
With out-of-phase and coil-switching options, a treble-bleed network, and individual volume and tone controls for each pickup, this dual-humbucker’s wiring was ahead of its time when it came out in 1978.
Recently a customer asked me to translate something for him, and it turned out that it was a German description of an electric guitar that I had almost forgotten about: the Peavey T-60.
I must admit that I really like Peavey guitars, and the T-60 is no exception. The guitar and its wiring are so unique that I wanted to show you the circuit and how you can adopt it for your own guitar.
The Peavey T-60 was built from 1978 to 1988 and is a dual-humbucker guitar with a design that was ahead of its time—kind of "Burns meets Stratocaster." It's a polarizing shape: You will either love it or hate it. Personally, I think it's a spacey design and together with the arrow-shaped headstock, the silver retro control knobs with the inlayed "P" for Peavey, the toaster-style pickup covers, and the countless screws holding the pickguard, it looks super cool ... but judge yourself.
The guitar was loaded with two epoxy-potted four-conductor "full-range" humbuckers with a blade design, aka Super Ferrite pickups. They were covered with Rick-style toaster design pickup covers, had standard PAF dimensions, and were designed to sound good as humbuckers and single-coils when in split mode. The T-60 guitar also had a brother: the T-40 bass, with the same wiring but slightly different capacitor values for the treble-bleed network on the volume pots (more on this later).
I haven't seen such a circuit on any other guitar. You can adopt this wiring to any HH guitar as long as both humbuckers have four-conductor wiring and a Les Paul/SG/335-style control layout.
The wiring was really ahead of its time back in 1978, sporting out-of-phase and coil-split options, but in a very special way. Basically, the original wiring is using a 3-way pickup selector switch (in this case a DPDT on-on-on type) for a Les Paul-style switching with both pickups together in parallel in the middle position. Next there is a DPDT on-on switch, serving as an out-of-phase switch for the bridge pickup, and a 250k volume and tone control for each pickup, á la Les Paul but independent from the other pickup's circuit. The volume controls both have a "cap only" treble-bleed network to keep the high-end alive when rolling down the volume. The value for the T-60 guitar was 1000 pF and for the T-40 bass 0.01 uF. Besides this, the wirings are absolutely the same. The tone controls have a 0.033 uF tone cap for the bridge and a 0.022 uF tone cap for the neck pickup.
So far, this is nothing special in the year 2020, but let's take a closer look at the tone controls. Here we find a mixture of a tone blend and a coil blend feature. On one side a capacitor is blended to ground (tone blend) while on the other side one of the coils is blended to ground (coil blend). Since the out-of-phase switch is still in front of the coil blend feature, you can choose, depending on the position of the switch, which of the two coils is blended to ground. Here is the description of the circuit in Peavey's own words from the original manual of the guitar: "Our unique tone circuitry enables dual- or single-coil operation of each pickup independently through the rotation of the pickup tone controls. Rotating the tone controls fully clockwise (position #10) achieves the single-coil mode and produces a greater degree of "highs" from the instrument. Rotating the tone controls counterclockwise to approximately the #7 position brings the second coil into operation for full-range, humbucking tonalities. Further counterclockwise rotation of the tone controls (from position #7 to 0) yield conventional tone-contouring action."
As always, the out-of-phase switch only works when both pickups are engaged. Different from a Les Paul standard wiring, both volume and tone controls are working independent from the other pickup's circuit, so in the middle position with both pickups engaged in parallel, the volume and tone controls only affect their corresponding pickup and not both, interacting with each other.
All this together creates a very flexible circuit with a lot of tonal shades you can dial in. I haven't seen such a circuit on any other guitar. You can adopt this wiring to any HH guitar as long as both humbuckers have four-conductor wiring and a Les Paul/SG/335-style control layout. Before you dive in, here are some points to consider with this wiring and possible mods of this circuit:
- Peavey chooses a "cap only" 1000 pF treble-bleed network for both volume controls. This will work with the original 250k controls and the special humbuckers, but may be adjusted when using other humbuckers and/or values for the controls. For more info about this, please have a look at my March 2019 Mod Garage column "Deep Diving into Treble-Bleed Networks."
- The original wiring uses a 0.033 uF tone cap for the bridge and a 0.022 uF tone cap for the neck pickup. Naturally you can mod these values to your personal likings, e.g. 0.022 uF for the bridge and 0.01 uF for the neck pickup, which will work fine with any vintage PAF-style humbucker. Or maybe you want to convert to a warmth control, which is described in November 2018's "Mod Garage: Swap that Tone Knob for a Warmth Control."
- The Rick-style toaster covers on the original humbuckers may look cool, but will dampen the high-end noticeably because, unlike the similar-looking covers from Gretsch, the metal between the two slits is uninterrupted. Removing the cover will bring back all the high-end. Alternatively, you can cut a piece out of this metal part, so it looks similar to the Gretsch covers, to solve the problem and retain the cool retro appearance. (Remember: breaking eddy currents!) For more info about this, read "Mod Garage: How to Shield Humbucking Pickup Covers" from January 2019. For the original pickups, Peavey recommends a pickup height adjustment of 1/32" (0.8 mm) for the bridge and 3/64" (1.2 mm) for the neck pickup. If you want to use the original pickups, chances are good that you'll find a used pair on eBay or maybe Peavey still has them in stock. The part number for the pickups is 95201100 (one model for bridge and neck).
Fig. 2
courtesy of singlecoil.com
- Peavey used 250k audio pots for the volume and 250k tone pots offering a special "S" curved taper. I'm pretty sure this was owed to the S-taper and the availability of such pots, because usually you would expect a 500k pot here together with humbuckers. Not the best choice, so it's worth using all 500k audio pots or a combination of 250k audio pots for the volume (60:40 audio taper in preference) and 500k for the tone controls, preferably with an S-taper. Standard audio-tapered pots will also work with this wiring, but the crossover point between tone blend and coil blend is more defined with an S-curved taper. Such S-tapered pots are available from Bourns or CTS. Maybe the original 250k pot is still available from Peavey as a spare part: the part number of this pot is 75065005.
Now let's look at the wiring. For visual clarity, we'll start with the volume pot's treble-bleed network shown in Fig 1. It's a single 1000 pF cap soldered between input and output of both volume pots. Silver mica caps do a very great job here.
The entire complex wiring of the Peavey T-60 is shown in Fig. 2. The wiring is shown with the original Peavey pickup color chart and needs to be transferred when using different pickups. You can use a lot of different online resources for this, such as the one on guitarelectronics.com.
That's it. Next month we'll continue with our relic'ing series (catch up now with part 1 and part 2) take care of the metal parts of the tuners. Until then, keep on modding!
[Updated 9/27/21]
- Mod Garage: The Fender Greasebucket Tone Circuit - Premier Guitar ›
- Rig Rundown: The Black Keys [2019] - Premier Guitar ›
- Trash or Treasure: Peavey T-15 - Premier Guitar ›
- Mod Garage: Deep Diving into Treble-Bleed Networks - Premier Guitar ›
- Mod Garage: Deep Diving into Treble-Bleed Networks - Premier Guitar ›
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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.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
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).