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~Maxx

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About ~Maxx

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    Manhattan, KS via Lincoln, NE
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    Guitar, home recording, music!

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  1. In order for the tone function on the stacked pot to work independently it has to be removed from the rest of the signal chain. Since you basically have it hard-wired to the master jack it's going to function as a master tone knob. Depending on how you have it wired the push/pull pot could work as a kill switch - removing that circuit from the master chain (while leaving it intact for the independent jack). Does the tone knob in question still function as a master when the push/pull pot is pulled out? Any chance we could get a good shot of the wiring, or perhaps a diagram? That's a very interesting concept, by the way. At least I've never seen anything like it before.
  2. Thanks for your replies Ripthorn. Much appreciated! After reading your post and studying the diagrams a bit more I think I see what's going on. It was the A1 and A2 terminals that were confusing me. But I think I see now that they act as a jumper between the two sides. I'm still trying to work out exactly how to wire it up to get what I want, but I went ahead and ordered two of the switches. That should be able to get me the combinations I need. At least I hope so!
  3. That's what I thought when I first stumbled upon it. But the way they have it wired in the diagram makes me think otherwise. Of course, maybe the way I would wire a 3-way is not correct or "by the book". It seems that I'm missing something somewhere...
  4. Hello all. I'm getting ready to wire up a parts-caster, and was interested in using this switch to replace the 5-way and expand my pickup switching options. I always thought I was pretty decent with passive guitar wiring (though I am self-educated), but just can't seem to get a solid grasp on how these things work from the diagrams at Stewmac's website (PDF link for diagrams at bottom of "Instructions" tab). I'm sure that once I can get a meter on it I can figure it all out. But I'd hate to send off for one and find that it's useless to me. I'm pretty much going for a Brian May type schematic on an H-S-S pickup configuration. I'm guessing I'll need two of these switches to accomplish both coil tapping and phase reversal across the board. Would anyone know if this is going to work for me? Or should I save my $60 and put it toward a crap-load of DPDT switches? Thanks in advance for any advice!
  5. Thanks Keith. That does help. Especially the part about the ratings of the pot's. Well... No, actually - it poses a problem. I want to have the option of bypassing the preamp and using the passive circuitry. I definitely can't use 25-50k pots in a standard Strat setup. Would it be detrimental if I were to use 250k pots with the preamp? Are the effects the same as using 500k pots on a Strat (actually 250k pots on a Les Paul would be a better comparison)? I did notice after I posted that the jack was stereo. Once I realized that it all made perfect sense to me. I think I can get away with using my standard jack though (the shaft and nut are black to match my guitar and jack plate, so I'd rather leave it in place). The description of the kit says that the preamp will be active when the pot is pushed down, and bypassed when it's pulled up. I intend to reverse this function so that passive will be the normal position. This should do well enough to keep me from draining the battery, as I have a solid habit of flipping all my switches to "normal" before I put my guitar down. I do like the idea of the stereo jack though. It's a good fail-safe. Maybe I can track down a black stereo jack.
  6. Hi folks. I'm setting up a partscaster with some Lace Sensors (neck & mid are Golds, bridge is Red/Gold dually) that I had lying around. I've never had active electronics before, and don't know much at all about them - but figured this might be a good occasion to try them out. I'm looking at the Neovin PRE-1 Active preamp from Guitar Fetish. I had intended for this guitar to have only two knobs (master vol & master tone), and I believe (based on the pic at the website) I can still accomplish this while using this preamp. There are some things I'm not sure of though. I'm debating weather I need the full kit, or just the preamp ($5 less - not that that makes much difference). I already have a 250k push/pull pot, and I'm using toggle switches instead of the 5-way. Is 250k alright for this setup? Or are 500k pots required? If I have to use 500k, what effect will that have on my sound when the active circuit is bypassed? Also - I see that the switching output jack in the full kit is rather large. There's no way that it will mount on the back of a standard recessed Strat jack plate without drilling out the cavity (which I'm not opposed to doing - but it's just more work that I'd rather avoid). The preamp alone, however, appears to come with a standard size jack that has the extra connection on it for the battery lead. Anyone know what the difference is (if any)? It looks like the lead from the battery is just a ground. Do you even need a special jack for this? Or can I just solder the black lead from the battery to the jacks sleeve lug? Sorry for the rambling questions. I guess I just need some specifics on the components so I can decide weather I need the full kit or just the preamp assembly... Thanks for any input anyone might have!
  7. Hi folks. I've been researching pickups for months trying to figure out what to put in my Strat. I've been sold on the SD Lil '59 for the bridge from the get go. It's not the most diverse pickup out there, but having played one in a similar setup to my own I'm convinced that the tonal qualities - and moreover the response - are exactly what I'm looking to get out of this guitar. But what to pair it with in the neck and mid positions? I was thinking Texas Specials might be nice (they seem to be the go-to blues pickup these days), but having played them in a couple of different guitars I'm just not as in love with them as I am with the Lil 59. Or rather I don't think it's the combination I'm looking for. Plus the Texas Specials are only sold as a full set. I'd rather not buy a bridge pickup I'll never use. I realize that I haven't provided much background into what I'm looking for tonally - and truth-be-told tone is only a small part of what I'm after, it's more an even physical response I'm after - but does anyone have any decent direction in this regard. I sort of feel like I don't really have a starting point. I like Seymour Duncans, but their descriptions and even the sound clips are next to useless in finding what I'm after. I need to play something (hardly possible at my tiny local shop), or get some wisdom from someone with experience. Any input would be much appreciated. Thanks!
  8. Ahh... Just saw this lvs... Very good stuff! So basically I should be able to put two of these in series without any worry of phase or hum issues? It's just going to be a matter of weather or not I like the sound they produce. Like I said - I'll post my results. Thanks again!
  9. Hey lvs. Welcome to the discussion. Do you really think a red and gold dually would make a decent combo? I would have thought, given the output difference, that adding a gold in series with the red would be like tossing a pebble into the Grand Canyon. You'd hardly know it's there. I can see why the reds are generally installed in the bridge position. They sure are hot sob's. A dual gold setup on the bridge though would get me somewhere between 11 & 12, which I hoped would keep up with the red at 15. I tend to favor the middle pup anyway, and rarely use the lead by itself. My Harmony already has coil tapping and phase reversal across the board anyway, so in the long run experimentation would be a snap once everything's installed. Good point about the sound vs hum canceling Chris. For some reason it never crossed my mind. I did some reading, and couldn't find anything "official" about rwrp on the Lace Sensors. There were several posts in the Fender forum, though, that indicated rwrp was not necessary for hum canceling with these as they are low output and sheilded. But I also found several references to a a Lace Sensor silver that was available rwrp, but no indication as to what it's purpose is. I couldn't find anything about the factory duallies consisting of an rwrp coil either. I did find a wiring schematic, but I don't think it really tells us anything we don't already know (though they do have a funky way of wiring these things up in my opinion). I also found a short, but informative review of the Lace Sensor line. A good quick read if your interested in understanding them a bit more. Again though, nothing about rwrp. I guess I'm just going to have to try it out and see what happens! Not sure when I'll get around to it, but I'll post my findings when I get it all tested out. My thanks to all! And if anyone has anything else to add go ahead and jump on in. I'll be monitoring this thread.
  10. Thanks for the reply Chris. I'm actually only looking to make one humbucker (for the bridge) - the mid and neck will be single coils. I dug out my meter and checked all four pups just to see what the output difference was between the red and gold, and to find out if the lead gold read any higher than the other two. The golds all read about 5.75K, but the red weighs in at a whopping 15K! As far as the RWRP situation I could swear I read years ago that since these were noiseless pickups there was no need for it. I've been shopping around for pickups quite a bit the last few months, and I've never seen a Lace Sensor advertised as RWRP. But I'm not willing to cast out your assumptions based on my own Chris. If anyone can clear this up for us I'm sure we'd both be appreciative Setting aside the RWRP issue, I'm a bit worried now about the balance of output. I'm pretty excited to hear what this red can do, but how are these poor golds going to keep up? If I can get away with dual golds in series on the bridge, I suppose they'll do well enough with the red in the mid position. But what about neck pup? It seems like it would be terribly underpowered compared to the other two. I'm not at all opposed to buying new pickups for this guitar, but I'm still in the process of dumping money into my Strat. The Harmony's always been a bit of a Frankenstein anyway. At one point, while I was refinishing the Fender, I did throw the Lace Sensors in the Harmony's mid and neck. I liked them for what I was playing at the time, but when I put them back in the Fender I decided that they weren't what I was looking for in a blues setup. So I pulled them out. I'm still experimenting, but right now I think I'm sold on the Texas Special in the mid, and I'm going to order a Lil 59 for the bridge. The neck has an SD Quarter Pounder right now, but I don't think I'm quite happy with it. Not sure where I'll go with that. Maybe another Texas Special? Anyway - I have a few spare minutes, so I think I'll hit Google about these Lace Sensors. I'll post my findings (if any). Chris or anyone else - feel free to chime in with any wisdom you might have. Much appreciated!
  11. Hi folks. I was wondering if i could draw on someone's experience and knowledge in dealing with these Lace Sensor pickups I have lying around. I have three golds which I pulled out of a late 80's Strat, and a red that I inherited with a box of random parts. I didn't like the golds in my Strat - which I've set up as a blues/rock instrument - so I thought I'd try them in my Harmony Strat copy, which I've always used for slightly "heavier" sounds (I'm not much into metal - but we'll say "heavier rock"). I've always had a humbucker in the bridge on this one though, and was wondering if I could make use of all four of these Lace Sensors somehow. From the reading I've done it sounds like the reds have more output than the golds, so I wasn't sure where to put it. If I wire two in series for the bridge I'm assuming I'd be best off using two of the golds. But then what? Red in the mid and gold on the neck? Or is this all just a silly idea? I think what's got me stuck is that I don't really understand how the Lace Sensors work. If you have a set of three (ie. three golds), is one of them hotter and darker for the lead position? Or are they all exactly the same? I'm assuming that RWRP is a moot point with these since they're not actually coiled, correct? I guess I just need a bit more info if anyone has it. Very much appreciated!
  12. Mission accomplished! I inserted the bolts back into the old inserts and used a clawed hammer with a paper back book between the body and the hammer head. The book protected the finish and made sure that the hammer maintained an upward direction of force rather than pulling the bolt back toward itself. Easy peasy! Thanks again!
  13. Wow. Thanks for the quick replies! So basically these things should pull straight out with some calculated effort. And the new inserts do not have to be glued in? Just tapped down flush? I think that's all I need to know. The rest of the measurements for new the trem are spot on with the old one. So I should be good to go - once I get the new inserts installed everything else should drop right into place. Thanks a million guys!
  14. Hi folks. Just got the new tremolo for my Strat (standard two-point tremolo), and was wondering what to do about the new bolts. They're too big to thread into the existing holes. The kit came with new threaded sleeves (<--not sure what those are called?) which seem to have the same outer diameter as the current ones. But I'm not sure how to remove the old ones, or weather or not the new ones will need to be glued in somehow. If anyone's able to follow what I'm getting at here I'd sure appreciate some advice. Thanks a bunch!
  15. I've been meaning to order one of these for weeks, but haven't gotten around to it. I had come across a couple of threads on other sites where people had indicated that the wilkinson adapter was no longer included with the LSR kit. Not sure if this is true, but I'll need that adapter - so I'd like to make sure it's still included before I order. Anyone know for sure? Thanks!
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