For those interested in a comprehensive analysis of this topic, click to access the full online article by Alan Ratcliffe. I'm just handy with a hot stick, caveman stuff. Although it's hard to see from the photos at right, the inside of each knob has a flat piece of spring steel that compresses against the potentiometer shaft when the shaft is inserted into the knob. The major benefit of a D-shaft potentiometer is that the knob is much more secure, and will never loosen to the point where it either spins on the shaft or falls off. According to Dan, the pre-amp section of the Dan Armstrong amplifiers are identical, and only the power amp stages being the only thing that differentiates the models. I own one, and use it in my Stones tribute band.
This modification uses three mini toggle switches one is a 3-way , each relating to its own pickup, and yields 12 settings. I just had the split coil tone pot replaced with a conventional tone pot. The volume control is now in the circuit at all times. Notice that A679D, at right, now carries a volume pot manufactured in the 4th week of 1970 1377004. At full you have standard strat lineup. Actually good to hear it's not so great with hot pups.
Playing chords it has a ring mod-ish quality to it, but played higher up the fretboard and using the neck pick up with tone control down gives a very prominent octave effect which sounds great. With the blender wound towards end X, it is standard Strat tones: B B+M M M+N N As it moves towards end Y it transitions to a selection of series and out of phase sounds: B×M M-N M M-B M×N Middle is master tone. A pair of pickups can be connected to produce 6 combinations, while 3 pickups allow 35. This will look much cleaner. I promise, this is the coolest 3-pickup switching set-up! When I googled which is which holes in the import type switch, I saw that I need to jumper neck and bridge.
I've only got one left for now. The position 4 is now on 2 and vice versa? There was some standard buzzing before touching the guitar as a result obviously a result of it not being grounded. Thanks for the layout it looks awesome. It's just something to keep in mind while repairs are underway. This let him access both series and parallel switching for multiple pickup combinations, and thus extract 12 different tones from a standard Stratocaster.
The continuity test on the device shows no conductivity except that the topmost pin conducts when it is positive of the pins in the middle and other side; otherwise, no conduction. But what does C1 do? Anyway, if you want, email me either your address or fax number and I will forward a copy of the wiring diagram for this bass to you. My guitar tech passed on a wiring diagram to me today and i'm wondering if anyone has tried it. Middle and bridge in parallel. Neck fades out bridge fades in-out of phase 3. Here's what I'm thinking, if someone smarter than me could maybe confirm forgive the crude graphic. First, the wiring is rather complicated, and if you're a beginner at this sort of thing, or not a very good solderer or circuit reader, turn the job over to someone with more confidence and experience.
He made the pickups for the reissues, so he knows the wiring scheme. Unfortunately, I now get no sound when trying to use the normal bridge and neck pickup positions while the tone knob is turned up. Yup, I have an extra pickguard I have been thinking of doing a series deal with and had this one below I was going to do that is nice and simple. The possibility of a broad range of tones is the lure, but a practical means of accessing those many colors is the problem. At full you have standard strat lineup. But the really clever thing is how those red and blue jumpers function.
Depending on its design, the switch may have a solder tab for this. We are aware that one prominent Ampeg-related supplier has resorted to hand-machining flats on newer round-shaft potentiometers in order to get them to work in older Ampeg amps. What else do I need specifically for veroboard builds? Whatever the reason, it does illustrate the problem of trying to date Dan Armstrong's solely by the pot code - only rarely do they match up. Neck and middle in parallel. You could try putting a 10K resistor in series with the input wire which should help.
What does the blend pot do with the 3 pickups? No cooperation or endorsement is implied. Neck and middle in parallel. My next Strat project, I'm thinking about using a four-way Tele switch for the neck and bridge pickups so they can be run individually, or as a pair either in series or in parallel and paralleling the middle pickup using the third pot as a volume control at the output jack. Another early feature is an orange-bodied tone capacitor, sourced from Mullard. I could also borrow a multimeter if I understood what to test, but guitar wiring is a bit of a mystery to me.
That puts the pickups in series in positions 1 and 5. Since the V-4 amps seem to have been in development right around the time that Ampeg was working on the Dan Armstrong instruments, it would have been a cost-effective move to specifiy a common part. Despite the precise dates printed on each potentiometer, it is important to keep in mind that Ampeg purchased its supplies in batches, so one pot code ended up being used across hundreds of instruments. You can switch the x and y wires to make it go which ever direction works best for you. Kind of disappointing it was. All with no new parts.
So if you have good luck, or bad luck for that matter, then please let me know by dropping a comment in the topic. Neck and middle in parallel. For guitars with only one tone control, the optional master tone shown in the diagram may be used. You do not need to purchase this Ready to Solder Circuit Printed Board if you buy the kit. Both of these amps can be seen in the amps section, while at the enlarged view here will depict the internal components.