Cool variations on Gibson’s multi-cap tone control.
After meeting my PG colleague Joe Gore at last year's Musikmesse and exchanging email, I realized we share a passion for guitar wiring mods. After reading his excellent article “Three Must-Try Guitar Wiring Mods" [PG, July '14], I suggested doing something together for PG, and here it is. I took the basic idea from Joe's “Varitone variation" mod and extended it here.
A common problem. Using a Varitone or Varitone variation means switching capacitance. Depending on the switch's design and its location in the circuit, this can result in a loud popping noise in a passive guitar wiring scheme if you switch capacitors. You can prevent this by turning down your guitar's volume pot or putting your amp on standby, but what if you want to use the rotary switch mid-song?
There's an easy solution: Get some 10M resistors. (I like 1/4-watt metal-film resistors because of their small size, but you can use any resistor type or voltage you want, so long as it has the correct resistance.) Solder one between the rotary switch's center input lug (labeled “Center lug connects to volume pot lug 3" in Joe's diagram) and the lug the capacitor is connected to. You need to use a separate resistor for each capacitor, which means a total of three resistors if you follow Joe's diagram. With more than three caps, it can be tricky fitting all those resistors on a rotary switch, so small-sized resistors are welcome. This simple yet effective solution prevents popping noises in most cases, and is something Gibson used in their original Varitone design.
A different way to use the switch. In most cases players choose a switch to dial in different capacitor values, as Joe explains in his article. It's a great way to have many tonal shades available in only one guitar. With a 12-pole switch, you can connect 12 caps, and that's a lot. It can be difficult to add so many caps, depending on the guitar's available space. It's not much fun in a Telecaster, for example, but is relatively stress-free in a standard Strat. So using very small caps, or a unit with SMD (surface-mount device) caps, such as Stellartone's ToneStyler, can be a great solution if space is tight.
Here's a design I recently created for a customer: a 12-pole rotary switch with 11 caps—and 11 10M resistors! (The first position is bypass, with no tone cap engaged.) The caps are divided into two groups: The first is a kind of warmth control, with caps ranging from 1000 pF up to 6800 pF. The second group includes more typical tone cap sizes, ranging from 0.01 µF up to 0.1 µF. This way, you have a wide range of available tones. Of course, you can use fewer than 11 caps if you don't need so many options.
Another alternative is to switch between caps of the same value, but different type. One of our jazz-playing customers decided to use 0.033 µF tone caps in all his guitars—a nice in-between value if the standard 0.022 µF is too bright, but 0.047 µF is too dark.
He loves a rich, woody tone with nice overtones, so a certain cap from Roederstein is his standard. But he also wanted a warm, woolly tone as well as a slightly mid-scooped one, so we installed a rotary switch with his beloved Roederstein cap for the standard sound, a NOS paper-in-oil cap for the warm tone, and a standard “orange drop" cap for a slightly scooped sound. All three caps were 0.033 µF.
The original Varitone design. The original Gibson Varitone design used an inductor to create a series of notch filters together with the capacitors. Personally, I think adding the inductor is not the best choice. The design may have worked in the '50s, but today most of us are looking for different tones. (Joe described the tone of the original design in his article.) However, the original Varitone still has its fans, so let's look at it.
The original Varitone is a rotary switch with five different caps: 1000 pF, 3000 pF, 0.01 µF, 0.03 µF, and 0.22 µF. The first switching position is bypass, and each cap is paired with a 10M resistor. There's also a 1.5H choke as an inductor. If you want to add an inductor, you can use Xicon's 42TM019-RC or 42TL021-RC, both available inexpensively from Mouser, Radio Shack, and other electronics vendors. (These inductors have center-tapped primaries and secondaries. Use the entire primary or the entire secondary, and ignore center taps for Varitone wiring.)
Adding an inductor to Joe's wiring is quite easy. All caps are connected to ground after the rotary switch, so simply loosen this connection and wire the inductor between the caps and ground, and that's it! You can find good step-by-step instructions on installing the inductor at https://www.diyguitarmods.com/varitone-wiring-instructions.php.
If you want your circuit as close to the original as possible, connect a 100k resistor between the center input lug of the rotary switch (labeled “Center lug connects to volume pot lug 3" in Joe's diagram) and the wire coming from the volume pot. Several companies offer premade Varitone switches with the inductor added if you don't want to build one yourself.
Making it even more flexible. With the standard Varitone switch, the selected cap is engaged all the way. Joe's article describes the difference between cutting varying amounts of signal at a fixed frequency (as on a standard tone control) and cutting fixed amounts of signal at varying frequencies (as on a Varitone). But if you add a master tone control, you combine both approaches for an extremely flexible mod. Here's how to do it.
Add a 250k or 500k pot to your guitar near the Varitone switch. Loosen the connection where all the caps go to ground. Twist and solder the open ends of the caps together with a length of insulated wire. Solder the other end of the wire to the middle lug of the tone pot (Image 1). Lug #3 isn't connected to anything, and lug #1 goes to ground. Okay, you're done!
Now the rotary switch selects the tone cap, while the pot fine-tunes the settings. Give it a try—I'm sure you'll be amazed. And next month we'll explore another mod where the rotary switch is the headliner. Until then, keep on modding!
Stompboxtober is rolling on! Enter below for your chance to WIN today's featured pedal from Peterson Tuners! Come back each day during the month of October for more chances to win!
Peterson StroboStomp Mini Pedal Tuner
The StroboStomp Mini delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks. |
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.