Triple Shots or Straightforward Push Pull

[ThreeChordWonder]

P-Rails, transplanted from my SG, are going to go in my DIY HH Strat, replacing the humbuckers I took out of that.

I've ordered a pair of triple shots as I simply can't seem to get the complicated "does everyting" two push pull wiring correct.

BUT...

I'm wondering if I should just fit a single push pull,, push push or DPDT switch,, and wire the P-Rails P90 or humbucker, and forget about using the rails alone.

Thoughts anyone?

 

[ThreeChordWonder]

Answering my own question...

1. I found the Triple Shot BRIDGE [edited] ring prevents a regular strat volume pot knob being used, well, at least in the regular volume pot knob's regular position;
2. I think the pickups end up too high or maybe the rings themselves are the issue, either way the action would need to be raised quite a lot;
3. Dang those switches are small!

So my HH / P-Rails Strat us now wired with a regular 3- way switch, 2 independent volumes, 1 master tone. The master tone is a push-push. In the "in" position it enables the P90s only. In the "out" position, full humbuckers, coils in series.

 

[Securb]

I prefer switchs and push pull seeing I want the easiest way to switch tones live.

 

[Mincer]

The Triple Shots do this a lot more elegantly than push/pulls.

 

[ThreeChordWonder]

^ If they fit, and if you can see / feel the switches in the dark.

The Triple Shots themselves are fine, they just don't seem to fit regular strat pickguards.

 

[ThreeChordWonder]

And here she is...

 

[ThreeChordWonder]

Maybe a single coil in the middle next?

What do you lot think?

 

[zizyphus]

As a guy who adds WAY too many switches and splitting options to his guitars for "more tonal options," I've found that many of the tones you CAN get don't end up being very useful, and that complicated switching can be very inconvenient.

Even fairly simple mods aren't always "worth it." I have Freeway 6-way switches in my Les Paul and SG to allow me to split either humbucker, yet I honestly almost never use them. The Gibson split PAF tone just isn't what I want from a single coil, so I rarely use them, which begs the question, "is a useless option really an option at all?" (but that's a question for the philosophers, not me)

You might find that the triple shot does too much, but also as the others have mentioned, may be finicky to use, even without the size / compatibility issues that ThreeChordWonder pointed out. If it were me, I'd probably only use the humbucker and p90 options, and you could accomplish both with just a single DPDT, which might be easier to use.

When I say "easier to use," I partly mean that you won't get "lost" with which option you're playing with, and can make it harder two switch from option A to option B. Flipping between the neck and the bridge with a standard 3-way switch is EASY, and can easily be done mid-solo. More complicated switching options won't given you that same luxury.

Then again, you're not me. Maybe you WOULD use every option available to you, and you're probably smarter and more dexterous than me and would be able to keep track of your switching options :9:

But that's my 2 cents

 

[ThreeChordWonder]

I'm just a bedroom hack. Well, more of a wardrobe in the bedroom hack really, but anyway.

If I were, say, a session musician, and could only take one guitar to a session, or if I were a live musician in the same boat, and be able to pause between numbers, I can see the logic in having as many tonal options as possible. You know, the producer says "well that take was great, but I wish you had the humbuckers in series instead of parallel..." Another example. someone like Jimmy Page, using a Les Paul for that bit of Stairway, a 12 string for that bit, and a Tele [allegedly] for the solo... but able to stop the tape and swap guitars in between.

OTOH if I were a Malcolm or Rick Parfitt, pounding out rhythm parts (exceptionally well as they did), or if I'm in some sort of newer "metal" band where the fuzz kills just about any tonal difference anyway, I too would wonder why I bothered.

OTOH I wouldn't be able to pause halfway through a number to try changing switches (in the dark). That's why the likes of Page and Lifeson took to using double necks on stage.

So I too am coming down on the KISS (keep it simple, stupid) side of things.

The Triple Shots will find a home somewhere I'm sure. Where exactly I'm not sure yet though.

 

[Mincer]

I have seen at least example that de-constructed the Triple Shots to put them in a Strat pickguard. It looked great, but I'd be afraid to do it.

 

[ThreeChordWonder]

^ I thought about taking a file to the ring, and I suppose one could do other things. I just decided a push-pish was easier.

 

[Mincer]

The hard part is quick access. Thing is, not every combination of the P Rails is wonderful. I'd just hardwire the useful ones (to you).

 

[alex1fly]

I see the Triple Shots as a way to get the best sounds out of each pickup, moreso than a way to switch things on the fly. For example you might prefer one setting for practicing at home and a different setting for playing live. That level of nuance gets lost in a live mix.

I could also see a tiny dab of white paint going on the Triple Shot switches to make them more visible.