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.
Photo 1
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.
Fig. 1
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!- Mod Garage: Inside Yamaha's Dry Switch - Premier Guitar ›
- Mod Garage: The Alternative Brent Mason Telecaster Wiring ›
- Mod Garage: “Jimmy Page” Les Paul Wiring - Premier Guitar ›
- Epiphone Al Caiola and Its 5-Switch Tone Expressor System - Premier Guitar ›
- How to Improve the Tone of a Telecaster Neck Pickup - Premier Guitar ›
Reader: Federico Novelli
Hometown: Genoa, Italy
Guitar: The Italian Hybrid
Reader Federico Novelli constructed this hybrid guitar from three layers of pine, courtesy of some old shelves he had laying around.
A few years ago, at the beginning of Covid, an idea for a new guitar flashed through my mind. It was a semi-acoustic model with both magnetic and piezo pickups that were mounted on a soundboard that could resonate. It was a nice idea, but I also had to think about how to make it in my tiny cellar without many power tools and using old solid-wood shelves I had available.
I have been playing guitar for 50 years, and I also dabble in luthiery for fun. I have owned a classical guitar, an acoustic guitar, and a Stratocaster, but a jazz guitar was missing from the list. I wanted something that would have more versatility, so the idea of a hybrid semi-acoustic guitar was born.
I started to sketch something on computer-aided design (CAD) software, thinking of a hollowbody design without a center block or sides that needed to be hot-worked with a bending machine. I thought of a construction made of three layers of solid pine wood, individually worked and then glued together in layers, with a single-cutaway body and a glued-in neck.
For the soundboard and back, I used a piece of ash and hand-cut it with a Japanese saw to the proper thickness, so I had two sheets to fit together. Next, I sanded the soundboard and bottom using two striker profiles as sleds and an aluminum box covered in sandpaper to achieve a uniform 3 mm thickness. A huge amount of work, but it didn't cost anything.
“It was a nice idea, but I also had to think about how to make it in my tiny cellar without many electric tools and out of old solid-wood shelves I had available.”
The soundboard has simplified X-bracing, a soundhole with a rosewood edge profile, and an acoustic-style rosewood bridge. For the neck, I used a piece of old furniture with straight grain, shaped it to a Les Paul profile, and added a single-action truss rod. The only new purchase: a cheap Chinese rosewood fretboard.
Then, there was lots of sanding. I worked up to 400-grit, added filler, primer, and transparent nitro varnish, worked the sandpaper up to 1,500-grit, and finally polished.
Our reader and his “Italian job.”
For electronics, I used a Tonerider alnico 2 humbucker pickup and a piezo undersaddle pickup, combined with a modified Shadow preamp that also includes a magnetic pickup input, so you can mix the two sources on a single output. I also installed a bypass switch for power on/off and a direct passive output.
I have to say that I am proud and moderately satisfied both aesthetically and with the sounds it produces, which range from jazz to acoustic and even gypsy jazz. However, I think I will replace the electronics and piezo with Fishman hardware in the future.
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I bet you saw yourself in the opening scene of Twenty-Four-and-Three-Quarter-Inches of Woe, which may be the title of the screenplay I just started to write, most likely due to the fact that you’ve made a similarly boneheaded mistake with your instrument.
Unfortunately, my storytelling skills didn’t save a nice new Epiphone Casino from sliding off my amp, meeting the floor, and earning some damage on the way down. Yeah, that’s a true story, and I’m sure something similar has happened to you as well. It can happen to anyone who plays guitar for long enough, but there’s no need for despair yet.
If you’ve been victimized by gravity like I have, as long as the damage isn’t major, you can fix a lot of things yourself. I’ll use my felled Casino as an example. It suffered a loosened tuner, an input jack that fell inside the guitar, a damaged fret, and a few dents in the finish. While I work, I’ll provide some suggestions for supplies and tools to keep in your home repair kit, just in case you ever need them.
Tools for the Tasks
We ordered all of the tools we used in these repairs, excluding the painter’s tape and the toothpicks, which we picked up during lunch at Jack’s Bar-B-Que, from StewMac.
The essentials:
• ESP Multi Spanner
• Archtop Guitar Helping Hand
• Guitar Tech Screwdriver Set
• 3 Corner Fret Dressing Files
• Ultra Thin Master Glue
• GluBoost Fill n’ Finish
• Rectangular Sanding Kit
Can’t Tune It like That
First, let’s take care of the loose tuner, since it’s currently in no shape to reliably hold string tension. The tumble knocked it sideways, which loosened the screws holding in the key, which caused the wood around the screws to strip. It’s alarming to see, but this is a very simple fix.
Add to Repair Kit: Round toothpicks, water-thin CA glue, glue applicator tips, safety goggles
[Note: For the unfamiliar, CA is short for cyanoacrylate. It’s commonly referred to as “Super Glue,” but since that is a brand name, not the generic, I’ll refer to it here as “CA glue.”]
First, remove the tuner by backing the screws out, then pull the tuner from the headstock. My Casino’s tuning keys use a press-in bushing to hold the post straight in the headstock, so no further disassembly is required. However, if you experience this issue with a guitar with more modern-styled tuning keys, you’ll need to use an appropriately sized wrench or socket to remove the screw-in bushing before removing the key.
Next, break a toothpick in half, insert the thicker end into the hole where your mounting screw used to be. Break it off flush with the surface, and repeat the process with the other hole.
Safety goggles on: It’s CA glue time. Trust me, you do not want to squirt this stuff into your eye. Fit an applicator tip to the glue bottle and practice your squeeze on a scrap piece of paper or wood, far away from anything you don’t want glued to your guitar or yourself. This stuff is magic—it will bond things you never intended if you aren’t careful.
All you need is a very small drop, so practice until you can confidently flow out just a small controlled amount. Once you’ve mastered that, drop a small amount of water-thin CA glue into each filled hole. It will soak through the toothpick into the surrounding wood just enough for this quick fix. Let it cure for at least 15 minutes, but longer is even better.
Pop the tuner back in and drive the screws straight into the toothpick-filled holes. The screw will compress the toothpick into the existing wood and create new threads strong enough to hold your tuner in place.
Congratulations! You fixed it well enough to at least make it through a session. I’ve done this on several guitars that lasted years with no issues, so you should be confident in your work.
Hit the Road, Jack
Look, there’s no way to sugarcoat this. Fishing an output jack out of a hollowbody guitar is a pain. You can do this. All you need is patience and a few handy gadgets.
Add to Repair Kit: flashlight, multi-spanner, small drywall anchor, “helping hand,” small screwdriver
Your first task is to locate the jack inside the guitar. Odds are it didn’t fall far away from where it needs to be, since it’s probably wired to one of your control potentiometers. Use your flashlight to shine some light inside the f-hole to help find it.
I found mine wedged against the treble side of the rim, a little farther away than I can reach with my fingers. This is not zesty. I am unhappy but equipped and determined.
The tool I described as a “helping hand” becomes useful here. It’s essentially just a bent hook at the end of a handle made out of pliable heavy wire. Several guitar parts suppliers sell something similar. I got mine from StewMac for a reasonable price, but if you want to be thrifty about it, there’s no reason why you can’t cut and bend a wire coat hanger.
Take a few deep breaths, and working through the f-hole, use the hook end of your helping hand to gently pull the output jack back toward where it was mounted. Bend the helping hand however needed to reach the jack as easily as possible.
I managed to pull the jack back enough to put a small screwdriver through the jack’s mounting hole and then through the jack itself. That screwdriver will act as a guide while I lift the jack back into place with the helping hand.
You should expect this will take several attempts. Try not to get frustrated. With enough patience, you’ll be able to get the jack back where it belongs. Once you have the jack in place, carefully thread the washer and nut back onto the jack. It shouldn’t take much effort to thread it back on. Just be careful not to cross-thread the nut.
Now that the nut is threaded on enough so it won’t fall back in, the challenge is to tighten it without twisting the jack itself to avoid breaking any wires. I’ve seen and used a few different methods to accomplish this, but I came across one recently that I really like.
This is where you’ll use your drywall anchor. Get one small enough to fit inside the jack without using too much force, then tighten the screw in the anchor so that it spreads to fit tightly inside the jack. This will hold it steady enough to tighten the nut with a multi-spanner tool or an appropriately-sized wrench.
I like a multi-spanner for this job, because it’s always the right size and is slim enough to not be clumsy for operations like this. Like the helping hand, lots of suppliers sell something similar using different names. Mine is made by ESP and also arrived in my StewMac tool box. I use it all the time for all sorts of tasks.
Once the nut is tightened, unscrew the drywall anchor, remove it, and test the jack for sound by plugging your guitar into an amp. A positive result should be obvious at this point, but if you don’t hear any signal, or an excessive consistent buzz, get in touch with your local repair tech.
Got a Dent In My Fret, Man
Honestly, face-first is probably the best way a guitar like my Casino could have hit the ground. The damage could’ve been far worse. Check any forum for endless complaints about Gibson/Epiphone headstock breaks. But I do need to address some damage to a fret caused during the fall.
The issue here is that plain steel electric guitar strings—like your G, B, and E strings—are considerably harder than most frets (my stainless steel fret contingency, put your hands down and let me finish), so it’s possible for a string to leave a small sharp dent in a fret if you hit it with enough force. This specific issue might go unnoticed until it’s time to bend a note at that fret, then you’ll feel and hear the string catch it. No good.
Before we get started: Having allof your frets carefully levelled, recrowned, and polished is alwaysa better solution than partially levelling just a few frets. But considering the entire premise we’ve constructed, which is a situation where we just want the guitar back in action relatively quickly, a partial fret level on the upper frets is perfectly fine as long as it’s done carefully.
Add to Repair Kit: Crowning file (three-corner or rounded), assortment of sandpaper (400 grit to 800 should be fine), 0000 extra-fine steel wool (optional), fretboard conditioner, permanent marker.
First thing we need to do is identify which frets need the work. Let’s say you have a nick in your 17th fret on the treble side under the B string. The goal is to bring the height of that damaged fret and all the frets past it down until the nick disappears. After that, remove the strings before you begin working.
To accomplish this, mark the damaged frets and all frets past it with a permanent marker. A trusty black Sharpie works great for this, but any darker color works fine. For this repair, we only need to work on the treble side of the frets, so that’s all you need to focus on. Also, use some blue painter’s marking tape to protect the area of the guitar near where you will be working. Small slips of a file or sandpaper can cause some nasty injuries to the guitar’s surface.
Next, level the damaged fret and all frets past it (moving toward the bridge) with something stiff enough to not flex under pressure. I keep an old credit card—a nice sturdy one—with a bit of 400-grit sandpaper glued to one side along the shorter edge, 800 grit on the other side. Start with the 400 and work your way down, being careful not to use too much pressure. Let the sandpaper do the work.
You’ll notice the ink is removed as you sand. The way to make sure you’re keeping everything level is to stop frequently and observe the new clean areas on top of each fret. Each one should be about the same width.
This will take a while. A 400-grit sandpaper does not remove material quickly, 800 grit even less so. I’m suggesting this technique because working slowly makes it more difficult to get yourself in trouble. Several suppliers sell mini files for spot leveling, but I don’t recommend starting there because they remove fret material pretty aggressively.
Eventually you’ll notice the little divot in your 17th fret is almost gone. Now’s time to switch to 800 grit to finish the job. You guessed correctly: This will take even longer, but it’ll leave a nice finish without removing any more material than necessary.
Great! Now you have five flat-topped frets. That won’t sound very good, so now you need to re-crown them, giving them a rounded profile to match the other frets. I like to use a 3-corner file to slowly round over each side of the fret, working from the fretboard up, but if you feel like dropping some serious flow on a specialized crowning file, this job can be a lot easier. Be sure to get the marker back out, ink up each fret, and stop filing when just a tiny sliver of ink is left on top of each fret.
Use a piece of 800 grit paper to remove any file marks and smooth out each fret. If you have finer grits, you could work your way up to 1200 or so, but don’t go too hard or you could undo your work. You just want the frets clean and smooth. At this point, I like the way frets feel after a quick buff with 0000 steel wool, but the mess left behind does rightfully deter a lot of repair techs. If you opt in for this, be sure to tape off your pickups and consider finding a second location for this step.
Work in some fretboard conditioner if you like (skip it if you have a maple or synthetic board; no need for that here), put some new strings on, and check your work. Play every note on these frets, to make sure they ring out without any buzzes. It may not look perfect, but as long as the guitar sounds good, you’re okay until it’s time for a full level/crown/polish job.
Not Finished Until It’s, Uh, Finished
Now for the last souvenir from my Casino’s short journey to the floor. I noticed a few spots along the rim of the guitar where the finish was damaged. Specifically, it looks like the guitar hit something with an edge on the way down hard enough to put a couple of jagged dents in it, right along the binding.
Funny, that’s actually what binding is intended for–protecting edges and corners from damage. Anyway, we need to discuss a few things about guitar finishes.
For the purpose of this article, I’m only going to discuss repairs to the clear coat, since that’s where my damage is. Most guitars now are finished using polyurethane or lacquer for the top clear-coat layer.
Speaking verygenerally, lacquer finishes are softer and less durable, which makes hiding repairs a lot easier if you have the skills and patience. Polyurethane finishes are hard and tough in every way: hard to damage and tough to hide repairs regardless of skills or patience.
I happen to know that my formerly mint-condition Casino has a polyurethane finish, which means I’m going to lower my expectations with this repair. Instead of trying to make it look like it never happened, which will take a lot of work, I’ll just try to keep it from getting worse over time, which will take considerably less work.
It also means I won’t be discussing how to repair lacquer finishes, which is a bit more in-depth, requires a lot more patience and practice, and is therefore not really recommended for the average DIY’er—at least not in the scope of this piece. So if your guitar has a lacquer finish, I don’t think this part applies. Let someone else take care of it, or maybe skip this part and learn to love your guitar as is. The latter is still an admirable move.
Add to Repair Kit: Nothing! You already have what you need from the previous repairs. Feel good about that.
Since the damage is a pronounced dent with sharp edges in the clear coat, all I really need to do is seal it with an appropriate material. And the material appropriate for repairing polyurethane finishes is—you guessed it—CA glue, because it dries hard, clear, and quickly, much like polyurethane.
Step one: Use painter’s masking tape around the area of the damage, just in case the glue runs when applied. Step two: Put glue on the dented finish. CA glue will fill in all the small cracks within the damage and seal the existing finish. Be careful; use the smallest-drop-possible technique you perfected when fixing the tuning peg, and give it plenty of time to dry.
That’s it. That’s all I need to keep the finish from continuing to chip the more I play it. Yes, I saved the easiest one for last, as a little treat.
Obviously, this isn’t a particularly beautiful repair, so I could go above and beyond by using thicker CA glue—for example, GluBoost Fill n’ Finish—to fill it in completely, sand it level, and polish the area back to the original mirror gloss. Dan Erlewine has a few excellent YouTube videos outlining this exact method that are easy to find, and I encourage you to try if you’re so inclined. But for my purposes, this will do.
Accidents will happen if you’re actually playing your guitar, but they’re no cause for panic when they do. Even though the guitar isn’t perfect anymore, it’s perfectly playable, and I can get by with it for now. I broke it, so I fixed it, which is something I hope you feel empowered to do should you break yours.
Next time, I’ll use a good guitar stand.
