Prices have been updated to reflect my bad habit of paying rent. Come by Flipside Music to help feed my addiction!
It’s been a while since I’ve updated this site. Lots of action. The last month I’ve been moving and setting up my new benches at Flipside Music. I know this was promised sometime last year but it’s finally happened. No more low ceilings, no more late night drops. I’m a professional now with a real shop. Stop by and admire my laundry free guitar workstation!
Also started a gym in the old space. Come get ripped and torn while listening to Bloodbath.
Most guitar players don’t get the most sounds out of what most humbuckers have to offer. Jimmy Page got around to it in the 80’s. Story is he had some engineer design a switching system for his Les Paul using four push pull pots that incorporated coil splitting, phase reversal, and one pickup running in series into the other.
I recently had a customer come in with his Les Paul for a pickup swap because his current tone wasn’t squeezing anyone’s lemon. He also asked for phase switching and coil tapping without naming he who has two necks. Since I only rely on the internet in matters of love I didn’t scramble for existing wiring diagrams, instead opting for a pen, notepad, and an amount of free time only an underemployed guitar tech has in the middle of the day.
I pride myself on my switch skilz. Jimmy can afford to pay an engineer to draw out this complicated scheme. I imagine a degree in such things will get you the result much quicker than I did. Point is I did it without a single class in electrons. And here I offer you a class in electrons. Or guitar switches. Yea, forget electrons, you don’t need to know about those to understand basic guitar electronics.
This is the mess we’re dealing with. Each push pull pot is a DPDT switch. Double pole double throw means that there are two independent sections that can be in two states. There are four switches total, each with two columns of three tabs. The teal lines represent the switch wiring tabs. The center row is known as the common. The common tabs will be connected to either the top or bottom rows depending on the switch position. The green lines are the potentiometer tabs. These control the volume or tone or whatever else you wire them to do. I don’t know about those other symbols, I just think they look cool.
So how do you wire all this to two humbuckers with four leads each (five including ground wires) to coil tap and reverse phase keeping in mind the goal that each switch state should give a unique sound? First draw the above as your starting point, connect the wires where you think they should go, then draw a subsequent diagram for each switch state and follow the electrical path all the way through to ensure proper functionality. Basically it’s just trial and error. LOTS of error. So best do it on paper.
Took several iterations but it’s better than burning up the switches trying to get it right. To explain the end result I’ll first explain our goal. It was not to copy the Jimmy Page wiring. While each humbucker does coil tap and the bridge reverses phase in relation to the neck, the neck reverses phase of one of its own coils while running them in parallel. Page opted to run one humbucker in series to the other. My tweak with the neck coil phase reverse gives you a very pinched, low output sound but with a bit of a boost can yield a great funk tone. Sonically as far as you can get from the wooly, slightly muffled tone the humbuckers in series with each other will give you. Here is the final drawing.
The green and black leads had to be reversed on the neck circuit to get everything in phase with all the switches in the down position but the drawing gets us where we want to be. Let’s start with the bridge. Reversing phase is easy, this is done on the bottom left switch. The left common tab gets the black lead. This allows us to change its path to ground or hot. Hot goes to the pots input, ground is ground. You see the “X” pattern connecting the hot of the 1st tab going to the 4th tab and the grounded 3rd tab going to the 2nd tab. Connecting them in this way allows the poles of the switch to be on opposite sides of the circuit no matter the switch state. That is, when the commons are connected to the bottom row, with tab 2 being ground and tab 4 being hot, the left common is going to ground and the right common is going to hot. When the switch is in the second position with tab 1 being hot and tab 3 being ground this sends the left common to hot and right common to ground. It’s important to make clear again that the common tabs in the middle are connected to either the upper or lower tabs depending on the switch state.
This alone does not achieve phase reversal as the other pickup leads are connected to the second switch. By connecting the 2nd common of switch 1 to the 1st common of switch 2 we allow for the 2nd common of switch 2 to change states in sync with switch one. This means that regardless of the state of switch 2, the phase will still be determined by switch one. When in the down position (state 1) switch 2 common 2 is connecting the green lead on tab 2 to hot. The “R/W” is the red and white wires together connected to tab 1 of switch 2. When in the down position they are not connected to anything but themselves allowing current to flow from the green/red coil to the white/black coil.
Following the signal path while both switches are in the down position we start at ground, follow from tab 3 switch one to tab 2 of switch one, up to 1st common to black lead, through the first coil to the white lead then on to red lead, through second coil to green lead, up to switch 2 common 1, to switch 1 common 2 to tab 4 up to tab 1 to hot. Which looks like this:
Ignore the bad ms paint job. Use this approach to figure out how each switch state will allow current to flow. I’d make a diagram for each path but that would take as long as wiring the thing in the first place and I’ve spent enough time on this article already. Switch one reverses the whole pickups phase relation to the neck, which means you won’t hear a difference unless the 3 way pickup switch is in the middle position. Switch two is the coil tap for the bridge. Neck switch one reverses phase of one coil only. The second neck switch taps that coil.
I suppose I should throw some subtle errors in there so when you try this yourself using just my diagram you’ll screw it up and have to bring it to me but I’m too busy to fix your mistakes. (Nothing worse that trying to salvage burned up switches). Here’s the final product. Lots of tiny connections in a tight space. Basically I’ve just taken a thousand plus words to explain you don’t need an engineer to plot out complicated guitar circuits, just a tech with a functional understanding of basic switch operation.
Anytime I travel the second place I seek out is usually a guitar shop. Breweries come first but only because of the strict barley diet I’m on due to my gluten dependency. This is the first of what I intend to be an ongoing travelogue as I visit guitar techs, builders, and retail shops when I travel. Why not supplement one pipe dream (successful guitar tech) with another (writer).
My one stop flight to the syrup city began with another airline PR disaster as the gate agent shook and gagged on her offer of $500 for a volunteer to take a later flight as our cartoon trainer jet had been overbooked and over stuffed.
Being sensitive to the plight of flight peddlars I heroicly stepped forward to take that $500. Tragedy struck however as a couple slow no shows didnt make it to the gate and I was dragged onto the plane kicking and screaming without my $500. No expensive duck poutine for me.
Waking up in a foreign land dehydrated, confused, and without cell service isn’t as terrifying or exciting as I expected. Later today I’m meeting with Mike of Indian Hill Guitars to talk about his work, his shop, and the community of artisans Montreal has fostered. Until then I’ll be wandering around, sniffing out Wi-Fi signals, and listening for anything with six strings.
Walking down St. Catherine street it’s hard not to be in awe of the historic cathedrals nestled in between the majestic strip clubs. One block after another, XXX in neon beckons the pious observer. Oddly I don’t see a single parishioner enter any of these houses of worship. My only conclusion is that sex doesn’t sell here and the churches are all now nightclubs.
It’s difficult ignoring all these tempting attractions but I hear the faint wails of what can only be a guitar store. Archambault, my first expérience de guitare foreign. At ground level it looks like an old timey cd and movie shop so I walk past, assuming the random guitar plunking to be leftover PTSD from my days in retail though as I turn back I see a Fender banner beckoning me inside. Above the plastic circle floor is the stuff used to make the noise on all those plastic circles. Guitare et plus guitar. Quite a fine selection of Fender, Godin, Fender, and more Godin. Some practice amps, great string selection, even had Fender bass VI in stock. This is not a comprehensive review, only my fragmented and distracted impression, I’m really just looking for a bathroom. So as I look for a place to déposer un ou deux I round the corner to the acoustic room. The Quebecois appreciate 000 and OM styles more than big fat dumb Americans with our Jumbos and Dreadnaughts. Plenty of Martin and Bourgeois, nes pas toucher!
Further down St. Catherine two famous concert clubs are being scrubbed of puke and piss. The Metropolis and Club Soda.
Ok, eager to get on with it after getting lost in the subway I find myself at the first meeting place, Mile End Guitar Co-Op.
They’re a in big fucking building. Used to be a factory making useful things now it’s carved up into artisan spaces, co-working computer labs, and I dunno maybe web cam parlors or something. The co-op is occupied by nine Luthiers all doing their own thing, scraping wood and scraping livings together. Very impressive work here by my gracious host Mike of Indian Hill Guitars (click the link already). I was surprised and impressed to see this number of people working together to create a space where they can all thrive and learn from each other. I imagine places like this exist in the states somewhere, definitely not Denver what with rent and yea yea yea. I believe Mike is showing at the La Conner guitar festival this weekend if you are in that area. I wish I could say more about these handcrafted instruments and their builders but we mostly talked shop, our way through this strange “career”, and hated on all the retired engineers crowding us young guys out. Just relax and enjoy the pictures.
Kind of a blur, went to a metal fest, met cool people, drank beer, normal stuff.
Can’t vouch for the accuracy of this timeline, just imagine it’s a Jordorowski film or mushrooms and don’t fight it. Walked enough this day to begin to feel my age, back stiff, feet sore, fuck this. Nah it’s cool though, more guitars and buildings!
Steve’s in old port is the best of the retail shops I visited (keep reading anyway for a big surprise at the end). It’s one of those old, cramped, bad ass shops that we all love. Tons of pedals, nearly every brand and size of string, big amps, used shred guitars, new shred guitars, synths for days. I’d be happy to work in a place like this. The repair tech looked rather happy. Wanted to chew his ears but he appeared to be deep into and explanation of string theory and vibration calculus. Possibly, it was all in French so could have been talking about his latest trip to his mama’s. STFU pics or it didn’t happen!
More guitar builders! Today we meet Gab of Markott Lutherie. Actually I met Gab earlier in the trip, runs in the same circle, we became pals, he’s my pal now. Gab works out of an even larger co-op, in another former factory, with nearly twenty builders. Again, talked shop, talked future projects, talked about our wood collection. Gab also does R&D for Godin! I think that stands for Rat Delousing. It’s interesting to note that these co-ops are organized as non profit entities and each new member must bring a communal machine to join. Bench fee’s are quite low and some of these lucky fools have gotten grants from the government to further their businesses. The roads may suck but I’ll walk everywhere if it means more support for the arts, music, and the people making culture more interesting. Check out L’Atelier de la Corde to see what sweet lumber comes out of that place.
Wrapping up the trip I had to see Moog Audio. A friend here in Denver recently visited the place since they sell the synths she builds and I couldn’t quite believe a place like this exists IRL. They sell synths. Lot’s of synths of all styles with the draw being modular eurorack modules with the plugs and cables and knobs and voltages and strange farty sounds. They had a bunch of guitar pedals too. I was kicked out for setting a wobbly bass drop on infinite repeat, the building may not be there anymore.
Final day. What have I learned? I like Canadians. I already knew that but now I like all kinds of Canadians. I may like the French kind better, at least until I’m invited to Vancouver, we’ll wait and see. There seems to be more guitar builders here than most other cities on the continent. No shit, not kidding. I couldn’t list everyone I met in this business because I was drinking and don’t speak the language. So trust me. Or google it, whatever. So, 5 am flight, a pat on the head, a pat on the butt, and off I go. Here are some more random shots of the trip if you wish to live through me. Who doesn’t really?
In my last post I complained about the Ibanez RG 8, a 27 inch 8 string guitar that’s too short for drop E. Today I cut and paste those same complaints onto the ESP LTD SC-208.
Only the SC-208 is even shorter at 26 inches and the owner needs to go down to C#1!!! That’s the lowest C# on a standard 88 key piano, the second black key, with a string gauge around 0.2 inches and 55 inches long on a grand piano. So let’s see if we can make it work on this thing.
Someone was drunk on the LTD line that day. String through holes don’t line up with the bridge. Not a big problem for most of the strings but we’re stuffing a 0.090 and a 0.070 on the bottom two so you know what that means…
File out the tuner and the bridge plate. Fortunately the strings had normal ball ends and didn’t need a larger ferrule. Problem now is the intonation. That low string is too thick to be able to pull the saddle back far enough to be in tune at the 12th.
Anyway, what matters that it’s all set up and ready to roll. That C# might be an indecipherable thud but I’m just here to fix them.
I have many problems. I wake up in strange clothes, I yell at children on the light rail, and my 401k won’t provide me a retirement in even the cheapest RV park. But this is the most common one I deal with…the Ibanez RG8. An affordable 8 string that was just born bad. Being a cool dude in the metal scene means I get to handle lots of new, cutting edge gear that goes chugga chugga. I do enjoy fondling other peoples property but anytime one of these lands in my sinkhole I put on my counselor gloves and probe why the player thought this purchase was a good idea. Let’s start with the original sin.
It’s too fucking short! 27 god damn inches is not long enough. I mean yea, it’s longer than any low energy old man 6 string but Ibanez knows everyone wants to be Tosin or Ihsahn or Thordendal. That means the F# just aint low enough! Everyone drops their panties and their string for that low E. At 27″ a standard 0.074 isn’t just a sloppy floppy wet noodle, it’s a signal of ones lack of virility and prowess. If them chugs aren’t tight no ones gonna get on your groove. The audience doesn’t want to swim through your muddy brown sound morass of flubba flubba. So how can we get that chugga chugga? Well, the thicker the better to ram that djent home. So let’s install an 0.080
Oh wait, it don’t fit and I’m out of lube. So the player just got suckered into this and they’re not leaving without that low E so let’s make it fit. First I ream out the ferrule
Then the tuner
Gotta file that nut slot
File the saddle…
Compensate for an intonation screw that’s too long and pinches the string before it’s intonated
And finally after all that it fits
So was that it? Is that all it takes? Don’t get your hopes up. The 0.080 is better but your really only draining the swamp of doody and replacing it with mud. Consider that a standard bass is 34 inches and uses a .105 gauge string for that E1. So not only is the Ibanez RG8 lacking in length but pumping it up to give it that extra girth can bust it apart at the seams. 27 and 0.080 aint enough change to ride the E1 line. Go buy a 30 incher.
The Guitar Gutter is Denver Colorado’s finest garden level guitar repair shop.
I’m Nick, your proprietor and private dancer. I’ve been a tech about town since 2008. I’ve seen some things. Some things I don’t want to talk about. Broken necks, cracked backs, crushed nuts, you name it. It’s always tough to see an older guitar in disrepair, neglected by previous owners. Down and out but still trying to play while choking on it’s notes. The streets can be tough. I can help. Let’s get that guitar out of the gutter.