ansil

well so the original buyer decided he didn't like the longer scale so back to original it goes. but now at least i can glass the fretboard and put fret line markers on it. i am anxiously awaiting boards to come in.

what about a hi res gut shot so we can make a schematic off of it. and also determine if this is a dual triode 12ax7 or what. if you send me some good pics theres a real good chance i can reverse engineer it

check out geofex for ways of dropping tube power supplies or tone lizards site

I agree but lucky for me that isnt out of spec range

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

modded fender vibrochamp was what i was using for some time. that and a few pedals. i had a nice od sound that i could clean up with rolling the volume knob back a bit.and using my booster or my wah i could get metal grind out of it. of course it needed none of that later with almost 800 plate volts on the el34 lol. love those tiny little hammond transformers.

very true very true. i actually shudder to think what that would sound like. but then again who knows some of the best transistor amps were cheap under built crappy things and they have some amazing tone. i have some little blue thing from the 70's and it is a killer sounding amp. natural breakup and all but the reason is cheap parts the powersupply can not keep up with the amps demands. so now i am building a clone of it. and then fixing the original. its interesting that you don't see more distortion circuits that have a better hi end response. have you noticed that. wouldn't it be lovely if we could have non harsh multi band distortion.

Look at all recording engineers speakers. They have been rwctangles for years. I have cabinet that has 2" speakers in it and its tuned for low end response. But there is like 12 in there and its only 4 inches deep on top and 6 on bottom

keep in mind that open vs closed back cabs will alter the sounds quite a bit. also there is a formula for how much air a speaker can move.

have you seen pyramids 6.5" speaker that is 100 watts rms. i was playing around with one of these. its 8 ohms and it has the same freq response as a celestion. well at least that is what the freq graph they had showed but it was quite nice. it started tapering off at 3.6khz i know its not a 12" but have you ever heard a high power smaller speaker in a larger cabinet. jesus christ...........

Also I might add a pentode has enough gain to drive an eq stack and still hit the phase inverter with enough juice to saturate it look at done if dr z designs. Not a fan if his particular tube choice but it its his amp design not mine. Mine are overly simple and complex at the same time

No on the tube but I use pentodes not triodes anyway. I only use triodes if they come with a pentode or if I am ckoning an amp. a pentode has more gain but more I guess the word would be headroom. As well so when it does break up it does so in a different fashion. A long tail is more commonly used imho when presence is required and adequate negative feedback. Personally I do not like it in my designs except for clones

Man I love atele neck pickup. Best neck tone ever. That in a strat and I am in love again . I love the 4 way switches I an putting one in the new bez clone. Active bridge hum neck single in middle to coil split

this is probably not an idea you would be interested in but a long long time ago. in a city not far away. [sorry couldn't resist] i was trying as many batsheit crazy ways of wiring my ibanez clone that i found in a flea market. i ran all the wires from the pickups through a home made shielded cable and all the way down to a dip switch board so i could just kind of flip dip switches and demo out certain tones with or without distortion and effects. i have found that some coil split modes are really cool on clean mode but suck butt trumpets on dirty mode. and visa versa. later it became a relay driven monster with the help of a friend and local tech so i could switch to anything and switch my rig as well. way to complex to even begin drawing up again but i am thinking of doing something similar and switching my drive characteristics with it on my new guitar. but right now i am having too much fun with my fet sims of my favorite amps in my guitar. sure its a little inconvenient having to set your eq on trimpots and forget it. but the characteristics of this mini fet amp set the way i like it and then running it into my pedals .. priceless.

what kind of music will you be playing with this guitar. i am pretty darn sure i can figure this out for ya but it may be a little unorthodox so a push pull volume a 4 way switch and do you have a tone control? utilizing a tone control with a push pull would help as on the upside it can be out of the circuit. plus have you tried just wiring these sounds up in the guitar first and seeing what you like about them? i haven't played with the p rails as much as i would like too. however i do have a real p-90 Duncan in my neck of my guitar. which is a godin les pual style. and a dimarzio humbucker in the bridge. and what i found actually worked on a three way was the two pickups together didn't really do much for me sonically. most people agreed with me. for my style i am doing a nice crunchy rhythm with some lead fills and harmonics on the bridge pickup and most of my sustaining liquid leads are all on the neck pickup. and for me neither works well as a clean tone the p-90 is too dark and lets face it after piezos in guitars humbuckers just don't cut the clean stuff anymore so i wired up where you would normally coil cut the guitar to be wired in parallel with the p-90 minus the filter circuit i build into the necks of all my guitars. this gave me a nice clean tone and an interesting distorted tone. as well as the other two. so maybe that will help you out in figuring it out for ya. but from the looks of the circuit in my head you will have to do the series parallel stuff with a push pull since you need to get a ground connection and lift a ground connection at the same time. that would be the easiest. a far as the pushpull is concerned i set it up like this. now you could forgo going straight into the grigsby and go to the blend pot first then the grigsby theres the beginings for ya. series down parallel up. obviously for simplicity i drew the pot as you would see it being wired and the orange connections are all to ground and the top of the pot here is not finished being wired but it is for a standard volume the way i left it. i thought it would behoove me to point out the way i did it since it was a quick and dirty sim

since your using a baxandall [my favorite btw ] you should bread board a simple inverting/non-inverting mid-range control and check it out you might be surprised. you can wire it up similar to a presence knob using a bandpass filter from the OT. back into the amp depending on where you put it you will get a negative or a positive phase relationship. and since it has all the saturation and characteristics of the output section it will deliver much more harmonic content. i put mine on a switch. that way i could get the best of both worlds. you can also do two pots one for total resistance ie volume of the filter and one for filter resonance. [resonance might be the wrong word choice but it felt right.] ie using the capacitor reactance table and your pot with a fixed resister you can set the bandwidth of the the lowest and highest point in between. also you could incorporate a dual ganged pot for a movable filter since technically this is a high pass filter strung back into negative/positive phase you can do a movable version of the rats freq/gain control. i think i have mine drawn up some where.

damn thats funny........................... i like it. God rest his soul this man helped me learn a lot about tubes and such i wish he was still kicking around

i agree with a bridge position norton its quite tasty and i expect some noise out of a bridge pickup. lol its been my bane for years micro phonic or blown bridge pickups is why my seven string is gone argggggggggggggghhhhhhhhhh. original lochness green signed by vai but a neck position i even repotted the one i have here and it still didn't help.

i would suggest a smaller pentode can achieve the same type of output grunge. you could use a 6dx8 for instance but have a look at the late great fred nachbaur i think thats how you spell his name http://www.dogstar.dantimax.dk/tubestuf/dzindex.htm this is a mind funk of an amp. i have been using the compressor trick for years since learning it from him

i don't know about the single coil sized version but i personally wouldn't wipe my a@# with the norton pickup everyone i have used freaking howls feedback and is awful sounding. just got rid of one in my fly and a buddies lp.

So a lot of you may know i do some wacky stuff with guitar electronics, and well that's just the beginning. However i recently had the chance to measure some interesting things and thought i would share them with you. here we have two basic filters a low pass on top and a high pass on bottom. For simplicities sake lets say that the low pass filters only allow signals lower than the corner freq to pass through unattenuated. the opposite could be said for the high pass filter. since this is a basic passive design we are looking at 6 decibels per octave. what does that mean? well since this circuit is passive ie no batteries no gain devices it can not add to your signal only remove, although this is not a bad thing it does limit us to this. lets say we have a high pass filter that is set at 1kz or 1000hz. that means that everything below this will get its perceived volume cut at 6db per octave. so at 500hz we will be down 6 db. at 250hz 12db and 125hz 18db ie etc and so on. the same holds true for the low pass filter only again in reverse. a 1k lpf will get you -6db at 2k -12db at 4k again ie etc. now for those of you who suffered through this here is the interesting part. when designing amps, effects anything that is active these frequencies are crucial and make all the difference in the world to our tone and the parts and the math have to be pretty close when you are shaping your sound for a desired effect. Say controlled resonant feedback that is freq dependent. but when you go passive the amount of signal drop changes the perceived eq shift as well.. i will give you an example. in a guitar per chance lets say we wish to roll off 200 hertz ie a high pass filter because the guitar is way too woofy in the neck pickup. and any adjustments can be compensated at the amp. this trick really helps you balance those pesky dual humbucking guitars without demoing hundreds of pickups to find the right one. perhaps the right one is already installed and you just need to help it out. what i have found and measured is that because of the 6db drop it causes the exact freq response but to get the correct "ear response" we need to take it 1 octave lower. so by moving our filter range to 100hz will give us a more usable freq shift and allows us to do things inside our guitars to tune their response more to our liking well hope that helps you out. feel free to comment and please try the experiment sincerely ansil and lastly for those who might have missed it this means you can have a freq based gain control with a little math in our guitars and with complex enough switching you can have both a straight signal and a modded one. lets grab those irons guys [and gals if there are any left here lol]

i looked at mec and that is not the website i got mine through perhaps it was not meq i will have to look and see. they are in all the major guitar mags but when i got mine last year the site was crazy hard to navigate and i didn't see a single switch just pots and switched pots.

good idea on the fender switch i like that idea but could never find them when the first came out. but as far as getting underneath them thats why they make push push pots super cheap and high duty cycle. i use them exclusively on some of my special circuits. great idea on the dual gang idea i do that on my strats for different impedances and filter options for my super wiring. meq makes some killer pots triple ganged and push pull switch but they are like 25usd each but you can mix and match the impedance of it. i got a 1Meg 250k 500k for my old ibanez wiring. i never used the push pull on that one. Pal i am glad it worked for ya and yeah it looks quite nice oh and i understand about the volume pot being in the way thats why my axe has them reversed when it was drilled out. i am converting all my guitars this way well one at a time its a bit of a pain in the arse. a little off the path but here is something to try with the other side of the switch. they are all the same color but they change brightness depending on where you are at in the pickup selector. also the one by the bridge is drilled offset so you can tell where you are. in hindsight different colors would help but i had red and green and hell red leds are so 1980

well i started on it last night i am still gluing the pieces on trying to make them stick is a little tough being so thin. i am figuring i will make a plaster cast of it and make a wax replica and smooth it down a bit and make one last mold and pour my bobbins.

lpve the dice unless you got a vice and a drill press remember 1 and 5........ easiest sides to drill