Wiring diagram for tele build

[Debiatwang]

I’m building a tele with a humbucker Sd antiquity neck pu,and a twang king single coil bridge. Do I use one ganged concentric pot for both pups(500 for the neck, 250 for the bridge to handle volume) and then use the other concentric pot to control tone for both pickups. 500k portion for the humbucker and 250k for the bridge? All suggestions and a wiring diagram would be greatly appreciated! I would greatly appreciate any and all help!

 

[Debiatwang]

Forgot to mention, I’m using a 3 way switch..

 

[pipthepilot]

I’m building a tele with a humbucker Sd antiquity neck pu,and a twang king single coil bridge. Do I use one ganged concentric pot for both pups(500 for the neck, 250 for the bridge to handle volume) and then use the other concentric pot to control tone for both pickups. 500k portion for the humbucker and 250k for the bridge? All suggestions and a wiring diagram would be greatly appreciated! I would greatly appreciate any and all help!

No, you don't need to use concentric pots.

There are many ways to do it but the most common is to use 500k pots with a 470k resistor connected to the same lug on the switch as the Single coil hot lead and the other end of the resistor to ground.

This works because the 470k resister and the 500k pot are now in parallel and effectively form a voltage divider so the the single coil now sees the 500k pot as 250K pot.

I'll find a diagram for you and post soon.

 

[1stpitch]

This the same one you posted about a month ago, right? A diagram was posted for you in that thread.

 

[Peegoo]

@Debiatwang

You have the correct pot ratings for the pickups.

The ratings for the tone control are not as critical. what matters is the tone cap. Single coils are usually happiest with a .047uf cap, and humbuckers usually sound best with a .022 cap.

The way to wire it is to use the 'independent volume and tone controls' scheme, popular on the Gibson Les Paul and SG. This requires running each pickup directly to its volume and tone controls, and then take signal from there to the switch for pickup selection.

This diagram shows a Les Paul style switch, but you can substitute a Fender 3-way.

 

[pipthepilot]

Here's a diagram using two 500k pots, a 470k resistor and a 0.033uF cap.



The pots and switch chassis are grounded via the control plate, if you don't have a control plate you need to add wires to ground them.

The Neck Humbucker has braided wire which I've attached to the switch chassis in the diagram but can be attached to ground anywhere.

 

[Debiatwang]

This the same one you posted about a month ago, right? A diagram was posted for you in that thread.

Thanks, yes. Much appreciated. I got an idea to go with separate volume controls to see if I could “blend” both pickups, thus the recent inquiry using two (sets) of concentric pots. PeeGoo posted a Gibson wiring diagram (much appreciated) I will try this out and determine if this is the way to go. As a general rule I realize tone is subjective, for my taste I concur with using 500K and .22u, pots and caps for humbuckers respectively, 250K and .047u for the single coil just not sure what the middle position will sound like.

 

[Debiatwang]

Here's a diagram using two 500k pots, a 470k resistor and a 0.033uF cap.

View attachment 1092545

The pots and switch chassis are grounded via the control plate, if you don't have a control plate you need to add wires to ground them.

The Neck Humbucker has braided wire which I've attached to the switch chassis in the diagram but can be attached to ground anywhere.

Thankyou!

 

[old_picker]

Honestly I am of opinion that the difference between 250k and 500k pots is over hyped.
People say whhhhhhhaaaaooooo!!! too bright!! To me a tele has to be bright to do its job properly. A nice bright tele will cut through the darkest and heaviest of mixes. Many early vintage examples came with 1meg pots from the factory so bigger value pots is not a revolutionary thing at all. I routinely use 500k pots in my builds and there has been quite a lot of them. I have to state here that I have never had one come back because it is too bright. Interestingly the original design came with a tone control and we all have one of those aboard with which one can "tune out" the tops. Another place the tone can be modified is the amp.

I believe that the signal needs to be presented to the output jack with as much of the the highs and lows as possible. A mod I reckon to be well worth the trouble is the old blower mod. With "The Blower" the signal is presented directly to the output jack with no circuit damping it. It's called the blower mod as it literally blows away everything else on stage. The tele can then really scream at its maximum potential. It is worth using a four way switch just to have this up your sleeve when it's crunch time.

 

[Tuxedo Poly]

There are 2 options available using single pots and a 470kΩ resistor giving different values for position 2

 

[Debiatwang]

Honestly I am of opinion that the difference between 250k and 500k pots is over hyped.
People say whhhhhhhaaaaooooo!!! too bright!! To me a tele has to be bright to do its job properly. A nice bright tele will cut through the darkest and heaviest of mixes. Many early vintage examples came with 1meg pots from the factory so bigger value pots is not a revolutionary thing at all. I routinely use 500k pots in my builds and there has been quite a lot of them. I have to state here that I have never had one come back because it is too bright. Interestingly the original design came with a tone control and we all have one of those aboard with which one can "tune out" the tops. Another place the tone can be modified is the amp.

I believe that the signal needs to be presented to the output jack with as much of the the highs and lows as possible. A mod I reckon to be well worth the trouble is the old blower mod. With "The Blower" the signal is presented directly to the output jack with no circuit damping it. It's called the blower mod as it literally blows away everything else on stage. The tele can then really scream at its maximum potential. It is worth using a four way switch just to have this up your sleeve when it's crunch time.

Thanks for your input old picker, I’ve got time on my hands, this another option I I’ll try!

 

[Debiatwang]

There are 2 options available using single pots and a 470kΩ resistor giving different values for position 2

View attachment 1092729

Thank you, I appreciate everyone’s input. What a great forum!

 

[Debiatwang]

Honestly I am of opinion that the difference between 250k and 500k pots is over hyped.
People say whhhhhhhaaaaooooo!!! too bright!! To me a tele has to be bright to do its job properly. A nice bright tele will cut through the darkest and heaviest of mixes. Many early vintage examples came with 1meg pots from the factory so bigger value pots is not a revolutionary thing at all. I routinely use 500k pots in my builds and there has been quite a lot of them. I have to state here that I have never had one come back because it is too bright. Interestingly the original design came with a tone control and we all have one of those aboard with which one can "tune out" the tops. Another place the tone can be modified is the amp.

I believe that the signal needs to be presented to the output jack with as much of the the highs and lows as possible. A mod I reckon to be well worth the trouble is the old blower mod. With "The Blower" the signal is presented directly to the output jack with no circuit damping it. It's called the blower mod as it literally blows away everything else on stage. The tele can then really scream at its maximum potential. It is worth using a four way switch just to have this up your sleeve when it's crunch time.

I would like to try this as well, I have a4?way switch laying around. Do you have a diagram of what this circuit looks like? I have a variety of components to mix and match. There is something appealing of running the low output neck pup (SD antiquity)directly to the switch. I am definitely keeping an open mind to all options, anything to keep empty beer bottles thrown at me on stage!

 

[Debiatwang]

Honestly I am of opinion that the difference between 250k and 500k pots is over hyped.
People say whhhhhhhaaaaooooo!!! too bright!! To me a tele has to be bright to do its job properly. A nice bright tele will cut through the darkest and heaviest of mixes. Many early vintage examples came with 1meg pots from the factory so bigger value pots is not a revolutionary thing at all. I routinely use 500k pots in my builds and there has been quite a lot of them. I have to state here that I have never had one come back because it is too bright. Interestingly the original design came with a tone control and we all have one of those aboard with which one can "tune out" the tops. Another place the tone can be modified is the amp.

I believe that the signal needs to be presented to the output jack with as much of the the highs and lows as possible. A mod I reckon to be well worth the trouble is the old blower mod. With "The Blower" the signal is presented directly to the output jack with no circuit damping it. It's called the blower mod as it literally blows away everything else on stage. The tele can then really scream at its maximum potential. It is worth using a four way switch just to have this up your sleeve when it's crunch time.

I would like to try this as well, I have a4?way switch laying around. Do you have a diagram of whatthis circuit looks like? I have a variety of components to mix and match. There is something appealing of running the low output neck pup (SD antiquity)directly to the switch. I am definitely keeping an open mind to all options, anything to keep empty beer bottles thrown at me on stage!

 

[Debiatwang]

Thankyou!

Wired up the tele today per your diagram and advise. Sounds really good, very pleased with the outcome. Thanks again for your help. Much appreciated!