
Image 1
How you connect the tone cap and potentiometer to the volume control has a huge effect on your sound.
There are three different ways to configure the volume and tone controls in an electric guitar. Typically referred to as “modern," “'60s," and “'50s wiring," they perform differently and are a subject of great debate amongst tone fanatics. These wirings are often discussed in the context of a Les Paul, but the schemes apply to any guitar with a volume and tone control—whether it's a master-volume-plus-master-tone configuration, as with a Telecaster, or a guitar with individual volume and tone controls for each pickup, such as a Les Paul, ES-335, SG, and so on.
Let's examine these three systems and see how they differ. But first, some background: In a standard electric guitar, the potentiometers are used as variable resistors. We use two of the three lugs on each pot, and the tone cap is connected between the volume and tone controls. To keep it simple, we'll say each pot has an input lug, an output lug, and a third lug connected to ground.
As you close the pot—i.e., turn it counterclockwise—the wiper moves towards the grounded lug, sending more and more of your signal to ground. With the pot completely closed, all of the signal is sent to ground. In the case of a volume control, this results in silence. For the tone control, this yields the darkest tone. How dark depends on the capacitance of the connected tone cap.
With the pot completely open (turned fully clockwise), essentially the input and output are directly connected. This allows all the signal to pass through the output, which means you get full volume and, in the case of the tone control, maximum high-end chime because the tone cap has almost no influence on the sound.
On a tone pot, instead of sending the complete signal to ground, the capacitor only sends a part of the signal to ground. The capacitance of the tone cap determines the cut-off point of the high frequencies. A low-capacitance tone cap—3300 pF, for example—will pass the least amounts of high-end chime to ground. Thus, when you roll the pot completely back, you'll hear only a subtle change in the high end. This value keeps your sound alive and vital, creating something I like to call a "warmth control." A higher capacitance value, like 0.022 µF, will roll off much more of your high end, creating a darker tone. With capacitances of 0.1 µF or even higher, your tone will be close to clinically dead with the tone pot fully closed.
Okay, now that we've done our homework, it's time to compare the three wiring schemes. We'll begin with the configuration that's so commonly used in today's production guitars that it has become a quasi-standard.
Modern Wiring
As shown in Image 1, in this wiring scheme the tone cap is connected between the volume pot's input and the tone pot's middle lug (aka wiper), which in this case is also the output. This configuration yields the behavior we've come to expect from a passive guitar. When you turn down the volume (even just a bit), the treble loss is disproportionate to the drop in volume. In other words, a small cut in volume creates a far greater loss in your guitar's treble response. That's the nature of the beast—something we all know well. There is only one real solution to combat this "volume-versus-tone" problem: active electronics. All other solutions are just a compromise … but as is often the case, some compromising can make things much better.
This natural behavior in passive electronics is not an issue for all players. Many guitarists aren't bothered by it because they've gotten used to it over the years. Others really like this effect because it gives them a second tonal color from the same pickup. "Cool—I simply roll back the volume to fatten up the tone."
That said, many players prefer to have a consistent amount of treble at any volume setting. If that describes you, putting a carefully calculated treble-bleed network on all volume pots can be a good compromise. I explain how to do this in "Diving Deep into Treble-Bleed Networks."
There's one other thing to consider: How a control responds depends a lot on the pot's taper and ratio. Today, typical audio (aka logarithmic) pots have a 90:10 ratio, which results in a more or less "on-off" effect early in the rotation, rather than a useable range of control. Our human hearing simply doesn't work like this. To feel and sound right, a control needs a different ratio—preferably 60:40 or at least 65:35, which was the standard in the '50s and '60s. Sadly, most modern guitars come equipped from the factory with 90:10 audio taper pots.
People often talk about the magical tone of late-'50s sunburst Les Pauls. Well, part of this mojo is due to the '50s wiring.
Linear pots have a different problem: Over almost the whole rotation, you won't hear a significant change in tone or volume, but when you reach the end of the rotation, the "on-off" effect suddenly appears. This is exactly the opposite of an audio pot with an ineffective taper. For more on this subject, read "Dialing in the Passive Tone Control."
Classic '60s Wiring
As you can see in Image 1 (middle diagram), in this configuration, the tone cap is still connected to the input of the volume pot, but on the tone pot the middle lug is now connected to ground. Electrically, the '60s wiring is completely identical to the modern wiring with the same tone, behavior, and problems. But there is one significant difference: In terms of shielding, the '60s wiring is superior to the modern wiring scheme. When electromagnetic interferences enter a guitar, they will also stray into the tone pot's unused pin and therefore into the middle lug (the wiper) in both wirings. With the wiper connected to ground, as in the '60s wiring, the interferences will stop at this point. But with the tone cap connected to the middle lug, like in the modern wiring, electromagnetic interferences will find their way through the cap and carry on.
So, compared to the modern wiring, the signal-to-noise ratio in the '60s wiring is superior. This is technical knowledge from yesteryear: The wiper of a variable resistor is connected to the low resistance part of the circuit. This knowledge was really important when designing and building tube amps, radios, and televisions, but is almost forgotten today.
So why did Gibson switch from the '60s to the modern wiring? My personal theory is that this allowed them to use pre-configured pots for both volume and tone, with the same third lug soldered to the case as the grounding point. I don't know if this is true, but if you know the reason or have another theory, please share it.
Vintage '50s Wiring
In closing, let's look at the almost legendary '50s wiring, which is by far the most discussed wiring scheme when it comes to Gibson guitars (Image 1 — bottom diagram). Here, the tone pot's middle lug is also connected to ground, like in the '60s wiring, so it also offers the benefit of superior signal-to-noise ratio. But in this case, the tone cap connects to the volume pot's output lug, rather than its input.
With the volume fully opened, the '50s wiring is identical to the modern wiring: In both versions, the tone circuit is galvanically connected to the pickup's output, so the behavior and operation are comparable. The magic starts when you turn down the volume. With the modern wiring, the tone circuit is still directly connected to the pickup, but with the '50s wiring, the tone circuit is uncoupled from the volume, which is now electrically located between the pickup and the tone circuit. Because the tone circuit can no longer react directly to the inductance of the pickup, no resonance superelevation and no resonance shift can happen at this point. With the tone pot almost closed, the bass frequencies will be relatively raised—perfect for creating the "woman tone" that's often associated with Cream-era Eric Clapton.
What's so special about the '50s wiring? It will influence the guitar's performance in three major ways:
- The overall tone gets stronger and more transparent. It's difficult to describe, but I think of it as more "in your face."
- The typical treble loss that occurs when rolling back the volume is greatly reduced, and both the volume and tone controls react more smoothly and evenly without the typical hot spots. As a side effect, it's easier to clean up an overdriven amp by simply rolling back the volume on your guitar a bit.
- The tone and volume controls interact with each other—something you may know from certain early Fender tube amps. When you change the volume, the tone also changes a little bit and vice versa. Such interaction may feel strange at first, but it only takes a few minutes to get used to.
People often talk about the magical tone of late-'50s sunburst Les Pauls. Well, part of this mojo is due to the '50s wiring. The guitar responds differently—notes seem to "bloom," as if they're opening up after leaving the guitar. Why not give it a try? You might love it.
Next time, we'll resume our exploration of different types of guitar wire and how to use and handle them, so stay tuned. Until then ... keep on modding!
[Updated 9/9/21]
- Mod Garage: The Fender Greasebucket Tone Circuit - Premier Guitar ›
- Grounding Passive Circuits, Part 2—Plus, How to Build a Solder Cage - Premier Guitar ›
- How to Install and Maintain Your Guitar's Pots - Premier Guitar ›
- Mod Garage: Four Ways to Configure a 4-Conductor Humbucker - Premier Guitar ›
- Mod Garage: Four Ways to Configure a 4-Conductor Humbucker - Premier Guitar ›
- Mod Garage: The Fender Greasebucket Tone Circuit - Premier Guitar ›
- Mod Garage: Decouple Your Les Paul’s Volume Controls - Premier Guitar ›
- DIY Relic’ing: Harmony Benton DC-Junior Electronics - Premier Guitar ›
- Auditioning Tone Capacitors, Part II - Premier Guitar ›
- What Does Phase and Polarity Mean for Your Guitar’s Pickups? - Premier Guitar ›
On our season two finale, the country legend details his lead-guitar tricks on one of his biggest hits.
Get out the Kleenex, hankies, or whatever you use to wipe away your tears: It’s the last episode of this season of Shred With Shifty, a media event more consequential and profound than the finales of White Lotus and Severance combined. But there’ll be some tears of joy, too, because on this season two closer, Chris Shiflett talks with one of country music’s greatest players: Vince Gill.
Gill’s illustrious solo career speaks for itself, and he’s played with everyone from Reba McEntire and Patty Loveless to Ricky Skaggs and Dolly Parton. He even replaced Glenn Frey in the Eagles after Frey’s death in 2017. His singing prowess is matched by his grace and precision on the fretboard, skills which are on display on the melodic solo for “One More Last Chance.” He used the same blackguard 1953 Fender Telecaster that you see in this interview to record the lead, although he might not play the solo the exact way he did back in 1992.
Tune in to learn how Gill dialed his clean tone with a tip from Roy Nichols, why he loves early blackguard Telecasters and doesn’t love shredders, and why you never want to be the best player during a studio session.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
$149
Marshall 1959 Super Lead
The very definition of classic, vintage Marshall sound in a highly affordable package.
There’s only one relevant question about Marshall’s new 1959 Super Lead overdrive/distortion pedal: Does it sound like an actual vintage Super Lead head? The answer is, simply and surprisingly, yes. The significant difference I heard within the voice of this stomp, which I ran through a Carr Vincent and a StewMac Valve Factory 18 kit amp for contrast, is that it’s a lot quieter than my 1972 Super Lead.
The Super Lead, which bore Marshall’s 1959 model number, debuted in 1965 and was the amp that defined the plexi sound. That sound is here in spades, clubs, diamonds, and hearts. Like the Super Lead, the pedal is easy to use. The original’s 3-band EQ is replaced by a single, rangeful tone control. The normal dial and the volume, which together mimic the character created by jumping the first and second channels of a plexi head, offer smooth, rich, buttery op-amp driven gain and loudness. And the high-treble dial functions much like the presence control on the original amp.
The pedal is sturdy and handsome, too. A heavy-duty metal enclosure evokes the classic black-with-gold-plate plexi look and a vintage-grille-cloth motif. Switches and knobs (the latter with rubber sides for slip-free turning) are ultra solid, and—refreshingly—there’s a 9V battery option in addition to a barrel-pin connection. Whether with single-coils or humbuckers, getting beefy, sustained, historic tones took moments. I especially delighted in approximating my favorite Super Lead head setting by flooring the high treble, normal, and tone dials, and turning back the tone pots on my Flying V, evoking Disraeli Gears-era Clapton tone. That alone, to me, makes the 1959 Super Lead stomp a bargain at $149.Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.