Here’s how you can squeeze five different sounds from Fender’s iconic 6-string.
PG readers often ask me for more “super switch" projects, so here we go—Mod Garage delivers! This one is designed to expand a Telecaster's tonal palette, but you can adapt it to other guitars with two single-coil pickups.
Okay, before we launch into this cool mod, let's review: Dual-pickup electrics typically come from the factory wired to yield three sounds: each pickup solo and the two pickups together. With its bridge and neck pickups connected to a master volume and master tone control, the Telecaster is the archetype for dual-pickup guitars, and its elegant simplicity has made it an enduring favorite for playing virtually all styles of music. The Telecaster offers the three pickup combinations mentioned above, but if you dig deeper, you'll find additional tones that can't be accessed with a standard 3-way switch. Potentially, a guitar with dual single-coils offers six switchable tones. They are:
- 1. Bridge pickup solo.
- 2. Neck pickup solo.
- 3. Bridge and neck pickups wired in parallel, in phase.
- 4. Bridge and neck pickups wired in parallel, out of phase.
- 5. Bridge and neck pickups wired in series, in phase.
- 6. Bridge and neck pickups wired in series, out of phase.
So a standard Tele yields only half of its tonal palette. The other sounds lie dormant under the hood ... unless we wake them up. What do you think, shall we give it a shot?
As any hardcore Tele fan will tell you, this idea isn't new. One of the earliest “mods" for expanding Telecaster tones dates back to the '60s and James Burton, who discovered the out-of-phase glories of his stock-wired, late-'50s Telecaster by accident while backing up Ricky Nelson. He found that by carefully placing the 3-way pickup selector switch between its prescribed “clicks" (similar to what Strat players did to achieve positions 2 and 4 before the 5-way Strat switch became the standard), he could coax a thin, out-of-phase sound from his Tele. You can hear this sound on many famous Ricky Nelson recordings, including Burton's solo parts on “Travelin' Man."
Another step forward was the 4-way pickup selector switch from Oak Grigsby (now Electroswitch), which you can find in many Telecasters worldwide, mostly wired to get both pickups together in series and in phase. So you see, players have always wanted to expand the Tele's tones. When looking at Telecaster photos, you can often see additional switches and/or pots on the control plate that clearly show these attempts.
Now we'll take this one step further by using a 5-way “super switch" to give us five of the six possible tones without changing the visual appearance of a stock Telecaster. (In a future column, I'll share a mod to this mod that will give you all six possible sounds.)
You don't need much for the “5-tone Tele mod" besides a 5-way super switch and a piece of wire. But here's an important caveat: When shopping for the 5-way super switch, be sure to confirm that the common open-frame version will physically fit in your guitar's control cavity. If it won't, you can opt for the PCB-based version that's noticeably smaller. Depending on your guitar, it can sometimes be necessary to chisel out some wood from the bottom of the cavity to make these super switches fit. Also, to prevent any accidental shorts, be sure that no part of the switch physically touches the cavity, especially if the cavity is shielded with copper foil or conductive paint.
Our next step is to get the pickups ready for this project, something I covered previously in “Preparing Your Tele for Future Mods." This is essential if your pickup has a metal cover that's connected to the pickup's ground. For all series/parallel and phase switching trickery, you need to separate the metal cover from the pickup's ground to prevent hum and noise issues. The new ground wire for the cover always goes to ground—no exceptions!
After preparing your pickups, the next step is to wire up the 5-way super switch. To make this process much easier, I highly recommend soldering all possible connections (jumper wires) outside the guitar. There's not much space inside a Telecaster control cavity, so you can save a lot of time and avoid jangled nerves using this approach.
I chose the following switching matrix for this mod. It yields five switchable sounds:
- 1. Bridge pickup solo.
- 2. Bridge and neck pickups in series, out of phase (hum cancelling).
- 3. Bridge and neck pickups in parallel, in phase.
- 4. Bridge and neck pickups in series, in phase (hum cancelling).
- 5. Neck pickup solo.
So the only missing possible tone is both pickups in parallel, out of phase. After performing this mod successfully, you'll have all the other options at your fingertips.
I chose this matrix for three reasons. First, the two new combinations offer hum cancelling because they use the two single-coil pickups as a humbucker.
Fig. 2 — Schematic courtesy singlecoil.com
Second, armed with these two new combinations, you're ready to rock the crowd! Both pickups in series/in phase will give you a very fat and loud solo tone—perfect for both clean and overdriven lead tones. Both pickups in series/out of phase doesn't sound as shrill and thin as both pickups in parallel/out of phase (that's the sound you might associate with “out-of-phase pickups"), so it's useful for clean tones too. And it's perfect for full-tilt distortion or fuzz orgies, because it prevents the tone from getting too boomy by reducing the bass frequencies. To cut through the mix while playing with Queen, Brian May used this tone a lot on his Red Special guitar for his heavily overdriven lead tones.
Finally, both pickups in parallel/out of phase is the easiest combination to add to this wiring at a later date.
Fig. 1 shows how your new 5-way super switch should look after you solder all jumper wires. In this wiring scheme, the bridge pickup's black ground wire, as well as the new, third ground wire for the neck pickup's metal cover, go to ground. Be careful not to mix up the neck pickup's two ground wires. To be on the safe side, I find it helpful to choose a new color (perhaps blue or green) for the third ground wire attached to the neck pickup's metal cover.
The last step is to unsolder all wires from the stock 3-way switch and mark them as to what goes where. Unscrew the 3-way switch from the control plate, install the new 5-way super switch and reconnect everything as shown in Fig. 2. Carefully close the cavity without using any force or pressure and finally attach the control plate. Your new project is complete!
It's likely you'll have to readjust your pickup height after performing this mod—especially after having removed the neck pickup to prepare it for series sounds, as described above. We demystified pickup height adjustment in “Adjusting Stratocaster Pickup Height, Pt. 1" and “Adjusting Stratocaster Pickup Height, Pt. 2." Though these guidelines were ostensibly written for Stratocaster pickups, they apply perfectly well to Telecaster pickups too.
That's it! Next month, we'll begin an exciting new series on DIY relic treatments for your guitars, so stay tuned. Until then ... keep on modding!
An amp-in-the-box pedal designed to deliver tones reminiscent of 1950s Fender Tweed amps.
Designed as an all-in-one DI amp-in-a-box solution, the ZAMP eliminates the need to lug around a traditional amplifier. You’ll get the sounds of rock legends – everything from sweet cleans to exploding overdrive – for the same cost as a set of tubes.
The ZAMP’s versatility makes it an ideal tool for a variety of uses…
- As your main amp: Plug directly into a PA or DAW for full-bodied sound with Jensen speaker emulation.
- In front of your existing amp: Use it as an overdrive/distortion pedal to impart tweed grit and grind.
- Straight into your recording setup: Achieve studio-quality sound with ease—no need to mic an amp.
- 12dB clean boost: Enhance your tone with a powerful clean boost.
- Versatile instrument compatibility: Works beautifully with harmonica, violin, mandolin, keyboards, and even vocals.
- Tube preamp for recording: Use it as an insert or on your bus for added warmth.
- Clean DI box functionality: Can be used as a reliable direct input box for live or recording applications.
See the ZAMP demo video here: https://www.youtube.com/watch?v=xJp0jE6zzS8
Key ZAMP features include:
- True analog circuitry: Faithfully emulates two 12AX7 preamp tubes, one 12AX7 driver tube, and two 6V6 output tubes.
- Simple gain and output controls make it easy to dial in the perfect tone.
- At home, on stage, or in the studio, the ZAMP delivers cranked tube amp tones at any volume.
- No need to mic your cab: Just plug in and play into a PA or your DAW.
- Operates on a standard external 9-volt power supply or up to 40 hours with a single 9-volt battery.
The ZAMP pedal is available for a street price of $199 USD and can be purchased at zashabuti.com.
You may know the Gibson EB-6, but what you may not know is that its first iteration looked nothing like its latest.
When many guitarists first encounter Gibson’s EB-6, a rare, vintage 6-string bass, they assume it must be a response to the Fender Bass VI. And manyEB-6 basses sport an SG-style body shape, so they do look exceedingly modern. (It’s easy to imagine a stoner-rock or doom-metal band keeping one amid an arsenal of Dunables and EGCs.) But the earliest EB-6 basses didn’t look anything like SGs, and they arrived a full year before the more famous Fender.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Some of us love drum machines and synths, and others don’t, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.