Wiring help needed for two HB guitar

[jmcorey]

That is correct about 60 cycle noise being present in positions that feature just one coil or an uneven number of coils. However, that same issue also exists in the diagram Artie provided, in the "slug coil only" and "screw coil only" positions. So it is not an issue just in the rotary diagram.

So just to clarify the intent of Artie's diagram, it was NOT seeking to prevent noise from 60 cycle hum. That is unavoidable with lone coils and combinations that have an uneven number of coils, as i wrote a couple sentences back. Instead, Artie's diagram's target was to eliminate RFI noise due hanging wires acting as antennae. There are 2 different types of potential noise in a guitar circuit, and each has different causes and handlings.

If you look at the original request, and from Artie's original wiring scheme to meet that request, there are no "lone" coils in the wiring schema.

I hate noise, so I would never have requested that in the first place.

[Jack_TriPpEr]

If you look at the original request, and from Artie's original wiring scheme to meet that request, there are no "lone" coils in the wiring schema.

I hate noise, so I would never have requested that in the first place.

When i said "Artie's diagram", i was not referring to the one he did for you.

I was referring to the example one that he posted of a 2 pole switch that showed the 4 ways of how a single humbucker pickup could be configured. Reattached here for quick convenience. What is unique about that diagram, is HOW artie goes about making the connections. He does each in a way to ensure that none of the humbuckers 4 wires are left unterminated. His purpose for doing that was to eliminate potential RFI noise.

[jmcorey]

When i said "Artie's diagram", i was not referring to the one he did for you.

I was referring to the example one that he posted of a 2 pole switch that showed the 4 ways of how a single humbucker pickup could be configured. Reattached here for quick convenience. What is unique about that diagram, is HOW artie goes about making the connections. He does each in a way to ensure that none of the humbuckers 4 wires are left unterminated. His purpose for doing that was to eliminate potential RFI noise.

Understood. Excellent clarification - thank you.

[Jack_TriPpEr]

I used a 5 way super switch, using Artie's original diagram.

I suspect sloppy soldering.

If the problems remain after you re-do some of the soldering, post some pics of the wiring inside the cavity and we'll try to troubleshoot and help.

[ArtieToo]

He does each in a way to ensure that none of the humbuckers 4 wires are left unterminated. His purpose for doing that was to eliminate potential RFI noise.

Yup.

[jmcorey]

If the problems remain after you re-do some of the soldering, post some pics of the wiring inside the cavity and we'll try to troubleshoot and help.

Thanks!

[Sambuccashake]

Hello!
I’ve been trying to decipher a few superswitch diagrams but I still haven’t broken the code and don’t really have the patterns down (Somewhat flabbergasted that so different wirings can give so similar results) and was equally flabbergasted when I saw your very symmetric ”jumper layout” with its unique and silent shorting properties so I figured I had to register and say “wow” and also ask for your help.

My guitar:
2 HB (4 conductor)
59 Neck
Custom custom Bridge
1 Vol
1 Tone
5-way super-switch

From my point of view, I can’t think of two more usable layouts for the dual humbucker superswitch setup.

1) Neck Series
2) Neck Parallell
3) Neck+Bridge (Inside coils series- original schema had neck bridge in series here but I think this will be more useful)
4) Bridge/Neck (Inside coils Parallell)
5) Bridge Series

1) Neck Series
2) Bridge/Neck (Inside coils Parallell)
3) Neck+Bridge series (Inside coils series)
4) Bridge/Neck (Outside coils Parallell)
5) Bridge Series

@artieToo Can you please help me (and I believe a great many others who need more than the standard options) show how you would accomplish the below using that jumper/shorting approach you describe here in the thread?
I will treasure it dearly and store it offline for posterity.
Cheers and thanks in advance!



//best regards Jens

[ArtieToo]

@artieToo Can you please help me . . .

Sure. And welcome to the forum. Just give me a little time.

Are you comfortable doing a mag flip? If you don't, then inside and/or outside coil pairs won't be hum cancelling. This can also be remedied by doing neck-side or bridge-side coils instead. But both are do-able, if you don't mind the mag flip. (Which is pretty easy.)

[Sambuccashake]

Sure. And welcome to the forum. Just give me a little time.

Are you comfortable doing a mag flip? If you don't, then inside and/or outside coil pairs won't be hum cancelling. This can also be remedied by doing neck-side or bridge-side coils instead. But both are do-able, if you don't mind the mag flip. (Which is pretty easy.)

The mag flip actually sounds doable (I will examine some discarded humbuckers first to get a feel for the procedure) but I think I would like to have a go at the wiring sans the flip to begin with.

Recently I find myself spending more and more time on or "around" the neck pickup and really enjoy the different flavors to be had there.
Is it perhaps possible to manage a neck coil split as well?

1) Neck Series
2) Neck Parallell
3) Neck coil split
4) "Something parallell" (I can live with alternate coil selections, no problem)
5) Bridge Series

PS. Aside from Bridge and Neck series in outer position, the rest can go wherever on 2, 3 and 4 if that simplifies anything.

Super grateful!

//best regards Jens

[ArtieToo]

Aside from Bridge and Neck series in outer position, the rest can go wherever on 2, 3 and 4 if that simplifies anything.

No prob. Using my Superswitch wiring technique, it doesn't matter what goes where. They are all equally as simple.

[Sambuccashake]

I have been playing HH guitars for so long that when I switch to something with a middle position single, I need to move it far away from the strings so that I don't hit it with my pick.(Which can make for some interesting sounds but also a bit weak)

However, I no longer feel that I would be missing out on useful sounds if I can manage to "Artify" them with the Superswitch.

[jmcorey]

I try to use something between 20 - 24 gauge.

So some questions about soldering.

Standard wire that I see people use to connect pits, caps, switches, etc., appears to be 22 gauge wire. It also looks to thick to put two or three of them through the holes of terminals on a 5-way super switch.

Would you pit the wire through the holes and solder, or just solder the wires together and then solder that to the end of a terminal?

[ArtieToo]

Would you pit the wire through the holes and solder, or just solder the wires together and then solder that to the end of a terminal?

I always try to manage my wiring scheme so there are never more than two wires in one hole. Use my post #4, fig. 2, as a reference. At the lower left quadrant, (pink and green), there appear to be three wires. But the pink is just one wire. I strip just enough insulation off so that it will span two terminals, then carefully tin the end. When I tin, I make sure I get good solder penetration into the strands, then hold the wire, end pointing down, and slide the iron down to the tip so that any excess solder comes off the end. There's often still a little "pointy" end left, that I just clip off. So now that one wire will go through the hole and into the end terminal, where I gently bend it over to hold. Then the green wire goes in, and I solder the terminal once.

In other words . . . tin the wire ends, then solder the terminal once.

Make sense?

[jmcorey]

Yes, yes, yes. Very clear.


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[Sambuccashake]

If the "neckstravagant" wiring of 1,2 &3 is indeed doable, what would be a suitable bridge variation in position 4?
I have always thought the "faux tele" sound that is usually found here is more a novelty than something I would ever consider using.