as with switches, grounding the pot casing probably won't make any difference in noise levels, but it might.
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Post by Ro_S on Mar 16, 2018 9:16:25 GMT -5
With this scheme, you have quite a few grounds going to the back of the volume pot, which is going to present a soldering challenge- getting good grounds for all without overheating the pot and melting the innards. You may want to consider using star grounding or a grounding buss instead. Another option is to move some of the grounds you currently show on the volume pot to the tone pot (which is then in turn grounded to the V pot). Good point. We're on the same page. I was just now thinking the same thing. In fact, I was just to post this slight revision before I saw your post. See diagram below.
I've incorporated the technique used this video: A piece of unwound guitar wire is used as jumper wire (shown in purple in the diagram below) from lug 1 of the volume pot to the rear of the volume pot. All the ground wires can then be soldered to that bare jumper wire instead of directly to a solder spot on the rear of the pot. Sorted? p.s. You can certainly ground the frame of the direct out switch. I've never found that grounding a switch's chassis made any difference in noise levels but in theory it might do so. I'll add that. [EDIT: done: see below] Thanks i.imgur.com/fuP5c7a.jpg (click on url hyperlink for expandable, external version)
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Post by reTrEaD on Mar 16, 2018 15:03:32 GMT -5
Question: given I can have 6 cap values, would there be merit in having one position with no cap? How would that affect the sound compared with a selector position with a cap where the pot on 10? That depends on what you mean by 'no cap'. If you mean an open circuit where the cap should be, the result would be a brighter tone since the treble-cut pot would no longer be loading the circuit. If you mean a direct connection between pot and ground, it would sound just about the same on 10, regardless of switch position. But as you rotate the knob CCW the tone would be quickly affected by the increased loading. Soon after, the volume would also be reduced until at zero, the volume would be killed.
Regarding your grounds, the wire from the case of the tone pot to the output jack isn't necessary. It doesn't hurt anything but it doesn't accomplish anything either.
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