Dig the details of the shredder’s iconic guitar and recreate EJ’s wiring.
Hello, and welcome back to Mod Garage! You’ve probably heard about Eric Johnson’s passion for the smallest and oddest details when it comes to guitars and tone. There is a longstanding urban legend that EJ is able to hear what type of battery is used in his stompboxes and how long his guitar cables are. Regardless of whether or not that’s true, it speaks to his reputation that he really cares about his tone, down to the smallest details.
For much of Johnson’s career, he’s played his 1954 Stratocaster, which he nicknamed after a masking-tape label found in the pickup routes. In the ’50s, it was common for employees at the Fender factory to sign the guitars they assembled. This now-iconic instrument was built by an employee named Virginia, one of the earliest women Leo Fender had hired to work at the Fender factory. (Virginia’s last name is a mystery from the early Fender days. There are several photos of her, and other early employees remember Virginia, but none seem to remember her last name.)
In 2020, Fender released the Eric Johnson “Virginia” Stratocaster, as well as a Custom Shop version. It’s unknown when the modifications were done to this guitar. Let’s look at some of the things that make “Virginia” unique, and how you’d recreate this by building your own personal copy:
Body: Two-piece, offset-seam sassafras body painted in the classic Fender two-tone sunburst finish. Sassafras, also called golden elm or cinnamon wood, is native to North America. It’s not a common tonewood, but Fender used sassafras for some early Strat bodies. My guess is that it was used to substitute ash and swamp ash. Sassafras has a grain and appearance similar to ash and chestnut, as well as a similar weight and density, and it was easy and cheap to get in large quantities.
There are different companies offering sassafras Strat bodies, but you can also choose an ash or swamp ash body. If you want to be as close as possible, get a two-piece body. Whether it’s offset-seam or not is up to you.
Neck: One-piece maple neck with a soft V-shape, 12"-radius fretboard sporting 21 jumbo frets and black dots. It should be no problem to find such a Stratocaster neck. And the choice of standard or figured maple is a matter of personal taste.
Hardware: Basically the standard Fender hardware from the ’50s, such as the typical Fender ’50s Stratocaster tremolo and Kluson vintage tuners. Here is a list of what is not standard on this guitar’s hardware:
- A single Graph Tech String Saver saddle is used on the high E string. All the other saddles are ’50s standard bent-steel saddles.
- A flat washer on the output jack.
- The tremolo uses four springs (instead of five), and the one that’s under the B string is not installed.
- A single ’60s-style butterfly string tree with a nylon spacer underneath, instead of the ’50s-style round string tree
The plastic parts: This is also ’50s standard, sporting a single-ply offset-white pickguard with aged-white pickup covers, knobs, switch tip, and tremolo arm tip.
EJ plays pure nickel strings, so this is also recommended if you want to get as close as possible.
Now, let’s have a close look at the electronics and wiring. Here is a list of the electronic parts you’ll need:
- DiMarzio DP116 HS-2 stacked humbucker bridge pickup
- Fender ’57 or ’62 EJ middle and neck pickups
- Standard open-blade 5-way pickup selector switch
- Cloth wire for all connections
- 375k audio volume pot with a 90/10 taper ratio, no treble-bleed network
- Two 250k audio tone pots with a 90/10 taper ratio
- 0.1 μF/150 V wax-paper tone capacitor
- Standard mono output jack
Getting all these parts should be no problem at all. The pickups are in production, 375k pots are available from various companies, and new wax-paper capacitors are also available. All three pickups should use latex tubing instead of springs for pickup-height adjustment.
If you wish to use NOS wax-paper caps, don’t worry about the voltage. It will have absolutely no influence on the tone inside the guitar, only on its size. Be sure its capacitance is close to 0.1 μF, because these caps have a tendency to drift in capacitance over time.
The switching matrix is almost standard Stratocaster and goes like this:
#1: bridge pickup
#2: bridge + middle pickup in parallel (in phase)
#3: middle pickup
#4: middle + neck pickup in parallel (out of phase)
#5: neck pickup
The DiMarzio stacked humbucker is permanently used as a split single-coil pickup with only the upper spool being engaged, so no humbucking feature is activated. The upper tone control is assigned to the neck pickup, while the lower tone control is connected to the bridge pickup, leaving the middle pickup without tone control. The pickguard uses ’50s-style copper-foil shielding (connected to ground), but only under the area where the electronics are installed, not over the whole pickguard.
If you want to put this wiring into your Strat, take notice of the out-of-phase feature in switching position #4. On the “Virginia” Strat, the bridge pickup has a south polarity, while the middle and neck pickups both have a north polarity, and the middle pickup is reverse-wound. Please note that this is not a reverse-wound, reverse-polarity (RWRP) pickup, because both pickups need to have the same magnetic polarity. There are many pickup combinations where this feature will not work, so upgrading your pickups may be necessary if you want the full package. In short, you need a middle and neck pickup with the same magnetic polarity, one of them reverse-wound, and both in phase with the bridge pickup.
Illustration courtesy SINGLECOIL (www.singlecoil.com)
So, here we go for the wiring (Fig. 1). As always, I tried to keep it as clean as possible by substituting the ground-wire runs with the international symbol for ground. I used the DiMarzio humbucker color code for the bridge pickup. If you decide to use a different brand, you need to transfer the color code of the wires with the correct color-code chart.
That’s it. Next month, we will dissect the new Fender John 5 “Ghost Telecaster” wiring, so stay tuned.
Until then ... keep on modding!
How I’ll always remember Edward.
One memory often triggers another, so, while writing about my experiences with Metallica over a crucial decade in their career for this issue, I kept flashing back on my sole encounter with Van Halen—the man and the band. It was during 1988’s Monsters of Rock, and I was on assignment for the tour’s two-day stand in Akron’s Rubber Bowl, a decrepit concrete pit turned convection oven by the summer heat, to interview all the guitarists on the tour: Kingdom Come’s Danny Stag, Dokken’s George Lynch, Kirk Hammett and James Hetfield of Metallica, Rudolf Schenker and Matthias Jabs of Scorpions, and, of course, Edward.
For the first day I was there, Van Halen’s publicist kept nudging me aside. Nonetheless, I enjoyed their headlining set, save for the perplexing choice of a Sammy Hagar ballad about burying the placenta from the birth of one of his children under a tree. (If you know what that song is called, please let me know so I can more purposefully continue to avoid it.) Edward was especially brilliant, of course.
I was literally and anxiously sweating it out as Van Halen’s second-night performance neared, when the publicist finally ushered me back into the band’s dressing room, in the distressed bowels of the Rubber Bowl. Their green room was actually a casbah created within the area’s grim concrete walls. There were hanging tapestries, plush furniture, floor lamps, and other homey appointments, all cooled by giant fans at its edges. But the most impressive sight was Edward, Sammy Hagar, and Michael Anthony plugged into a vertical-standing road case packed with practice amps, jamming out some blues. Alex had a practice pad atop the case, and pounded so hard he cut through the astonishing web of sound. They tossed me a few nods, and I sat on the couch next to a table with a bowl of M&M’s on it—I did not check the colors—and watched them wail on for a good 10 minutes. Edward, plugged into what I think was a Fender Champ, still sounded every bit like himself. I thought, “Well, even if I don’t get to ask a single question, this is worth the trip.”
But they did unplug, and suddenly I felt like I was in the middle of a cartoon—or maybe an episode of The Monkees. They all raced toward me and piled onto the arms and back of the couch. I was surprised and surrounded. They answered my questions, but Eddie kept playing his unplugged 6-string, and nearly every reply came with a silly joke or a pun that left them in stitches. They all talked at the same time, sometimes completing each other’s sentences—always answering me but spinning off into all kinds of wild digressions. At one point, Sammy did a decidedly un-PC Ray Charles impersonation that put Edward, Alex, and Michael on the floor. And when I asked a guitar-centric question, Edward slid off the back of the couch and landed next to me to reply.
“But they did unplug, and suddenly I felt like I was in the middle of a cartoon—or maybe an episode of The Monkees.”
It was hilarious—almost sketch comedy. But it was also beautiful, because it was obvious that at this point they were deeply connected by friendship and the joy of still discovering what this line up of the band, which had released OU812 a month earlier, could do. There was a tangible, open-hearted purity to them—at least about this music they were making and the experience of making it—and it wasn’t drugs, because Edward had recently been through rehab and not even beer was allowed in their green room. They were, in June 1988, truly a band of brothers.
Somehow, amidst all the crosstalk and antics, I managed to get all my questions answered, and spent a few more minutes hanging out with them, enjoying a cold cola and avoiding the near-100-degree outside temperature, as they bantered with each other and prepped for the stage. Then it was time for the publicist to reappear and throw my butt out, and for them to hustle theirs into the spotlights.
There were more troubles to come for Edward—struggles with addictions, divorce, and cancers—and a lot more music to be made, until he died, too young, in 2020 at age 65. But because of that day, I always think of him as happy-go-lucky, practically exploding with positivity and elation. And I’m very glad for that. Seeing somebody at their best and happiest is always a gift, and when it’s somebody like Edward Van Halen, it’s a treasure.
Welcome back to Mod Garage. This month we’ll have a look at a special Stratocaster wiring that’s known as the Ricky King wiring. Born in 1946, Ricky King is a well-known German instrumental guitarist who was very popular in Europe during the ’70s and ’80s, with some top-charting hits like “Verde,” “Le Rêve,” “Mare,” and “Hale, Hey Louise.” King, whose real name is Hans Lingenfelder, was also famous for his “toothpaste smile” when performing. I don’t think Ricky King was very popular in the United States, but his personal Stratocaster wiring is an interesting one, so I think you’ll have fun with this.
King started his career as studio player in the ’70s and remains an active performer. Inspired by Hank Marvin, King chose a Stratocaster as his go-to instrument long ago—he’s often called the German Hank Marvin, which I think says it all. The Ventures and Swedish instrumental band the Spotnicks are also big influences, and you and you can clearly hear this in his playing style and in his trademark guitar tone. Across his catalog of 30 records, he’s sold more than 6 million copies and hopefully will continue making music for years to come.
King is known for playing ’70s Fender Stratocasters in vintage white with the era-correct big headstock, rosewood fretboard, and white pickguard, plus two modifications that are quite unique. Have a look at the cover of his Greatest Hits record from 1983 in Photo 1 (there’s his famous smile). Between the 5-way pickup-selector switch and the volume and tone controls, you can clearly see a small metal plate containing two small toggle switches.
I asked Ricky King about the secret of these two additional switches, and this was his answer (translated from German):
“With one of the switches, I was able to engage a little preamp inside the guitar to influence the volume and the high frequencies. This little unit was developed and built by one of the studio technicians, and the necessary 9V battery was also placed inside the guitar. You can have the same operation by using an external booster and EQ pedal, so this feature was later removed. The preamp also made technical problems from time to time, which was another reason to remove it. This was long ago, and I don’t have the original preamp anymore. In my later guitars, the additional metal plate with the two switches was no longer present and the only toggle switch I used was directly built into the pickguard. With the second switch I was able to engage all possible pickup combinations.”
With this description, it’s not too difficult to re-engineer the original Ricky King wiring from the era when he recorded his greatest hits. One of the switches engaged an onboard preamp that boosted both the volume and treble. Keeping the timeline in mind—we’re talking about the mid ’70s—and from the description (boost plus EQ), I’m pretty sure we’re talking about a treble-booster circuit with a fixed boost because there’s no additional element to control the boost level. We don’t know exactly how much is being boosted, and we don’t know what exact circuit was used. The trademark Ricky King sound was always ultra clean and free of any overdrive and distortion, so the boost was for sure moderate. From the timeline, we can’t be sure if it was an old-school discrete transistor-based circuit like the famous Rangemaster or a modern one using an IC circuit like the good old LM741 that was used in the MXR Distortion Plus. Both are possible, and my own guess is it’s a Rangemaster-based circuit with silicon instead of the old traditional germanium transistors.
The second switch you’ll recognize as a good, old 7-sound Stratocaster mod to get the two additional pickup combinations: bridge plus neck and all three pickups together, both in parallel.
To combine both mods, I’ll use a feature without knowing if this was originally used in Ricky King’s guitar. If so, all is perfect. If not, it’s a fine and modern upgrade, resulting in the same tone.
So, what do we need to get this wiring?
1. A DPDT mini toggle switch for the preamp and an SPST mini toggle switch for the 7-sound modification.
2. An onboard preamp circuit of your choice.
3. A stereo output jack.
4. A 9V battery, connector strip, and battery holder.
There are a wide choice of ready-to-drop-in onboard preamp devices available on the market. I would choose a PCB with a trim pot for the boost factor so you can set and forget it, pretty much like on Ricky King’s guitar. You’ll have to experiment, but don’t start with a high setting, the trademark King tone is always crystal clear (think Hank Marvin). Some units also offer trim pots for bass, mids, and highs so you can mimic the treble boost by setting bass and mids flat and kick in a little bit more highs. You can also download countless wiring diagrams for such units on the internet and make your own custom one if you want to.
I don’t think Ricky King was very popular in the United States, but his personal Stratocaster wiring is an interesting one, so I think you’ll have fun with this.
Depending on your Strat and the size of the preamp, you’ll have to decide where to place the unit and the battery. Usually Strats with the swimming-pool routing offer plenty of space for this.
You also must decide where to place the two switches, or if you want to substitute them with two push-pull or push-push pots. Between the 5-way switch and the controls is enough space to place both mini toggle switches. Die-hard Ricky King fans can naturally make a custom plate like the one on his original guitar.
With this wiring, we’ll replace the standard mono output jack with a stereo jack to make engaging the preamp module much more comfortable. It’s possible to leave the standard mono output jack, but instead of the 2PDT switch, you’d need a 3PDT switch. Such mini switches are available, and with their three switching stages, it’s possible to engage the booster signal plus the 9V power.
With the standard mono output jack, you’ll hear a noticeable “PLOP” when you use the switch, which can be very annoying. When you use the stereo output jack to engage the 9V power, the “PLOP” will be present as well, but you can’t hear it because the power contact will be closed before the signal contact, so it can’t reach the amp. I’m pretty sure 3PDT mini toggle switches weren’t available in the mid ’70s, so it’s most likely that a stereo jack was used in the original wiring.
So, here is the wiring with both mods for you, as shown in Fig. 1.
That’s it. Next month, we’ll take a deeper look into the Johnny Marr Jaguar wiring before we finish the DIY relic’ing project after that.Until then … keep on modding!
This mod enables variable splitting of humbucker pickups, allowing you to easily blend your desired amount of humbucker and split-coil tones.
Hello and welcome back to Mod Garage. As a follow-up to the “Tapping and Splitting: What’s the Difference?” column in the October 2021 issue, this month we’ll take a closer look at variable splitting of humbuckers that’s also known as the “spin-a-split” mod. This mod can be applied to all humbuckers with a 4-conductor wiring because we need access to the start and end of both coils. You can’t do this mod to humbucker pickups with a standard 2-conductor wiring. Most humbuckers can be converted from 2-conductor to 4-conductor wiring; however, you need to open the pickup for this, which can be a delicate job. That job is best left to a guitar tech, because destroying the pickup is easy to do.
The basic idea of this mod is very simple. With a switch, you can split the humbucker to a single-coil pickup resulting in two very different tones: 100 percent humbucker or 100 percent single-coil. The variable coil-splitting mod uses a pot instead of a switch, so you don’t have only two given tones but also anything in between, giving you precise control over the amount of split.
This is not just about balancing tone, but also balancing hum-free operation. The more humbucker you have, the less hum and noise will be present and vice versa. With the pot fully opened you have 100 percent humbucker, and with the pot fully closed you have 100 percent single-coil. But it’s easy to dial in any tone you want, for example, 70 percent humbucker plus 30 percent single-coil, which gives a good proportion of hum-free operation.
Another cool bonus is that when you have too much bass or overdrive in full humbucker mode, you can use the spin-a-split to instantly clear things up.
So, you’ll have easy access to a huge range of tones from only one humbucker pickup by mixing single-coil and humbucker sounds. You can also mimic other pickups with this mod, such as P-90s or Filter’Trons. Another cool bonus is that when you have too much bass or overdrive in full humbucker mode, you can use the spin-a-split to instantly clear things up.
The idea is not new. It first showed up in the mid 1970s and Hartley Peavey is the person to whom all the credit must go. Most people think this is an easy mod, which only partly hits the nail, and I’ll explain why in just a moment.
Let’s have a look at the basic configuration and how this mod works (Fig. 1). You need a spin-a-split pot for each humbucker pickup you want to install this wiring into. As usual, I chose the Seymour Duncan color code to demonstrate the mod because it’s the quasi-standard in the guitar world. If you want to transfer the color code to humbucker pickups from another company, you can use one of the many color code transfer charts on the internet.
As usual, the green and the bare wires go to ground so there’s nothing new here. The black wire is the output, going to a pickup-selector switch or to the input lug of a volume control. The red and the white wires are going to the middle lug (lug #2) of the spin-a-split pot while the bottom lug (lug #3) is grounded. When the pot is turned all the way down, the red and white wires will be connected directly to ground, which is a normal coil-split setup for single-coil tone. When the control is turned all the way up, the red and white wires are not connected to ground at all, which means normal humbucker mode and tone.
The idea is not new. It first showed up in the mid 1970s and Hartley Peavey is the person to whom all the credit must go.
This is where the trouble starts. In reality, both wires are still slightly connected to ground but with a large resistance, depending on what pot you use for this. This will drain a good portion of volume and tone to ground. A perfect and easy fix to get rid of this lingering connection to ground is using a no-load pot, which removes the ground connection when the pot is turned all the way up.
If you want to use a tone pot as a spin-a-split pot, you’ll find a 500k or 250k audio pot. It’s essential to replace this one with a no-load pot or convert the existing pot into a no-load pot by breaking the connection internally. If for any reason this is not possible, you should use a 100k pot, but finding them in guitar-friendly configurations is a challenge. Linear pots work best for this mod, so with a little luck you’ll find a 500k linear tone pot in your humbucker guitar, which is a perfect base for this mod by making it a no-load pot.
As you can see, it’s not as easy as it seems, and as always, the devil is in the details.
In closing, here’s an illustration (Fig. 2) of the spin-a-split mod together with a volume pot for the same pickup. Instead of connecting the wire to the input of the volume pot, you can connect it to a pickup-selector switch if you have more than one pickup in your guitar.
That’s it! Next month we’ll do a mod for Stratocaster guitars called the “Ricky King” mod, so stay tuned. Until then ... keep on modding!
Here’s a workaround to get a similar configuration without having a third pickup. Plus, this serious tone weapon can be integrated into any given Telecaster wiring.
Hello and welcome back to Mod Garage. After writing the column about the Brent Mason Telecaster wiring in October 2021, I received a lot of requests from you about a more practical and non-invasive version of it. Well, you asked, and the Mod Garage delivers.
A lot of people don’t want to route an additional hole into their Telecasters to add a third pickup in the middle position, which is a massive task. I totally understand this, so let’s see what can be done instead, and let’s add some more tonal flexibility, which was another common request after that article.
The good news is a lot can be done. We touched on this multiple times in past columns: mimicking Stratocaster in-between tones with a Telecaster without having a middle pickup using half-out-of-phase wiring, for example. Some time ago we explored the Bill Lawrence way of doing this (“Mod Garage: The Bill Lawrence 5-Way Telecaster Circuit”) and the Jerry Donahue Telecaster wiring as well (“Decoding Jerry Donahue’s 5-Way Telecaster Wiring”). These two columns are great starting points to read about the basics of half-out-of-phase wiring and what it does.
In general, there’s nothing wrong with using these two wirings the way they are. But our goal is to get a little bit closer to the Brent Mason Telecaster wiring, plus add more tonal flexibility. Brent Mason’s wiring is straightforward—basically it’s a normal Telecaster wiring with an added middle pickup that has its own volume pot. Mason’s Telecaster is loaded with three humbucker pickups for trouble-free performance regarding hum and noise in both studio and live situations. But it doesn’t have any additional switching for splitting the individual humbuckers, so there are a lot more sounds under the hood to discover. If you need them or not ... well, it’s all up to you. The basic setup works well for Brent, and he can get his signature sounds in any given situation, but it’s not a crime to want more flexibility.
A lot of people don’t want to route an additional hole into their Telecasters to add a third pickup in the middle position, which is a massive task.
The basic plan for today looks like this:
1. Swap both pickups on your Telecaster for the correct Brent Mason models.
2. Add a triple-sound switch to each of the two pickups.
I will show you how to do this in a way you can integrate into any given Telecaster wiring, but to get the most out of it, I recommend combining it with the Jerry Donahue wiring. This way, you will receive an ultra-flexible Telecaster wiring that can also cover basic Stratocaster in-between tones.
Let’s start with the pickups. Brent uses Seymour Duncan pickups. If you want to get as close as possible you should use the following models:
- Bridge position: Vintage Stack Tele STK-T3b, which is a vintage-flavored, traditional-sounding humbucker with 4-conductor wiring.
- Neck position: Vintage Mini Humbucker, built-in 180 degrees flipped, so the open pole pieces are facing the bridge rather than the neck for more high-end and clarity in the tone. The pickup also sports a 4-conductor wiring.
If your Telecaster has the traditional vintage routing under the hood, the cavity for the neck pickup must be enlarged to make the mini humbucker fit, which can be a downside if you want to plug ’n’ play. If enlarging the routing is not an option for you, there are numerous humbuckers on the market that will fit into the routing, such as the Seymour Duncan Hot Rails and Vintage Stack Tele neck pickups. Almost every pickup manufacturer has such a pickup in its portfolio, so there are plenty of options.
Choosing a Stratocaster neck pickup will result in the same problem: They won’t fit into the standard vintage neck routing of a Telecaster.
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If you have a full humbucker routing under the hood, which you can find on a lot of newer Telecaster models, you’re good to go the easy way, but keep in mind that you’ll have to enlarge the hole in the pickguard as well. Don’t forget to build it in 180 degrees flipped, like on Brent’s Telecaster, to get closer to his trademark sounds.
Changing the bridge pickup should be a no-brainer: It’s an easy 1:1 swap.
For adding the two triple-sound switches, you’ll need two DPDT on-on-on mini toggle switches. You can’t use push-pull or push-push pots for this because they’re only available as on-on or on-off versions, so the third switching position is absent. But on common Telecaster control plates, it’s no problem to place two of these switches between the two pots and you don’t need Reiki hands to operate them. But again, two holes must be drilled, so it’s not an easy mod if you want to make it look good on the control plate, straight in one line.
With the switches, each of the pickups will have three operation modes and tones:
- Full humbucker (both coils in series)
- Real single-coil split (one coil shut down to ground)
- Single-coil-esque tone (both coils in parallel)
This, combined with the second pickup plus all the features of the Jerry Donahue wiring, results in a lot of different tones. While the humbucker and single-coil-esque tones are free of hum and noise, the real single-coil split mode will also behave like a real single-coil, picking up all kinds of hum and noises.
This switching was made popular by the DiMarzio company under the name “dual sound,” which I think is confusing because it’s a triple-sound switch, not a dual one.
The good thing is that this switching is placed directly after the pickup, so in layman’s terms this means: The four wires from the humbucker are connected to the switch but only two wires are going out of the switch (hot + ground), so it’s super easy to add this feature to any given wiring.
You simply solder the hot output of the switch to the spot where usually the hot wire of the pickup is connected and solder the ground coming from the switch where the ground wire of the pickup is usually connected, and you’re done. So, it’s absolutely independent from the wiring that’s coming after the switch, and you can transfer it to any given guitar.
You can’t use push-pull or push-push pots for this because they’re only available as on-on or on-off versions, so the third switching position is absent.
Now, let’s focus on the bridge pickup to demonstrate the wiring on the switch, as seen in Fig. 1. Please note the jumper wire on the switch and don’t forget to solder it. The middle position of the switch is the real single-coil split. With the toggle up, it’s full humbucker, and the toggle down is the hum-free single-coil-esque tone. I used the Seymour Duncan color code for this because we’re talking about Seymour Duncan pickups. If you want to use pickups from a different company, you’ll have to transfer the color code using one of the many transfer charts online.
The wiring of the neck humbucker is exactly the same: the bare ground wire of both pickups always goes to ground. After wiring both pickups to their mini toggle switches, you only have to connect four wires before you’re done. The hot output of the neck pickup switch goes to the spot where usually the hot wire of the neck pickup is connected to and the hot output of the bridge pickup switch to where the hot wire of the bridge pickup is connected to. Likewise, the ground output of the neck pickup switch goes to the spot where usually the ground wire of the neck pickup is connected, and the ground output of the bridge pickup switch goes where the ground wire of the bridge pickup is usually connected.
Congratulations, you’re done! This is a good alternative to the original Brent Mason wiring, and it adds many more possible tones and variations. Especially in tandem with the Jerry Donahue wiring, this is a serious tone weapon with an almost unlimited number of sounds.
That’s it for now. Next month we’ll continue with another guitar mod, so stay tuned. Until then ... keep on modding!