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Post by kaustinwright on Feb 2, 2017 20:40:01 GMT -5
And just to make sure, this is going after the volume pots that have the coil splits, right?
and then the s/p switch out goes to my tone pot, then to output?
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Post by kaustinwright on Feb 2, 2017 20:34:46 GMT -5
I'll get right to drawing that up with the coil splits
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Post by kaustinwright on Feb 2, 2017 16:35:08 GMT -5
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Post by kaustinwright on Feb 2, 2017 15:38:24 GMT -5
Thank you so much reTrEaD, I think we're on the right track with the dpdt controlling the center position.
I will look for that diagram you mentioned.. I'm not sure I'll know what it is when I see it but I'll try.
And I'm thankful you are on the same page about the cryptic replies as me, I'm all for doing the leg work, but it was beginning to be a bit discouraging. I'm ready to solve this head on.
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Post by kaustinwright on Feb 2, 2017 14:22:15 GMT -5
I appreciate your input, but the vague "hinting" answers seem a little silly.
I understand allowing me to discover new things by myself, but purposefully holding back answers does no one any good, and causes the problem to get drawn out even further on my end. Rather than hint at a solution, why not say it outright so we can all try to improve on it?
I don't mean to sound as if I want it all handed to me, I just want to solve this issue for the dozens of others I've seen with this same problem.
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Post by kaustinwright on Feb 2, 2017 9:02:06 GMT -5
That has been my problem with this project, I have a hole drilled for a dpdt mini toggle, and I can't use any special switches because the clearance in the cavity has already caused me to buy 3 separate switches, all of which didn't fit other than the 30
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Post by kaustinwright on Feb 1, 2017 22:26:19 GMT -5
I fear that thread did more to confuse me than clear things up.. 😕
None of the diagrams looked like the one I posted at the start of this thread, so it's throwing me off a bit.
I might be wrong, but wouldn't I have to use the other side of the 3 way switch rather than bridging the terminals so the ser/par switch is active only in the middle position?
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Post by kaustinwright on Feb 1, 2017 22:12:34 GMT -5
Yes, I thought that's how the switch would have worked. I would like to be able to leave the ser/par switch in either position and still have the ability to use just one pickup. Ideally it would only make a difference in the middle position, but no difference if the switch is on neck or bridge.
I'm a little lost about how to make that happen, but I will read through the thread and see if I can find anything.
Thanks for clearing that up for me, I definately wasn't specific enough in my first post
Thanks again, and any help is appreciated!
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Post by kaustinwright on Feb 1, 2017 19:42:07 GMT -5
Somethings not working... The series/par switch causes all pickups to be on, and I've checked the wiring twice
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Post by kaustinwright on Jan 31, 2017 13:37:05 GMT -5
So this is with the switch and the colors done correctly with Seymour Duncan code. I'm getting the parts in the mail tomorrow, so I'm about ready to go. Thanks for all the help Also, a quick question.. I understand the coil split on the bridge sends one of the coils signal to ground, but why does the neck split, connect to the positive lead on the pickup? Attachments:
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Post by kaustinwright on Jan 31, 2017 9:00:31 GMT -5
The pickups are 5 conductor so the ground to the left is the chassis ground, and on the bridge pickup the signal ground (green) is tied in to the braided shielding. Is this correct? I'll be redrawing a diagram with Seymour Duncan colors also.
Thank you!
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Post by kaustinwright on Jan 30, 2017 19:30:17 GMT -5
Excuse the ground on the tone pot. It should be after the cap
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Post by kaustinwright on Jan 30, 2017 15:07:07 GMT -5
How's that? Attachments:
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Post by kaustinwright on Jan 30, 2017 9:03:07 GMT -5
Thank you! I'll do that asap.
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Post by kaustinwright on Jan 29, 2017 9:52:24 GMT -5
I know it will be a combination of these 2 diagrams, but I'm not sure how to do it exactly. Also, I will be using an YM30 Japanese switch.
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Post by kaustinwright on Jan 29, 2017 9:45:27 GMT -5
Hello all! I have a project guitar I am trying to use as my backup on stage.
My only issue is that it has limited sounds with the 2 humbuckers.
It is an Ibanez S series (HH) with a 3 way blade switch, and modified to have 2 push pulls on each volume for coil splitting, and one master tone. I also have a separate switch to control series/parallel wiring.
I have tried wiring it several times already and just can't get it right.
On the 3 way switch: Pos1: bridge humbucker Pos2: bridge+neck Pos3: Neck humbucker
The push/pull on each volume coil splits the respective pickup.
The extra dpdt switch controls ser/par
Any help would be awesome, Thank you! 🎸
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Post by kaustinwright on Aug 16, 2015 20:26:18 GMT -5
I found a strange 5 way strat toggle switch out of an 80s HM squier strat, and wasn't sure which lugs held continuity with the common lug, so I have created a color-coded diagram to show what I've found out just in case anybody comes across one of these. I couldn't find much information regarding this switch, much less find a diagram online. Any help with the model or maker of the switch would be appreciated. The switch is numbered, and only has one common lug, rather than the standard 2-lug design found on most switches. There is a globe at the upper right corner of the switch that has a hurricane looking S inside if that helps to determine anything.
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Post by kaustinwright on Aug 15, 2015 1:58:44 GMT -5
Will do, thanks!
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Post by kaustinwright on Aug 14, 2015 11:21:45 GMT -5
Sorry about the wait, I've been busy ordering parts and soldering! I ordered a Fender standard 5 way selector switch with the standard 2 common lug design, so I am now able to complete the layout that I posted earlier, the HSS 9 sound push-pull mod. The scheme for the import 80's Squier 5 way (with one common) was updated to be correct Bold=Lug Number (on switch)(colored regular text)=positions continuous to Lug 1 when cycling through switch ( bridge=1 neck=5 etc.) (2&4&3) (com) (2&4&3) 5 1 4 (5&4) (1&2) (5&4) (1&2) 7 3 2 6 I'll gladly post a diagram of what I've found out, not sure exactly where to post it on the site though.
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Post by kaustinwright on Aug 1, 2015 20:15:32 GMT -5
My guitar is shielded like crazy in the spring cavity, as well as the cavities and faceplate. I was thinking about the dummy, and having it in a shielded cavity might not be a good idea right? It will not pickup the same signal (as the single coils) due to the grounded cage around it, so it will not pickup the frequencies (out of phase) to remove from the single coils. Should I place it in a "non-shielded" area of the pick guard instead of the rear cavity?
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Post by kaustinwright on Aug 1, 2015 13:31:25 GMT -5
THANK YOU!
Awesome diagram, it should be a piece of cake to wire up with the clarity. I can't tell you how much I appreciate it, I'll let you know as soon as I get it off the bench.
Still trying to decide on the best placement for the dummy coil (under pickguard, or in spring cavity)
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Post by kaustinwright on Jul 31, 2015 17:03:06 GMT -5
You're right, in position 2 common shares to 4, 6, 5 and 3.
I have updated the diagram..
it would be nice to use this switch, but Im not sure its possible without 2 commons. Would I have to use an 8 terminal switch for this particular scheme?
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Post by kaustinwright on Jul 31, 2015 11:59:32 GMT -5
I spent a ton of time last night going through the continuity of the switch in different positions. Ill try to type up a diagram of what I found, but it is still a bit confusing to me. I used Lug 1 as the common in the below diagram, but I might be wrong. Bold=Lug Number (on switch)(colored regular text)=positions continuous to Lug 1 when cycling through switch ( bridge=1 neck=5 etc.) (2&4&3) (com) (2&4&3) 5 1 4 (5&4) (1&2) (5&4) (1&2) 7 3 2 6 It seems in each position, there are 2 lugs that share continuity (with the common), and if one isn't the common, I can try to see what works using 7 or 5 etc. as a common, but none of those combinations make sense without using 1. From the manufacturer's perspective, it looks like 1 would be the obvious tied common connection. from the diagram I plan to just wire the negative side of the Humbucker (south finish) straight to back of a pot for ground, because it grounds the other (unavailable) common. Can someone let me know if this would work or not?
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Post by kaustinwright on Jul 31, 2015 3:41:48 GMT -5
I have found a diagram that gives me all of the tones I wanted (except one) marcsguitars.wordpress.com/diagrams/h-s-s-9-sound-mod/but im having trouble with this import switch, because in the diagram there is 8 lugs (2 commons) and I only have 7 on the stock 5 way Could you please tell me what this switch is. I can't find any diagrams, and the contacts are strange. Not sure how to wire it up. I believe the common is lug 1, but I'm not sure Attachments:
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Post by kaustinwright on Jul 31, 2015 1:16:49 GMT -5
I have been scouring the internet for a wiring schematic for my HM strat I recently acquired. All of the diagrams I have found that incorporate 10 tones use the extra tone pot as a blend knob or use a superswitch (which I just bought, but am using for another project) and I want to stick with the standard 5 way that was already installed. As I have a HM strat, all I have to work with is no load Master tone (with push-pull), Master Volume and a 5 way switch.
My goal is to have a 10 tone HM strat using a push-pull on my tone pot, (hopefully) without repeating configurations.
My ideal setup is:
push-pull up (standard strat) pos. 1) Bridge Humbucker Split pos. 2) Bridge Hum split + Middle pos. 3) Middle pos. 4) Middle + Neck pos. 5) Neck
push-pull down pos. 1) Humbucker pos. 2) Hum +middle pos. 3) Hum+middle+neck (all pups) pos. 4) Split Hum + Neck (tele sound) pos. 5) Hum + Neck.
I understand all of these won't be available with what I have, But id like to incorporate as many useful sounds as possible with my components. Im trying to stay away from the standard coil splitting layout that Seymour duncan provides. also, I dont use out of phase tones too much (sorry Brian May), so standard combinations are what I'm looking for.
anybody out there have any ideas on how I can accomplish this or something similar with the parts available? Basically, Im looking for as much tonal diversity as I can possibly get with: -Master Volume/Tone (no load) -Push pull on tone pot -Standard 5 way switch -Splittable Humbucker in bridge -2 single coils in middle and neck
any advice or help would be appreciated Thanks!
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Post by kaustinwright on Jul 30, 2015 16:16:02 GMT -5
pup1.wav (751 KB) I will gladly get the neat diagram drawn up as soon as I see the rat nest! I have disassembled the tele pickup, and it seems to have caused even more hum (even when reversing phase of dummy) than the single alone. I attatched a 500k pot in parallel and the noise dropped when I had the pot cranked all the way up. I recorded the noise difference . Noise as soon as the coil is introduced, and a slight drop when it's taken away and wired normally. 1st sound is normal, other 2 are with dummy in then out of phase no matter how I wire it, there's more noise with the coil
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Post by kaustinwright on Jul 30, 2015 14:39:17 GMT -5
I also have a telecaster neck pickup that measures in at less resistance than my coils.. about 3.58k (ohm)
(my strat's coils are ±3.6k) would it be smarter to make a dummy from this value or the higher half humbucker coil? (because it is a lesser value than my pickups)
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Post by kaustinwright on Jul 29, 2015 10:55:03 GMT -5
What taper should I use on this spare pot. 500K right? that way I can dial in more values.
So the resistor stops some of the signal from entering the dummy in the first place, reducing the amount of signal that eventually flows to the output?
I could bypass the tone pot (500K) using it as the variable resistor for the dummy for now, then when I measure the value i like that cancels the most hum, ill put the same fixed value resistor in parallel, and wire the tone pot to the circuit.
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Post by kaustinwright on Jul 28, 2015 23:30:09 GMT -5
Wouldn't adding a resistor to the dummy coil increase the impedance of the coil even further? I could heat the coil's wax and unwind a good amount until it perfectly matches the impedance of the others. Would this be a good idea if it works out?
Or I could consider winding my own coil to perfectly match with a spool of 43 AWG for about 15 bucks.
also, I am able to mod my push pull pots to no load if necessary
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Post by kaustinwright on Jul 28, 2015 19:21:20 GMT -5
That's brilliant, that will broaden the tonal options a ton with the middle phase reversal. I was playing today and had a great time messing with the out of phase tones on my super 7 Ibanez S that you helped me with, so no doubt I will use them.
I can't wait to wire this thing up, the Super switch came in today and all of the parts are here so I'm ready to go once I find a cap I like and decide on what resistor to place in parallel on the coil.
I understand it won't be perfect, but it's a cheap option to an expensive backplate or stacked pickups and the resistor idea is going to be very interesting across the dummy. And with all of the shielding I am lining the cavities with, it should eliminate a ton... hopefully
Thanks again
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