When it comes to cosmic tone, itās critical to have functional potentiometers. Hereās how to install them correctly and keep them ship-shape afterward.
(Originally published March 27, 2020)
Over the last few years, we've discussed the construction of potentiometers and diagnosed several potential problems with these essential, yet sometimes pesky, electric guitar components. (If you missed these, check out āThe Trouble with Tribbles" and āDealing with Knobs and Pots.")
Let's now consider problems that can occur when replacing pots, and then discuss ways to either avoid or solve these potential issues. Over the years I've analyzed virtual cries for help from hundreds of customers, and as a result I can safely say that non-working pots fall into one of two categories that account for essentially 100 percent of the problems: (1) mechanical damage while installing the pots, or (2) soldering damage when wiring them up. It's very, very rare that a pot comes DOA from the factory. Reputable manufactures have quality control systems to prevent this, so it's almost guaranteed that a problem with a potentiometer has to do with the end user. So let's take a look at these two scenarios.
Mechanical damage.
In this case, the most common damage is caused by overtightening the nuts, especially when installing pots into a guitar with a stiff wooden top like a Les Paul.When installing pots, forget the adage "the more, the merrier." Instead, keep this in mind: The next level beyond "tight" and "super-tight" is "broken." Guitar pots don't have to handle a lot of weight or withstand a nuclear strike, so they should only be screwed down tight enough to remain immobile when you rotate the knobs.
First and foremost, it's essential that you install the pots correctly. This might sound obvious or trivial, but you can't imagine how many guitars I've seen where pots have been installed in, shall we say, unusually creative ways.
Here's how to do it right: The first step is to slip the lock washer onto the pot shaft and then insert the shaft through the hole in your guitar's pickguard or top. With the shaft protruding through the other side, now put the flash washer on the shaft, followed by the hex nut, which you can initially thread with your fingers. Finally, use a socket wrench, small adjustable wrench, or an ESP Multi Spanner to carefully tighten the hex nut until it's snug against the washer and doesn't turn anymore.
If you discover that the pot sits too high on your pickguard or guitar top, you'll need to remove the pot and start over by first threading another hex nut on the shaft, followed by the lock washer, and then repeating the installation process. This "underside" hex nut will let you adjust the height of the pot to your individual wishes. Simply insert the shaft through the pickguard or top, eyeball the height, and adjust the hidden hex nut up or down on the pot threads as needed. Finally, add the flash washer and exterior hex nut to complete the process. The key here is to always remember the correct order of these parts.
So what happens to a pot when you overtighten it? If the four tiny tabs that hold the little metal plate to the shaft, wiper, etc., are unable to withstand the force applied to the shaft when you torque down the hex nut, they'll bend and let the plate and the shaft rotate freely. Hmm, no good.
But don't worry, it's an easy fix: Use needle-nose pliers or a small flathead screwdriver to gently pull the tabs up a little more so you can rotate the plate and return it to its centered position. Then bend the tabs back into place so they hold the shaft securely (Photo 1). Done!
It's almost guaranteed that a problem with a potentiometer has to do with the end user.
Other mechanical damage is typically caused by trying to remove or install knobs that aren't made for a given pot's shaft. When you try to hammer down a non-fitting knob, you can easily break the shaft by forcing it through the knob bushing. (In most cases, this happens when trying to force a metric knob, measured in millimeters, onto a U.S. pot shaft, measured in fractions of an inch.)
If you try to remove a jammed knob that someone managed to "fit" using brute forceāor even attach with superglueāchances are good you'll break the wiper inside the pot and pull out the entire shaft along with the knob.
Yet this is easy to avoid: Never try to force a knob onto the pot shaft; instead use one that fits. If you need to remove an improperly fitted knob, use a heat gun to soften the plastic or a saw to split it open. Don't use any upward or downward pressureāthat will ruin the pot, for sure.
Soldering damage.
The easiest way to damage a pot is to overheat it, especially when attaching a ground wire to the back casing. It's a common mistake. When it comes to how long your soldering iron should be in contact with the pot, the golden rule is "as short as possible, but as long as necessary." It takes time to develop this skill, so you'll need to practice. Also, to avoid disaster it's crucial to have the right tools. Here are some helpful guidelines for soldering onto pots.
1. If you don't have a soldering station with an adjustable temperature control, you need at least two different handheld soldering irons: one rated at around 30 watts and the other around 60 watts. This is exactly what I use for any soldering job outside the shop. The 30-watt iron is for soldering on the pot terminals, pickup selector switch terminals, output jack terminalsāthose common tasks. The 30-watt iron is our daily go-to tool for all things guitar at the shop.
The 60-watt iron is for soldering to pot casings and Stratocaster tremolo claws. Don't try to solder to a pot's case with a 30-watt ironāthe solder will need a very long time to flow and you'll expose the pot to a lot of heat. With a 60-watt iron, the solder will flow instantly and soldering time will be very short. This yields strong solder joints.
2. If you want to be on the safe side, remove the case from the pot before you solder to it. That's what I do when I want to avoid damaging vintage pots. To remove the case, gently bend the four metal tabs away from you. To reinstall the case, simply bend the tabs back into place. Take your time and go easy.
3. Always rub the metal casing with 180-grit sandpaper before soldering to it. Manufacturers use all kinds of greasy coatings to protect the case against oxidation, which can make a soldering job close to impossible. So sand the case until it's clean and shiny, and then clean it with naphtha. This will provide the perfect base for a good soldering joint. But don't do this to vintage pots! For those, it's paramount to preserve the patina that comes with age.
4. If you decide not to remove the pot's case, strive to avoid any unnecessary heat. Here are some helpful tips:
- Always turn the pot down to 0 before soldering to its case.
- Use a heat sink on the case. For this job, you'll need something bigger than just a standard clip. To enhance its effect, you can chill the heat sink in the fridge ahead of time.
- If you need to connect one of the terminals to ground, as on most volume pots, don't try to solder the terminal directly to the case by bending it back. This may look cool and vintage, but you'll need a lot of heat and good soldering technique to pull this off. Simply use a piece of solid-core wire and solder it to the terminal and from there to the caseāthis yields the same performance.
- After tinning the case, let it completely cool down before you solder the wire to it.
5. Don't apply excessive solder to a terminalāit will flow down the terminal's leg and find its way inside the pot.
Photo 2 ā Photo courtesy singlecoil.com
Photo 2 shows a pot from my "Hall of Shame" collection. Look at the two red marks at the end of the two terminals. These solder blobs are what happen when you apply way too much solder. There's also a big solder blob on the middle terminal's inner ring. How someone managed to get the solder inside there will forever remain a mystery. On the upper left, notice how the carbon is melted and buckled from too much heat. This poor little thing had to endure cruel treatment ... may it rest in peace!
Remember, if you don't solder regularly, there's no shame in having a professional guitar tech do the work for youāespecially when you have a vintage guitar and need to work on its original pots. Retaining your guitar's value is an excellent investment. Soldering on pots isn't rocket science, but it requires the right tools, experience, and a steady hand.
Maintaining pots.
These are mechanical devices with a limited lifespan, and it's inevitable they'll start to wear out over time. Yes, it's possible to clean, repair, and renew the carbon inside, but this only makes sense for a vintage pot, not a modern one. Instead of trying to repair the latter, it's more cost-effective to simply replace it.
Typical pots are not completely sealed; they have open areas around the terminals, so moisture and dust can creep inside. To prevent this, you can buy pots that are completely sealed or cover standard pots with an additional dust seal. Usually a guitar's electronic compartment is closed and not directly exposed to contamination, so an additional dust cover isn't necessary for our applications.
Also, there's no need to maintain your pots. At a certain point, they'll begin to wear out and make scratchy noises when you turn them. This means it's replacement time! You can delay this a bit with contact cleaner, but this treatment is only temporary. Contact cleaner is cool for some applications, such as servicing hi-fi equipment, but it can't repair worn-out pots.
My advice? Never use contact cleaner on your pots because the cleaner will attract debris, and when it evaporates you're left with hard, dry crudāsomething you definitely do not want inside your pot. To combat this, you'll spray more cleaner and thus begin a destructive cycle. This results in replacing the pot much earlier than necessary, exactly the opposite of what you want. We all know the road to hell is paved with good intentions. If a pot is really dusty and making scratchy noisesāmaybe you took your Tele to Burning Manāthe best thing to do is open it up and swab everything with Q-Tips soaked in naphtha.
Finally, when it comes time to replace a pot, pay attention to the specs. Some pots are designed for 2,000 rotations while others are tested to withstand 20,000. You get what you pay for, and this isn't a place to cut corners.
All right! Next month we'll examine the Peavey Omniac JD, Jerry Donahue's signature model T-style, and I'll show you how to transfer its sophisticated wiring scheme to your own guitar. Until then ... keep on modding!
- Three Must-Try Guitar Wiring Mods - Premier Guitar āŗ
- Mod Garage: Three Ways to Wire a Tone Pot - Premier Guitar āŗ
- Mod Garage: Dealing with Knobs and Pots - Premier Guitar āŗ
Weāre giving away pedals all month long! Enter Stompboxtober Day 11 for your chance to win todayās pedal from Hotone Audio!
Hotone Wong Press
Cory Wong Signature Volume/Wah/Expression Pedal
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, heās been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.
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A more affordable path to satisfying your 1176 lust.
An affordable alternative to Cali76 and 1176 comps that sounds brilliant. Effective, satisfying controls.
Big!
$269
Warm Audio Pedal76
warmaudio.com
Though compressors are often used to add excitement to flat tones, pedal compressors for guitar are often ā¦ boring. Not so theWarm Audio Pedal76. The FET-driven, CineMag transformer-equipped Pedal76 is fun to look at, fun to operate, and fun to experiment with. Well, maybe itās not fun fitting it on a pedalboardāat a little less than 6.5ā wide and about 3.25ā tall, itās big. But its potential to enliven your guitar sounds is also pretty huge.
Warm Audio already builds a very authentic and inexpensive clone of the Urei 1176, theWA76. But the font used for the modelās name, its control layout, and its dimensions all suggest a clone of Origin Effectsā much-admired first-generation Cali76, which makes this a sort of clone of an homage. Much of the 1176ās essence is retained in that evolution, however. The Pedal76 also approximates the 1176ās operational feel. The generous control spacing and the satisfying resistance in the knobs means fast, precise adjustments, which, in turn, invite fine-tuning and experimentation.
Well-worn 1176 formulas deliver very satisfying results from the Pedal76. The 10ā2ā4 recipe (the numbers correspond to compression ratio and āclockā positions on the ratio, attack, and release controls, respectively) illuminates lifeless tonesāadding body without flab, and an effervescent, sparkly color that preserves dynamics and overtones. Less subtle compression tricks sound fantastic, too. Drive from aggressive input levels is growling and thick but retains brightness and nuance. Heavy-duty compression ratios combined with fast attack and slow release times lend otherworldly sustain to jangly parts. Impractically large? Maybe. But Iād happily consider bumping the rest of my gain devices for the Pedal76.
Check out our demo of the Reverend Vernon Reid Totem Series Shaman Model! John Bohlinger walks you through the guitar's standout features, tones, and signature style.
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Vernon Reid Totem Series, ShamanWith three voices, tap tempo, and six presets, EQDās newest echo is an affordable, approachable master of utility.
A highly desirable combination of features and quality at a very fair price. Nice distinctions among delay voices. Controls are clear, easy to use, and can be effectively manipulated on the fly.
Analog voices may lack complexity to some ears.
$149
EarthQuaker Silos
earthquakerdevices.com
There is something satisfying, even comforting, about encountering a product of any kind that is greater than the sum of its partsāthings that embody a convergence of good design decisions, solid engineering, and empathy for users that considers their budgets and real-world needs. You feel some of that spirit inEarthQuakerās new Silos digital delay. Itās easy to use, its tone variations are practical and can provoke very different creative reactions, and at $149 itās very inexpensive, particularly when you consider its utility.
Silos features six presets, tap tempo, one full second of delay time, and three voicesātwo of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, itās not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this canāt-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silosā utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly wonāt get lost in the weeds if you move to the 3-position toggle, which switches between a clear ādigitalā voice, darker āanalogā voice, and a ātapeā voice which is darker still.
āThe three voices offer discernibly different response to gain devices.ā
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while itās true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silosā three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximityāan effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silosā affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats thatās sweet for underscoring rhythmic patterns, while the digital voiceās pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silosā combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.