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damn dude, i thought you were using some slick electronics drafting program that snapped to grid lines and squared everything up, maybe with prefab icons for various components Invalid Link Removed
The thought still has me intrigued with just two knobs. Since I will mostly want the parallel wiring as just a second option, it is okay if the parallel tone isn't perfect. If I could emulate the slightly backed off bridge volume with a resistor, I would at least have the option? I was just studying a Jazz wiring diagram. It looks like all I would need to do would be put a resistor between the push pull pot and the black wire on the bridge pickup. Not sure if it is that simple. I do realize that what I am thinking about isn't "in the box" at all. I'd like the simplicity of a Precision in my Jazz. Mostly it is going to stay in the series position. I can't believe just how much better my B string sounds in series. If my idea of using a push/pull pot with a fixed resistor on the bridge pickup won't work at all, that's okay.
That's my point, it would be a crapshoot whether you would get that sound from one amp to the next.
That's the one! I thought that of all the "American series" fenders that came out, the passive Jazz V was the one that actually needed and should have kept the S1 switch.
You can also get little plastic adaptors to make smaller pots fit larger holes- Pot Adapter Bushings | Allparts.com I swear I had found a cheaper place though. When I first went mod crazy with push/pull pots years ago I used to build up little rings out of cut electrical tape- the bushings are definitely a much more elegant solution and handy to have around. Or you can buy an import Jazz plate that already has the correct sized holes (I feel like I have had a couple Squiers that required reaming when I put in CTS pots for example).
yep; or, while you're on that site just get their bourns push-pull pot, which is very high quality and has a full-sized shaft
Sorry, I was looking at this again, but am I correct in thinking that the ground connected to the bridge tone isn't actually connecting anything? It's just the pot casing on one side leading to the ground.anyway, here it is, gang!
series, master volume and individual tones, with each tone only affecting its own pickup.
(@sunbeast, @honeyiscool, @line6man please check my work
for old time's sake i even used the same colors and the same stupid microsoft paint program from my first series diagram to do it (wow, what a steaming turd of an art app that is!)
i tested this on a goofy cort steinberger copy with a PJ setup and terrible pickups, so i haven't really heard it at its best with a proper jazz bass but i know the principle works.
i could tell that using .05μF caps definitely changed the sound when i turned one down but it still had kind of a "two pickups" tone; going to .1μF made dumping a tone sound much more like the other pickup by itself, but it still kept the series boost on the very low end.
the trade off of the .1 caps is that if you want to actually roll the tone down on the entire signal by dropping both tone knobs, it gets really dark.
(edit: wait, maybe not! i wasn't looking at it right, but when both tones are turned down, that puts the two caps in series too! that means the capacitance halves, so the two .1 caps become an .05, which is not so bad.)
Right; the pot case is grounded because pot cases should be grounded, that's all.
Well, in the Jazz bass shielding tutorial that's stickied, it looks like he deliberately did not attach the pot cases to ground, so now I'm just confused.
on a normal jazz bass the question is moot, the pot cases are already grounded by virtue of being all bolted to the same metal plate with the output jack.
i'm telling ya, my new variation might be just the ticket
