
Orange Drop Capacitors
Breaking the myths of tone capacitors and helping you find the best one for your tone.
As you know, we love to discuss the smallest details about our guitars, and the tone caps inside of them are no exception. Finding the right tone cap can be a very time-intensive and expensive project and, as always, the internet is full of urban legends – including magical, para-psychological “facts" about them. Believe me, there is nothing mystical inside of capacitors. Without drifting into any voodoo fields, it's time to uncover some of the mystery that surrounds these little rascals. Over the next two months I will show you how find your tone cap – without wasting a lot of time and money!
In a nutshell, a capacitor is an electrical/electronic device that can store energy in the electric field between a pair of conductors (called "plates"). The process of storing energy in the capacitor is known as charging, and involves electrical charges of equal magnitude but opposite polarity building up on each side.
Capacitors are often used in electrical and electronic circuits as energy-storage devices. They can also be used to differentiate between high-frequency and low-frequency signals. This property makes them useful in electronic filters, and that´s exactly what we use them for inside our guitars. Basically, our passive tone control can be used to dampen the high frequencies. When you close the tone pot, it rolls off the treble response, giving a more mellow tone. Adjusting this control affects the sound very noticeably, but it still is quite recognizable as the same guitar.
A basic rule for tone caps is that the bigger the cap, the darker the tone. Depending on the cap's value (capacitance), the effect can reach from "slightly warmer" to a "woman tone" all the way to "completely dark and clinically dead." Remember, the tone cap is always part of the guitar circuit and it even influences the tone when the tone pot is fully opened.
I often receive e-mails and calls from guitarists who don't use the tone control at all, mostly complaining about tones that are darke and lifeless, hotspots when closing the tone pot, and a basically useless taper of the tone control. I'm sure you've experienced the last problem; when closing your tone control, all changes occur between 10 and 8, and from 8 all the way to 0 there is no audible change of your tone. Don't worry, this can be solved. I hope that I can encourage you to give your tone control a second chance. It is really unbelievable how many tone colors can be easily dialed in with a proper tone control.
There are two basic parameters that we will talk about: the value (capacitance) and voltage rating of the cap, plus the type of cap itself. Both parameters will influence the tone a lot; this month, we will start with the value and voltage rating of the cap. Capacitance is a measure of the amount of electric charge stored (or separated) for a given electric potential. The voltage rating describes the maximum working voltage of a cap (potential, measured in volts).
Voltage Rating
One of my all-time favorite urban legends has to do with voltage ratings. You can read about voltage ratings of 400 volts – and higher! – for tone caps, and how this influences the tone. Do you ever talk about 400 volts coming out of your guitar? Of course not. Then how exactly does it influence tone?
As a basic rule you can say that every cap with a voltage rating of 0.5 volts or higher will work inside a passive electric guitar, with higher voltage ratings resulting in larger caps. The reason for the high-voltage tone caps that you find in guitars is easy to explain. A lot of popular caps, like the Sprague "Orange Drops," are for tube amps with inside voltage of 600V or higher. Nevertheless, the caps sound great inside a guitar, but an Orange Drop cap with a 10V rating would also sound great. A cap with a higher voltage rating does not sound different from the same cap with a lower voltage rating.
I've spent a lot of time with A/B comparisons, blind tests and measurements and I never could ear any difference. I'm not Eric Johnson, and I use my eyes instead of my ears to verify if the grass in my garden is growing, but you can try these tests yourself. Orange Drop caps are great for this experiment because they are available in voltage ratings from 100 to 680 volts.
Value (Capacitance)
Now that those rumors are debunked, let's focus on the more important parameter – the value of the cap. Remember our basic rule to help understand this parameter: the higher the capacitance, the darker the tone.
In the "golden days" of electrical guitars, Fender and Gibson used tone caps with a very high capacitance (0.1uf/0.05uF and 0.047uF/0.022uF, depending upon the time period). The 0.022uF value is still the standard today. If you need very dark and bassy tones, this value may work for you. For most of us, however, this value is much too large and the effect is more or less useless, resulting in the aforementioned problem of the effect only taking place between 10 and 8. The solution to the problem is simply a tone cap with a much smaller value. This little change will enhance the usability of your tone control dramatically, giving you a good evenness among the complete taper of the tone control without any hotspots, and every movement of the pot will result in a change of tone.
The value of your tone cap is always a matter of individual choice and needs, because everyone has a different ideal tone and everyone uses the tone control differently. Personally I use very small tone caps of 3300pF up to 6800pF, depending on the guitar and how bright it sounds. With these mall values I´m able to dial in a lot of tonal shades and colors all over the tone pot, and with every small movement the tone gets a little bit warmer and sweeter - not dull and dark.
Finding the Perfect Value
To find the perfect value for you, I suggest getting a piece of cardboard, two 10" pieces of wire, two solderable alligator clips and some cheap standard ceramic caps. The cheapest caps from a local electronic store are good enough for this, and the voltage rating is completely unimportant. Get values from 1200pF to .1uF, plus every value in between you would like to try. One piece of each value is enough. Glue the caps side by side on a piece of cardboard, with the legs reaching over the edges. Don't forget to note the value of each cap on the cardboard! Then, solder the alligator clips to the wires (one clip per wire, soldered to one end of the wire).
Now open your guitar and desolder and remove the existing tone cap. Solder the end of the wires opposite to the alligator clips to the points where the original tone cap was connected and close your guitar leaving the wires hanging out. Now you can change the different caps within seconds by simply connecting with the alligator clips. Play your guitar and use the tone control to see which value works best.
Hopefully you will be able to determine through this method what your favorite cap value is. My tip is to try 2200pF, 3300pF, 4700pF and 6800pF and listen to how they interact with the tone and taper of the pot. Chances are good that you will like them!
This is a very important step in converting your tone control to a useable and helpful tool in the future. Next month we will talk about the different cap types, and how to figure out which one is for you.
See you next month!
[Updated 11/23/21]
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Crank the heat! PG's John Bohlinger plugs into the boutique-built Sterling Vermin, a modern twist on the iconic Rat distortion. Hear it rip through Strats, Teles, and a Les Paul with classic snarl and smooth silicon/BAT41 clipping.
Sterling Vermin RAT
The Sterling Vermin was born from a desire for something different — something refined, with the soul of a traditional RAT pedal, but with a voice all its own.
Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, the Sterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold step forward for creativity.
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes. Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedal that’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide, usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affords a satisfying smoothness to the rotation, with just the right amount of tension. Additionally, the polished stainless-steel enclosure with laser-annealed graphics showcases the merging of the pedal’s vintage flavor and striking design.
From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt with Big Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass in dynamic distortion. With premium components, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’s a new chapter for RAT.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).
PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.