Applying Dirk''s cap knowledge to a real-life situation.
Hello, and welcome back to Mod Garage. To
start this last installment about tone capacitors
for Strats, I would like to tell you a story
that happened to me some years ago. I swear
itās all true. Hopefully you will not send me to
the stake after reading itāand no voodoo,
either, please!
One of our customers, a professional guitarist
from Switzerland, called and wanted to bring in a
vintage guitar he had acquired a few days before,
because āthere was something wrong with the
electronics.ā When he arrived and opened up
the case, there it was: a 1962 Stratocaster in all
its glory! The guitar had obviously been played a
lot, but other than a bunch of dings it was in very
good condition. The previous owner had said it
didnāt sound very good and sold it at a price our
customer couldnāt pass up.
First Nirvana, Then Blah
I took it out of the case, tuned it, and noodled
on a few chords and licks without plugging in.
I was instantly stunned: It was one of the most
acoustically vibrant guitars Iād ever played!
The whole thing resonatedāfrom the end
of the body up to the headstockāyou could
even feel some notes when you touched the
headstock. The overtones seemed to jump
out of this guitar. I was in playing heaven.
However, after plugging the guitar into an
amp, I was really disappointed. It didnāt sound
badāand the tone was noticeably Strat-yābut
it was far away from being a fantastic-sounding
guitar. None of the superb acoustic qualities
were there. It just sounded average. As you
may know, buying a vintage guitar does not
guarantee good vintage tone. Over the years
Iāve seen a lot of lemons from the Golden Age
of guitar building, so I thought maybe this could
be one of those guitars. I plugged it into my
1959 Bassman using a high-quality guitar cable,
but the result was the same. I agreed with the
customer that there had to be something wrong
with the electronics. After unstringing the guitar,
we opened it and found that most of the electronics
were stock. There was one replaced tone
pot, an Orange Drop tone capacitor, and a new
ground wire running from the tremolo compartment
to the case of the volume pot. Thatās it,
nothing too special. Pots can fail after such a
long time, wires can break, and replacement
tone caps are nothing uncommon. The pickups,
switch, wiring, two of the three pots, and the
output jack were absolutely stock.
The Olā Pickguard-Swap Test
My next step was to take out the pickguard,
including the output jack, and put in an already-wired
replacement pickguard that we use as a
reference for testing. This pickguard is loaded
with standard parts like CTS pots, a CRL 5-way
switch, and a set of Fender 57/62 pickups. The
goal was to create an average-quality pickguard
for testingānothing too fancy and nothing
below average. After connecting everything
and restringing the guitar, we plugged it in
and it blew me away! Without any adjustment
of the pickup heights, the sound was fantastic.
Very transparent, punchy, and with all of the
vintage Strat attributes we love. Our customer
was totally freaking over how good the guitar
sounded, and it took me some time to convince
him to lay down the guitar again. You all
know this special momentāplaying and hearing
your new guitar for the first time. It always
brings a huge smile to your face. I guess you all
know what happened thenā¦after some adjustments,
our test pickguard remained on the
Strat as a loan while we promised to check and
repair the original electronics.
CSI: Germany
To double-check everything, I temporarily
installed the vintage pickguard on one of our
test guitars, a standard Made-in-Mexico Fender
Stratocaster. The result was the same. The tone
was average and had no personality. I took
some high-resolution pics for reference and
then pulled all the parts out of the pickguard to
test them. To make sure the pickups were OK, I
soldered them, one by one, directly to the output
jack. They all sounded fantastic. So it was
clear that the pickups were fine and that the
failure was somewhere in the wiring and/or the
switches or pots. After unsoldering everything, I
measured all the wires. They seemed OK. Same
with the switch, the pots, the cap, and the output
jack. After repeating all the checks again,
I decided to reinstall everything and exchange
one part after another to track down the faulty
piece. After carefully reassembling all the guts,
I was hit between the eyes: I put the pickguard
on our test Strat and it sounded rich and beautifulā
simply stunning. I tried to replicate the
problem several times but failed. The guitar
sounded great, and I had no clue why.
I compared the wiring and the arrangement
of the parts with the pics I took several times,
but it was all identical. I even marked all the
wires to put them in the same place again.
Well, such things happen from time to time. The
most important thing was that the failure was
gone, which would guarantee me a satisfied
customer. But the obscure phenomenon bothered
me. So I let it cool down for a few days
and then carefully compared everything with
the pictures again. And there it was: I hadnāt
noticed it beforeābecause it shouldnāt make a
differenceābut I had installed the tone cap face
up (so you can read what is printed on it, which
makes things easier because you can clearly
see the value). In the original configuration, the
same cap had been installed face down, so it
was 180 degrees reversed. I didnāt pay attention
to this fact because Orange Drop caps are
film/foil caps and donĀ“t have an orientation like
electrolytic caps. So the way theyāre installed
should not make a difference in tone. Since
this was the only noticeable difference I could
detect, I decided to test my own wits one more
time. I reversed the cap the way it was originally
installed, and I could hardly believe it: I plugged
the guitar in and the average tone was back! It
was like the life had been sucked out of it again.
An Orange Drop in the Forensics Lab
I wondered if the cap was faulty, so I tested
it with a DMM and a scope but couldnĀ“t find
a problem. I handed the cap to a friend of
mine who works at a test lab at the local
university, and he did several intensive tests
but couldnĀ“t find anything unusual. It was in
perfect working condition.
To find out how to avoid this same problem
with your tone caps, stay tuned for next
monthĀ“s column.
Until then, keep on modding!
Dirk Wacker
Dirk Wacker lives in Germany and has been addicted to all kinds of guitars since the age of 5. He is fascinated by anything related to old Fender guitars and amps. He plays country, rockabilly, surf, and Nashville styles in two bands, works regularly as a studio musician for a local studio, and writes for several guitar mags. He is also a hardcore DIY-er for guitars, amps, and stompboxes, and he runs an extensive webpageāsinglecoil.comāon the subject.
Weāre giving away pedals all month long! Enter Stompboxtober Day 11 for your chance to win todayās pedal from Hotone Audio!
Hotone Wong Press
Cory Wong Signature Volume/Wah/Expression Pedal
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, heās been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.
Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Coryās custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Coryās near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Coryās feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lightsāblue for Wah mode and green for Volume modeāmaking live performances more intuitive and visually striking!
In line with the Hotone Design Inspiration philosophy, the Wong Press represents the perfect blend of design and inspiration. Now, musicians can channel their inner Cory Wong and enjoy the freedom and joy of playing with the Wong Press!
A more affordable path to satisfying your 1176 lust.
An affordable alternative to Cali76 and 1176 comps that sounds brilliant. Effective, satisfying controls.
Big!
$269
Warm Audio Pedal76
warmaudio.com
Though compressors are often used to add excitement to flat tones, pedal compressors for guitar are often ā¦ boring. Not so theWarm Audio Pedal76. The FET-driven, CineMag transformer-equipped Pedal76 is fun to look at, fun to operate, and fun to experiment with. Well, maybe itās not fun fitting it on a pedalboardāat a little less than 6.5ā wide and about 3.25ā tall, itās big. But its potential to enliven your guitar sounds is also pretty huge.
Warm Audio already builds a very authentic and inexpensive clone of the Urei 1176, theWA76. But the font used for the modelās name, its control layout, and its dimensions all suggest a clone of Origin Effectsā much-admired first-generation Cali76, which makes this a sort of clone of an homage. Much of the 1176ās essence is retained in that evolution, however. The Pedal76 also approximates the 1176ās operational feel. The generous control spacing and the satisfying resistance in the knobs means fast, precise adjustments, which, in turn, invite fine-tuning and experimentation.
Well-worn 1176 formulas deliver very satisfying results from the Pedal76. The 10ā2ā4 recipe (the numbers correspond to compression ratio and āclockā positions on the ratio, attack, and release controls, respectively) illuminates lifeless tonesāadding body without flab, and an effervescent, sparkly color that preserves dynamics and overtones. Less subtle compression tricks sound fantastic, too. Drive from aggressive input levels is growling and thick but retains brightness and nuance. Heavy-duty compression ratios combined with fast attack and slow release times lend otherworldly sustain to jangly parts. Impractically large? Maybe. But Iād happily consider bumping the rest of my gain devices for the Pedal76.
Check out our demo of the Reverend Vernon Reid Totem Series Shaman Model! John Bohlinger walks you through the guitar's standout features, tones, and signature style.
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Vernon Reid Totem Series, ShamanWith three voices, tap tempo, and six presets, EQDās newest echo is an affordable, approachable master of utility.
A highly desirable combination of features and quality at a very fair price. Nice distinctions among delay voices. Controls are clear, easy to use, and can be effectively manipulated on the fly.
Analog voices may lack complexity to some ears.
$149
EarthQuaker Silos
earthquakerdevices.com
There is something satisfying, even comforting, about encountering a product of any kind that is greater than the sum of its partsāthings that embody a convergence of good design decisions, solid engineering, and empathy for users that considers their budgets and real-world needs. You feel some of that spirit inEarthQuakerās new Silos digital delay. Itās easy to use, its tone variations are practical and can provoke very different creative reactions, and at $149 itās very inexpensive, particularly when you consider its utility.
Silos features six presets, tap tempo, one full second of delay time, and three voicesātwo of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, itās not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this canāt-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silosā utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly wonāt get lost in the weeds if you move to the 3-position toggle, which switches between a clear ādigitalā voice, darker āanalogā voice, and a ātapeā voice which is darker still.
āThe three voices offer discernibly different response to gain devices.ā
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while itās true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silosā three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximityāan effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silosā affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats thatās sweet for underscoring rhythmic patterns, while the digital voiceās pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silosā combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.