Need a new Stompbox? Find your next effect in this month's Gear Finds!
TriceraChorus
Inspired by the classic Tri-Stereo Chorus and stompbox choruses of the 1970s and early 1980s, the TriceraChorus pedal pairs rich Bucket Brigade-style chorusing with Eventide’s legendary MicroPitch detuning for a lushness that rivals the jungles of the late Cretaceous Period. TriceraChorus features three chorus voices and three unique chorus effects which can be used to create a wide stereo spread with pulsing waves of modulation. The innovative “Swirl” footswitch adds psychedelic flanging, phasing, and Univibe-style tones. It has never been easier to dial in syrupy smooth, deep modulation on guitar, bass, synths, strings, vocals, and more.
Maestro Original Collection
To be called “legendary” is to have shaped music as we know it. From the Rolling Stones to the Raconteurs. From Pete Townshend to George Harrison and from Clapton to Frampton. They strived to coax the truest expression from their instruments - the sound they heard in their heads and their hearts. Their signature sound - so uniquely shaped by effects that it changed everything. It’s the Fuzz-Tone FZ-1 that fuels the groundbreaking riff in the Rolling Stones’ “(I Can’t Get No) Satisfaction” and the funky wah filter that anchors the “Theme from Shaft.” While the impact they had on the lineage of music is also unique, many have one thing in common—Maestro. So, while not everyone has heard of Maestro, everyone has heard Maestro.
Maestro, the “Founder of Effects,” is back with an all-new line of effect pedals - the Maestro Original Collection. Five new pedals, designed, voiced, and styled for the musician looking to shape their unique sound. A tribute to the sound and style of the brand’s much-beloved classic models of the 60s and 70s, with modern features, expanded versatility, and advanced tone-tweaking capabilities. Each function as an innovative “two-in-one” pedal, with a single toggle that switches between two distinct modes. Each features a straightforward three-knob setup, true bypass switching, and an ergonomic, pedalboard-friendly wedge profile.
It doesn’t matter what you play. As long as there are sounds being made, new legends will emerge. Maestro is back to help you SHAPE YOUR SOUND.
Electro-Harmonix Intelligent Harmony Machine
The EHX Intelligent Harmony Machine instantly creates matching harmonies to what you play. It’s like having one – or even two – guitarists jamming with you at the same time and always in perfect sync. The Intelligent Harmony Machine opens a door to the music of great multi-lead guitar bands and multi-part harmonized solos. Plus, its ability to apply harmonies ranging from simple to sophisticated will totally transform what you play. Of course, it also boasts EHX’s renowned impeccable tracking and genuine musical tone.
MESA/Boogie Drive Pedals
MESA® Drive Pedals are built by the same artisans that create the award-winning Mark Five™ and the legendary Dual and Triple Rectifier® amps. They stand ready to serve up all rock genres with cut and aggression while retaining much of the signature warmth and organic sonic quality found in our amplifiers. Ranging from high to lower gain applications, including classic rock or howling blues, we have a drive pedal that will help you achieve the sounds that so many artists have employed in our amps to create the world’s heaviest guitar tones!
Progressing along the gain spectrum, the transparent boost/overdrive CLEO™ is joined by the vintage-inspired, medium gain DYNAPLEX™ and the higher gain GOLD MINE™. The CLEO is a transparent boost/overdrive design focusing on vintage-inspired low to medium gain overdrive sounds packed with dynamic nuance, lively attack, and a wide variety of essential clip sounds. Moving on to medium gain, the DYNAPLEX is all about the “British Crunch” style with classic mid punch, chirping harmonics, and the chime players desire for classic rock sounds and beyond. Progressing to the higher end of the gain spectrum, the GOLD MINE is focused on mid to high gain sounds, classic heavy chunk, and rich gain with harmonic complexity, soaring single note sounds, and the liquid gain and girth that gain lovers expect from MESA.
Like every MESA product, our pedals are built using the same quality components, craftsmanship, and inspiring performance as our custom amplifiers...all hand-built in Petaluma, California, USA!
Electro-Harmonix Pitch Fork+ Polyphonic Pitch Shifter
Dual engine pitch shifting with nearly endless possibilities and expansive control options! The EHX Pitch Fork®+ features two independent pitch shifting engines with full control over each. Both will transpose your pitch up or down over a +/- three octave range and detune +/-99 cents. With rock solid tracking, an organic, musical tone and extensive control, it’s your ultimate harmonizer.
Pedal Pad CUSTOM PEDALBOARDS : BUILT TO ORDER!!
Pedal Pad pedalboards are hand-built for YOU in Coatesville, Pennsylvania! Our boards feature an ALL-IN-ONE solution where the board is also the case. Just pop the top and PLAY! Our ordering interface allows you to configure any board with a plethora of options. More options or requests? Just email or call and we'll make it happen! Most custom orders ship within 2-3 weeks!
Electro-Harmonix Nano Big Muff Pi Fuzz
EHX took the Big Muff Pi circuit and simply shrunk it without changing its rich, creamy, violin-like sustain and sound. The EHX Nano Big Muff Pi works and sounds identical in every way to our classic NYC Big Muff Pi. Get a piece of the pi for yourself!
Valeton GP-200
Implementing the HD digital modeling technology accumulated throughout years of the Valeton team's diligent efforts, the GP-200 delivers hundreds of re-editions of tones from world-classic amplifiers and stompboxes with a comprehensive upgraded algorithm. Combining 140 legendary amplifiers and cabinets simulations and 100 renowned stompbox effect pedals, plus 20 factory cab IR slots, the GP-200 will guarantee your consistently great sound on stage.
Electro-Harmonix Ravish Sitar Emulator
Transform your electric guitar into a sitar! Very few instruments offer as much harmonic and dynamic flexibility as a sitar. Electro-Harmonix has streamlined the essence of the sitar into a compact enclosure that offers a polyphonic lead voice and tunable sympathetic string drones that dynamically react to your playing. With the EHX Ravish Sitar Emulator, you can create your own custom scales for the sympathetic strings while you set the decay time for the lead voice.
Two expression pedal inputs allow you to bend the pitch of the lead voice and control the volume of the sympathetic strings simultaneously. These unique controls offer the player the ability to program the Ravish to become a totally unique and organic instrument unto itself.
The Ravish is truly a design with the flexibility to be a crossover tonal wonder.
VOX Valvenergy Pedals: Mystic Edge
Iconic amp sounds for your pedalboard. The Valvenergy series valve distortion pedals offer the warmth and harmonics of amp distortion in a compact pedal format. The all-analog signal path and Nutube allow for genuine overdrive and distortion tones with the feel of a real tube amp, while internally boosted voltage gives greater headroom and dynamics. Three output modes allow you to use this as a standard pedal, a line-level preamp, and a direct amp-sim using the built-in analog cabinet simulator.
See Video
Follow on Instagram
Acorn Amplifiers F#%k Face Fuzz
The F#%k Face is a triple gain stage fuzz with thick and meaty sustain that sounds huge in front of a slightly cranked tube amp. Baseball card collectors from the late 80’s will immediately recognize the infamous ‘error card’ graphics of the same name. The circuit is based on the legendary Fuzz with a different Face, but with an additional silicon transistor gain stage and voiced to retain more useable and dynamic fuzz tones all along the sweep of the two controls. In the front of your pedal chain, the F#%k Face will add dynamic interactivity to the volume controls on your guitar which enable a sweep from slight grit to full ripping-velcro breakup.
See Video
Follow on Facebook
Blackstar Amplification Dept. 10 Pedals
Brought to you by Blackstar’s R&D division responsible for blue-sky innovation and design, Dept. 10 are the most advanced valve pedals in the world. Meticulously designed and engineered by a team of musicians for musicians. At the heart of each Dept. 10 pedal is an ECC83 triode valve, running at more than 200V internally like a valve amp, which allows them to deliver organic tone, dynamics and break up. Dual Drive and Dual Distortion include Cab Rig, our next-generation DSP speaker simulator that reproduces the sound and feel of a mic’d up guitar cab in incredible detail. Deep-dive using our free software and capture the incredible tones via low latency USB, XLR D.I. out or headphones. Choose from Boost, Dual Drive or Dual Distortion to help you craft your perfect tone.
See Video
Follow on Instagram
Nobels ODR-mini
The ODR-mini delivers creamy, natural overdrive – Everything from pushed clean amp tones to gain filled stacks! It has the same tones as its legendary brother – the ODR-1. You‘ll love the warm mid-gain tones for rock and blues, and the screaming hard rock sounds from the ODR-1 Mini. Plus the mini features true-bypass switching, the SPECTRUM pot with mid-click, fluorescent pointers on the “GitD“ – knobs (Glow-in-the-Dark). Guaranteed to be a BIG part of your sound while a small part of your pedal board.
Effect-Type: Overdrive
Analog
Mono/Stereo: Mono In, Mono Out
Control: Drive, Tone, Level
Bypass Modus: True Bypass
9-18 Volt, center negative
Consumption 25 mA
Dimensions (WxLxH / mm): 42 x 93 x 50
Weight: 175 gr
Country of origin: China
Solid metal housing
Low current consumption
Requires stabilized power supply 9-18 Volt DC, with min 100 mA, 2.1 mm plug, center negative, (not included)
Hear Audio
See Video
Follow on Instagram
Darkglass Electronics Alpha Omega Photon
Versatility, empowerment, limitless options, and ever-demanding tools at the disposal of every musician and composer are today on demand. A call for inventive devices continues to make musicians more inspired, clever and connected. The Alpha·Omega Photon combines Darkglass' signature Alpha·Omega parallel distortion with the versatile format of the Aggressively Distorting Advanced Machine. In addition to powerful distortion and studio-quality compression, the Alpha·Omega Photon is capable as an audio interface via USB-C or an amp replacement using cab sim IRs and XLR DI output.
See Video
Follow on Instagram
George L's Effects Cable Kits
Enhance the tone and clarity of your pedalboard with award winning sound.
The George L’s effects kit.
The kit comes with 10’ of cable, 10 right angle plugs and 10 stress relief jackets.
Available in black, vintage red and purple.
As easy as 1, 2, 3 no soldering!
Cut, poke and screw your way to 47 years of sound excellence.
SurfyBear Metal Reverb Unit
The Holy Grail of guitar reverb effects, the Fender®-style spring reverb, has been finally revisited with modern features!
Try it and discover why most surf guitarists and the truly reverb addicted are turning to SurfyBear.
★ exclusive SurfyPan type-4 spring reverb pan by Accutronics® and Surfy Industries
★ aluminium body with removable feet on the bottom side for better positioning on pedalboards
★ clean boost to adjust the volume when the effect is on
★ innovative dual-LED on/off button
★ true bypass functionality to keep your signal intact when the effect is off
★ external footswitch possibility though the dedicated 1/4" jack (footswitch not included)
See Video
Follow On Instagram
The limited-edition Joe Strummer Masterbuilt Telecaster by Fender Custom Shop offers a faithful recreation of the Clash guitarist's 1966 Telecaster.
The Limited Edition Master Built Joe Strummer Telecaster | Fender Custom Shop | Fender
Fender Senior Master Builder, Paul Waller, said: “For me growing up listening to all of this music and then working for a brand like Fender to have access to instruments like these is pretty powerful and a full circle moment.
Building a guitar like this is both rewarding and difficult. I’m trying to be accurate and create a product that means a lot to so many people, which is why we always try and pair the right builder with the right artist.”
Limited Edition Joe Strummer Masterbuilt Telecaster ($20,000 USD)
As celebrated front man of The Clash and The Mescaleros, Joe Strummer’s raw, passionate stage presence and socio-political songwriting defined the punk rock movement that kicked off in the late-1970’s - all with his now infamous 1966 Telecaster by his side. To honour his legacy, Fender Custom Shop Senior Masterbuilder Paul Waller meticulously recreated every aspect of Strummer’s cherished instrument for a limited edition run. The resonant two-piece select alder body, impeccably worn mid-‘60s “C” profile neck and round-laminated rosewood fingerboard, gives players the feeling of holding a road-tested piece of punk rock history, mirroring all the features found on highly sought after 1960s Fender guitars. Finished in Super Heavy Relic Aged Black over Three-Color Sunburst lacquer— including a matching painted pickguard—all the wear and tear from decades of touring is perfectly recreated on this incredible limited edition. Loaded with a pair of Josefina Campos hand-wound ’67 Telecaster pickups, this guitar exudes all the same raw, expressive tones found throughout both The Clash’s and The Mescaleros’ widely celebrated discographies. Other premium features include 7.25” (184.1 mm) radius, 21 Jescar Vintage (45085) frets, Modern Tele wiring, 3-way switch, 6-saddle string-through-body Tele bridge with steel barrel saddles, Schaller M6 Mini Tuners, brass nut, wing string tree with tall metal spacer, replica touring case, limited edition Joe Strummer Strap and certificate of authenticity.
Limited Edition Joe Strummer 13’ Instrument Cable ($34.99 USD)
Punk icon, musician and composer, Joe Strummer spent his life smashing musical and cultural boundaries both as the singer of The Clash and as a solo artist. Celebrate Joe Strummer’s unparalleled style and substance with his signature cable. This eclectic instrument cable is designed to be unique -- with a 13’ length, pink PVC jacket with leopard print housing, and Joe’s very own signature on the cable’s shrink wrap.
Limited Edition Joe Strummer Guitar Strap ($39.99 USD)
Celebrate Joe Strummer’s unparalleled style and substance with this leopard print strap. Designed to match his legendary Telecaster, this strap features faux leopard print animal fur with a Joe Strummer signature leather badge and is backed by tubular nylon for maximum comfort.
Features:
- 2-Piece Select Alder body with Offset Seam
- Plain-Grain Maple neck with a ‘60s Oval “C” Back-Shape and 7.25” (184.1 mm) Radius
- 3A Rosewood fretboard
- 21, Jescar Vintage frets
- 6-Saddle String-Through-Body Tele bridge with Steel Barrel Saddles
- Custom Shop Hand-Wound ‘67 Single-Coil Tele pickups (Bridge & Neck)
Alongside the Telecaster, there will be a range of Joe Strummer accessories available to purchase that include:
- 13’ Pink Instrument Cable with custom leopard print housing and signed cable wrap
- Faux leopard print animal fur guitar strap
- Pink vinyl wrapped 3-ply hardshell wood case, with soft crushed acrylic plush interior lining in leopard print
- Limited Edition Joe Strummer Signature Telecaster Pickup Set
For more information, please visit fender.com.
The All-Pedal Microdose is a mind-altering experience, but it’s not for the faint of heart.
Endless sounds and tweakability, from subtle to brain-melting.
Expensive. Probably too much firepower for most users.
$325
All-Pedal Microdose
allpedal.com
When it comes to effects like phase, chorus, and vibrato, many of us tend to have a staple (and sometimes cheesy) sound in mind. But such preconceptions obscure the reality that these effects can be much more radical than their best-known applications.
If you’ve ever thought that phaser pedals are one-trick ponies, All-Pedal’s new Microdose, a digital phaser collaboration with Portland’s Spaceman Effects, will happily relieve you of that notion. The Microdose is to the MXR Phase 90 what the modern smartphone is to an old Nokia flip phone: It’s so feature-packed and overflowing with an embarrassment of tone riches that it feels barely related at all to its humble ’70s ancestor.
“It gets percussive, punchy, and juicy, turning single-note runs into intergalactic transmissions, and full chords into blasts of alien goop.”
Discoveries From the Outer Reaches of Space(man)
The Microdose is an evolution and expansion of Spaceman’s Explorer Optical Phaser. It’s maximalist in terms of both enclosure art and functionality, and can feel a bit cluttered as a result. Between eight knobs, two switches, two footswitches, and a groovy font and graphics vying for visibility there is a lot to take in. There are a lot of sounds too. The crowning achievement here is the collection of 16 wave forms—more than triple the Explorer’s five—all of which are selectable via an 8-stop rotary knob and a switch that moves between standard or alternative (and weirder) versions of each wave form. Each setting can be treated to two-, four-, or eight-stage phasing, and the level control provides a hearty boost for the effect to make sure that when its engaged, differences between settings won’t get lost.
Rate, multiplier, blend, and depth knobs all function as you’d expect them to, but the Microdose’s resonance and warp controls breathe new life into familiar sounds. Resonance controls phaser feedback, generating gentle, tried-and-true phase sweeps at low settings and more prominent, insistent phasing when cranked the other way. Coupled with the depth knob, it allows for precise tuning of intense phase sounds. The warp knob, meanwhile, does exactly what it says: At noon, the phase wave form remains unaltered, but turning it in either direction produces varied modifications to each wave form.
The Microdose’s tap tempo is a welcome addition that adds flexibility and more control over complex modulations—especially in live situations. But with such a vast expanse of sounds on tap and no preset functionality, the pedal’s usefulness on stage can feel limited. While dedicated phase jockeys will no doubt find a spot for it on their gigging boards, it sometimes feels more like a piece of studio kit.
Mind-Expanding Tones
The Microdose lives up to its name. It can give you a subtle, just-fun-enough, vintage experience if that’s what you’re after. But it can also blast way beyond that into sci-fi, psychedelic, and fearsome ghost-in-the-machine meltdowns that sound nothing like guitar.
Set for a classic, two-stage sine wave phase with all controls at noon, the Microdose is surprisingly unassuming, adding just a sliver of movement and dimension. This is where the pedal’s dense tweakability really shines. You can dial in a modest always-on sound that breathes life and unusual texture into rhythm or lead parts without overpowering your signal. Deep depth and blend will swing you well into Waylon Jennings territory, but that’s just the start.
Things get trippy in the best way possible as you add phase stages and explore the alternative wave form algorithms, which are a lot of fun on their own and even more so with a wiggle of the warp knob. With each bump up in stages, the effect gets waterier and three-dimensional, which feels like splashing around in some interstellar swamp. When you max out at eight, the effect is in the driver’s seat. It gets percussive, punchy, and juicy—turning single-note runs into intergalactic transmissions, and full chords into blasts of alien goop.
The Verdict
There’s a whole world of sounds here between the Microdose’s extremes. It can probably execute every single phase sound you’ve ever dreamed of—plus some wackier than what your puny human brain could come up with without lysergic inspiration. If you’re up for a phase experience, Microdose is a trip you’ll want to take. PG
Fender just released a signature model for one of Nashville's most prolific session guitarists. Let's look inside his number one guitar.
Welcome back to Mod Garage. Let's take a closer look at what's usually referred to as the Brent Mason Telecaster wiring. It's also been called "Telecaster blend wiring" or "Nashville Telecaster wiring," and I think it's time to cover this one in detail for several reasons. First and foremost, I've received numerous requests from you, dear readers, to do this. Fender recently released a faithful replica of Brent Mason's Telecaster, and also, my PG colleague John Bohlinger did a great Rig Rundown video with Mason just weeks ago. Mason is an outstanding player and absolutely nice guy so it's only logical to cover the wiring of his famous '67 Telecaster. Unless you're living in a cave, you've heard about Mason and his playing, which he's laid down on more Nashville studio records than one can count.
Mason's famous "automobile primer gray" 1967 Telecaster has three humbucker pickups and three controls. It's basically a standard 3-way Tele pickup-switching circuit plus an additional volume control to blend in the middle pickup. These are the pickups Mason uses in his Telecaster, all from the Seymour Duncan company:
Rig Rundown: Brent Mason [2021]
- Neck position: Vintage Mini Humbucker (Mason tenderly calls it a "Baby Humbucker"), built-in 180 degrees flipped, so the open pole pieces are facing the bridge rather than the neck for some more high-end and clarity in the tone. The pickup is wired with both coils in series for full humbucking functionality and no control to split it.
- Middle position: Mason is using an older version of the Hot Stack Strat STK-S2 with the red pickup cover and engraved Seymour Duncan logo on top. The current model has a white cover that's partly open on top. Hopefully, the iconic early red pickup cover will be available again for that special look. The pickup is wired with both coils in series for full humbucking functionality and no control to split it.
- Bridge position: Vintage Stack Tele STK-T3b, which is wired with both coils in series for full humbucking functionality and no control to split it.
These are the pickups installed in Brent's original Tele and also the pickups Fender is using for the signature model. This is an HHH pickup combination, by all means. Why Fender labelled it an SSH combination on the webpage ... well, we don't know.
In general, you can use any given pickup combination for this wiring. If you want to be as close as possible, this is your shopping list. If you only want to get in the same ballpark, you should use a vintage-flavored Tele bridge pickup, a hotter (overwound) Stratocaster middle pickup, and a PAF-style humbucker or hot P-90 for the neck position. No matter if they're single-coils or humbuckers, it will work.
"This wiring worked well for Mason right from the start: A hum-free operation is absolutely essential for work in a studio."
Why did Mason choose such an unusual pickup combination, you might ask? According to Mason himself, he didn't have much money in his early career and could only afford one guitar. This had to cover everything he needed in the studio. Brent wanted a Telecaster bridge pickup to cover all the country playing that was popular in the early '90s. For this, he also installed a B-Bender (Joe Glaser system, Mk1 version). He also wanted a Stratocaster tone, especially the in-between tone from bridge and middle together in parallel, and a Les Paul-ish tone from the neck position. So, the pickup combination he chose made sense, and Nashville's Joe Glaser did the wiring for him, which is the reason why Mason named this wiring "Glaser wiring."
This worked well for Mason right from the start: A hum-free operation is absolutely essential for work in a studio. But the wiring underwent some evolution during the years regarding the push-pull pot, which is the master tone control. This was initially wired to split the Hot Stack middle pickup into a single-coil, and all the diagrams of this wiring that are online right now still display this version. Today, the push-pull pot is wired to switch the middle pickup on and off. This is also the way Fender's Mason signature Tele is wired and what I'll be showing you. If you want the older wiring, you can find several examples online. They are also correct, but simply not up to date with Mason's current wiring.
I asked Mason directly about this, and I'm more than happy to share his reply:
"Basically, it's a standard 3-way switch with an extra volume knob that controls the middle pickup. Three knobs, left to right: volume (for neck and bridge), volume (middle), tone (for all 3) with an extra feature to pull on the tone knob to cut the middle pickup off or on. The middle pickup with the volume knob enables you to roll in the desired amount to blend with either neck or bridge. The pull knob on my original '67 Tele cuts the Seymour Duncan Vintage Stack split coil in half to single-coil. Later on, over the years I found that feature useless. We decided to make that tone control knob cut the middle pickup off and on. Upward position is off. The pickups are all Seymour Duncan; Mini Humbucker in front, Hot Stack in middle, and Vintage Stack in bridge." —Brent Mason
Building The Limited-Edition Brent Mason Telecaster | Dream Factory | Fender
So, what do we need for this wiring? We know the pickups, but we don't know exactly what's used for the electronics and how it's wired. Fender didn't release a wiring diagram for the signature model yet and Joe Glaser didn't publish anything about it. My diagram (Fig. 1 - scroll below) will work exactly as it should, but maybe the original guitar is wired slightly different. As you know, many roads lead to Rome.
I was able to find a photo of the wiring Fender did (Photo 1) and extracted a still shot of Brent's original guitar from the Fender video mentioned above (Photo 2).
Photo 1
Photo courtesy of FMIC
Photo 2
Photo courtesy of FMIC
On these two photos, we can clearly see:
- The push-pull pot is wired to switch the middle pickup on and off.
- All three pickups are wired for full humbucking functionality with both coils in series.
- No treble-bleed networks are used on the two volume pots.
- Mason still has the '67 original Sprague "Circle D" 0.05 uF high-voltage ceramic tone cap in his guitar.
This only leaves us with two unknown parameters: resistance of the three pots, and on/off wiring of the middle pickup. I think it's three 250k audio pots, but if you want a tad more high-end, using a 500k audio push-pull master tone pot is worth a try. I would use two 250k audio volume pots to benefit from the much better taper range compared to a 500k pot—the nature of the (passive) beast.
To activate or cut off the middle pickup there are two different ways: connecting the pickup to the switch or using a push/pull volume pot for the middle pickup. I decided to use the second version because when connecting the pickup directly to the switch, the volume pot stays connected to the circuit, adding some load to it, resulting in less high-end. Please note that the master tone pot will not work on the middle pickup when the master volume is not set to "10" (aka fully opened). When you start to roll down the volume, the middle pickup gets disconnected from the master tone, no matter if you switch the pickup itself or the volume pot—that's part of the game.
Fig. 1
To keep the wiring diagram (Fig. 1) as clean as possible, I showed all ground connections only with the international symbol for it rather than drawing several black wires through the diagram. I also only show two pickup wires (hot and ground) but keep in mind that these are humbuckers with a four-conductor wiring plus separate ground wire, so you'll have to solder some wires together to end up with only two pickup wires. The separate ground wire always goes directly to ground (casing of a pot, etc.) and assuming you're using Seymour Duncan pickups, you'll have to follow this color code:
- Black wire = hot output
- White and red wire are twisted together, soldered, and isolated
- Green wire = ground
For other pickups, you'll have to use the corresponding color code from the manufacturer. For single-coil pickups, you don't need to do all this.
Is this wiring perfect or are there any mods that can be done? At least it's perfect for Mason and his playing. If it's good enough for him, it should be good enough for all of us. But this is only half the truth.
If you have Brent's playing chops, you don't depend much on any equipment. Even with the cheapest, meanest, off-tuned junk guitar, Mason will sound much better than most of us. The better you play, the less you depend on equipment. It's absolutely okay and no sacrilege to mod this circuit to your personal needs. If you want to use the push-pull pot for splitting one of the pickups rather than switching the middle pickup on and off ... go for it! If you want to use treble-bleed networks for the volume pots or want to implement splitting for all three pickups, there's no law against doing so.
That's it for now. Next month we'll continue with our DIY relic'ing project.
Until then ... keep on modding!