I'd like to use an Oaks-Grigsby 3-way blade switch with two DiMarzio humbuckers, one volume, and one tone. Not looking for anything fancy, just switching between bridge, bridge + neck, neck. I've been poking around online but can't seem to find a diagram that I'm confident is correct for this switch. Can anyone direct me to a wiring diagram that should work? Thanks in advance for any help!
Awesome, thanks so much for this! I saw similar diagrams but wasn't sure they'd work with Oaks Grigsby switches b/c I read someplace to be careful in confirming this, which implied they differed somehow. It's extremely reassuring to hear that this diagram will work, and my meager soldering skills should be up to the low level of challenge here!
Which, of course, is entirely subjective, dependent on playing style etc. Most Les Paul's come with two tone controls, as one is not enough…
Help Needed With
I never use the tone control on this guitar, but it's already there and I'm just changing up the wiring. The guitar in question has an HSH configuration, but I never use the middle pickup. I really never use the middle pickup on any guitar that has one, and I keep it down low so I can clear it with my picking. Instead of the stock 5-way switch that devotes three positions to middle-pickup options I never use, I'd like to be able to get the neck + bridge together as an option instead. Hence the 3-way switch, which will give me the two options I use a lot (bridge, neck) plus a new one that I use a lot on my HH guitars (neck + bridge). For me, the 3-way will actually be more versatile than the 5-way.
While I'm in there, I'm going to swap out the push-pull volume pot that enables a high-pass filter when pulled. I leave that engaged all the time, so I'd rather not have to have the knob pulled. I suppose I could reverse the settings so that it's engaged when pushed, but I also don't like the volume sensitivity. It's one of those pots that does virtually nothing above or below about a 3, works more like an on/off switch for all practical purposes. I'll use a DiMarzio volume pot that has a more useful taper plus a full-time high-pass filter.
Provided I can get the wiring + soldering correct, these should be pretty minor tweaks that I can reverse if I change my mind. I'll leave the middle (S) pickup and tone control in place purely for cosmetic reasons. The guitar will still look right, as originally produced. I've been wanting to do this since I got the guitar last July, but didn't want to make even minor mods to something fairly valuable (it's an Ibanez PIA) until I knew for sure I was keeping it.
Ngd Partscaster Warmoth/musikraft Strat Again!
Ruscio said: I never use the tone control on this guitar, but it's already there and I'm just changing up the wiring. The guitar in question has an HSH configuration, but I never use the middle pickup. I really never use the middle pickup on any guitar that has one, and I keep it down low so I can clear it with my picking. Instead of the stock 5-way switch that devotes three positions to middle-pickup options I never use, I'd like to be able to get the neck + bridge together as an option instead. Hence the 3-way switch, which will give me the two options I use a lot (bridge, neck) plus a new one that I use a lot on my HH guitars (neck + bridge). For me, the 3-way will actually be more versatile than the 5-way. While I'm in there, I'm going to swap out the push-pull volume pot that enables a high-pass filter when pulled. I leave that engaged all the time, so I'd rather not have to have the knob pulled. I suppose I could reverse the settings so that it's engaged when pushed, but I also don't like the volume sensitivity. It's one of those pots that does virtually nothing above or below about a 3, works more like an on/off switch for all practical purposes. I'll use a DiMarzio volume pot that has a more useful taper plus a full-time high-pass filter. Provided I can get the wiring + soldering correct, these should be pretty minor tweaks that I can reverse if I change my mind. I'll leave the middle (S) pickup and tone control in place purely for cosmetic reasons. The guitar will still look right, as originally produced. I've been wanting to do this since I got the guitar last July, but didn't want to make even minor mods to something fairly valuable (it's an Ibanez PIA) until I knew for sure I was keeping it. Click to expand... Sounds like a good plan. I like keeping stuff simple when it comes to guitar electronics.
I have only 2 guitars with the HH configuration, and one of those I have the neck pickup wired in parallel. I absolutely love it.
Full humbucker tone at the bridge, single coil-ish tone at the neck without hum, and a full, sparkly clean tone in the middle position when not using overdrive. I highly recommend it to anyone who likes the sound of a 'bucker at the bridge and a single-coil at the neck.
Emg David Gilmour Mystery Setup
It’s all about understanding the tone you want. You want old school Duane Allman tones, you’ll need both tone knobs. Bridge at 2, neck at 7 or so.
TBurst Std said: It’s all about understanding the tone you want. You want old school Duane Allman tones, you’ll need both tone knobs. Bridge at 2, neck at 7 or so. I have couple guitars with that ability, the rest have a single tone control. I use it on all of them. Click to expand... That always sounded like mud to me, but to each their own.
Thanks again for your help with this, I got it done today. Aside from the fact that I'm terrible at soldering, it went as well as it could have and turned out great.Built in 2007, my Warmoth HSH Strat was really just an attempt to build the perfect guitar. I was pretty much fed up with mass produced instruments in that none of them offered everything I wanted. Some had the right woods, but not the scale length. Others were insanely expensive or didn’t offer all the options I wanted. Even the ones I liked I would have ended up gutting and putting in different pickups, rewiring the electronics and replacing the hardware. So it seemed the most sensible choice was to build my own using Warmoth parts.
Seymour Duncan Hss Wiring Diagram
Since my goal with building a guitar was to create the best of all possible worlds in one instrument, for my style and sound. I like the feel of strats, but wanted something with more power like a Les Paul. I really liked Super-Strats like my Ibanez Jem, but didn’t want a Floyd Rose or something purely for high gain. I wanted a guitar that had life.
So instead of a typical Alder or Ash body I went instead with a one piece mahogany body with a maple top (The classic Les Paul combination). The neck was straight ahead maple/ebony with 22 stainless steel jumbo frets. Instead of a floyd rose I went with a Wilkinson trem. The pickups are all Seymour Duncan and I incorporated a switching system that allows 31 unique pickup combinations.
In 2011 I decided to make a major change by replacing the neck. The guitar had always been hands down the best guitar I’d ever played but it still never felt perfect. I think no matter how you learn about building or playing, you never really know what something will play or feel like till you have it in your hands. I decided I wanted to have a thinner neck with smaller frets. Everyone always raves about JUMBO frets, as if bigger equals better, but the fact is I like to play on guitars where I can feel the wood. Those jumbo’s were cool, but I felt like I was up in the air. I also changed the width of the neck from a 1 11/16 to 1 5/8. Again, bigger always isn’t better. I liked the smaller width like Fender Strats. Of course the most stark and obvious change is the neck woods. I originally choose the neck woods probably more for looks than anything else. All my other guitars were maple and I liked the tone, so might as well go the same way right? Well I decided that I wanted to go in a complete opposite direction, damn the looks. I decided on Goncalo Alves neck with a Pau Ferro fretboard. Instead of the bright maple tones, I really wanted this thing to have a dark sound to it. Not to mention, the raw wood.
Scale Warmoth Jazzmaster Build Update And Wiring Question
So far it's been simply an amazing change. I loved how the guitar sounded before, but now it's as close to perfect
It’s all about understanding the tone you want. You want old school Duane Allman tones, you’ll need both tone knobs. Bridge at 2, neck at 7 or so.
TBurst Std said: It’s all about understanding the tone you want. You want old school Duane Allman tones, you’ll need both tone knobs. Bridge at 2, neck at 7 or so. I have couple guitars with that ability, the rest have a single tone control. I use it on all of them. Click to expand... That always sounded like mud to me, but to each their own.
Thanks again for your help with this, I got it done today. Aside from the fact that I'm terrible at soldering, it went as well as it could have and turned out great.Built in 2007, my Warmoth HSH Strat was really just an attempt to build the perfect guitar. I was pretty much fed up with mass produced instruments in that none of them offered everything I wanted. Some had the right woods, but not the scale length. Others were insanely expensive or didn’t offer all the options I wanted. Even the ones I liked I would have ended up gutting and putting in different pickups, rewiring the electronics and replacing the hardware. So it seemed the most sensible choice was to build my own using Warmoth parts.
Seymour Duncan Hss Wiring Diagram
Since my goal with building a guitar was to create the best of all possible worlds in one instrument, for my style and sound. I like the feel of strats, but wanted something with more power like a Les Paul. I really liked Super-Strats like my Ibanez Jem, but didn’t want a Floyd Rose or something purely for high gain. I wanted a guitar that had life.
So instead of a typical Alder or Ash body I went instead with a one piece mahogany body with a maple top (The classic Les Paul combination). The neck was straight ahead maple/ebony with 22 stainless steel jumbo frets. Instead of a floyd rose I went with a Wilkinson trem. The pickups are all Seymour Duncan and I incorporated a switching system that allows 31 unique pickup combinations.
In 2011 I decided to make a major change by replacing the neck. The guitar had always been hands down the best guitar I’d ever played but it still never felt perfect. I think no matter how you learn about building or playing, you never really know what something will play or feel like till you have it in your hands. I decided I wanted to have a thinner neck with smaller frets. Everyone always raves about JUMBO frets, as if bigger equals better, but the fact is I like to play on guitars where I can feel the wood. Those jumbo’s were cool, but I felt like I was up in the air. I also changed the width of the neck from a 1 11/16 to 1 5/8. Again, bigger always isn’t better. I liked the smaller width like Fender Strats. Of course the most stark and obvious change is the neck woods. I originally choose the neck woods probably more for looks than anything else. All my other guitars were maple and I liked the tone, so might as well go the same way right? Well I decided that I wanted to go in a complete opposite direction, damn the looks. I decided on Goncalo Alves neck with a Pau Ferro fretboard. Instead of the bright maple tones, I really wanted this thing to have a dark sound to it. Not to mention, the raw wood.
Scale Warmoth Jazzmaster Build Update And Wiring Question
So far it's been simply an amazing change. I loved how the guitar sounded before, but now it's as close to perfect
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