borge

http://tinyurl.com/6cxot8h But really, you just need to copy how the ibanez is wired, they've mixed modern and 50's out of necessity, it's so the circuit will function a certain way - the way you want it to. If you want similar function using only one style of wiring (either 50's or modern) you either need a switch with more poles or settle for two master volumes in the Mid/bridge pos.

One is wired '50's' style the other 'modern', it refers to how Les Pauls have been wired over the years, put very simply, modern wiring achieves independent volume control and a more consistent tone pot response. in graphical form: http://guitarnuts2.proboards.com/index.cgi?board=wiring&action=display&thread=1885

he, so it can be done with a stock 5 way : if we number the top row of your switches lugs (all L to R) 1-2-3-4 and the bottom row 5-6-7-8 those lugs correspond to 7-6-5-8-1-4-3-2 on the ibanez switch. Adjust your wiring to suit and you'll be in business

Phase issues will depend on the particular pups being used, you should fine sticking with one manufacturer. I assume you are using SD colour coding? red and white should be soldered and heatshrinked, black is signal (to switch) As the middle lug of your N/M vol is connected to your main signal (via left lug of master vol.) at all times it'll function as an unusual master vol, not what you intended.... I don't think a stock strat switch can do what you want, you could do: master vol, master tone, N OR M vol, and you would have an extra pole to auto split the HB in pos 4 to give a more trad. strat sound. Or a switch with another pole could do it.

nope....that'd result in increased noise when he touches the strings, quite the opposite of what's happening... I hope you have a multi meter, Trying to fault find electronics without a meter is a huge waste of time. You can get one for $10 and find 99% of faults within a few minutes without even opening the guitar up. do the tests in the third post of this thread: http://projectguitar.ibforums.com/index.php?showtopic=44468

and it's also where the image in the OP is hosted

Most guitars use a mono/TS jack so ignore the ring. plug a lead in and do the test from the free end of the lead. don't forget this too:

so this is your meter?: http://img.shoppingnexus.com/products/equu...-multimeter.jpg 1) set the meter to the ohms (omega symbol) setting (you will be using the '200' '2000' and '20k ranges mostly) the meter should read 'OL' (stands for over limit) (or maybe 'OC' (open circuit)) when the probes aren't touching OR WHEN THE MEASUREMENT BEING TAKEN IS BEYOND THE LIMIT OF THE CURRENT RANGE - it's important to check at a higher range or your results may be useless. touch the probes together and the meter should go to zero or close to zero. now go through the tests is my post above, ie put one probe on the lead sleeve and other on the machineheads ect ect 2)the test will narrow that down. 3)the bare wire (called 'screen' or 'shield') goes to earth/ground, whether its the back of the pot (usually most convenient) the bridge, the jack sleeve doesn't matter, all these should be earthed and should be electrically identical. Thats normal, your body acts a rather large antennae, attracting noise, when you gain a good earth connection (ie touching the jack sleeve) you are no longer an antennae and the hum will reduce.

Why did you have to wire it like the diagram???? that's how it should've came stock... When do you get the feedback? when the strings were muted? if so sounds like a microphonic pup, It's very rare for bad wiring to cause feedback. If you have a multimeter you can test alot without even opening the guitar, you can get one for $10 or so, you can pinpoint a fault in seconds that others spend hours changing parts/rewiring/resoldering to find. make sure you have your multimeter set to the correct range and/or try multiple ranges if it isn't auto-ranging:

true temperament is a whole different kettle of fish. Equal temperament has been the standard across all instruments for hundreds of years, true temperament has massive limitations hence its all but unused today.

Electricity is converted to heat with 100% efficiency ie all electric heating is equal, (bar heat pumps) how that heat is distributed (radiant, convection, fan) is the important part. Trying to 'store' heat is always bad idea, not using the electricity in the first place is a better idea.. /electrician/appliance tech./chronic energy efficiency nazi speil Gas heating is more expensive than electric in your neck of the woods????

Interesting solution The bridge pup is connected to the output at all times via the tone pot amd cap, the pot and cap form a high pass filter, the tone pot acts as a volume to this signal. ie when the neck pup only is selected turning the tone knob will alter the high passed bridge pups signal volume, of course this will be masked by the tone knobs intended function: a low pass filter. Put simply: you aren't getting the pure neck pup signal in the neck pos, a significant amount of high passed bridge signal is there too. Doing this will give the intended result without that^ quirk: you can also drop the resistance to 250k by turning a 500k pot down to 9/10

Maybe if you have a LP or similar where you have to stop playing momentarily to adjust the volume..not at all with a strat.. I couldn't stand being confined to my pedal board to adjust the volume..

Bizzare match

OK, this sounds good, too. So this low-cut only affects the neck pickup? If so, how is it integrated into the rest of the wiring? The circuit you drew is basially a pot and a cap, right? but is it the existing tone pot, or a separate one? It goes in series with what you want to be affected, in your case the neck hot would go come in on the left, the right would got to the switch. One advantage of this over the bridge (hi cut) tone is the bass cut won't affect the bridge pup in the bridge+neck setting like the bridge tone would. Yep, just a pot and cap, A 1M pot is best, smaller values (500k, 250k) aren't as effective. A 0.001uf cap is good, I always tune it to taste to match the particular guitar. separate pot to the existing tone, I assume the guitar isn't complete? so you have the option to have more that two pots? I've only done it to teles who's owners complain of a muddy neck pup, all have been single bridge and humbucker neck, all have replaced or rewired the stock tone pot. I use the stock 250k pot if does the trick, if it doesn't have enough range for a particularly muddy pup i'll put in a 1M Of course, whether the bass cut will be any use to you depends on your ears, your pups and your guitar.

So in the first post you were worried about the neck pup being to bright (not a concern I've ever seen or heard before...) and now you want a tone pot on the bridge pup?? which will make the neck pup sound even brighter, relatively.. Your wiring was quite odd, here's the conventional way of doing it: The tone will be active in all positions the bridge pup is ie bridge and bridge+neck. I've included a bass cut schem. because in my experience with teles with a single in the bridge and a p90 or hb in the neck is they're too different tonally, when you eq the amp its either : bridge-good neck-muddy/boomy or neck-good bridge-shrill and IME the best cure is replacing the master hi cut tone with a neck low cut tone.

Use a 500k, if the bridge pup is too bright put a 500k resistor from bridge hot to earth, it'll sound like a 250k pot in bridge and bridge+neck positions, volume and tone will function as normal. But the problem with that is the output loss will make the bridge even lower output than the p90, whether thats a problem or not depends on the pickups and taste, if it is, an RC filter (resistor and cap- a fixed 'tone pot') to only cut some top end would be better, but will need tuning to taste. I use 500k on others guitars and 1M on my own guitars, why dump useful signal to ground? if it's to bright there should be a knob with 'treble' next to it on your amp

I'm getting an error message for your links Paul: Forbidden You don't have permission to access /DIYStompboxes/NewPedalBoard1.htm on this server. Additionally, a 404 Not Found error was encountered while trying to use an ErrorDocument to handle the request. Not sure if the faults at your end or mine though..

can't be done easily. The only way is scratching off some of the carbon track to increase resistance....very tricky to do accurately.

Your grandma's suitcase? only if this is your grandma: open it up, slide the hinges apart and it's ready to go: Another one I built: You can see the custom made bag for the pedalboard in the background. But now I use a pedaltrain...

Er, no they don't. See how the pup signal in is on the wiper (small arrow), as you turn the knob the signal resistance to ground is varied. the outputs resistance to earth is constant ie 500kohms=the other pup sees 500k to ground regardless of this pots position, only it's own pot can reduce it's resistance to earth Now if you reverse the output and input (pup signal) as 50's wiring is. Now the outputs resistance to earth is varied ie the tip becomes connected to sleeve as either volume is turned down= 2x master volumes

That difference affects this aspect: But isn't the reason for the independent volume issue which has nothing to do with the tone pots... this refers to the volume pots only:

The switches position in the circuit makes no difference. modern wiring can achieve variable pickup blending unlike 50's wiring. modern wiring gives less desirable volume vs tone interaction, something gibson must feel is worth sacrificing for independent volumes... modern wiring doesn't vary the resistance between the voltage dividers (vol pot) output and earth, 50's wiring does. If you draw up a wee circuit diagram (not a wiring diagram) of how modern and 50's wiring differ the functional differences will become clear.

Er.. who said anything about wiring it differently.... it can be at the jack and perform the electrically identical function, in fact its a much better idea as doing it your way won't function as intended in some circuits.. ?? You can't ground a plastic switch. Circuits have polarity, switches do not. describing the switch with detail will helps also: A single pole single throw normally open momentary switch =SPST NO momentary (for Tom Morello/Buckethead style switching tremolo ie only off when pressure is applied to switch) or A single pole single throw normally open latching switch = SPST NO latching (for extended silence - ie between set. stays on after pressure is released, turns off next time pressure is applied.

The trademark series are neither a modelling amp or a blues amp, they are, however, a really great sounding solidstate amp. As far as modelling devices go, I've never played one that impressed me...except for the Axe FX But those are out of most peoples budget.. What exactly do you want from a modeller?