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Found 11 results

  1. Guitar buzzes when plugged in with any pickup selected. Buzz is still present when touching the strings, but disappears when touching the metal cover of the jack plugged into the guitar. Guitar otherwise works correctly. Likely Cause: Ground wire to the bridge is not making proper contact at the bridge or at the grounding point inside guitar. The wire has either become disconnected at one end, is not making proper contact at the bridge due to insulating paint preventing conductivity, or is missing altogether. Solution: The easiest method to check for a break in the ground wire is to use a multimeter set to the Ohms function. Touch one probe to the strings and the other probe to the shell of your jack. If the ground wire is present you will get a near-zero reading on the meter (indicating zero ohms resistance between the two probes, or a short circuit). If your multimeter has a beeper function you can use this to speed things up a bit. If the meter does not show a short circuit with the two probes attached, or no beep is heard you will need to do some exploring to discover where the break is. Using the multimeter check between the following points for conductivity: Between the strings and the saddles; Between the strings and the bridge baseplate; For a Tune-o-matic style bridge, between the strings and bridge studs/posts; For a Tune-o-matic style bridge, between the strings and the tailpiece; For a Strat or Floyd-style tremolo, between the strings and the sustain block; For a Strat or Floyd-style tremolo, between the strings and the spring claw; Between the strings and the grounding point inside the guitar (typically the back of the volume pot). Once the break is located it should simply be a matter of joining the two points together to correct the buzzing problem. If the ground wire has simply come adrift from inside the control cavity it is just a case of re-soldering this wire back in place. Usually it will be evident where the wire was originally connected to – there may be a small wire stub nearby. Note that heavy paint coatings on some bridges can prevent the ground from making good contact. If the ground wire is definitely run to the bridge and is soldered correctly to the internal grounding point, but there is still no conductivity between the strings and ground, it is likely that the paint coating is preventing the ground from being connected all the way to the strings. The only way to get around this situation is to ensure that every metal part (saddles, baseplate, posts, studs, tailpiece etc) that the ground needs to pass through in order to get to the strings is directly in contact with each other. This may mean you will have to disassemble the bridge and remove some of the paint coating between parts to ensure good contact is maintained. ---====--- Guitar buzzes when plugged in with any pickup selected. Buzz lessens when touching the strings, but does not go away completely. Buzz may also be accompanied by squealing, static or radio station noise bleeding through in the background. Guitar otherwise works correctly. Likely Cause: Insufficient shielding inside the guitar control cavity may allow unwanted external noise sources to contaminate the guitar signal, or if shielding is fitted the grounding to the shielding is poorly connected or disconnected completely. Solution: Similar to the bridge grounding wire, it is necessary to determine if any shielding inside the guitar is correctly connected to ground by checking for continuity with the multimeter. Shielding inside the guitar may be copper or aluminium foil, a solid metal plate or black conductive paint. In any case the shielding material needs to be connected to the guitars’ ground point to be effective, and the multimeter is again used to verify this connection. Check for continuity between: The guitar shielding material and the output jack shell; The guitar shielding material and the grounding point inside the guitar (typically the back of the volume pot). If an open circuit is found at these points (no beep or multimeter indicates “OL”) then the connection needs to be restored in order to correct the fault. The connection of the shielding material to ground may be either a direct wire connection, or more commonly via the act of securing a metallic component that is already grounded to the shielding material (eg, the metallic shaft of the volume pot may be providing the ground connection to the shielding material when it is bolted to the guitars’ scratch plate). Note that the resistance of black conductive paint can appear relatively high compared to a copper or aluminium foil shield, sometimes in excess of several hundred ohms, but should normally be sufficient to ensure silent operation of the guitar. If the guitar does not have any shielding fitted inside the control cavity it may be necessary to add your own to combat the noise problem. Self-adhesive copper or aluminium foil tape can be added to a control cavity relatively easily, or the cavity coated with conductive paint. Fitting shielding material is beyond the scope of this article, but there are several resources available on the internet that describes this process. Some general tips however may be pertinent: You may find that sufficient noise reduction is obtained by just applying shielding to the surface that the controls are mounted to, rather than the entirety of the cavity. If several pieces of conductive tape need to be used to cover the cavity ensure that every piece overlaps the next and that continuity can be measured between each piece. Whatever method is used to shield the guitar, always ensure that it is grounded securely (eg, via the volume pots’ case or output jack nut) and is unlikely to become disconnected by vibration or general use. ---====--- Guitar buzzes badly when plugged in with any pickup selected. Buzz is not affected by touching the strings or any metal part. If the volume pot is increased from zero the buzz quickly rises in intensity for the first three-quarters of rotation and then lessens slightly at maximum volume. Guitar otherwise works correctly. Likely Cause: Leads to output jack are wired back-to-front. Solution: There are two wires that are required to be connected to the output jack in order for the guitar to output a signal to an amp. The ground wire goes to the sleeve tab of the jack and the signal wire goes to the tip. As several jack construction styles exist it can be easy to mistakenly connect the two wires to the wrong points. However using a multimeter it is easy to confirm the connections on a jack socket by a process of elimination. Take a guitar lead and plug one end into the jack socket and leave the other end disconnected. If the jack is already wired up to the guitar, raise the volume pot(s) to maximum. Apply one multimeter probe to the sleeve of the disconnected-end of the guitar lead and apply the other to the ground wire soldered to the jack. If the jack is wired correctly the multimeter will indicate a dead short. If the jack is wired back-to-front the multimeter will indicate a non-zero value, perhaps in the region of 7-15kOhms depending on the electronics fitted to the guitar. The same test can be applied to checking the tip (guitar signal) connections of the lead and jack. Measure between the tip of the guitar lead and the signal wire soldered to the jack. Continuity should be obtained between the two points if the jack is wired correctly. ---====--- Volume pot has minimal effect when wound from fully up to fully off, and may also introduce a darkening of the guitar tone as it is wound to zero. Likely Cause: Ground connection is missing from one of the volume pot’s lugs. Solution: A volume pot works by variably sending a proportion of the pickup signal to the output, and requires three connections in order to work correctly. Normally the incoming signal from the pickup(s) is wired to one side of the pot, the middle wiper is used to select how much signal is sent out, and the other side of the pot is wired to ground. An alternative arrangement is to have the first two terminals reversed, and use the variable element to ‘send’ more or less pickup signal to the output (or the ‘top’ of the pot, if you like). In a nutshell, the overall signal from the pickup is variably split between ‘full throttle’ at one end of the pots’ travel, and ‘totally off’ at the other end. If the ground connection is missing the signal can no longer be split variably, and the pot simply acts as an extra resistance in series with the pickup signal. The pickup signal can now only be ‘on’ or ‘slightly less on’. Diagnosing may be as simple as looking for a wire that has come away from the pot and re-soldering it in place. It may well look obvious which wire has become detached from the pot. If using a multimeter, set to ohms function. Plug a lead into the guitar, touch one probe to the shell of the lead and one to one of the outer terminals of the volume pot. If the ground connection to the pot is working you will have a short circuit between jack shell and one volume pot lug. NB, it is common to find that one pot lug is bent backwards and soldered onto the case, and many other ground connections within the guitar are also made to this point. In this case it is wise to check for a short circuit from jack shell to the back of the volume pot, and also between the back of the pot and the bent-over lug.
  2. Hi! I designed and built the carbon-fiber-bamboo guitar. Currently, I use DiMarzio Injector pickups. On my next iteration of the prototype, I would like to experiment on hexaphonic pickups for hex processing. The Cycfi Six Pack Project is an ongoing Open Source Hardware project for the development of an active hexaphonic pickup system designed for hex processing. The pickup has six low impedance coils. The hex pickup is active with six differential low-noise, low-power pre-amplifiers —one for each coil. It has the same footprint as the ubiquitous Strat single coil, with a very low profile: 8mm (0.3 inch). Eventually, the goal is to have hexaphonic sustain drivers as well. That, and with extensive processing for each string, will give us musicians full control over the dynamics of the guitar. I know hexaphonic sustain has been done in the past with the Moog guitar, but that was a very expensive gear. I want something more affordable. And I want a system that can be adapted to just about any guitar. This IMO is the holy grail and I know this is very difficult to do right, but every journey starts with the first step. As an Open Source Hardware project, all the designs (schematics, PCB layout, software, bill of materials, CAD drawings and source code) will be freely shared, 100% free. I would very much love to hear your thoughts and gather ideas while the project evolves!
  3. Just got a new gigging acoustic (cole clarke angel), but immediateley noticed what I'm missing from my old gig axe, a crafter SA (similar to the more popular taylor T5), in that it has tge ability to switch and blend peizo and electromagnetic pickups which was great for looping. so, I have orded a soundhole humbucker to put in it, an "a little thunder" which has a 6 string output. and an octaver bass only output. rather than start hacking into my new guitar, I'm opting for external mixing/eq, BUT, I use wireless most of the time, so I need a passive bodypack mixer before my wireless.... I've accepted it will need to be a custom build, BUT, on the off chance anyone is aware of a commercially available product please let me know (likewise, if you've seen a gold/brass locking strap solution for a locking strap with trs jack passthrough, like the acoustilok by music nomad, im struggling to find that in the right colour too). anyway, failing that, onto building a belt pack... having never done such a thing im after any tips you can offer. particularly- clip & housing, wtf do I use? knobs, potentiometers, faders, what is and isnt workable for me? im thinking 2 in one knobs would be perfect for eq controls for bass and 6string humbucker output so i have full eq control over that, but, I need small to make surenit all fits in a tiny gousing, what would you suggest, and what other electronics will i require to get good tone control from said knobs ill be wanting 3x channels in, (acoustic, bass, electric) & 3x channels out,. channel 1 out, ive decided a 5 way toggle to switch from acoustic only, electric only, acoustic + bass, electric + bass, acoustic + electric with 3x level controls (one for each of the input channels) and an output channel mute/off toggle channel 2 out will be dedicated bass with a volume attenuator and a mute toggle. channel 3 out will be the same as channel 1 this gives me the option to route acoustic to an aux input on my looper while sending the electric through my fx chain, but being able to switch it up if needed, and being able to run a single output mode before my wireless with the choice of one or all signals. I toyed with the idea of crossfaders, but have since decided it will be more limiting as i would have to chose between fixed contour profiles and some situations i may want addition of humbucker without losing the acoustic , and a linear fade in other situations, so individual voluumes it is... im mostly handy with a soldering iron (albeit pretty sloppy and messy with my fit n finish, hence the desire to not butcher the guitar), Where do i get parts, and what do i actually require to make life easy as possible?
  4. Trying to keep cost down in building I'm always looking for alternative suppliers for everything. One thing that always amazes me are the prices for guitar-related electronics. Caps at $10, pots at $12 etc., whereas if you source capacitors for other electronics they cost around $0.05 anybody here ever found an electronics supplier to get stuff at 'normal' prices?
  5. Hi everyone, I have some question regarding basses in general and I was wondering if some of you could help me out. For starters, I'm not a bass player and so far I've only "played" about 15 minutes top with a bass I borrowed from a friend. A funny anecdote is that I was going to purchase an Ibanez (GIO) 5-strings bass just before I took my decision to start building instruments, so my budget went in tooling and material instead. And I told myself that I'd make one myself at some point. Fast-forward a year later, and I still don't have a bass and my desire to learn to play bass is starting to bug me a lot ! So the last month I've been working on my bass design and I'm closing-in on the final version. Now I'm starting to look for the hardware and electronics and I've realized that I'm really out of my element. I have almost no knowledge of brands for bass component (mainly electronics) and how they compare. After some research now I know about some big brands like Bartolini and Aguilar, but they look to me like big/premium brands and I would like to know about more budget friendly brands (aka bang for your bucks). So I would like to know more about what are the different brands of bass pickup makers and what is your experience with them. I would also like to know more about pre-amps in general, but also what are the brands and how they affect/relate to the pickups (e.g. cheap pre-amps \w expensive pickups, or vice-versa) Thank you in advance, any info is really appreciated. And by the way it may help to clarify that I'm planning on making a 6-string fretless bass .
  6. Hi, first time poster! I have googled around and searched the forum to see if I could find some answers to this question but I've not been able to locate any. Help very much appreciated! I've just finished building my first guitar (Tele copy from premade neck and premade unfinished body) and it looks great and plays lovely! However, I can't get any signal from the bridge pick up. I've looked at several possible issued/solutions but can't figure it out. I'd be very grateful for any advice, as I've not been able to identify any solutions anywhere online and I'm a bit stumped at this point. I'll do it in bullet points for easier reading: pickups are Fender Vintage Noiseless single coils, new out of the box; neck pickup works absolutely fine and sounds great; I raised the bridge pickup until almost touching the strings and it barely made a sound then; if I touch the joint where bridge pickup wire joins the switch with a piece of metal it makes the same sound as if I do this for the neck pickup wire join; if I tap the metal part of the bridge pickup with a metal object you hear this through the amp (possibly not as loud as if I do this with the neck pickup; I have not added an additional ground wire from the pickup to the bridge or control panel. There is a ground wire from the pickup, same as from the neck and I thought this would be sufficient. I believe (and I could be wrong) that all this would do is reduce hum; I also have not yet shielded the cavity, although again I believe this would only serve to reduce hum; when I got a weak signal from the pickup (sounding very metallic / tinny) I looked again at the wiring and saw a point where I had burned the wire casing (although exposed wire inside looked fine). In case this had damaged the wire I cut it back to this point and resoldered but then there was no signal coming through at all. I think this has covered everything, I do have a couple of photos should you want to see them but it's a little chaotic! (First job, and soldering iron is probably a bit too big). If the neck pickup works fine then I assume the problem has to be somewhere between the point in the switch it joins and the pickup itself. Potentially a bad solder join, but I've redone the joint several times already without success. Thanks in advance for your help, and I've enjoyed looking around at some of the guitars built in here! I may post my first effort once I've got the pickups resolved (I'm waiting to get this done before I screw a few last things down).
  7. Version v0.1

    86 downloads

    Simple facing view of a 24mm potentiometer similar to Alpha, Bourns, etc.
  8. Version v0.1

    76 downloads

    Simple side view of a common Switchcraft stereo jack socket.
  9. Greetings again! It's time to start again my annual guitar project with a new build thread. Firstly forgive my little rusty English, haven't been posting nothing since last autumn. Some of you may still remember my previous topic (EXP2012 :http://projectguitar.ibforums.com/topic/46432-explorer-2012/ ). The project is sill unfinished and has a big goal to be sprayed during the next summer. I actually had a spray gun in my hand already, when my boss called and canceled my vacation. Needless to say, a man who comes between the builder and his guitar is no more my boss. But without further babbling straight to the topic. EXP2013: The Stalker Project - A guitar pumped up with post nuclear techonogy - Inspiration has been drawn from Fallout & Stalker RPG series. Original idea was to assemble a very roughly cut (but still working) body and neck together, no finishes or sandings - as much use of angle grinder as possible. Hardware and knobs would have been gathered from old scraps. Guitar's point was to look like adapted tool builded in primitive conditions - a real thrash guitar ready for ultimate use. Most of this roughness disappeared quickly during the project and I found myself building far too fine instrument. Well, the conditions are still primitive, but the current goal is to give an impression of reverted post nuclear technology with blinking LEDs, meters and other details. I'm also going to try get some vintage look into hardware parts. The final content is still undefined, but I have purchased some crazy stuff to be mounted in this instrument. Not going to spoil the fun part yet, because it needs still some further investigations. If anyone has ideas of what the real Fallout-guitar should have, please let me know. Limits are only meant to be crossed. The project started with proper CAD plans. Yes, it's a customed explorer again - I'm just a real sucker for those. Body has multiple cavities for whatever I decide to mount into it. SPECS: Body -Alder top, ash bottom, maple hearth mounted under the bridge -Juniper binding Bolt-on neck - laminated maple & walnut/bubinga - scarf joint - bubinga veneer in KL headstock & maple binding - pre-slotted ebony fingerboard, cream binding - Custom inlays - Schaller R8 Locking saddle Worn out chrome hardware - Floyd rose, 37mm sustain block - Schaller STMG Bridge - Schaller PU frames - Grover Rotomatics / different pegs gathered Electronics - Seymour Duncan Invaders / Hot rodded set - 3-way in a horn, 1 vol, 1 tone - Maybe some effect (reverb/distortion) - Random post nuclear technology Lots of photos will be posted again. My current status with the guitar is installing neck inserts. ... To be continued later next week ...
  10. I'm trying to figure out if these things are worth building, Occasionally you see prototyping pedals where all the dials and switches are built into a pedal, and you get to arrange all the electronic guts (ICs, resistors, caps etc.) to make any pedal you want, and fully customizable. So basically it's a shell of a pedal, where without soldering you get to make/modify any pedal you want, and you can even build/tweak exact replicas of almost any pedal. If it was easy and cheap enough to do: Would you ever use one to sculpt your unique tone? To learn electronics for fun? Or if you're electronics savvy already, would they seem useful to streamline pedal projects?
  11. so i post this in electronics because i am working on my sustainer and it is going in the fretless guitar here which was a laughable first act guitar that suprisingly enough was actualy quite resonant. so i changed the scale length and made it fretless and started on the electroncis. i am actually working on the sustainer right now thought i would take a break and post this. a couple of pics for ya i know its a silly thing but i love the shape of this guitar and i am doing a gig soon where i run parallel delays into a master delay. the parallel delays are set for a ring mod freq specific feedback loop that you can set to a specific key. i am running them all wet since they tend to make the non feedback ones sound metallic hopefully the dry signal will drown out any non harmonic feedback. its pretty fun actually i get a huge boost when i play the note i tune too or if i get a variant of it. i was tuned to D in the next clip i am uploading to youtube and it also screams in f sharp. anyway ciao for now. ed
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