What caps to use with Slash AIIps?

Do me a favor: read my post 35. And consider that it sums up 286 pages of screenshots, in 32 experimental files dedicated to tone caps in my crowded archives. It took years here to collect that...

I read. Don't want to get in a rabbit hole, and this topic is a notorious one, years ago, when I had the opportunity, I spent days and days, I'd say months, using industrial level spectrum analyzers (not mine, I'll tell you in a ear, it was an off work personal research where I worked) testing different cap materials looking for answers, it was the time when I was so involved in hi fi stuff I tried almost everything.
I don't doubt leaking in cap has an effect, and I agree there is an effect on harmonic context certified by instrumental readings, but in my experience, when we talk about components in the standard conditions (not faulty, fresh, etc) it was well beyond audio range and, anyway, so subtle that I personally don't believe it can have an audible level even pulling the jacket to Laplace and Fourier.
My ears don't go beyond 12 KHz anymore, but even in my youth when I had a certified 20 KHz range, I simply didn't ear effect that was not ascribable to aforementioned components tolerance or problem with the specific item.
but, if you talk about electros, yes, no doubt, time and even voltage modify them, the effect is audible even in audio range, but no electros used in guitars (and in hifi signal paths too indeed, they are avoided like venom) . if we talk about radio range, of course, material do matter but we're on MHz

with unchanged esteem, servilely
:)
 
I don't doubt leaking in cap has an effect, and I agree there is an effect on harmonic context certified by instrumental readings, but in my experience, when we talk about components in the standard conditions (not faulty, fresh, etc) it was well beyond audio range and, anyway, so subtle that I personally don't believe it can have an audible level even pulling the jacket to Laplace and Fourier.
Well, let's agree to disagree, so. :-)

At least it's a peaceful and mutually respectful disagreement, far from the endless arguments in which I've been caught during previous discussions about tone caps... I was so tired and disgusted a few years ago that I had even sworn to myself to avoid this subject in online discussions.

Apparently, I've changed my mind without even noticing or wanting it. I'll admit it helps me to forget my health issues at least a few minutes here and there - that's life when one gets old, isn't it? ;-)

I've still the idea to share all my archived experimental data on a dedicated web page, when everyone in our local team will be retired. Maybe some day... In the meantime, people can do the kind of tests evoked in my post 35 and allowing to find if/when there's a difference between tone caps of not (it should be instructive to focus on "in between settings" with 50s wiring, especially).
 
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hopefully, thats one thing that separates this place from many others on the internet. we can have a civil conversation and disagree without things devolving into people barking back and forth at each other! i find the posts informative and useful. ill keep using my orange drops too :D
 
honestly, i use em cause i have a bunch of a lot of different values. if i need one, ill buy 20 or 50 to have on hand as long as its a commonly used value.
 
I do Orange Drops too. I think mainly because they aren't too expensive, and their size makes it easy for my old eyes and fingers to handle.
Honestly, they are very easy to see and solder, so for those reasons, they get the nod from me.
 
No, it isn't. (In your ears, I mean.) In an amp, many/most of the caps control the signal that flows through. That is, the part you keep. In a guitar tone circuit, the cap controls the quality of the signal that you throw away. Kinda like washing your trash before you set it out to the curb.
Haha, love that analogy! :LOL:

These days I'm experimenting with the tone cap wired to a push/pull pot, and I'm surprised at how often I prefer the tone cap disconnected entirely. It increases highs, yes, but also the "feel" and sensitivity of the strings to the slightest nuance.
 
Unless a push-pull swaps a tone cap for a simple jumper to ground, the difference noticed when disconnecting a tone cap thx to a push-pull is not due to the cap itself: it's due to a change in the overall resistive load. With two 500k pot, this load is of 250k. With one volume pot and a disconnected tone control, the load goes up to 500k. This higher resistive load rises the amplitude and Q factor of the resonant peak... and distributes differently high harmonics. So the tone gets brighter.

For the record, disabling the resistive load of a tone control doesn't require a push-pull: it can be done by scraping or masking the end of the resistive track, which changes the tone control in a no-load pot.

Differences between caps can be noticed only when a tone pot is set at a low resistance, incidentally. Except if the cap is a very low value one, counter-intuitively: a 1nF cap separated from ground by a 500k pot has a subtle effect on the resonant peak, even with the pot full-up. It's not the case with standard (higher value) tone capacitors...

FWIW (tedious rambling from an old fart).
 
That's right. The hot connection is entirely disconnected from the tone pot with the SPST switch in open position.

I have a very rudimentary understanding of electronics. I've suspected it might have something to do with the resistance of the entire circuit to ground. The reason I've chosen to go with a push/pull was to compare the difference between the tone control fully up, versus disconnected entirely. The difference in tone is dramatic. I find your posts fascinating and informative on this forum, thanks for taking the time to write in-depth posts about your findings.
 
frog is a great resource, and we are lucky to have his "tedious rambling from an old fart" here. as someone who is very dedicated to sounding the way i want (awesome) having people like him on this forum makes it that much better of a space for people to learn and figure out what they want in their instruments
 
Your post is an honor for me, Jeremy. I fully appreciate friendly posts these days, given the serious health issues that I'm facing for a while now. I hope life will let me keep posting about a passion that we all share...
 
im truly sorry your health is failing. i hope you recover and, regardless of this place, have more years of life to enjoy. youve been amazingly generous with your knowledge here, and i for one, have learned much from you. thank you sir.
 
Freefrog is one of my favorite technical advisors here. He single-handedly convinced me that eddy currents do have some impact in pickup tone. I was a denier for many moons previously.
 
I bought a bunch of cheap .022 caps years ago

I use them for everything

If i need a 47 . I will put two 22s in parallel

If i need an 11, I will put two in series

Just use them as the default for everything
 
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