Showing posts with label Wiring. Show all posts
Showing posts with label Wiring. Show all posts

16 September 2014

Wiring DIY: Hermetico's HH X61 SD mod

Classification

Guitar Modded

LP-body with two Humbuckers but, only two controls: master volume and master tone.


Description


  • HH layout, 4 conductors pickups
  • Two Triple Shot rings (Seymour Duncan)
  • 1 Swiftcraft 3-way switch (pickups selector)
  • 1 Master Volume and 1 Master Tone, both with pull/push
  • 1 4PDT on/on switch (blower-switch)

Difficulty Level

Medium-hard.


Features

  • With all switches off, it provides standard HH tones but, with a single master volume and a single master tone.
  • Volume pot's pull/push switch is being used to put the Neck pickup Out-of-Phase (when the bridge pickup is also selected) and, reverses the split coil (if split).
  • Tone pot's pull/push switch is being used to put both pickups in series (independently of if they are split or with coils in parallel). It overwrites every position of the 3-way (so, you get the same combo in Treble / Middle / Rythm).
  • Triple shots are able to deliver following combinations for each pickup: split north, split south, coils in series and coils parallel, depending on the position of the two micro-switches on the ring.
  • Finally, the 4PDT on/on switch wants to be a "blower" switch (name often used for a feature that allows you to directly with your bridge humbucker, usually bypassing all switching system and controls). In this case, the user wanted to go for bridge full-humbucker but, thru master volume and tone, overwriting the rest of switches in this design.

Wiring Diagram

Click on the picture for full size.



Comments

Notes: white wires are being represented in light-blue and, bare wires in grey. Pickup's wire colors follow Seymour Duncan' schema.

The requester for this design was a Seymour Duncan's forum mate, who already had a working solution based in a couple of triple-shots and a serializer and phaser switches.
He wanted to introduce a blower switch, in a way that he could bypass both triple shot rings' switching, both pull/pushes and, the 3-way. He wanted to run the bridge pickup in full humbucker mode but, thru volume and tone controls (not a direct-out, as often is being requested).

There was a discussion saying that this blower switch couldn't be done with just a 4PDT on/on switch and that, a 6-poles switch would be necessary.

I had the impression that it could be done with just a 4PDT on/on switch and, wanted to go into design, achieving a working solution.

The big issue on this design is the Triple Shot system, since it's some kind of black-box, where the switching occurs in background. The inputs for the Triple Shot are the 4 conductor wires of its respective pickup. The outputs of the Triple Shot are a couple of wires (positive-white and, negative-black).

Internally, this is what happens:
  • Coils in series (standard humbucker): green to negative (black), red and white linked together, black to positive (white).
  • Coils in parallel: green and white to negative (black), red and black to positive (white).
  • Split to South: green, white and red to negative (black), black to positive (white).
  • Split to North: green to negative (black), white, red and black to positive (white).
Depending on what do you want to do after coils arrangement selected by the Triple Shot, you should ground the negative wire (black) or not.

In the case of neck pickup, we want to do an out-of-phase if the volume pull/push is up so, we cannot ground the negative before this happens. But, since the negative of the neck pickup could be put in series with the positive of the bridge pickup, when the tone pull/push is up, we cannot ground neck's negative until the serializer switch.
That's why in that phaser switch (tone pull/push), we are just deciding with of the two wires (negative-black, positive-white) will definitively be assigned to pickup's positive-orange, negative-dark green.

In the serializer switch, neck's negative (dark green) goes to ground (if the switch is off) or it's being linked to bridge's positive (white).

The tricky part is all related to the bridge pickup. If that blower switch wasn't there, we would just solder bridge's wires to their respective lug of the Triple Shot and, from there, we would run the positive (white) and negative (black) wires to the serializer, before to decide what goes to the 3-way switch, for pickups selection.

But the blower concept obliges us to route pickup's conductor wires first to the blower switch and, only if the blower is off, from that switch to its Triple Shot ring and rest of switching system.

Another issue introduced with this particular blower concept is that we need to choose between two different sources (whole switching system or just the bridge pickup) as input for the volume and tone controls so, at least, we need one pole to choose what to run to volume's input.

In principle, to completely bypass the bridge's triple shot, we would need 4 poles, one for each pickup's wire. This and and additional pole we need for volume's input makes 5 poles and therefore, this is where the discussion about doing it with a 6 poles switch comes from.

But, If we think on it twice, bridge's green wire will be always ground, directly when the blower is on but, thru the negative of the triple shot when the blower is off, also.
Read above the description of what happens inside the Triple Shot and, you will realize that the green input is always linked to the negative (black) output.

Therefore, I can solder the pickup's green directly to the Triple Shot and, since the rest of wires will never go to their inputs if the blower is on, I'm sure the only thing that will happens inside the triple shot is that the green wire will be always linked to the negative wire, which I have to always ground, in any case. That frees one of the poles and, allows me to play with a 4PDT on/on switch, instead of going for a 5PDT or a 6PDT (usually, rotaries).

Now, let's focus in the blower switch.
Red, white and black wires from bridge pickup go to their own poles (common lug, center lug on each column). When the switch is off (upper lugs, on diagram), each wire is effectively linked to their respective inputs on the Triple Shot, allowing the whole switching system.
But, when the switch is on (lower lugs on diagram), we avoid to send those wires to the triple shot and, we jumper white and red together (to put coils in series) and, we link pickup's output (black) to the input of the volume-tone-jack network.

Last pole is volume-tone-jacks input (in pink). We will choose between the output from the 3-way (upper lug, when switch is off) and the output from bridge pickup alone (lower lug, when switch is on).

Some additional comments.
Since the blower is being implemented with a 4PDT on/on switch, this solution is easily portable to a Fender HH Stratocaster and, we can use Fender's S-1 volume/switch for that blower switch, with will leave us a classy design, without altering the look of the axe.

10 March 2014

Fender American Deluxe SSS (2010 model) - a succesfully mod story

Introduction

As I've explained in a previous blog entry, my friend was in the market for a new Fender Stratocaster and, ended with an American Deluxe SSS, 2010 model.
Not because of its sound, but because of the rest of ergonomic and good enhancements.

We have already decided to swap those pickups with David Allen's pickups and, after hearing the EJ model, we decided to go for Dovers set, which should nail EJ's tone.

I myself own one of the first Deluxe versions (that was produced for very short) so, I knew what's good and wrong with that axe.

In some way, this entry is an overall review of the American Deluxe model 2010 and, a story of the wiring mod I've designed for this axe, to substitute non-sense factory tones.


The Beast and the Beauty

Seriously, this guitar is Hell and Heaven, Beast and Beauty.
They did an awesome job in some areas but, they have took scary decisions in other areas.
Let's talk about the good things first.

From a "wood-luthier" point of view, this guitar is what any strato ever dreamed.
I mean, wood quality is clearly superior, as well as inlays and overall finish.
It has compound radius fretboard (my own deluxe, hasn't), a good nut (not the LSR nut of mine), staggered tuning keys (that give the right angle to strings, to avoid the tree strings) and, locking keys (which help to keep the tuning stable.
It has a nice Deluxe Bridge, that works pivoting with its blade on two posts, as any modern bridge (Kahler, Floyd Rose, etc.), which gives a better touch, immediateness and accuracy to tremolo effect and, helps to tuning stability also.
Also, the junction body / neck was beveled to allow a more comfortable access to low frets.

Well, in wood, hardware and ergonomics aspects is a great enhancement respect of Standards.
Now the bad (and understandable) things.

Why in the Hell, the minds that prototyped such a guitar thought on a set of Noiseless Samarian-Cobalt N3 pickups?. Not sounding bad at all, they aren't organic and, this is more clear when you just play any other good Strato. Why a Deluxe model has such a thing?.

Then, the potentially interesting S-1 switch, which should bring you 5 new exciting alternative pickup combinations (or sounds) to cover lots of ground. A good configuration that can give you 10 different sounds (including the 5 standard strato sounds) sounds amazing on paper, right?.

Well, from an "electronics-tech" point of view, every taken decision during design phase was wrong for this axe. Even the combos that came with the first version of the Deluxe SSS made more sense.
Most of the 5 alternative combos (with the S-1 pushed down) have no real use and sound really awful.

So, I can imagine lots of people missing all the good that the Deluxe model has to offer, because it plainly sounds worst than any Standard, with stock pickups and wiring.
Fender people!. What were you thinking while designing the electronics side?.


Bringing back the Deluxe to life

An axe of this level owes stuff at its level. We were clear about to throw there a set of David Allen's Dovers, because that was the sound we wanted for this axe.
Now, it was time to re-design the alternative wiring for this axe and, I had some surprise, again!.

After removing all the solder and, leave components unwired and clean, I've discovered that the new Deluxes are mounting some kind of hybrid super-switch.
It has one wafer as the original 5-way (that is, 3 real positions and 2 fake notch positions) and, one more wafer as the super-switch (that is, 5 real positions) so, this is a mix of a DP3T (with two notch positions) and a real DP5T. So, you have all the issues of the typical standard 5-way and, just few advantages of the super-switch.

Once more, Fender people, what were you thinking on when designing this axe?.

Well, we had to buy a new brand Super-switch (4P5T) to have 4 poles with 5 real positions to re-design the wiring for some interesting alternative sounds.

My plan was to preserve the original strato sounds in the normal mode (S-1 switch up) and to, provide LP-like sounds and some other interesting alternatives (as the middle position of the tele and, one of my favourite combinations).

So, my plan was to have:

1. Virtual LP Neck humbucker (Neck in series with Middle)
2. Virtual Middle position of Telecaster (Neck in parallel with Bridge)
3. Virtual LP Middle position (Neck in series with Middle - in parallel with - Middle in series with Bridge)
4. HS combination (Middle in series with Bridge - in parallel with Neck)
5. Virtual LP Bridge position (Middle in series with Bridge)

Results exceeded our expectations. In words of my fellow friend luthier: "this axe covers several decades of music styles. Every combo makes sense and has a real use. This is the most versatile guitar I've ever heard.".

Our plan is to go back to the store where my other fellow friend bought it and do a face-to-face comparison with the amazing Eric Johnson's model. We all (us and store' staff) know how both axes sounded before so, it will be a very exciting test, which I hope to record and hang in Youtube later.

This will leave you to understand how amazing would be a Deluxe with the right electronics from factory and, if you like how it plays, you will be able to enhance it with some additional economical effort but, at least, you will have a great ergonomical axe (with Charvel's compound radius fretboard!), versatile and sounding good as hell.


New heart and neurons for the beast

Before going for the wiring diagram, I would like to warn you about a very important issue, if your plan is just to swap stock pickups with a new set of good sounding strato pickups.

Warning about mounting sets with RWRP middle in a Deluxe!

If your intention is just to swap the annoying N3 stock pickups with a good sounding replacement set of pickups, be aware that you will be able to use there a set without RWRP middle pickup.
Reason is that stock wiring uses some (awful) out-of-phase combinations and, an RWRP pickup reverses the whole wiring sense and, makes no good to something that already sounded bad.

If your plan was to just swap original set of pickups with a new one, just be sure you use regular middle pickup.


With David Allen's Dovers

Most of DA' sets have a RWRP middle pickup so, they aren't direct candidates for direct replacement pickup but, since stock alternative combos made no sense, we've already decided to re-design the whole axe for versatility and real application.

My design includes no out-of-phase position so, you can throw there any kind of set of pickups (with or without RWRP middle) and, it will work flawless. If you use a RWRP middle, you will have real virtual humbuckers (alternative positions 1, 3 and 5), with hum cancellation, otherwise just expect some hum but, that's all.

The Diagram

As ever, click on the diagram for full size.



Pickups white conductors are drawn in light blue for readability.
This wiring will give you 100% satisfaction if you use mentioned DA Dovers, even that other pickups of similar quality level (if they are) can give you very good results.

Eric Johnson is originally using a 300K volume pot and 250K tone pots. He also uses a 0.1 mF cap, while my design works with a 0.047 mF cap.
DA pickups were designed to work with standard strato configuration and, therefore, they deliver same (or better tone, we will discover it in the comparison video!) with just three pots of 250K (stock).

Also, Eric Johnson is assigning Neck pickup to Tone 1 (middle pot on diagram) and Bridge pickup to Tone 2 (lower pot on diagram). But, we are using standard strato tones assignment here, therefore, Neck to Tone1 and Middle to Tone2.
To go for the EJ tone arrangement, just move the olive green wire from the tab where M+ lands to the tab where B+ lands and you are done.

The feedback

The owner of this axe is a fellow friend, who has not knowledge and not real interest on any technical subject. He just loves to play guitar and has "tone". Plays a broad range of styles and does it with feel and technic, with some special magic. You know what I'm talking about.

Who did the work was my other fellow friend luthier (and brother of the owner), who is a beast of wood and hardware but goes lost in electronics (even that solders as a pro). He couldn't understand what all those wires that he had to solder were going to do and, was scared to loose the standard strato sounds.

I want to share with you their comments, after testing the guitar with selected pickups and new brand wiring design, because it made me laugh a lot.

Owner comments:
"There is only one word that can define this: PERFECTION".
"I give thanks to God to allow me to play THIS axe".
"It has so huge sounds that I have to redo my whole rig' setup"
"I even don't need pedals, this is pure crazyness!".

Luthier comments:
"Gooooood, this is a fucking MASTER WORK!. A real beast!."
"I have no words to explain it... 10 sounds that cover most of the great decades of music.
Sound covers from Van Halen to pure Gilmour, Knopfler, Clapton, Prince... anything!"
"Clean, you get all the best sounds of the musical history, I swear it!".
"Man, my sincerly congratulation!. This is the more complete guitar I've ever heard. Anything he plays sounds to a disk record. Hiperpolivalent.".
"We MUST build guitars exactly as this one. They will be sold with ease".
"You should be here. Drive to here and, get some cava, dozens of bottles!".


Just stay tuned. We will arrange a demo session with Auvisa store's people to make a fair comparison with the expensive (but awesomely sounding) Eric Johnson's model.

20 December 2013

Wiring DIY: in-phase, out-of-phase and hum-cancelling concepts

Introduction

While dealing with just a single pickup or coil, it makes no sense to be worried about things as "out-of-phase" or "hum-cancelling" but, as soon as you combine together a couple of coils or pickups, those concepts have big impact on resulting sound.

If you are interested on pickups and on moding your guitar wiring to achieve alternative sounds to those few that came stock then, the wording "in-phase", "out-of-phase" and "hum-cancelling" would be part of your language but, what at the does it mean and, how do we know if we get one or the other when trying to combine one or the other coil of a humbucker with a true single coil pickup?.

Along this blog entry, I will try to let you understand what is behind this concepts and how to achieve your wanted results and, how to avoid the wrong ones.


How coils are wound, phase and polarity stuff

Usually, coils are made of a continous thin (42 to 44 AWG) isolated (formvar, etc) copper wire wound around  a frame to form a coil. Since engines rotate usually clockwise (CW from now), the CW winding direction is the usual way as EVERY coil is being wound.

The starting side of that single wire that forms the coil, after so much turns stays in the inner part of the coil while the finish of that single wire stays in the outer part of the coil (since it belongs to the last turn).
Usually, that start "wire" is connected to ground, while the finish "wire" is connected to hot (to the signal path).

That means that we assign positive electrical polarity to the finish wire and, negative electrical polarity to the starting wire but, for this to be true, the magnetic field should have South polarity.

So, most of COILS are of type CW-S (wound ClockWise with South Magnetic Polarity).
The typical Fender Strato coils are CW-S and, most of strato direct replacement pickups are, also.

In the case of humbucker pickups, both coils were wound in the same direction (once again, CW) but, since they are being placed over two different poles of the same magnetic bar, one has a North magnetic polarity and, the other South magnetic polarity.
Usually, the screw coil (adjustable) has North polarity (CW-N), while the slug coil (not adjustable) has South polarity (CW-S).

To get rid of hum in notch positions, Fender started to produce RW/RP (Reverse Wound / Reverse Polarity) middle pickups, to achieve hum cancellation in positions  2 and 4 of a typical strato.
But, take also into account that some models of Fender were historically mounted with flipped magnet rods, which created pickups of type CW-N (instead of CW-S).

A RW/RP pickup has a reverse wound and reverse polarity RESPECT OF THEIR model pickups.
That means that if for a certain model or group of models, the standard coil is CW-S, the corresponding middle RW/RP will be of type CCW-N (Counter ClockWise, North polarity) but, if the original set had pickups of type CW-N (ClockWise, North), the respective RW/RP will be of type CCW-S (Counter ClockWise, South).

Most of Fender Strato pickups are of type CW-S and, their middle RW/RP is CCW-N but, certain models, as the Texas Hot are of type CW-N and their respective RW/RP is of type CCW-S.

Following picture (click for full size), shows the different scenarios we can find when combining the 4 different types of coils described above.


You can see that for each two coils combination, we have two different columns in this table.
First one (in-phase) will have a YES if both pickups are electrically in-phase or NOT if they are electrically out of phase.
Second one (hum-cancel) will have a YES if the combination is good for hum-cancelling or NOT, if not the case.
Best scenario (in-phase / hum-cancelling) is shown in green, worst scenario (out-of-phase / not hum-cancelling) is shown in red and the in-between scenario (in-phase / not hum-cancelling) is shown in yellow.

When two coils are in-phase, they produce full sound, they just sound good.
When two coils are out-of-phase, the sound becomes thin, weak, hollow, nasal and sharp, do to the fact that most of the signal originated by the movement of the strings and caught by each coil have oposite sign and they are being cancelled.
When two coils are arranged in a hum-cancelling configuration, most of the noise (not signal) caught by both coils has oposite sign and therefore is being cancelled while the signal remains intact, in-phase.

But you should take into account that the signal produced by two different coils isn't exactly the same, never and, neither the hum or noise present.
For two coils to generate the exact same signal and noise, those should be exact clones one of the other and, stay in the exact same physical place.
As you can easilly understand, this is practically impossible, in real terms. So, even two twin coils of a humbucker will get the signal and noise slightly different and, therefore, the resulting signal will be slightly different to the signal we would get from one or the other coil alone and, also because of this, not all the hum will be completely cancelled.

The more equal that two coils will be and the more close they can be physically, the purest the signal and the lowest the hum.
The same coil placed in different spots along the guitar strings will produce different signals and noise levels.
You should have noticed that the neck (or front) pickup is always rich in harmonics and generates a strong signal, while the bridge (or rear) pickup sounds weaker, thinner and brighter.

If pickups makers didn't changed the number of turns or wire type or magnet strength in the differently placed pickups (bridge, middle, neck) we wouldn't be able to balance their output levels.

To reverse the phase (electrical polarity, in fact) of a pickup, swapping which wire goes to hot and which wire goes to ground has same effect as to reverse winding the coil.
So, if you have a CW-S coil and you solder to hot the start (natural negative) and to ground the finish (natural positive), you pickup is now acting as a CCW-S pickup. The oposite is also true.
Just understand that you are not able to change the magnetic polarity that way, just the electrical polarity.

To reverse the magnetic polarity, you need to flip 180ยบ the magnet bar (humbuckers) or the magnet rods (single coils) and, this is always harder and very specially with single coil pickups.

So, if you have two CW-S coils, swaping the hot and ground wires in one, will leave you in a CW-S / CCW-S scenario, which (take a look to the table) is a very bad one!.

To achieve an in-phase / hum-cancelling scenario, you need two coils with reverse phase (electrical polarity) and reverse polarity (magnetic polarity).

We said that both coils of same humbucker pickup were wound in the same direction (CW) but, one is placed over the North side of the magnet bar, while the other is over the South side of the magnet bar.
So, in a humbucker we have a CW-N coil and a CW-S coil. But search that case in the table above!. That's a bad case!.

If we link the start of each coil to negative and the finish to positive, we have exactly that case CW-N / CW-S but, if you remember, by swaping the two wires in a coil we are achieving the same as winding such a coil reverse so, if we just swap the wires of the North coil, we achieve a CCW-N coil and, now our scenario is CCW-N / CW-S. Take a look to the table. Yes, in-phase / hum-cancelling !!!.

This little trick allows the makers to achieve in-phase / hum-cancelling configurations even using coils wound in the same direction (CW). And that's why the typical arrangement of wires in a humbucker is as follows:

south start -> to ground
south finish - north finish (linked together, coils in series)
North start -> to hot

or you can swap ground and hot in south and north starts.

Which start goes to ground depends on each pickup maker, because for braided single conductor pickups (old school humbuckers), the start wire that is ground, is ground together with plate ground wire.

As we explained in other articles, a covered pickup creates some kind of Faraday's cage, which will get the noise in cage's walls and that noise will be thrown to the trashcan if that cage is being soldered to ground.
In braided single conductor pickups, the cage is in contact (soldered to) with the "humbucker ground wire" and, therefore, if we try the trick of swapping both coil wires we will positivize the cage, achieving an antenna that will catch lots of noise that will be thrown to the signal, instead of to ground!!!.

That's why some special mods make no sense with such a kind of pickups. You have braided single conductor examples in humbuckers, mini-humbuckers and P-90 single coils, by example.
But some Fender' single coils have a metallic plate on its bottom that is usually connected to the start (negative) of the pickup.
Once more, swapping the two conductors, we are positivizing such a plate with unwanted side effects.
That's why Telecaster mods that use out-of-phase or that need both pickups in series use a neck pickup with three wires (start, finish and plate ground).

This is not an issue with a humbucker having 4 conductors (start and finish of each coil) and an extra bare wire (for plate / cover ground).


Typical scenarios

Now that we have the background info of the previous version, it will be really easy to understand typicall scenarios and what to do in each case.

Let' start with Strato single coils.
In positions 1, 3 and 5, nothing of what was discussed here has any relevance, since each coil is being selected alone.
In positions 2 and 4 we are combining the middle pickup with either the neck or the bridge pickup.

As we explained above, most of coils are wound in CW direction and, they way as Fender mounts their magnet rods, give to that coils South polarity. So, each pickup is a CW-S case.
The black wire is the start wire and should be grounded.
The clear wire (white, yellow or alike) is the finish wire and should be linked to the hot path (pickup's output).

For those notch positions, in a standard Strato, we have an scenario CW-S / CW-S and, if you look that table above, that means that those positions are in-phase but not hum-cancelling. The sound, in this case has a nice bite and quack but, it's noisy.

Standard Strato coils, with a RW/RP middle pickup, will correspond to the scenario CW-S (neck or bridge) / CCW-N (middle) and, if you look to that table above. This is an in-phase and hum-cancelling scenario.
Since both pickups aren't exact clones and, since they are distant one from the other, some of the original signal will be cancelled and not all the hum would be removed.
The resulting sound has less presence than in the standard case, the quack isn't so pronounced but, the noise is clearly reduced.

So, sometimes, to achieve hum-cancelling positions can make slightly duller the tone of two coils combined together.

In the way the coils of any regular humbucker are being arranged, with the two finish wires soldered together and used to split the to one or the other coil (grounding the linked wires or, linking them to hot), there is the risk of splitting to the coil that, combined with that Strato single will lead to a wrong scenario. So, to understand what are we doing at every time is key for success.

When combining two humbuckers of the SAME maker (and I would say, model also), when splitting to North coils or South coils in both humbuckers, we will get in-phase but not-hum cancelling scenarios and, when splitting one to North coil and the other to South coil, we will achieve an in-phase and hum-cancelling scenario.

As explained in the case of Strato singles, which one to choose will depend on the wanted effect. If you can stand the noise and get a punchier sound, go to split same coils in both pickups. If you cannot stand the noise, go to split oposite coils in each pickup.

So, let say that we have a bridge humbucker with following color wires (Seymour Duncan's example):


You can see that the North wires were swapped (start wire goes to hot, instead of finish), to achieve that CCW-N type, while the South wires are standard (start to ground, finish as positive) so, we have a coil type CW-S.

Now, if we have to split that bridge pickup in position 4 (middle + bridge), in a Strato-alike guitar then ...

If we have a standard Strato pickup in the middle position, that would be of type CW-S.
If we wanted to achieve a typical position 4 (with the quack and the noise), we need to get a CW-S / CW-S scenario (by example, not the only possible). Since the South coil is just that, a CW-S, splitting the humbucker to South will give us that typical standard 4 position.
But, if we wanted to get a hum-cancelling position, we need to get a CW-S / CCW-N scenario and, that corresponds to split to the North pickup.

But if we are in the case of a standard RW/RP middle pickup, we have a coil type CCW-N.
If we wanted to achieve the typical positon 4, this time we need to select a CCW-N coil in our humbucker, that is, the North coil.
And, if we wanted a hum-cancelling position with that middle, we need a CCW-N / CW-S scenario and, therefore, we need to split to the South coil, this time.

Which color was used to identify which wire (north and south coils starts and finishes), widely changes from pickups maker to maker but, once you are clear about the scenarios described in the table above and the tricks we already discussed here, you will be able to always get what you wanted to achieve, while designing your wiring project.

Taking as example the above color wiring, if we put black to hot and white linked to red, the North pickup is type CCW-N and the South of type CW-S.
If we put white to hot and black linked to red, instead, we have North of type CW-N and South of type CW-S and, what we get is a  humbucker with their own coils out-of-phase. This will result in a weak signal with a nasal, hollow, thin, and sharp characteristic sound. But, maybe this is what we wanted to achieve!.

If we leave the North pickup linked as in the picture but, we swap red and green, we are having a CCW-N / CCW-S scenario and, once more, we get that characteristic out-of-phase sound.

To get a scenario with coils in-phase but not hum-cancelling isn't possible inside a humbucker. Look at the table above and, you will see that for that, you need two pickups with the same phase and polarity and, this is not possible since each coil has a different magnetic polarity.
So that kind of scenario takes place just when combining one coil of a humbucker with other coil of another humbucker or single coil pickup.

So, at the end, we can achieve following distinctive sounds out of a humbucker:

North coil alone (split to North coil)
South coil alone (split to South coil)
Coils in series and in-phase (regular humbucker sound, strong and warm, also hum-cancelling)
Coils in series but out-of-phase (weaker than previous one, thin, nasal, hollow and sharp)
Coils in parallel and in-phase (slightly weaker than a coil alone, open, clear, defined, bright and hum-cancelling)
Coils in parallel but out-of-phase (the weaker of all, thin, nasal, hollow and sharp)

Same is posible if we talk about two coils of two different pickups (being those another humbucker or just a single-coil pickup).

While for most of people the out-of-phase sound is unusable, Peter Green's typical tone was achieved with two out-of-phase humbuckers, in the middle position of the pickup selector switch (rythm + treble).
I personally like the OOP sound mainly under high distortion, when you need a razor-sharp screaming sound. I don't like so much for clean stuff, to be honest.

When dealing with Reverse Polarity Fender pickups (as the Texas Hot, among other models), which are CW-N, you will often need to swap the south and north start wires to get the wanted combinations with the trick to solder to ground or hot the link between both humbucker coils to achieve one or the other coil split.

24 October 2013

DIY - Wiring for 3 single pickups in series / parallel V2 (Complete combinations)

Introduction

After introducing my previous DIY entry, related to a way to get most of the possible combos arranging three single pickups with just three "common" 4PDT on/on/on switches (please, see http://hermeticoguitar.blogspot.com.es/2013/10/wiring-diy-3-single-coils-in.html), I was challenged by a customer to find a solution for every possible combination.

I knew how this would end, since this is a "problem" that was always in background in my "designer" mind.
This is a clear example on how a solution that can be designed in theoretical world cannot be implemented in real world, because of the constrains of existing technology and the limited room that guitar electronics cavity have.

But, let's introduce the diagram first and then, we will comment everything related to it and, real feasibility of this project.

You will learn also how to approach a complex design, with the help of a decision table.


The Diagram

Please, click on the diagram to see it full sized.


At left hand, you can see a table. Columns correspond to the status of the three switches and the resulting combo of pickups.

To avoid conflicts when just two pickups are active and one is in parallel and the other in series mode, we always resolve this conflict by putting them both in parallel.

When two pickups are in parallel and the other in series, we link the output of the two parallel pickups to the input of the series pickup, to have combos as (N + M) & B, (N + B) & M  or (M + B) & B.

If you think on the switching possibilities you have, for neck switch 3 posibilities for each pickup wire.
Taking into account every pickup wire except bridge's negative wire, we have the following combinations:
3 * 5 = 15 combinations, in a first decission level.

Now, for each of those combinations (related to the neck switch), we can have 3 more possibilites on the middle switch. That would give us 15 * 3 = 45 new combinations, in a second decission level.

Each of those 45 combinations will branch in three new more possibilities on the bridge' switch, which would represent 45 * 3 = 135 different combinations in total.

So, imagine all this like a decission three were, for each pickup wire, we can take three decisions in a first level and, every of those first level decisions will need three more decisions at a second level and, for each of those decisions, we will still need to take three more decisions at the third and last level.
So 5 wires * 3 (first level) * 3 (second level) * 3 (third level) = 135 combinations (note: bridge's negative is always ground so, it doesn't count as a wire for decision).

For each decision we would need two poles of same switch so, this would give us the following needs:
First switch: 5 wires * 2 poles-a-wire = 10 poles, 3 throws.
Second Switch: 2 poles for each throw of the first switch: 30 x 2 = 60 poles
Third Switch 2 poles for each throw of the second switch 60 x 2 = 120 poles.

This is just crazy. Don't?.
That's why for each complex design, a decision table is the best tool you can use and, the decision table comes always BEFORE starting your wiring design.


The Decision Table

There are some wiring projects were options are so clear and standard that I don't use a decision table but, when things start to go weird, I always prepare a Decision Table BEFORE starting diagramming.
The aim of such a table is to put together repeatitive combinations so we can reduce the switching possibilities, combining together some cases.

This is the decision table I've built for this particular case (please, click it for full size):


The three first columns correspond to each of the three switches (neck, middle and bridge) and, the combination of the three possible status of each switch respect to the other two.
For each of those combinations (3 * 3 *3 = 27), the 4th column has the guidance for the wanted combo, meaning:

N = neck pickup
M = middle pickup
B = bridge pickup
& = in series with
+ = in parallel with

Then, next columns corresponds to each one of the pickup wires and, to where they would be switched on, for each combination.
You can see four possible "destinations" for a certain wire:

HOT = the signal output that will be eventually regulated with a volume pot and filtered with a tone pot.
GROUND = ground
X = this is a temporary link, where two different wires are being linked together
Y= as X, but not same link

In this table, under the columns corresponding to each wire, you can see that, for each wire, I've grouped together (in a different color) combinations of three status (which corresponds to the three status that the bridge switch can take for each combination of neck and middle switches).
I've painted in same color same combinations (please, notice that bridge's negative wire is always ground).

This different combinations are being reproduced on right hand and, I've assigned a character to each one.
That means that, whatever are the combinations in switches neck and middle, they will always land into up to 8 different combinations, that can be represented by using the bridge' switch.

But, combinations that have the 3 decisions equal (as HOT/HOT/HOT, GROUND/GROUND/GROUND. X/X/X or YYY) are just a lug, a wire that links same lugs.
Rest of combinations (with at least one different decision) need a couple of poles to represent the three options.

If you look again to the diagram, you will see on the lower switch (bridge' switch) those combined decisions that you can easily identfy with the typo in the wire that gets the first of the two poles (E, F, H, D, G).
Notice, as a difference, how the X/X/X option was implemented (follow that purple wire that links two lugs in the middle switch) or, HOT/HOT/HOT (just follow the red wire) or GROUND/GROUND/GROUND (just follow the dark blue wire) or, Y/Y/Y (just follow the pink wire in bridge switch).

Notice here that I would be able to simplify just a bit more this design by linking the neck positive always to hot and then, removing the pickup by putting the neck negative also in the hot path but, this can lead to unwanted antenna-effects and, this would save just two poles in neck' switch, which means nothing, compared to the whole thing.


Theory crashes against Reality

Notice that the diagram is showing "theoretical" existing 3-way on/on/on toggle switches.
I don't know any toggle switch that handles more than 4 poles at once and, if it exists, its size should be big enough to compromise the available room of any guitar's electronics cavity.

This is just a demostration that I can figure out very complex wiring designs, as complex as the requests of my customers but, also a demonstration that not everything that you can design in a theoretical world can be implemented in real world.

Which are the contrains related to this project?.

In first place, this switching system should be maped to real existing components.
As I said, I don't know (it doesn't mean that they don't exist) toggle switches that handle more than 4 poles in three ways and, if they exist, I don't want to even imagine the size of a 20 poles toggle switch.

One alternative is to use rotary switches but, a 10 poles, 3 positions rotary (10P3T) is ususally implemente with three waffers and, will not suit no guitar's cavity, for sure.
Imagine now that a 20 poles, 3 positions rotary (20P3T) will need 6 waffers!!!.

Ok, another alternative is to use an slide switch. I've found some 10P3T micro-switch of that kind but, no 20P3T was found on a global Internet search.
Those 10P3T I've found were appropiate to be mount in a PCB (Printed CardBoard) but, for manual soldering they would be a real mess.
I could even imagine three of those along the pickguard but, I have my concerns about if they would leave some room for a couple of pot and, I am barely possitive that some wood routing would be necessary.

Conclusion is that even that practically everything is possible in a theoretical world, we will be always limited by current technology, available components and room in our guitar's cavity. All them are our contrains, when projecting a wiring design.


Final Comment

When a customer orders me a new design project, I am always weighting utitly of combos, feasibility and real options.

I have the impression that some want to challenge me just for fun (and, it's really funny, indeed!).
As you can see in this weird example, I can handle barelly every complex switching project but, certain project have no way to be feasible in real world so, please, consider that when I am saying "this makes no sense, or is not possible", I am weighting everything together.

After seeing how hard can go to achieve the complete combinations of three pickups, I am quite sure you will appreciate the high versatility of my previous DIY post, achieved with just three "common" 4PDT on/on/on switches.

We can achieve anything but, some times, it simply makes no sense.

I hope that you, at least, understood how to handle complex requirements with a decision table (this is a very secret ingredient... well, it was... ha ha ha).

Ah!, don't doubt it!. If there were toggle switches as the ones represented in this diagram, this project should work. I've tested every single combination !!!.

07 October 2013

Wiring DIY: 3 single coils in series/parallel in any combination, with 3 switches

Introduction

I am going to gift you with a real pearl of wiring designs.
For a very long time, I've tried to be able to run the three pickups of a Stratocaster in parallel or series, on demand and, the design always hited the same stone: when some of two pickups that should be in series is inactive then, the series link breaks and we get no sound.

For some years, I gave up trying it again but, thanks to a reader of this blog, that was looking for such a solution, pushed me to re-think everything again.
We crossed few mails and, he was giving me the last  key (even that he didn't realized about it) to complete the puzzle.

Since the last key was given from outside, I am glad to share this design with you all, for your use and convenience.

Even that this basis mod or module is intented to be used with the three single coils of a Strato, there is nothing that avoids you to use it with any other type of pickup (humbuckers, mini-humbuckers...) and, you can combine it with other mods (OOP, bypass, etc) with ease.

I will present first the basis diagram for this mod, including some comments that will help you to understand what's going on there and, later, I will include some sample diagrams on how to apply this tricky wiring design.
I hope you will appreciate it.


Diagram

Please, click on the diagram to see it at full size.


This design works with the help of three 4PDT on/on/on switches. Each one allows to switch off the pickup (center position) or to add the pickup to a parallel path (down position) or to a series path (up position).
Parallel path is being represented here in Orange. Series path in Pink. Ground is being represented in Dark Blue and, the path represented in Purple is the tricky part (the last key) of this design.
The Purple path allows me to delay the decision on when to ground a pickup, depending on the status of the rest of pickups.

On left hand, you can see which combos are being obtained depending on the positions of the three pickup switches.
The tricky part is always the series path. If you have a pickup assigned to the series path and one more the the parallel path, that series combination cannot happen so, you should run both pickups in parallel. To be able to put two pickups in series, both should be assigned to the series path, therefore, when just one pickup is in that series path, it will work in parallel (since there is no one more pickup to stablish the series link).

This design has two output spots, that you can see in the upper switch and, that correspond to both differentiate paths. For sure, you can jumper both outputs to have a single output or, you can send each path to a different input, if you wanted separated controls (by example, different value pots) for each path.

Even that this mod is related to three single coils in this diagram, nothing avoids you to use it with any kind of combination of humbuckers and single coils as SSS, HSS, HSH or HHH.

In principle, this three 4PDT switches substitute any blade switch used to select pickups combinations and, allows you to combine the three pickups alone, two of them or three of them in any parallel/series combination what at the ends will give you all the following possible combinations:

Neck alone
Neck in parallel with Middle
Neck in series with Middle
Neck in parallel with Bridge
Neck in series with Bridge
Middle alone
Neck in parallel with Middle in parallel with Bridge
Neck in parallel with Middle in series with Bridge
Neck in series with Middle in parallel with Bridge
Neck in series with Middle in series with Bridge (the three in series)
Middle in parallel with Bridge
Middle in series with Bridge
Bridge alone

And all this is compatible with any other mod, as coil-splitting if you have some humbucker around, by example.

This is a very powerfull mod that can be achieved by removing your blade switch and installing 3 x 4PDT on/on/on switches instead (just drilling de slot that was taking your blade switch).
But, this makes sense for guitars that doesn't need a quick on-fly switching, because to get one of the three single coils alone, you should put off the other two. Just take this into account.
If you are going to use one sound for a song or, you can take a rest between you need one or other pickup combination then, yes, this is a very versatile combo, that could work great for Studio works, by example.


Application Examples

As always, applications are so wide as our needs or willings but, here you are some few examples on how to integrate this mod in some typical situations.

Mod 1 - Single output, Master Volume and Tone


For most super-stratos alike guitars, where you only need a master tone and volume, both output paths are linked together and routed to a volume and tone controls.
For sure, any pickup layout is possible: SSS, HSS, HSH or HHH.
One possible useful mod would be to have a bridge-on switch (a pull/push) that will give you the bridge pickup alone (instantanelly), independently of which combination of pickups is actually seelected in the three switches. Pushing back that bridge-on switch will return you back to the current switch selection. I think that this can be of great use when you want to soloing for a while and return back to your basis sound.
Same bridge-on mod can be of help for rest of example mods presented here.


Mod 2 - Separate outputs, separate volume and tone controls


This is an example on how to handle with different controls each output.
For each path (parallel and series) we are using an stacked pot that allows you to control the output volume and tone for each path. In that way, we could use different pot and cap values for each path because pickups in parallel are a brighter sound than pickups in series.
The output could be even separated for an stereo jack, to run each path output in a different amp, by example. Interesting?.


Mod 3 - single output, independent volumes by pickup


In this example, we are using a dedicated volume control for each pickup that will allow us to blend the exact amount of each pickup in the mix. This would give us a wide range of nuances of parallel and series sounds.
Be carefull to not completly roll off one of the volumes when two or more pickups are in the series path, because that could lead you to no sound. Use the central positions of the switch to remove a pickup from the path, don't roll off it's corresponding volume, instead.
Well, you can use here stacked pots to have independent tones, as well.


Mod 4 - single output, independent volumes and tones


Well, this is as mod 3 but, having indpendent tones by pickup, also. Nice?.
Did you ever dreamed with such a complete control over your Strato sounds?.


Mod 5 - Single output, master volume and tone and bridge-on switch


And, here we are an example on how to integrate the bridge-on switch with a master volume and tone.
This bridge-on switch will let you to instantanely select the bridge pickup (for soloing, by example), independently on which combination of pickups do you have actually selected with the other three switches.
When switching off the bridge-on switch, whichever it was the combination of pickups in those three other switches will come back.
A trick is to change pickups combinations (in those three switches) while you are soloing if you plan to change to a new sound when switching off the bridge-on switch.

So, imagine you had selected Neck alone, you switch on the bridge-on switch and you get Bridge alone. While you are in bridge alone, you can change the other three switches (without affecting your bridge alone sound) to neck in series with bridge, by example. When you switch off the bridge-on switch you will go for neck in series with bridge instead of the neck alone sound where you came from, by example.


Final consideration

I hope you can appreciate the power of this mod and the beautiness of its tricky design.
As it can be applied to any pickup layout (SSS, HSS, HSH, HHH) and, it's compatible with any other mod, the playing ground is huge, as big as your imagination and needs.
I don't recommend it for direct situations where you need to quickly select the right pickups combinations on-the-fly but, it's a wonderful weapon for studio guitars, where you want a broader array of tones available on demand.
Imagine you have an axe with a couple of Seymour Duncan P-Rails (neck and bridge) and a single coil in the middle and, that you are using the Triple Ring Shots for those P-Rails. Everything together combined with this mod. Can you imagine the versatily of such an axe for studio work?.

Ah, I know, your head is humming now!.
ha ha ha.

10 April 2013

DIY: Moding the Epiphone Wilshire Ltd - Electronics and pickups

Introduction

Note: this entry was already published in my old Spanish version of this blog, around December/2010. I am just revisiting it here.
This is a good example of mod over an Asian built guitar, to enhance its electronics.
The Epiphone Wilshire Ltd is a guitar with an acceptable wood, good resonance and sustain but, as usually happens to Asian guitars, the weak spot are frets, nut and electronics.

Frets are very tinny so, extreme bendings are being affected and, since their low profile, they will last very few, since you can do very few refreting tasks there.

Electronics components are low quality ones, small pots with metric measurements, etc.
Usually, the soldering job is of bad quality but, not the case in this axe, that had a neat wiring.
In next picture, you can see the removed pickguard. Notice that just the are below pots was shielded but, even that this extends the ground to every electronics component there (except for pickups selector), since the "tap" isn't totally covered, we aren't effectively closing the Faraday's cage created by the electronics cavity. Remember that such a Faraday's cage is there to catch unwanted environmental noises throwing them to ground and avoiding those noises to be caught by electronics components.


Epiphone guitars were mounting bad sounding pickups for a long time but, this guitar mounts some humbuckers designed in USA that, honestly, sound quite nice. Very classic sound, they cut the mix very well, are clear and defined. They have a very low output level, anyway.
When I bought this guitar, I did it thinking on to swap stock pickups later. I was looking for some sound closer to Santana's one for this axe, taking into account that this guitars is some kind of SG but, with more mass so, together with the guitar I've ordered a set of Barekuckle's Abraxas.

Honestly, stock pickups are good enough and there is no need to swap them if you wanted a classic tone.
But I recommend to swap pots with some quality ones (as CTS) and the jack (Swiftcraft).


Rewiring the guitar

First step was to remove strings.
If strings are in good condition and, we have the idea to re-use them, the trick is to leave strings very lose, in a way that we can remove the stop tail piece from their posts, leaving strings and stop tail over the desk, away from our working area.
I we don't want to re-use them and, to mount new brand  strings later, the quickest is to cut them.

You should remove stop tail and bridge, because they aren't fixed to the body but, just the strings pressure maintains both on their posts.
We follow removing the pickguard. We should unscrew every screw to remove the pickguard, that will remain linked to the guitar for a few wires (usually, jack hot and ground, pickups wires and bridge ground).

We need then to remove pickups. You should remove pickups' mounting rings. First, totally lose the screws that regulate pickup height, until they fall into the cavity. Later, we can unscrew mounting rings.

We will identify the wires of each pickup and, we will cut the farest extreme (leaving the most of cable length as possible), if we aren't to re-use those electronics components or, you should de-solder those wires if you wanted to re-use those components.

Now that the pickguard is separated from the body, we can remove old pickups and to mount the new ones.

I made a mistake with this guitar. I rely the cavity was already coated with conductive paint (graphite) but, my first try after wiring everything demonstrated the opposite. Be sure to use a multimeter first to determine if there is continuity on the walls. Put your multimeter to read Ohms (a beep is enough) and check if there is continuity between to distant spots of the cavity walls.

If the cavity isn't shielded, is the right moment to spray it with some conductive paint (graphite or copper) or, to recover it with some metallic foils with conductive autoadhesive glue.

In the following picture, we can see the removed pickguard, pickups already removed and, the new Bridge pickup already in place.


To pass pickup conductors across the narrow tunnels of cavity, my trick is to wrap some isolant tape around all wires, shaping the end as a spike, what helps a lot to this task, as you can see in the following picture (both Abraxas already mounted).


As the cavity should be already shielded (not in this case), we need to coat the pickguard with some shielding foils to make this "tap" to effectively close the Faraday`s cage.
In following picture, you can see the back side of the pickguard coated with autoadhesive conductive glue copper foils. Unfortunately, I run out of stock of wide copper foils so, I had to work a lot more with the available narrow foils. With wide foils you will finish the work really fast.


See that the holes for components were covered during the process but, this is not an issue. With a cutter or the head of an screwdriver you can open the big ones. For the smaller (screw holes), it's enough to punch them with a small star-head screwdriver to open the gap.

Next step is to mount components on the pickguard.
Since we are going to change measures from metric to inches, we will need to widen the diameter of pot's holes.
The classy way should be to use a cutting tool able to provide a perfect circle in a quick and fast way (a Dremel, driller or whatever).
The cheesy way is to use some round file to widen that hole.
Since I have not a proper tool, I went the cheesy way.


To ensure the continuity of ground between the cavity walls and the pickguard "tap", you could solder a jumper wire between both. Or you can put some metallic foils inside that overflow a bit on the surface, to be sure that walls and tap are in contact.
In the cavity, over those foils, you can use a screw as the common grounding spot (where to connect bridge ground, shielding ground and any other free ground wire).



Next step is to mount components on the pickguard. After mounting all them, we check the pickguard in place (without screwing it), just to check that they fit in the cavity without issues as they are now.

In this guitar, I've substituted the typical Gibson-like 3-way selector with a 6-way Freeway selector.
If we put that selector in the stock hole, we will see that the pickguard doesn't fits the cavity.
I've had to slightly shift that hole (widening it with a file), until I made the pickguard to fit the cavity.

As potentiometers lay very close, I had to straighten their lugs, to avoid they to enter in contact, because I've mounted each pair (volume and tone) one facing the other, to make the wiring easier.


It's of a great help to have a clear wiring diagram to start our soldering tasks, without going lost.
In this picture, the design I've prepared for this particular axe.


While we wire everything, it's a good idea to highlight with a fluorescent marker, those wires and soldering spots that we have already done.
You should visually check every soldered spot (they should look clean and shinny) and, be sure that no strand is free.
You should also mechanically check the soldered spot. Move the wire circularly and check that it cannot enter in contact with any other lug or component if you bend the wire.
Try to route your wires in a way that they doesn't avoid to easily mount your finished pickguard.


Protect the legs of condensors and any other naked wire (as pickups ground bare wire), with heatshrink tubes or isolant tape, to be sure that they don't accidentally touch an unwanted part of the circuit.

Once we have all components wired on the pickguard, it's time to link the pickguard to the guitar, soldering ickup wires and guitar ground wires. In that way, we could easily work in the pickguard until is strictly necessary to establish the link.

Next picture corresponds to the finished wiring.


Tie wires together, with plastic ties, isolant tape or whatever of use, to avoid they to mess you when mounting the pickguard over the cavity. Note: even that you can cut the length of pickup conductors, I personally prefer to leave them with full length, in prevision that some day can be transferred to a different guitar.

The only pending task is to mount the pickguard, then.


You have now the opportunity to clean your guitar. Clean everything and to nurture that fingerboard if necessary.
We mount the new knobs (inches) that correspond to the new pots (inches). We mount the bridge, stop tail and strings and... time to test the guitar.

04 December 2012

Wiring Diagram: Hermetico's LP Exchanger mod 2

Classification

Guitar Modded

Gibson Les Paul


Description
  • HH Pickup layout (4 conductors)
  • 1 Swiftcraft 3-way toggle switch
  • 2 volume pots with pull/push
  • 2 tone pots with pull/push

Difficulty Level

Hard

Features

  • Provides standard LP combos, plus a high variety of other combinations.
  • Independent volume and tone for each pickup.
  • Enhanced version of Jimmy Page's wiring design
Wiring Diagram

Click on the diagram for a full sized view.



Comments

Jimmy Page's wiring mod achieves a lot of different combinations but, in my honest opinion, it does it in a way that isn't easy to recall and, some of the combinations produce just silence (the guitar shuts up).
The Exchanger 2 mod is my own take around the Jimmy Page's mod but, making controls easier to map in your mind so, you will be able to easily achieve exactly the combo you were looking for.
 
Each Tone pot splits its corresponding pickup.
Neck Volume puts Neck pickup out-of-phase (changes polarity).
Bridge Volume puts both pickups in series, overwriting the 3 positions of the 3-way (instant booster).
 
But there are some tricks hidden under this design.
Default, NT splits the neck pickup to outer coil but, if you have also BT up, selected coil is inner, instead.
Default, BT splits the bridge pickup to inner coil but, if you have also NT up, selected coil is outer, instead.
Also, the NV (neck volume), when changing the polarity of neck pickup (OOP) is reverting which coil is split by the NT pull/push.
 
In this way, we are achieving one more unique combo than in JP's wiring mod and, the best of all: there is no combo that can accidentally shut up the guitar!.
 
Click on this picture to see a full size of the list of combos:
 
 
In red, unique combos (that appear at least once in that list).
Notice that when the serial switch is up (BV = Bridge Volume), the three positions of the 3-way toggle switch have exactly the same combination. Once you push down BV, whatever the combo that was before in the current position comes back.
By example, imagine we had BV = down, NV = up, NT = up and BT = down and we had selected Rhythm position, we should have selected Neck Inner Coil but, once BV is up, we are having Bridge humbucker in series with Neck Inner Coil Out-of-Phase.
Imagine that, while in series, we change to Treble position. There is no change in the sound, since we are getting the same combo but, once we push down BV, we are getting Bridge Humbucker, instead.
 
As in the case of JP's wiring, volume controls are independent and allow you to mix both humbuckers at your taste but, when both pickups are in series (BV = up), both controls are also in series so, rolling off a bit  one will also reduce the overall volume and, totally rolling off one we will shut up the guitar. In this case, the neck volume acts as some kind of master volume.
 
In the middle position (and in parallel, BV = down), you will achieve different nuances by mixing each pickup at different levels, since some frequencies will be reinforced while others will be dimmed.
Also, when in middle position and out-of-phase (NV = up), the different volume levels for each pickup, will give you different textures of the out-of-phase sound (Peter Green's mod), some are edgier, some are more subtle.
Just experiment with all this.

16 November 2012

Wiring Diagram: LP - 1 Prail - 4 sounds

Classification

Guitar Modded

Gibson Les Paul


Description
  • HH Pickup layout (1 4 conductors P-Rail, 1 braided single conductor humbucker)
  • 1 Swiftcraft 3-way toggle switch
  • 2 volume pots (1 with pull/push)
  • 2 tone pots (1 with pull/push)

Difficulty Level

Hard

Features

  • Provides standard LP combos, plus the 4 different sounds of a P-Rail
  • Independent volume and '50s tone for each pickup.
Wiring Diagram

Click on the diagram for a full sized view.



Comments

With pull/pushed down, we achieve the typical LP combos.
The requester wanted to control the P-Rail neck pickup just with the two pots assigned to neck pickup (NV = Neck Volume, NT = Neck Tone).
For more easy memory map, the Neck Volume (the upper one) selects the P90 coil (up) and the Neck Tone (the lower one) selects the Rail coil (down).
For the 4 sounds switching, I am not using the SD standard (by Frank Falbo) but, the approach of ArtieToo, that avoids the antenna effect when the outer coil is being selected.
Color codes correspond to P-Rail, therefore Seymour Duncan's ones. The white wire is being represented here in light blue.
Volumes are wired in an independent way.
Tones are wired as per '50s mod, to provide an smoother roll off of trebles, when rolling off the volume.
 

13 November 2012

Wiring Diagram: Jimmy Page's mod

Classification

Guitar Modded

Gibson Les Paul


Description
  • HH Pickup layout (4 conductors)
  • 1 Swiftcraft 3-way toggle switch
  • 2 volume pots with pull/push
  • 2 tone pots with pull/push

Difficulty Level

Hard

Features

  • Provides standard LP combos, plus a high variety of other combinations.
  • Independent volume and tone for each pickup.
Wiring Diagram

Click on the diagram for a full sized view.



Comments

When someone wants the highest versatility for its limited Les Paul (just 3 pickups combinations against the stock 5 combinations of a Strato), he/she immediately thinks on Jimmy Page's mod.
This mod provides 21 very interesting combinations, that can be read here: (click for full size pickup):
What I don't like about Jimmy Page's approach is the following:
  • There are several combinations where all what you get is a blackout (no sound)
  • It's not easy to map in your memory what controls to pull or push to achieve a given combination
This design is really tricky and needs a careful inspection and hard explanation.
I've seen many other wiring diagrams around there that are incorrect.
A nice one can be found on Seymour Duncan's forum (The Vault), drawn by ArtiToo, with the information that Robert S or Jeremy gave to him. That list above was prepared by some of those two guys (thanks!).
You can easily detect other false JP mods because you will see the two central lugs of the 3-way soldered together, what is not part of the JP mod and, one of the tricks that this mod wisely uses.

I have my enhanced version of this wiring, named Hermetico's LP Exchanger mod 3 that will introduce, once I update the design to a moderner look.