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This is a SPST switch that places either the bridge or neck in parallel with whatever else is selected in parallel.


This is a DPDT switch that is completely unrelated to the rest of the wiring scheme.


I presume that this places the neck in series with the middle in position 4. Does it also place the middle in series with the bridge (regardless of whether the bridge is in internal parallel or series) in position 2?

What happens in positions 1, 3, and 5 when the guitar is in series?

What does the "Seven Sound Strat" switch mean when the guitar is in series?

Well, I can't actually tell what rabidgerry wants as

may mean that he explicitly wants to have to put the lever switch in positions 2 and 4 as well as change the toggle (DPDT) switch,

or it may mean that he wants the parallel pickup configurations that occur in positions 2 and 4 to be in series rather than in parallel, in yet to be specified lever switch positions.

The S-none designs, as well as the Fender SSS S-1 design selects

the bridge in series with the middle in position 1,

the bridge (in parallel with the "special cap") in series with the middle in position 2,

the neck (in parallel with the "special cap") in series with the middle in position 4,

and the neck in series with the middle in position 5.


The only variation is in position 3.

If you like the bridge in parallel with the neck in position 3, and the bridge in parallel with the neck, both in series with the middle in alt position 3, use the Schaller Mega Switch "E" version of the S-none design.

If you must have the middle only in position 3, and will settle for the middle in series with the "special cap" in alt position 3, then use the Fender standard 5-way lever version of the S-none design.

If you must have the middle only in position 3, and the bridge in parallel with the neck, both in series with the middle in alt position 3, then use the Fender SSS S-1 design.


We already have more design options than we have guidance as to what is actually desired.

Maybe he'd be happy with the Mike Richardson scheme?

The middle pickup will be selected alone or with one coil from either the bridge or neck pickup. These are 6dB lower in output than the full series humbucker configurations.

Try it first and then decide.


If there are signal phasing issues with the selected single coil on the bridge and neck pickups relative to the middle pickup, disconnect the wire from the 5-way lever switch that goes to the back of the volume pot and connect it to the hot terminal on the volume pot.

This will short the other coil on the bridge and neck pickups and effectively select the coil of opposite polarity relative to the middle.

Besides, it's way easier than rotating this space-time-brane instantiation (the entire universe).

I reiterate:

"If the highest frets (those located over the neck pocket) have the clearance issue, no amount of seasoning/tension, truss rod adjustment, or any such measures will have any effect whatsoever."

Do the highest frets on the neck have the problem? If so, shimming (angle modification) of the neck heel is required first.

What is the heel thickness of the neck (from the back that fits into the pocket to the top of the fretboard)?

What is the heel pocket depth?

Is the bottom of the neck pocket coplanar (parallel) with the body top?

Does the neck pocket have a tilt to it (such as for a TOM bridge)?

Is the finish on the neck heel an even thin layer or does it get thicker closest to the neck heel bottom?


All of these questions go to the coplanarity of the neck/body junction.

USACG addresses the issue of coplanarity using "fall-away".
www.usacustomguitars.com/neckfeatures.html


It would appear that the truss rod is not "maxed out", but is at its minimum adjustment. A single-acting truss rod has only one effect: to counter the bowing of the neck from string tension.


Is the neck level when the strings are not under tension?

Are the frets level?


Here is some information on neck pockets and heels.
Select "Will it Fit My Guitar".
www.warmoth.com/Guitar/Necks/Strat_TotalVintage.aspx

If the highest frets (those located over the neck pocket) have the clearance issue, no amount of seasoning/tension, truss rod adjustment, or any such measures will have any effect whatsoever.

It's a simple mechanical engineering problem. If the bridge saddles need to be too high to effect higher fret clearance on these frets, only the saddle height relative to the plane of the frets at said high fret location will effect the proper relief. Bodies and neck heels are not adjustable in co-planarity aside from shimming or pocket pitch.

As D2o indicates, the neck must first be shimmed to effect the desired saddle height relative to the plane of the neck at said high frets. Once this is done (and it must be done first), then the adjustment of the truss rod will be effective. To effect this, I use a capo to ensure that all strings are pressed against the highest possible fret just off of the body.


My approach has always been to effect the desired saddle height first via shimming if necessary. Then (and only then) I adjust the the truss rod, which only has effect on the frets that are not directly over the body, to increasing effect as one goes down the neck.

I've seen too many necks ruined through wood compression from truss rod abuse. I've bought too many guitars from GC that were on fire sale from the absolute lack of understanding on the part of the sales noobs/jubblies on how to set up a guitar.

My vote would be to leave the bridge tone control in place across the bridge only, and use the neck tone control for the master tone.

This is my take on Mike's design.

Mike Richardson wiring with phase

It's all related to the electrical parameters of the capacitors. Unfortunately, these are not published except by the manufacturers of these components. These are not published by the vendors of these components for two major reasons; the first is that they generally don't have even a hint of a clue as to what they mean, and the second is that many of them do not want things reduced to actual specifications as this exposure to the "light of day" eliminates their ability to sell things based on marketing manure.

No one takes the time and effort to quantify these parameters as little change will result therefrom. Keep in mind that most guitar manufacturer's used the cheapest available components (it's a business, you get to keep the difference), and hence, those special "vintage" components aren't all that special.

wolf's links are good in that their limited and somewhat folklore based descriptions are good for musicians (but somewhat horrid for electrical engineers such as myself). The statement that "vintage wire must be used to fully hear the effect" is a poor excuse for fertilizer.

Now, the biggest problem with the tone capacitance in an electric guitar is the cable crapacitance. If your pickups sound too "warm", this generally indicates excessive cable crapacitance. This is a good source of low capacitance cable.

Low Capacitance Cable

This is how you order them. Their web site layout is convoluted at best. Bill (Willi Stich, the inventor of the Fender SCN pickups) actually knows what he is talking about from an engineering perspective (compared to the legions that either just parrot what they read or have Fool's gold to sell).

www.wildepickups.com/Wilde_Bill_s_Online_Shop.html



Adding a plate of ferrous metal (iron-based) will have the effect of increasing the inductance of the pickup and therefore reducing the frequency response. It will sound "warmer".

"Whatever metal" you choose is of paramount importance. Ferrous metals will increase the inductance while non-ferrous metals (such as brass) will reduce the inductance.

These plates will have effect regardless of the pickup position. Stating that the effect is only occurring in bridge pickups is the unfortunate view of the legions cursed with binary vision.

The most effect will occur on a Strat bridge pickup that does not have a tone control since it is in the most harmonically rich position and it does not, er, generally have a tone control.



A bridge always-on switch is easy. It does get more complex depending on the series/parallel switching structure.

The statement

reveals little but infers much depending on what the structure of the lever switch means in this mode. Having a binary switch for bridge always-on and a binary switch for series/parallel infers up to 20 pickup combinations with a 5 position lever switch.



I rarely keep wiring diagrams of specific implementations as they are easy to design and generate once the specifications stop "wobbling".
I do have some designs in wiring (instantiation form) rather than just schematics (the architectural vision) although most wiring diagrams are quite restrictive of lateral vision and thinking.

These both are designs that I personally recommend. Read and understand each entire post before passing judgment.

3 Single Coils and The "S-None Switch"

Mike Richardson wiring with phase

These posts relate to the effect of parallel capacitance.

Pickup Coil Response Tuning

The Passive High-Cut Tone Control

Triode/Pentode switch design note is attached.

www.ax84.com/

www.ax84.com/buildingblocks.html



No.


P.S. I tried attaching the file. I can't open it when I read my post. If you can't, PM me and I'll send it (drstuart only).

Keep in mind that McMaster-Carr is in Aurora.

200 Aurora Industrial Pkwy.
Aurora, OH 44202-8087
(330) 995-5500

They have tons of stuff, including metal stock.

They are expensive, but they generally have everything in their catalog in stock.

From your location, it's a simple small trip in lieu of shipping.

Yow, I got it back from HP today. It works.

D-d-d-dang!

It would have been nice to get an email indication that it had been shipped.


There is some/less red goop around the periphery of the Nvidea graphic processor on this motherboard as well, so maybe it's not an issue.


Hmm, I guess that I'll test it a bit.

Looks great!

Those pickups ought to give some nice tonal diversity.

Sort of a StrellyCaster.

I like a tone circuit directly across the bridge pickup and one directly across the neck pickup.

This way, they can be used to make the series combo brighter go figure, well, if you ask I'll tell you).

I do it here; Mike Richardson wiring with phase. This uses a DPDT switch for mode selection. It does B+N in the middle position, which I prefer over middle only.

It's in the The Padouk Caster

Don't know, just wondering. Some Allen (or ga$p Mercury) transformers might help unless everything is crap to begin with.