Now it’s easier than ever to add that missing Tele-inspired dual-pickup configuration to your Strat.
Fig. 1
Here's some exciting news for Strat lovers: If you crave more pickup combinations than are provided by Fender's stock 5-way switch, you need to know about a new blade-style pickup selector from Electroswitch.
Some background: Based in Raleigh, North Carolina, Electroswitch Electronic Products makes a wide variety of items that are important to us guitar nerds. Electroswitch owns the Stackpole, CRL/Centralab, and Oak Grigsby brands, which means all the well-known 3- and 5-way blade pickup selectors, as well as the Telecaster 4-way switch, come from this company. It's clear they have a real passion for switching devices!
Recently Electroswitch introduced a 6-way switch that looks like a standard 5-way pickup selector switch, but instead of the typical four contacts on each of the two switching stages, it offers five, as well as a sixth lever position.
Why is this so cool? It lets you access an additional sound—bridge-plus-neck pickups in parallel. Think Telecaster tone for a Strat and you'll be in the ballpark. This particular dual-pickup combination isn't available on a stock 5-way switch, but it sounds every bit as good as the bridge-plus-middle and neck-plus-middle combos we're used to hearing.
Fig. 2
The extra sixth position isn't limited to bridge-plus-neck in parallel. Alternatively, you could wire it to give you all three pickups in parallel, but that's not a setting most players use, even when it's available as part of the “7-sound mod," which is one of the most requested Stratocaster mods in our shop. (Check out “The 7-Sound Stratocaster" on PG's website for more details on this mod.)
The new 6-way selector (Fig. 1 and 2) resembles a stock 5-way switch, and once installed, it would be virtually indistinguishable from its forebear. It works exactly the same as the 5-way switch through the first five switching positions, but in the sixth position, the contact associated with the bridge pickup remains connected and an additional contact is also engaged. You can attach a jumper between this additional contact and the neck contact to use the bridge and neck pickups together, or two jumpers if you want to engage both the neck and the middle pickups with the bridge pickup.
Here's the 6-way selector's switching matrix:
• Position 1: bridge pickup alone (Fig. 3).
• Position 2: bridge + middle pickup in parallel (Fig. 4).
• Position 3: middle pickup alone (Fig. 5).
• Position 4: middle + neck pickup in parallel (Fig. 6).
• Position 5: neck pickup alone (Fig. 7).
• Position 6: additional switching option (Fig. 8).
You mount the 6-way switch the same way you would a traditional 5-way Strat switch, but there's one crucial detail to consider: Electroswitch kept the same 15-degree distance between each of the blade positions as on a 5-way switch—a real bonus because it will feel immediately familiar to experienced Strat players—but this means there's an extra 15 degrees of travel we need to account for. This is divided evenly on either side, so we need to slightly lengthen the slot in the pickguard or control plate to accommodate an extra 7.5 degrees of movement on either end. The typical slot length in a Fender pickguard is about 1 1/32", but this switch needs a slot measuring 1 1/4" for trouble-free operation.
Okay, that's not the end of the world, but because the 6-way switch isn't a 1:1 drop-in replacement, you have to figure out how to lengthen the slot if you're planning to install this new switch in your Strat. This would seem like a small task—and it really is, as long as you have the right tools. You need a very small and sharp rectangular file for this, and you're unlikely to find this kind of file in your local Home Depot. Such files exist, but you'll have to turn to a specialized tool shop to find one.
There are more professional solutions, like using a Dremel tool with a very small router bit. Your local luthier can use small nut-slotting files for this job, or even better, his bridge-pin-hole slotting files. The trick is to find a file that matches the width of the slot and cuts on the bottom and sides at the same time.
I've seen countless pickguards ruined when someone tried to lengthen the slot without the proper tools. If you don't take the time to get this right, you'll end up spoiling your pickguard. Lengthening the blade's slot sounds easy, but it poses a real challenge—especially with vintage or expensive custom pickguards you don't want to butcher. And doing this on a metal Telecaster control plate is a task best left to a professional.
And that's it. In a future column, I'll share some wiring ideas for your Strat that incorporate this new 6-way switch. But next time, we'll return to regular guitar mods and explore even more series switching for your favorite Telecasters. Until then, keep on modding!
PG contributor Tom Butwin takes us through three exceptional solidbody electric guitars: the versatile Gibson Les Paul Studio, the uniquely styled Zemaitis SCW22, and the dynamic PRS CE 24. Each brings a distinct flavor—find out which one matches your style!
Gibson Les Paul Modern Studio Electric Guitar - Worn White
When a guitar is “the one,” you know it. It feels right in your hands and delivers the sounds you hear in your head. It becomes your faithful companion, musical soulmate, and muse. It helps you express your artistic vision. We designed the Les Paul™ Studio to be precisely that type of guitar: the perfect musical companion, the guitar you won’t be able to put down. The one guitar you’ll be able to rely on every time and will find yourself reaching for again and again.
PRS CE 24 - Faded Blue Smokeburst
Classic PRS design and quality meets bolt-on construction with the CE 24. Its 25” scale length sits comfortably between short and longer scales and dual 85/15 pickups and patented PRS tremolo bring modern appeal.
Zemaitis SCW22
The body shape without metal top but developed based on an iconic Zemaitis Disc Front model.
Zemaitis guitar without a metal top, but you still see the legacy of Zemaitis in detail.
Loud, evil, searing hot, and unexpectedly versatile, the Fuzz War’s demented bass cousin has a bold and more-complex personality all its own that sounds radical with guitar, too.
Evil. Just plain evil. Unexpected and vast variation. Responds interestingly to bass volume and tone attenuation. Wet/dry mix control. Sounds amazing (and extra evil) with guitar.
None.
$195
Death By Audio Bass War
deathbyaudio.com
If you like your fuzz measured in megatonnage, the Death By AudioFuzz War is one of life’s great joys. And if you’re a bass player with similar predilections and accustomed to watching guitar players have all the fun, the new DBA Bass War will be sweet revenge.
The original Fuzz War is a creatively twisted derivative of the Colorsound Supa Tone Bender But while you can hear some family resemblance among the Tone Bender, the Fuzz War, and Bass War, the latter is a very different animal indeed. I’m pretty sure it’s louder than the Fuzz War (holy #@*!). The fuzz is also much brighter than a Fuzz War, which sounded positively muddy by comparison.
That means a bass player has lightyears of headroom and range within which to shape their tone. And for such a loud, hectic pedal, it can be really precise and surgical. The experience of reshaping fuzz sounds is made easier, more fun, and much more expressive for the oversized outboard tone and fuzz controls, which can be swept with your toe to achieve wild filter effects. Along with the cutting fuzz tonalities, that lends the Bass War an almost synth-like feel and functionality. The pedal also responds in interesting ways to bass volume and tone attenuation: Lower bass volume generates less compressed, more focused, but still very insane tones that can be boosted to superheated levels with the pedal’s volume knob. Add in the dry/wet mix knob, which lends exponentially more complexity and range to the Bass War’s voice, and you’re talking about an exceedingly varied and evil fuzz device. Oh ... it sounds freaking amazing with guitar, too—yielding psychotically piercing lead tones, vintage biker fuzz, and vicious punk and metal grind. Wow.
Originally introduced in 1975 as part of the Schaffer-Vega Diversity System (SVDS) wireless system, this mini boost pedal originated from a 1/4” headphone jack intended for monitoring purposes.
"The SVDS Boost is a recreation of one of the first full-frequency boosts ever used on stage."
Originally introduced in 1975 as part of the Schaffer-Vega Diversity System (SVDS) wireless system, this mini boost pedal originated from a 1/4” headphone jack intended for monitoring purposes. However, guitarists and bassists soon discovered an unexpected benefit: by connecting their instruments to the headphone output, they could boost their signal by up to 30dB.
Legendary guitarists like Angus Young, David Gilmour, Eddie Van Halen, Carlos Santana, and more utilized this technique. The SVDS Boost is a faithful reproduction of this iconic boost, which may very well be the first full-frequency boost ever heard on stage.
The Sound
Unlike typical clean boosts, the SVDS Boost adds vintage coloration and harmonics that instantly transport you to the golden era of rock. The unique "Goalpost" EQ design enhances the extreme ends of the frequency spectrum, while maintaining the integrity of your mid-range. With up to 30dB of boost, the SVDS unlocks new tonal possibilities, delivering rich harmonics, singing sustain, and even controlled feedback.
Pedal
Placement The SVDS Boost truly shines when placed after other overdrive, distortion, or fuzz pedals, adding dynamic response and restoring low-end fidelity that can often be lost with mid-boost pedals. Its ability to enhance your existing gear is unparalleled, making your guitar, amp, and pedals sound better than ever.
Build
Quality Precision-built using high-quality components, the SVDS Boost is designed to withstand the rigors of professional touring. Its robust construction ensures years of reliable performance, whether in the studio or on the road.
Availability
The SVDS Boost is now available at solodallas.com and authorized SoloDallas dealers worldwide.
Price: $129 USD.
Behind every great guitarist is probably a great tech.
The life of a tech is where art, craft, science, and sorcery collide. My story isn’t so different from thousands of others in the performing arts world. It began at an extremely young age, in what they now call middle school. As much as I wanted to play music, draw, paint, and photograph, I was also drawn to the technical side of the creative pursuits.
Luckily, schools at the time offered classes in photography and art right along with printing, drafting, woodworking, stage crew, and auto repair. I never thought of them as disparate—even then I knew they were all interconnected. There wasn’t a master plan—there was only a path.
Along the way, I met others who shared a passion for music and mechanics. One of the first was a ham-radio fanatic who also loved music. He was referred by a classmate for electronic repair on my guitar amp, and we soon found we had a lot of common interests. Vince was a high school student by day and a radio-phone operator by night. These were the days before cell phones, a time when car phones were huge radio transceivers stowed in the trunks of wealthy people’s cars. To place a call, the driver had to radio in to an operator who would connect them to a landline. Vince would make the connection and then go back to waiting for the next call. We got to talking about repairing guitar amps, or even the possibility of building one from scratch, and started work on an amplifier within days. While Vince worked on the amp chassis, I constructed a plywood speaker cabinet and stuffed it with 15" Utah speakers. After a few weeks and a dozen trips to the electronics store, we had a functioning, terrible-sounding amplifier. Vince was convinced it had something to do with the plate voltages. “Needs more pressure,” was his cryptic explanation. After that, we lost interest, moved on, and lost touch. But I’d learned enough to be dangerous to myself.
That was the beginning of my long-standing respect for technicians of all sorts. There was Gary, who owned a fledgling amplifier company and rental shop on the West Side of Chicago. His amps were robust and had plenty of clean headroom, which really wasn’t what guitarists were looking for by the end of the 1960s. Still, my long drives to his shop were rewarded with free-flowing lectures about amp design. It was a prototype for a DIY music gear business, which was inspiring.
“Because pros rotate through different tours, their experience and expertise come from an infinitely deeper and wider range of real-world experience than working in a music store or watching YouTube videos.”
Similarly, Bruce Gordon had a repair shop shoehorned into a tiny space off Dempster Street in Evanston, just north of Chicago. Gordon started his repair business while playing in local bands, including one that had a string of regional and national hits. I used to walk past his open door on my way to work in the morning and would often stop to talk to him. He might have been the first pro musician that I had ever met who was also a technician. Once again, I found a person who was willing to share information and tips readily. I worked at a later incarnation of his expanded business where I learned from more seasoned techs who were always comparing notes and helping each other.
Over the decades, I learned to lean on the expertise of pro guitar technicians. As the touring business grew, being a tech became a serious profession, and knowing the techs on the road was a constant source of great information and camaraderie. Because pros rotate through different tours, their experience and expertise come from an infinitely deeper and wider range of real-world experience than working in a music store or watching YouTube videos. When I deal with pro musicians as a guitar builder, it’s often through an introduction made by a tech as much as the other way around. If I find a guitarist to be lacking in the ability to verbalize their ideas, often a great tech is there to sort things out.
So here’s to all those who make the big wheels roll. They learn from each other and pass their lessons along to others freely with no strings attached. Like Jackson Browne sang: “They’re the first to arrive, and the last to leave.” They don’t get the spotlight, but the artists know that without them, there is no show. Without them, I wouldn’t be here today. Thank you to every one of you.