3-way- switch 2 single coil 1 vol 1 tone push/pull wiring diagram

Here's one way- Series-cudos to Deaf Eddie:

 

FWIW, series won't be "humbucker effect" unless your pickups are wound and magnetized in the orientation that does that. You'd need to test to figure that out. But it will give you a different sound no matter what. So go for it.

I would also add a push-pull on the volume control too and change the phase of the bridge pickup. That way you get the in or out of phase sounds which are sort of like a Strat between positions. Scroll this page down to where it says "Phase Reversal Switch". You just take the two wires from the bridge pickup and send them to the additional DPDT as shown, solder on the cross wires on the switch, and run the two "output" leads as before (above, bridge). http://www.1728.org/guitar.htm

 

All great options above! You might want to check out the 4 way switch mods also. I also like the oop mod too. Don't use it much, but it's a nice addition to have! Keep on pickin!

 

You're welcome.

Think of the tone control (pot) as its own component. You can do whatever you want with that. Really means nothing to anything else there as far as how it's wired to function.

 

That's the series / parallel mod. That's already in the diagram above. The phase switch only has to deal with one pickup (you flip the wiring on one and then they are out-of-phase with each other).

 

FYI, the greasebucket tone circuit attempts to eliminate the mud when rolling the tone pot down. Unless you use a very small tone cap (like .01uf), most of the pot's sweep is too muddy to be useful. Fender says the greasebucket "removes treble without adding bass". Well, you can't add anything to a passive guitar signal - what you got from the string and pickup, is what you got, period. What they mean is "removes treble, while also removing some bass frequencies."

 

Here to help! Keep on pickin!

 

It's not treble bleed OR greasebucket. They aren't related at all.

50s or TB can be used with greasebucket. Don't use both TB and 50s.

The TB is wired to let some variable amount of treble bypass the vol pot, and thus not be 'lost'. Ideally, the variable amount is exactly the amount of the loss, at each point along the taper as the pot rolls back. You can see how it might be tricky to get right. It's easy to end up with MORE treble (as in a spike), maybe only in certain portions of the vol pot sweep. Not good. The TB is constructed one of four ways: single cap; single cap + single resistor in series; single cap + single resistor in parallel; and single cap + TWO resistors. The values of all these components aren't set in stone, either.

I recommend using no treble bleed for now. It's easy enough to try both regular and 50s, and see if regular is a problem when rolling back volume. And if you're like many, vol is normally dimed anyway. There's no loss in this case.

Don't get caught up in "internet difficulties". Fender didn't use a treble bleed for decades. All that music... sounded pretty OK.

When you have two pickups in parallel that are out of phase with each other, the frequencies cancel out, resulting in a very thin sound. If the pickups were in the same place on the body, the freqs would fully cancel, and there'd be no sound. You only hear the slight differences based on pickup placement under the strings. It has a place, but not very often. Generally it's unusable.

HOoP is an attempt to make something more useful. A capacitor is placed in the path of one of the pickups (doesn't matter which). Capacitors are delaying components: they load with signal, and then release at a threshold. Then they start loading again. This slight loading delay causes a phase rotation. Imagine both signals on a 'scope. Two sine waves, almost exactly cancelling each other. But with the cap, one signal is 'slower', is a step behind. So, when one pickup's wave is peaking at 0/360 degrees, the other is at 90 degrees. There's still frequency cancellation, but not nearly as much. It's a useful tone, somewhat like the Strat 2 & 4 positions. But not really, since those are NOT OOP, contrary to popular belief.

 

What, out to a breadboard? You might not be able to hear anything useful for the noise. Unless you shield the whole mess somehow.

 

For the series sound, a push-pull pot works fine, but a 4-way switch is much more convenient in my opinion. (I'm also constantly adjusting volume and tone, or doing volume swells, so I don't like push-pulls).

For the noise cancelling effect ('humbucking') I wouldn't worry too much about finding a compass. Just turn up your amp and listen to the amount of hum in each position; if the middle position is quieter, that means it's already noise cancelling. If it isn't noise cancelling, it's not the end of the world either.

 

Right. It eliminates the need for a treble bleed, but is really an entirely different thing. Worth trying in my opinion. I wire most of mine with 50s.

Your treble bleed video is out of date - it doesn't show the more recent Fender style, which is what they're calling Duncan style (parallel cap / resistor), plus a resistor in series. I can't remember the values, you can look it up though. Fender has a lot of their wiring schemes online.

Anyway, this recent treble bleed idea is meant to hug the tone curve most closely, as the vol pot is turned.

 

Lots of good suggestions.
Only thing I'd add is consider a Push/Push rather than a Push/Pull - much easier IMO.