Vic's new Tele TFG parts
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Nando Vallart
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-CB- said:More... you can see the bright blue knob tamed down a little, but I'll give Vic a black one too.
The light speed knobs stay !
Check out the terminal strip - this is needed for the multi switching done by the rotary switch (still in the works)
Man this modified knob in the pic looks very cool! :icon_biggrin: Serious! try to paint it alike this...
Now I think I have understand... this switch is to out-of-phase the pickups, right?
Nando Vallart
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And I have to speak the truth! In the project draw, it looked to me very weird, put in this pic, it looks a very sexy guitar! Congrats!
CB-i missed your twisted pair like humbucker statement earlier, hence my inference to you knowing twisted pairs noise cancelling yada yada yada
The real antenna for all the noise anyway is the pick-ups, not really all the short wire and controll cavities
Besides, if we cancelled all the noise, we'd have accustic guitars :toothy10:
The real antenna for all the noise anyway is the pick-ups, not really all the short wire and controll cavities
Besides, if we cancelled all the noise, we'd have accustic guitars :toothy10:
Alfang said:
Bingo! Give that man a ceeeeeeegaaar!!!!~~
Absolutely right. I refuse to get in a tizzy over the inconsequential... unless its maybe for appearance - and shielding isn't. I will get in a tizzy of a certain brown eyed girl however, but thats beyond my control.
jackthehack
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I laugh when I see all these builds that people slop the StewMac "shielding paint" or spend a lot of time lining with copper foil; I have access to high dollar copper shielding tape that's rated to -140dB+ from work and tried that as an experiment a long time ago, the net result is zilch...
If you've ever owned any vintage instruments, you'll never find any shielding in there. The trick is that everything needs to be properly grounded.
The name of the movie was "Shake, Rattle and HUM", because regardless of any shielding you do, you're ALWAYS going to pick up some modicum of hum, especially if you use tube amps.
Just don't try to play in an environment with an extreme amount of raw RF bouncing around, like a server room, or if you have noisy fluorescent lights or another such source, eliminate it.
If you've ever owned any vintage instruments, you'll never find any shielding in there. The trick is that everything needs to be properly grounded.
The name of the movie was "Shake, Rattle and HUM", because regardless of any shielding you do, you're ALWAYS going to pick up some modicum of hum, especially if you use tube amps.
Just don't try to play in an environment with an extreme amount of raw RF bouncing around, like a server room, or if you have noisy fluorescent lights or another such source, eliminate it.
not if your tube amps has some coils in it.
read it. http://www.warwickbass.com/amps/JHAmps.htm
it has 66 dbs of gain and zero noise.
now if some one applied that to a high output tube amp like form krank it would be the perfect guitar amp.
but until then i'll stick to bass.
http://warwickbass.com/amps/JHpoweramps.htm
and here are the power amps.
read it. http://www.warwickbass.com/amps/JHAmps.htm
it has 66 dbs of gain and zero noise.
now if some one applied that to a high output tube amp like form krank it would be the perfect guitar amp.
but until then i'll stick to bass.
http://warwickbass.com/amps/JHpoweramps.htm
and here are the power amps.
Except for the single ended amps I've built, my tube amps dont hum. Now, if you get a P90 next to them and the orientation is right, yes, you'll have some coupling from the PT to the pickup. That cannot be helped, and any amp of significant power will do that to a single coil pickup.
The biggie - fluorescent lighting, halfass stage wiring, even worse studio wiring, lack of grounding - especially series grounding, and if you record at home - things like your computer.
The biggie - fluorescent lighting, halfass stage wiring, even worse studio wiring, lack of grounding - especially series grounding, and if you record at home - things like your computer.
jackthehack
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If you don't have just a little hum with your guitar plugged in at idle, it's not turned up loud enough. Anyone know where I can get some Fender blackface amp knobs that go to 11?
Not the best pics, but.. quickies, and well... here ya go! Yes, its all done. Assembled. Wired. Finished. Nut cut. Bridge cut. Intonated... and tuned.
Thought you'd like to see the body/neck colors with top color. Colors are a bit more blue in the top, but realistic for the neck and sides. Even on my BFG Les Paul, it looks rather turquoise in pictures, but more blue in person (still a little turquoise)
The control layout
Moi, demonstrating the F#-demolished chord.
The new owner, looking rather dubious, but thats his nature.
Thought you'd like to see the body/neck colors with top color. Colors are a bit more blue in the top, but realistic for the neck and sides. Even on my BFG Les Paul, it looks rather turquoise in pictures, but more blue in person (still a little turquoise)
The control layout
Moi, demonstrating the F#-demolished chord.
The new owner, looking rather dubious, but thats his nature.
Jack, I knew I had seen these numbered to 11 somewhere, I found them again, probably not what your looking for
http://www.guitarpartscentral.com/knobs-speed-knobs-c-30_88.html?cat=Guitar_Parts_Speed%20Knobs
these metal knobs look cool too
http://www.guitarpartscentral.com/catalog/-c-30.html
Whats a fender blackface knob look like?
http://www.guitarpartscentral.com/knobs-speed-knobs-c-30_88.html?cat=Guitar_Parts_Speed%20Knobs
these metal knobs look cool too
http://www.guitarpartscentral.com/catalog/-c-30.html
Whats a fender blackface knob look like?
I suppose we'll have to fish out a black chicken head and black speeds to go with those controls - and leave em in the case - just for grins. I mean... the thought of colored knobs was interesting, and it was either shades of "off blue" or "cheap dildo pink". The choice was clear.
G
guitlouie
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Congrats on finishing that one CB. The tonal possibilities, via the custom wiring job, pretty much cover all bases, I would guess. I really love the look of this Tele...you and Vic...well, I love the Tele.
jackthehack
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Great job, Bro!!! Take some better pics and throw that puppy up on the Tele Gallery.
This is a Fender Blackface amp knob:
I've searched the web but can't find any that go to 11, think someone would have made those?
This is a Fender Blackface amp knob:
I've searched the web but can't find any that go to 11, think someone would have made those?
The Burstbucker Pro #2 in the bridge is more subdued than it is in my (solid) Les Paul, perhaps termed a bit more "woody".
The P90 - heaven. Then again I'm fan of the P90 - and this one is rather hot as they go - close to 9k (Gibson runs 'em about 8.1-8.3k mostly).
The middle control cuts mids as you turn it down, keep crankin and you get a sort of subdued bottom with a sparkly top tone - the bottoms there, but its like you've cut back but kept the top the same, so all the sparkle is retained. A nice, and useful tone.
Treble control, works as you'd expect - also nice taper on the Warmoth/CTS pots. Good rotational changes in all three controls.
In series the pickups are PHAT. You get a slight volume increase, and a huge huge low end, no loss of highs but the bottom mondo.
Semi-phased - hardly any loss of volume (less than half as much difference as going normal to series on the pickups. just perceptable loss), You get that phased mids tone, retain the high end, and retain the low end since its "semi" phased. This is NOT like having one pickup stronger than the other and only partially phase cancelling. It is a true "semi-phased" operation whereby the signal from the neck pickup is passed through a capacitor. When that happens you get a phase rotation of... its early my brain isn't working... 60 degrees I think. You can say its 1/3 out of phase or 2/3 or whatever - its semi phased.
And... as a bonus... through magic of the electrons... if you play in any mode on the rotary switch, and crank the mids and treble down you get this strong upper mid tone.... that sounds exactly like playing through a stationary MuTron phaser (ie non rotating). The classic example of that is at the end of "Killer Queen" - right at the end where there is a chord played in rapid succession over and over, as the phaser does this sort of arpeggio downward. Well "that chord tone" is what you get. Not totally useful, but different, and hey... it dont take batteries to get it.
I'd really like to thank Bill Lawrence for the idea he had, that got me thinking on this circuit, which is a very versatile one. He had no involvement, other than to tell the story of how he wanted the L6s to sound like, and how Gibson cut him back on dollars. I tried to recreate what Bill might have first envisioned, according to his descriptions.
The P90 - heaven. Then again I'm fan of the P90 - and this one is rather hot as they go - close to 9k (Gibson runs 'em about 8.1-8.3k mostly).
The middle control cuts mids as you turn it down, keep crankin and you get a sort of subdued bottom with a sparkly top tone - the bottoms there, but its like you've cut back but kept the top the same, so all the sparkle is retained. A nice, and useful tone.
Treble control, works as you'd expect - also nice taper on the Warmoth/CTS pots. Good rotational changes in all three controls.
In series the pickups are PHAT. You get a slight volume increase, and a huge huge low end, no loss of highs but the bottom mondo.
Semi-phased - hardly any loss of volume (less than half as much difference as going normal to series on the pickups. just perceptable loss), You get that phased mids tone, retain the high end, and retain the low end since its "semi" phased. This is NOT like having one pickup stronger than the other and only partially phase cancelling. It is a true "semi-phased" operation whereby the signal from the neck pickup is passed through a capacitor. When that happens you get a phase rotation of... its early my brain isn't working... 60 degrees I think. You can say its 1/3 out of phase or 2/3 or whatever - its semi phased.
And... as a bonus... through magic of the electrons... if you play in any mode on the rotary switch, and crank the mids and treble down you get this strong upper mid tone.... that sounds exactly like playing through a stationary MuTron phaser (ie non rotating). The classic example of that is at the end of "Killer Queen" - right at the end where there is a chord played in rapid succession over and over, as the phaser does this sort of arpeggio downward. Well "that chord tone" is what you get. Not totally useful, but different, and hey... it dont take batteries to get it.
I'd really like to thank Bill Lawrence for the idea he had, that got me thinking on this circuit, which is a very versatile one. He had no involvement, other than to tell the story of how he wanted the L6s to sound like, and how Gibson cut him back on dollars. I tried to recreate what Bill might have first envisioned, according to his descriptions.
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