Dig into the weird wiring of the Hofner Beatle Bass and 172 guitar.
Hello and welcome back to Mod Garage! In this column, we will have a look at the famous HA2B control-panel wiring from the German Höfner company (often written as “Hofner” without the German umlaut). The control plate became famous on the Höfner violin bass—the model 500/1 that was released in 1956 and is often referred to as the “Beatle Bass” because of Paul McCartney.
Höfner also used this wiring on a lot of their early solidbody electric guitars, like the famous model 172. These models were covered in colorful vinyl rather than receiving a paint job. The demand for electric guitars was very high in the ’60s, and a paint job was very time-consuming and expensive, so this method was a welcome alternative to cut costs and save time. The vinyl is still an eye-catcher today.
My first real electric guitar was such a Höfner, a later model without the control plate, but still covered in gorgeous red vinyl. Eventually, I removed the vinyl and put some dilettantish paint job on it. When I think about it today, I feel like a lemon.
Frank Meyers recently wrote a cool column about the Höfner company and its history, which appeared in PG’s March 2023 issue, so if you want to find out more about them, please check it out.
So, let’s have a look at the control plate and its very special wiring. It might be considered weird from today’s perspective, but at the time, this wiring was state of the art. The control plate itself and the fancy “tea cup” knobs are still available today—it is called HA2B with an additional letter indicating the color of the plastic control plate, e.g. B (black), C (cream), T (tortoise), and so on.
Photo 2
Photo courtesy of L’instrumenterie, Baptiste Zermati, Villeurbanne, France (https://linstrumenterie.com)
This wiring is designed for a guitar with two pickups and sports an individual on/off switch and volume control for each, plus a rhythm/solo switch, resulting in a total of two pots and three switches. Please note that the plate is labeled in English and not in German, which clearly shows that Höfner was targeting the international market while still selling large quantities inside Germany.
Here is a short summary of what the individual controls are doing, using Photo 2 as our reference:
• neck pickup volume pot
• solo = full output signal / rhythm = output attenuated to about 70 percent
• bass off = bridge pickup on / bass on = bridge pickup off + treble filter
• treble off = neck pickup on / treble on = neck pickup off + bass filter
• bridge pickup volume pot
The way the bass and treble switches are wired up is the real weird part. Back in the day, a neck pickup was often referred to as the bass pickup and the bridge pickup the treble pickup. In this case, the bass switch is for the treble pickup and vice versa. So when the bass switch is off, the bridge pickup is on; when it’s on, the bridge pickup is off. And when the treble switch is off, the neck pickup is on; when it’s on, the neck pickup is off.
This results in the following: When both switches are in the off position, both pickups are engaged (in parallel), and when both switches are in the on position, both pickups are disabled, which works like a kill switch to mute the whole guitar.
This is, for sure, one of the fanciest guitar wirings ever. But believe me, compared to some wirings that were used in the electric guitars of the Musima company in the former GDR, this one here is as harmless as can be.
"There is no law against experimenting with the values of the caps and resistors to tweak the tone to your personal preferences."
Let’s have a look what’s under the hood:
2 x 250k audio pots
3 x DPDT slide switches
1 x 270k + 1 x 100k resistors for the solo/rhythm switch
1 x 0.01 uF treble cap
1 x 0.1 uF bass cap + 1 x 8.2k resistor
You can use any cap and resistor you want. I like to use small film caps and 1/4-watt metal film resistors. It’s nice working with these parts because they are small enough to fit the control plate.
The wiring works as follows:
Solo/rhythm switch: While the solo position has full signal output, the rhythm position engages two resistors to reduce the output to approximately 70 percent by bleeding some signal to ground.
Bass switch: In the on position, the bass capacitor and the resistor filters some highs off to ground.
Treble switch: In the on position, the treble capacitor filters some bass off to ground.
So, here we go for the wiring:
Fig. 1
Illustration courtesy of SINGLECOIL (www.singlecoil.com)
This is the real deal circuit that Höfner used in the early ’60s. The modern overhauled wiring of the HA2B circuit looks very similar, but uses a 0.1 uF treble cap and has no additional resistor in-line with the bass cap. To my ears, the vintage version sounds better, but this is a matter of taste and there is no law against experimenting with the values of the caps and resistors to tweak the tone to your personal preferences.
I would like to thank Baptiste Zermati from the L’instrumenterie company in France for the photos of the vintage Höfner 172—a big shoutout to him.
That’s it! Next month, we will talk about the brand new PRS “Dead Spec” Silver Sky wiring for John Mayer and how you can adopt this for your own Stratocaster, so stay tuned!
Until then ... keep on modding!
Library of Congress Publishes Audio Interviews with B.B. King, Paul McCartney, and more
Visitors to the Library’s website will get a rare glimpse of music’s biggest stars in unguarded moments.
Washington, DC (November 28, 2012) -- The Library of Congress announced today that it would make interviews recorded with music icons available for the first time. The interviews are from the archives of Joe Smith and were recorded over his 40-year career in the music industry. Here's the details and some selected quotes from the Library of Congress press release:
In 1988, John Lennon’s wife Yoko Ono gave a candid interview to record-label president Joe Smith about the Beatles’ split: “For John, it was a divorce. I think he was feeling very good about it, as if a big weight was off him.” Ono was among more than 200 celebrated performers, producers and industry leaders whose words Smith captured on audiotape more than 25 years ago in an effort to document the oral history of popular music.In June 2012, Smith donated the collection of recordings to the Library of Congress—a tremendous assembly of primary-source oral histories covering perhaps the most important 50 years of popular music, nationally and internationally. On Wednesday, Nov. 28, the Library will make a series of these revealing, unedited recordings available for listening free to the public on its website at www.loc.gov/rr/record/joesmith/. The first group of recordings posted on the site will consist of 25 interviews. These include interviews with Tony Bennett, Paul McCartney, Yoko Ono, Ray Charles, B. B. King, Bo Diddley and Linda Rondstadt. More recordings in the Smith collection will be added to the site over time.
Also coming soon is Smith’s own reflective interview, in which he shares rare and intimate details about his decades-long career. He candidly talks about the famous people in his life, including a titillating accusation against him and his business partner, Frank Sinatra.
All types of popular music are represented in the collection—from rock ‘n’ roll, jazz, rhythm & blues and pop to big-band, heavy metal, folk and country-western. The list of noted artists and executives is a veritable who’s who in the music industry. Among them are Artie Shaw, Woody Herman, Ella Fitzgerald, Ray Charles, Barbra Streisand, Little Richard, Paul McCartney, George Harrison, Elton John, Paul Simon, David Bowie, Billy Joel, Sting, Tony Bennett, Joan Baez, James Taylor, Dick Clark, Tina Turner, Tom Jones, B. B. King, Quincy Jones, David Geffen, Mickey Hart, Harry Belafonte and many others.
Smith’s 40-year career in the industry gave him unique entrée and for about a two-year period, he interviewed the biggest names in music. In 1988, he published excerpts from his interviews in the groundbreaking book “Off the Record” (Warner Books).
“One of the great things about the interviews is how relaxed many of them are,” said Matt Barton, the Library’s recorded sound curator. “They’re not on camera and they’re talking to someone who’s very much a colleague and a peer, if not a musical artist. The tone is very different and the camera isn’t on them.”
Visitors to the Library’s website will get a rare glimpse of music’s biggest stars in unguarded moments. Smith records them joking, eating, drinking and candidly discussing their lives, careers and contemporaries. While chain-smoking, Ono talks about the breakup of The Beatles; Mick Jagger consumes toast and tea while discussing the Stones’ outlaw reputation; Paul McCartney also speaks frankly about The Beatles’ walk on the wild side; and Tony Bennett talks about the legacy of two music greats over dinner.
B. B. King on the blues:
“I feel it’s dying as we’ve known it. But there will continuously be blues as long as there are people on the planet, because people gonna continuously have problems.”
Mick Jagger on the Rolling Stones’ outlaw image:
“I think there was a lot of time wasted with this band with all that image stuff. And eventually, of course, I think it contributed to Brian (Jones) cracking up completely and to a certain extent Keith (Richards) becoming a junkie.”
Mick Jagger on The Beatles’ early influence:
“Both Keith and Brian were very much influenced by The Beatles – everyone was at that
point. I must say I don’t think I was as much as they were. One envied their success, but I never really liked their music as much.”
Yoko Ono on the breakup of The Beatles:
“Paul was the only one trying to hold The Beatles together. But, then again, the other three felt that Paul was trying to hold The Beatles together as HIS band. They were getting to be like Paul’s band, which they didn’t like….There was an incredible period of unpleasantness for John, so he was in fact delighted that he was out of it.”
Yoko Ono on the possibility of a Beatles reunion:
“John’s feeling was that there was such a myth about The Beatles, and if they did get back together again it wouldn’t have been the same.”
Bo Diddley on Elvis:
“Elvis Presley copied me and Jackie Wilson – he combined the two acts together. At the time, he had a good thing going. I thank God that he did. I take my hat off to him. The name of the game is make money, and that’s what he did. He was a lucky man. I haven’t seen anybody else come behind him and do that same thing except Michael Jackson and Prince. I still don’t think they’ve stepped in Elvis’s shoes.”
Paul McCartney on drugs:
“That was one hell of a period – completely different, like another lifetime. We were like different people by then because of the drugs thing. … We’d just become introduced to it. Sgt. Pepper owes a lot to drugs, to pot. That was us getting into that. It was rather innocent compared to what you talk about these days. It was very innocent. It was never seriously heavy stuff. Things got heavy later with one or two of us. Then, it was quite mild. It was like a drink. It was nothing. It was never lethal. It was never that crazy. We were never sort of out on the floor like you’d hear about Stones sessions where you couldn’t wake the guitarist up. … Possibilities started to come in like mad. So that was a very rich period.”
David Bowie:
“I’m more of a sucker. I’m more of a fan. If it’s wearing a pink hat and a red nose and he plays a guitar upside down, I’ll go look at it. I love to see people being dangerous.”
The recordings in the Joe Smith Collection are housed in the Library’s Packard Campus for Audio Visual Conservation in Culpeper, Va., a state-of-the-art facility. The Library’s Motion Picture, Broadcasting and Recorded Sound Division’s collections include nearly 3 million sound recordings.
For more information:
Library of Congress
Paul McCartney and Vox combine their efforts to help communities unearth undetonated mines.
The hand-wired AC15H1TV offers players an outlet to experience the golden tone of Vox. In addition, the engineers at Vox added a few modern ton shaping control enhancements to make it a tonally flexible AC 15.
The charity, that Paul choose, specializes in providing assistance to help communities throughout the world from the threat of unexploded weapons of war.
Make sure you have your calendar open and your internet connection solidified because the auction goes live June 9, 2008. Bidding will last ten days.
To view the auction page, please visit Vox-McCartney bid page.