
To benefit from the series option, you need to use your Strat’s dual-pickup settings—bridge + middle or neck + middle.
This month, we again dive into parallel/series pickup switching for your Stratocaster. As you may recall from last month's column [“Stratocaster Parallel/Series Switching," December 2011], an individual single-coil Strat pickup cannot be wired in parallel or series by itself—you need a minimum of two pickups for this. To benefit from the series option, you need to use your Strat's dual-pickup settings—bridge + middle or neck + middle.
Fig. 1
Fig. 1 shows how to wire two pickups in parallel with the option of running them in series. Here, both pickups are wired to a normal DPDT (aka 2PDT) switch. In the down position, both pickups are connected in parallel—the standard Stratocaster configuration. This setting yields maximum chime and twang. With the toggle in the up position, pickup No. 2's ground is lifted and no longer connected to ground. Instead, it's now connected to the hot output of pickup No. 1, with the red jumper wire on the toggle switch making the connection.
Note: With normal Strat pickups, this works right from the start, but be careful when using humbuckers with only two wires (shield + hot), or one conductor pickups, in which the pickup ground and the shield wire are not separated. If you're working with humbuckers, be sure to use a unit with a 4-conductor wire that has the pickup ground separate from the shield wire, or let someone who knows what he's doing convert your standard humbucker. Desoldering the metal case and working with the super-thin internal pickup wires requires the right tools and some experience to avoid ruining the pickup. Ungrounding the shield will work, but you'll hear a buzz when you touch the pickup's metal casing, because the metal case will be included in the pickup circuit. The same holds true for single-coils with a metal casing that is connected to the pickup ground—and this includes all standard Telecaster neck pickups! We'll discuss this topic in detail in future columns.
So how can we add series switching to a Strat? There are many ways to do this, and if you do a Google search you'll find several approaches to series switching. Unfortunately, some of them are simply wrong. Most use two additional switches or complicated rotary switching, or wild combinations of these elements—sometimes even in conjunction with a 5-way super-switch.
Yes, we have to move more wires for this mod than we've done before, but after more than three years of Strat mods, you're no longer a novice, right? Series wiring is one of the supreme challenges in Strat modding, but you can do it!
My favorite Strat series-switching scheme only uses one normal DPDT switch and only affects the dual-pickup positions.
Fig. 2 shows the schematic in all its glory.
As always, you can use an additional mini toggle DPDT switch for this mod. Or, if you Adding Series Switching to Your Strat BY DIRK Wacker don't want to alter the stock appearance of your Strat, you can use a push/pull or push/ push pot of your choice. Most push/pull and push/push pots include a DPDT switch, so this shouldn't be a problem.
Operating this circuit is very easy: With the switch in the down position, both pickups are wired in parallel—the standard setting—when you select position 2 or 4 (bridge + middle or neck + middle).
But flip the switch up in position 2 or 4, and the respective two pickups are then wired in series to beat the devil out of your tube amp. In the other single-pickup positions (1, 3, and 5), the DPDT switch has no effect. That's easy enough, isn't it?
Another benefit of this particular approach to series switching is that it moves only the minimum wires required to do the job. Simple and clean. (The only downside of this mod occurs if you also use the “seven-sound mod" on your Strat. In that case, it will not connect the bridge and neck pickup together in series as well. If you need both mods, there's no way around having to install a second additional switch or a rotary switch with enough poles to accommodate all the positions.)
The schematic also incorporates individual tone caps for the middle and neck pickups, something I highly recommend for series wiring. You should lower the standard values a little bit, to prevent your tone from getting muddy in the series settings. Try 0.015 μF for the middle and 0.01 μF for the neck pickup.
As you can see, I chose to connect the middle pickup to the DPDT toggle switch. Because the middle pickup is involved in both dual-pickup positions, you only need one switch to give you two new tones. (This also explains why this wiring won't work for the seven-sound mod's combination of bridge + neck pickup. The middle pickup isn't active in this setting.)
On this note, we'll close out our Stratocaster mod series and shift over to Telecaster and Esquire mods next month. We'll start with a brief inspection of your guitars and look at some cool mods to enhance their primary tone. Until then, keep on modding!
[Updated 1/12/21]
- Strat Series Wiring for a New Decade - Premier Guitar ›
- Three Must-Try Guitar Wiring Mods - Premier Guitar ›
- Mod Garage: Four Ways to Configure a 4-Conductor Humbucker ... ›
Eminence Speaker launches the Karnivore guitar speaker, developed in collaboration with metal producer Kristian Kohle.
Eminence Speaker, renowned for its high-performance speakers in the heart of Kentucky, is launching the Karnivore, a groundbreaking guitar speaker developed in collaboration with world-class metal producer Kristian Kohle.
Following their successful partnership on the Eminence / Orange Bass Guitar Cabinet ImpulseResponse Pack and the Kristian Kohle DV-77 IR Pack, this new venture takes the Kohle/Eminence collaboration to new heights, bringing the ultimate high-gain solution to guitarists everywhere.
Available in 8 ohm and 16 ohm models, the 12” Karnivore is designed with a ceramic magnet to deliver everything heavy players need: a massive low end, a thick, vocal mid-range, and mid-range bite that effortlessly cuts through even the most demanding metal mixes — all without becoming harsh or brittle. Whether it's crushing rhythm tones or searing leads, the Karnivore provides the perfect balance of power and precision, making it a must-have for modern guitarists pushing the boundaries of tone.
Kristian Kohle, a renowned producer and engineer known for his work with legendary metal bands like Powerwolf, Aborted, and Electric Callboy, has been instrumental in shaping the Karnivore’s sonic profile. With years of expertise refining tones for metal artists, Kohle's influence can be heard in every aspect of the speaker's design, ensuring that the Karnivore is not only a technical marvel but also an artistic tool for achieving unparalleled high-gain tones.
Key features of the Karnivore:
- 12” speaker with ceramic magnet
- 8 and 16 ohm options available
The Karnivore carries a $159.99 street price.
For more information, please visit eminence.com.
Light and very comfortable to play. Creative tonal options. Excellent hardware.
P-90s may be too hot or bright for some. Middle pickup not as articulate as expected—and surprisingly difficult to activate on the fly.
$1,229
Vola Guitars JZ FRO
volaguitars.com
Pro hardware, unusual circuit tweaks, and killer playability lend new twists to the P-90 solidbody template.
For nearly 10 years, Vola Guitars' Japan-made instruments stood out for their somewhat unorthodox features, quality execution, visual vibes that walk the line between traditional and modern, and mid-level prices that rival industry heavyweights. In the company’s varied line of 6- and 7-string guitars (and 4- and 5-string basses), the JZ FRO is more on the traditional end. Yet it still stakes out its own territory in terms of style and performance.
Subtle Upgrades
Vola’s most distinctive aesthetic feature is undoubtedly the bodyline scoop/flourish near the rear strap button. On the JZ FRO, it lends a dash of elegance and sophistication to an outline that might otherwise seem too literally Jazzmaster-like, while the handsome roasted maple neck, swooped reverse headstock, and nonstandard pickup scheme help make it clear this isn’t your average offset. It’s a classy, understated look even in the model’s flashier aged-copper and shell-pink hues. But look closer and you’ll note appointments that a lot of seasoned guitarists will appreciate, including Luminlay position markers, stainless steel frets, and a direct-to-output circuit bypass switch situated between the volume and tone knobs.
Slicing and Then Some
It’s not often you see a solidbody outfitted with a pair of humbucker-sized P-90s anda Strat-style middle pickup. The P-90s are alnico 5 units measuring 9.5k and 10.5k ohms resistance. To avail you of this circuit’s numerous tones the JZ FRO incorporates a deceptively simple-looking control array. There’s a lone tone knob, a traditional 3-way selector, and a master volume that pulls up to bring the S-style middle pickup into the mix. In this mode, with the pickup selector down, you get the bridge and middle pickup, in the middle you get all three pickups, and in the up position you get the neck and middle pickups. (More on mid-pickup tones in a minute.)
The P-90s are pretty hot, with a lot of punch and zing. In fact, the bridge pickup’s leanness and the neck pickup’s gristliness sometimes evoke Gibson P-100s.
With the JZ FRO routed through a Celestion Ruby-outfitted 6973-powered combo set to a bit of grind, I loved the bridge pickup’s tough airiness. There’s a detailed, vintage-esque character, and it gets toothier as you pair it with a boost or dirt pedal to drive an amp hard. Compared to the vintage-spec Curtis Novak P-90s in my Les Paul Special, the Vola’s bridge pickup is a little less warm and brawny, but also probably a bit more malleable and adaptable to different genres, especially if you’ve got a lot of effects in your signal path. The neck pickup is similarly powerful, though its contrasts with a traditionally voiced P-90 feel less apparent.
How about that middle pickup? Paired with the bridge unit, it yields funky, Strat-like quack—a tone you’re not going to get with most dual P-90 guitars. Accent them with a wiggle of the super smooth-operating Gotoh trem, and the Strat allusion is even stronger. Mind you, all this tone variation is available beforeyou activate the tone-circuit bypass. It acts like a powerful onboard boost: Everything is louder, hotter, and leaner.The Verdict
Vola deserves big kudos for packing so many unique features into a guitar that feels and plays this nicely at such a reasonable price. The novel tone-circuit bypass could help you cut through a dense mix or boost your solo even when you’re away from your pedalboard. That said, in some positions I found it sounded a little strident or hi-fi, and the fact that the circuit-bypass mode renders the volume knob useless makes it something of an all-or-nothing proposition. The added middle pickup expands tonal possibilities beyond P-90 norms, but don’t expect the same type of added clarity you’d get from a Strat’s middle pickup. Even so, the JZ FRO’s exceptionally smooth performing hardware and excellent craftsmanship make playing a breeze and a pleasure, and its VFP90 pickups pack a mix of power, clarity, and flexibility that make it a great choice for biting rock and thick, bristling blues tones.
There’s no disputing the influence B.B. King has had on the history of electric guitar music. We’re talking about his sound, his best records, his guitars, his showmanship, and his collabs, from an all-star jam at the 2010 Crossroads festival to, yes, even his 1988 U2 collab, “When Love Comes to Town.”
There’s no disputing the influence B.B. King has had on the history of electric guitar music.
With Lucille in hand—as well as other guitars—he carved out his sound by developing a signature one-of-a-kind vibrato and pick attack. His note choice, phrasing, and feel have basically become the fundamental vocabulary of electric blues. Even more than any other of his blues peers, his playing shaped blues and rock guitar. And that’s not to mention his singing.
So, on this episode of 100 Guitarists, we’re celebrating the King. We’re talking about his sound, his best records, his guitars, his showmanship, and his collabs, from an all-star jam at the 2010 Crossroads festival to, yes, even his 1988 U2 collab, “When Love Comes to Town.”
In our current listening segment, we’re talking about Brian John McBrearty’s recent meditation-jazz release Remembering Repeating and Julian Lage’s latest, Apple Music Nashville Sessions.
This episode is sponsored by Gibson.
Tighten up your rhythm playing by focusing on how to get a great sound, balancing your wrist and elbow, and understanding how to subdivide rhythms.