JoeAArthur

This is why the reference to "truly series". They are only in series if both are used. No, they are in series. I could make the same "truly" argument about parallel jacks. Series and parallel jacks are a configuration - the configuration doesn't change if you only use one. In a series connected set of jacks, the current does flow through both even if none are being used (NOT recommended). Yes. I understand this. But my question is, at the levels I specified above, is there a large risk of blowing up these speakers as it is a 130 watt head? There is always a risk of blowing speakers - even if the amp is underpowered compared to the rating of the speakers (some would even say this is the greater risk). But no, not a large risk in your case. I've been using a 2x12 40 watt enclosure for maybe 15 years with the original 1968 vintage speakers with amp heads ranging from 65 to 150 watts. Ain't blown any speakers yet.

Actually, some of the Musicman amps DO have their speaker jacks wired in SERIES. I believe the HD series is one of those animals. Both do not have to be used - a switching jack simply shorts across it if it isn't being used. xtjdx - while your calculations are probably correct (I didn't check them but they seem in the ballpark) what you might be forgetting is the unequal distribution of power across the speakers in the cab. In other words, you will have two loud ones and two very un-loud ones. 3.2 ohms isn't that much different than 4 ohms. It won't cause you a problem. Heck people run 6 ohm cabs off either 4 or 8 ohms using the selector as an additional "tone switch". If you are going to use two cabs - I would wire each cab to 2 ohms by placing all four drivers in parallel and setting the selector to 4 ohms. At least that way all 4 drivers in each cab will be receiving the same amount of power and will sound equally as loud. Edit: otherwise, just wire up two of the speakers in parallel and leave the other two disconnected for 4 ohms.

I don't think there is anything wrong with the amp. Remember that numbers on a dial only pertain to your particular amp - certainly not across different manufacturers. Your master could be an audio taper and the other amp could have a linear control. Personally, I think your settings are way too bass heavy. It takes much more power to produce bass at the same loudness and if you're also heavy on the distortion the resulting sound can be easily masked by something cleaner and more distinct even if it's at a lower volume. Such as "sharing" the same frequency ranges as a drummer's tom-toms and bass drum.

What you have on your hands is a couple of mechanically unstable caps. The only thing inside are the two plate layers, the electrolytic and the mechanical connections to the outside tabs. It's those mechanical connections inside the cap, between the outside tabs and the internal plates that are mechanically unstable. The fuse blows because the cap is shorted - internally across the plates. Do your customer and yourself a favor and replace the caps. It'll only take a trip or so to a gig in some vehicle to bounce those connections back to where they are close to shorting the plates. The heat will do the rest of that gap. Each fuse blow is a little shorter life on the power transformer. That crackling sound is usually the dead giveaway on a bad electrolytic - it's caused by the electrolytic inside the cap reaching the boiling point. If you've never had a cap blow due to internal pressure, let me assure you it ain't a pretty sight. You do wear goggles... right?

The jumper from 2 to 4 allows the right hand switch (lugs 4, 5 and 6) to select whatever the left hand switch (lugs 1, 2 and 3) is selecting. Draw the 2 to 4 connection on the "treble, both, rhythm" switch diagrams at the bottom of the drawing and you will see it.

Can't get neck parallel in the middle, but this will give you the neck outer coil (the screw coil) in the middle with full humbucking neck or bridge on the outer switch positions. On both pickups, wrap the black and white wire together. This will be the "series link". For the bridge pickup it won't be used, so this connection can be soldered and taped. On both pickups, the green wire will be ground. You can wire this with the shield or bare wire to ground (back of vol control?) On both pickups, the red wire will be the "hot"... Ok, now for the switch wiring: 1. Connect the bridge pickup hot lead to switch lug #1. 2. Connect switch lug #2 to switch lug #4. 3. Connect the neck pickup hot lead to switch lug #6. 4. Connect the neck pickup series link to switch lug #3. The output of the switch is lug #5.

I am seriously confused. Did you check the wiring on the output jack? If that is incorrect then you can switch pickups and controls around all you want, and still have the same problem. Your issue isn't a diagram problem.

One possibility is that you have the output jack wired incorrectly - the hot is going to the ground and vice versa.

If it's a les paul style then the pots are prior to the switch. If they were the cause you wouldn't get output in the middle position. I'm thinking it's the switch. Something like a wire, shielded cable, something like that being pushed against a contact or lug when the bridge pickup is selected shorting it to ground.

Yeah, I would agree with fretting out. Back in the early 1970's I got my first Telecaster. I had the same problem and it really fit that I was bending the string past the pole pieces - cause I had just finished reading an ad for blade type pickups. So I took the guitar to a tech. He listened to me play it and my complaint. He put on a recording of "Sweet Dreams" by Roy Buchanan. I loved the tone, and Roy was bending notes all over the place, much more than I was. But there was no drop out. The tech set up my Tele. I didn't like it at first because it seemed so weird. After a week I became used to it and would never go back to the old setup. He set it up (according to him) just like Roy's was set up. The setup is simple. Higher action... just a 1/4 to 1/2 turn more on the D & G string saddles. The other four saddles are screwed up even more... whatever it takes to place the strings at a completely flat horizontal plane at the bridge. No following the radius of the neck here - it's kind of like having a compound radius, but the radius is on the strings and not the fretboard. On a Tele, especially with a 7.25 - 9.5 fretboard radius, it will give much cleaner sounds and you'll realize that stuff about dropoff due to the string going past the pole piece of the pickup just doesn't make any sense. The tech explained to me that the magnetic field does extend beyond the pole piece, and since the pole pieces are the same polarity (meaning they repel each other), there is no drop off of magnetic field between pole pieces. Oh yeah, the tech also noted to me that when I bent a string up I wasn't bending parallel to the fret. When I bent my finger was sliding closer to the fret which was muting the string. Give it a try - the worst that could happen is that you will no longer think that strings following the fretboard radius with low action will give you the best sound.

Sheesh, no need for the sarcastic remark, JoeAArthur. I would have much preferred a simple "No Primal, you are wrong." Anyway, I hadn't even thought about the difference in the resistive strip. While that is different, it is indeed true that both pots are mechanically the same, and can be used for the same purpose, although with a loss of performance. Sheesh Primal - the remark wasn't meant to be sarcastic, but since I now see you were the only one posting I can understand why you might feel that way. I stated it that way because I saw there was more than one post with the same opinion and YES, I didn't take the time to categorize them to individuals. Rest assured, I will continue to be as equally careful in the future. Ok Primal, you are wrong. It is not "indeed true" that both pots are mechanically the same. There is a difference in construction as I pointed that out in the positioning of the resistive strip inside the pot sections as well as the extent of the resistive strip that is being positioned. But I do agree that visually, they look the same. "used for the same purpose, although with a loss of performance". Well, I can't disagree. After all, that would equally apply to a gun and knife... a hammer and screwdriver... a bottle opener and corkscrew... a car and tricycle. Hey guy!! Seriously, nothing personal ever intended. Take care!

I never heard of a bass bleed so I assumed you meant bass cut. Searching on that gave me three posts - none of the three being the one I listed for you. However, in one of those three I found that link and since Lovekraft had started that thread, I further assumed it to be the one you were looking for. Even using correct terms, the search pretty much sucks.

Despite the opinions expressed, a dual pot and a blend pot are not one and the same. A dual pot is exactly what the name implies. Two complete normal pot sections on a single shaft. A normal pot section has the internal resistive strip in a continuous fashion through out the rotation of the shaft. So if you consider a 100K linear pot, you are able to get a variable resistance value - for example zero resistance at zero degrees of rotation through to a maximum of 100K at 320 degrees. I am not quite sure what the maximum degree of rotation is on a pot, but let's assume it is 320 degrees. So a dual pot will have two of these sections on a single shaft. With a blend or pan pot, the resistive strip only extends halfway through the pot section. The other halfway is a conductive strip that doesn't vary resistance. The other pot section is constructed the same way, but in a mirror image fashion. So if the resistance part covers 0 to 160 degrees in one section, the other section has the resistive strip covering 160 to 320 degrees of rotation. This may be hard to picture, so here is a table showing what resistance change would happen if you connected up a linear dual pot and a blend/pan pot with the correct wiring for the purpose of blending two pickups together: 0 160 320 <--- degrees of rotation 0 50K 100K <--- dual pot 100K 50K 0 0 100K 100K <--- blend/pan pot 100K 100K 0 The difference is simple - the dual pot will give have both pickups roughly at half volume at 160 degrees. Either side of 160 would have one pickup increasing and the other decreasing. The blend pot will have both pickups at full volume at 160 degrees. Either side of 160 will have one pickup remaining at full volume while the other pickup decreases. ONLY the blend pot has the capability of giving you both pickups at full volume, the dual pot does not. The total resistance value does not matter - it is a construction difference, not a resistance difference. You can get either style in different values, although some are more common than others. BTW - useless info here: the Fender TBX control is a Blend pot using one 1Meg section and one 250K section. For additional info, you might check this thread: http://projectguitar.ibforums.com/index.php?showtopic=24245

Would this be it? http://projectguitar.ibforums.com/index.ph...showtopic=18409

I don't think it will be possible. An On/on/on double pole switch is going to find it really hard to control pickup selection and pickup configuration (i.e. series/parallel or even one split) at the same time.

I mean't to change the killswitch back to this way on the diagram before this one. I like this way better, i think it makes sense to me. The tone control is wired to the middle, it's just my bad diagram. Ok, yeah but - you didn't swap the total connections on the bottom two lugs of the ON/ON/ON switch. You need to move that purple ground along WITH the ... I give up. Look at the link I posted before and make sure this switch is wired up the exact same way. Well, you really don't have to - only if you want it to work correctly.

That looks like the wiring for series/single/parallel when you have 2 HB's in the circuit. As such it will just act as a coil tap in your setup. Yep. Hey spanky, reverse the bottom two connections of the on/on/on switch.

If you want to use a SPDT for the kill switch, wire the center lug of the switch to the output jack, the center lug of the volume control to one side lug of the switch, and ground the other side lug of the switch. Mammoth guitars is correct - the blue wire for the tone control connection needs to connect to the middle lug of the tone control.

If you have a meter, set the selector so that the neck pickup is selected and measure the resistance from the back of the volume control to the selector switch where the wire from the P-90 is connected. If you get an infinity reading, send the pickup back to Jay for a replacement as it is open. If you get a suitable reading (don't know around 8-9K maybe?) then check the solder connection and the selector switch contact.

Your kill switch only needs to be a SPST like in your first diagram. Connect the other lug to ground. This will keep everything quiet. If that on/on/on is supposed to be a series/single/parallel it isn't wired correctly. Go over to GuitarElectronics.com they have the appropriate wiring - this page, 4th down, left side: http://www.guitarelectronics.com/category/...ckerwiringmods/ Yes, the green wire from the single coil pickups should be ground. Personally, I would move the tone and varitone connections from the center vol control lug to the right side lug - but that's just me.

Breadboarding is a way to quickly cobble together a circuit to test concepts. The breadboard "base" is meant for general layouts and flexibility and of course ease of change. Consider it a prototyping phase. Once the circuit is shown to work as expected, then you need to do a PCB layout. This can be more work than breadboarding and you have to be concerned with things like physical size of the overall board, component sizes, and proximity to other components that can cause unintended effects such as feedback and oscillation. Depending on your overall objective, there may be manufacturing concerns you need to address.

But wouldn't all those little faradays escape if you used mesh? (sorry, couldn't resist!!) Sure, you probably could use mesh - it just wouldn't be as effective a shield. And it would be a lot more difficult to attach than copper foil, and you might have to solder the edges to maintain conductivity that's not necessary with the conductive adheasive of the foil.

What is the difference (brand, type, tremolo or no... etc) between the two guitars? Does this happen through the same cable through to the amp, or are there different effect stompboxes in between? Are we talking about the same speaker cab, same amp... etc, etc. liddle mo info pleze.

And the other only problem might be the pickups could be out of phase. Easily corrected though.

There is nothing wiring wise I can think of that will cause feedback with passive guitar wiring. The bridge ground coming off the tone pot wouldn't cause your problem - you may get noise if the tone pot isn't grounded to the volume control as the wiring diagram shows, but not feedback. I'd take a look at the pickup mounting. If they seem loose, that could contribute to getting feedback at lower than usual gains/volume.