
Does it bug you to lose treble when you roll back the guitar volume? Here are three solutions to that problem.
Passive single-coil pickup systems have an inherent sonic idiosyncrasy: When you turn down the volumeāeven just a bitāthe high-end loss is not proportionate to the volume reduction. In other words, a small cut in volume creates a far greater drop in your guitar's treble response. This is true of the Stratocaster and Telecaster, as well as many other popular models, so I'm sure you're familiar with it.
This quirk of passive electronics isn't really a big deal for all players. Many aren't bothered by it because they've simply gotten used to the sound over the years. Others really like this "problem," since it lets you coax a second tonal color from the same pickupāsimply roll back the volume a tad to fatten up the tone. But a lot of guitarists (myself included) prefer to maintain an identical amount of treble at any volume setting.
Using active electronics is the only real solution to combating the "volume-versus-tone" issueāall other strategies are just a compromise. That said, compromise can lead to significant improvements. Personally, I use a compromising solution in all of my own guitars. And my favorite solution is one of the easiest mods ever: add a "treble-bleed network" between the input and output of the volume pot(s) of the guitar. This works with passive single-coils and humbuckers, but if your guitar has more than one volume control, like on a Les Paul, each volume pot needs its own treble-bleed network.
Some Background.
So, what is a treble-bleed network and how does it work? In layman's terms, it's usually a combination of a small capacitor and a resistor in parallel. Techies call this a RC network, but such systems are also called a "treble bypass filter" or TBA, for treble-bypass arrangement. You can also find variations that use only a cap, or a resistor in series with the cap.
The theory behind this little rascal appears straightforward, but it's much more complicated than it seems. So as not to slam you with theory, I'll stick to the basics, which means having to over-simplify the following explanation.
First, the good news: It's possible to calculate the values for a treble-bleed network that will work superbly in a given guitar. The bad news? The formula behind it is complex and beyond the scope of this column. There are many parameters involved in this formula, such as the number, ratio, and resistance of the pots in your guitar, the pickups, the length and capacitance of your guitar cable, the input impedance of your amp, and more. All of these must be calculated in the context of a Fletcher-Munson curve, which defines equal-loudness contours for the human ear. Doable, but really complicated!
Typically, you have to make several simulations and analyze the corresponding curve to see if it matches your goal. Such calculated networks will work wonderfully in the guitar you calculated them for, but when you change one of the parametersālike the length or type of your guitar cable, or you plug into a different ampāthe treble-bleed network will stop working perfectly. That's an unavoidable fact. Because of all the parameters involved, it's easy to see why standard "one-size-fits-all" networks are an illusion.
So you can experiment to determine what you like best, based on your own gear and sonic goals, I'll describe the different types and possible value ranges of the components. Because the range of these components is very limited, at minimum you'll achieve good results. But if you want great results, it's important to realize you'll have to experiment with each individual guitar, and this includes a lot of component swapping.
When you roll down the volume, the treble-bleed network starts to filter out some bass frequencies, making the highs more prominent.
The Details.
When you roll down the volume, the treble-bleed network starts to filter out some bass frequencies, making the highs more prominent. It won't boost anything (treble, in this case) because a passive device can only filter out certain frequencies. The networks are always connected between the input and output of the volume control, as shown in Fig. 1.
There are basically three different types of treble-bleed networks (Fig. 2), and we'll examine each of them. On the left is "cap only," which isn't a true network because it's a capacitor without a resistor. Fender made this version popular in the '60s when they started installing a 1000 pF cap on Telecaster volume controls. Together with the 1M pots they used at this time, the sonic result was kind of creepy ... thin and bright.
This value is still popular today in many one-size-fits-all solutions. This circuit has one problem: As the volume is turned lower, more of the higher frequencies will predominateāeven to the point where the guitar starts to sound very "tinny" as the volume approaches zero. Depending on what you're after sonically, this can be a good thing or not. If you want to experiment with this cap-only configuration, good working values are from 220 pF up to 1500 pF.
Our second type of treble-bleed network is shown in the center of Fig. 2. This consists of a cap with a resistor in parallel. This is the version you'll find in most treble-bleed networks. A very popular combination is a 1000 pF cap with a 150k-ohm resistor in parallel. This works for almost any guitar, when it comes to a one-size-fits-all solution.
Fig. 2
The cap-with-resistor-in-parallel version can be superior to the cap-only method because, as you turn the volume lower, the higher frequencies don't dominate. The problem with this circuit is that it affects the taper of the volume pot in a negative way when the two values are not carefully matched to each other. Good working values to try are from 220 pF up to 1500 pF for the cap, and 100k-ohm up to 330k-ohm for the resistor.
Our third treble-bleed network, shown on the right, consists of a cap with a resistor in series. This configuration became popular in the '90s when Australian luthier Chris Kinman started to use a 1200 pF cap and a 130k-ohm resistor in series for his guitars. This scheme is regarded by many to be the best of the three versions, because it seems to solve the problem of the volume pot taper and the tinny sound. Even Fender uses it now. Their system employs a 1000 pF cap and a 130k-ohm resistor, and is dubbed the Fender Tone Saver. Values you should try are 470 pF up to 1500 pF for the cap, and 100k-ohm up to 330k-ohm for the resistor.
Regarding the two components, here's a rule of thumb: Brightness is determined by the resistor's value (less ohms yields more highs), but the frequencies that are present are determined by the cap's valueāthe lower the value, the higher the frequencies, and conversely, the higher the value, the lower the frequencies.
Into the sound lab. To conduct your own treble-bleed network experiments, solder two wires to the input and output of the volume pot and connect alligator clips on the other ends. If you let the two wires hang out from under the pickguard for fast access, you can easily try every combination of cap and resistor. (Be sure to take notes.)
After you find your favorite combination, remove the two wires and permanently install it to the volume pot. Remember, what you choose may be very different from another player. Some like more high end (this is often due to a dark-sounding amp), while others prefer more midrange to get a punchy sound. It's worth taking the time to try several combinations. This simple circuit can turn a muddy-sounding guitar into an articulate oneāeven with tons of distortionābecause the tone will clean up when you roll back the volume.
I can't advise you what to useāyou need to explore this yourself or let an experienced tech calculate your personal treble-bleed network, based on your specific rig. Many guitarists like the cap-only version for Strats and Teles, while others prefer a cap and a resistor in parallel. The resistor-in-parallel and resistor-in-series schemes perform more-or-less equally, but the parallel version offers more highs when you turn down the volume. Again, this can be positive or negative, depending on your pickups and amp.
Okay, that's it for now. Until next time ... keep on modding!
[Updated 9/10/21]
- Mod Garage: The Fender Greasebucket Tone Circuit - Premier Guitar āŗ
- The Fascinating Peavey T-60 Tone Circuit - Premier Guitar āŗ
- Mod Garage: Three Ways to Wire a Tone Pot - Premier Guitar āŗ
- Mod Garage: The Fender Greasebucket Tone Circuit - Premier Guitar āŗ
- The Fascinating Peavey T-60 Tone Circuit - Premier Guitar āŗ
- Assessing a Pickupās Polarity and Phase āŗ
Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where theyāre based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like āBand Practice,ā āStudio Mic Setup,ā or āQuick Jam,ā making it effortless to jump back in with the perfect sound.
āThese tools are all about saving time and hassle,ā said Patrick Finn, Business Manager at Lutefish. āMusicians want to make music, not spend time rebalancing levels every session. With presets and recall, weāre giving them time back and helping them sound their best, every time.ā
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream deviceāso they will always know whoās ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefishās mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriersāwhether youāre jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you donāt 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 āTrembling Level,ā 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.
PGās Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the bandās show at Nashvilleās Brooklyn Bowl for this new Rig Rundown.
Brought to you by DāAddario.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 Hetās Hardwired strings, .011ā.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 thatās been rebadged in honor of its nickname, āDonkey,ā while the Archon, which is like a ārefined 5150,ā runs through an Orange 4x12.
Ryan Primackās Pedalboard
Primackās 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.
Taverās Teles
Vadim Taverās go-to is this cherryburst FenderĀ Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primackās 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 DāAddario 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 Taverās Pedalboard
Taverās 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
Harmonās favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which heās outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ā70s 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 Harmonās Pedalboard
Harmonās 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 Kieselās new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼ā input, XLR and ¼ā outputs, gain and volume controls and extensive equalization. Itās 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 donāt let that hold you back if youāre 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 ¼ā 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 ā important for the instrument most responsible for the bandās 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).