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Hey everybody! I used to be around a few years back (mostly GB&C) and I thought I'd pop in to see what's up. These are my two 7s that I've had for a few years.

Also, does anyone have one of these Agile Renaissance ERG acoustics? I'm strongly considering buying one. Like now. http://www.rondomusic.com/RENAISSANCE7XNA1.HTML

Ibanez RGD7321

Agile Septor Elite
the long narrow ibanez holes are there so you can adjust the springs without taking the plate off.
Carvins, as cool as they are, are much more expensive. Agiles are a good bet; I have one and I love it to pieces. If you like the thin neck feeling more, a used Ibanez 7620/7621 or even a 7420/7421 would be right in your price range with enough money left over for whatever set of pickups and tuners you want, and strings for a year.
Craigslist. Or build your own like stated above.
The difference in shafts has to do with what knob you want to put on it. Most knobs are designed to work with one or the other.
We'll always be here when you come back. I wish you best of luck in your endeavors.
pretty much all active/passive switches work like that since that's pretty much all you can do with a DPDT switch (the switch on a push/pull). The battery cuts out automatically when you unplug the cable from the instrument. The battery return is wired through the jack like that specifically so the circuit is only completed by the ground shielding on the instrument cable. When the cable is removed, the circuit is opened and stops any current flow from the battery.
That's unfortunate, I've always liked following your threads. Such clean work and I love the KL Xplorers just on principle. I've felt the same way where as soon as a project is done, starting from scratch is a daunting task. The was I got around that was starting a project, working for a while, starting another, and then so on until I had a pretty good system of starting new projects and finishing old ones. This never felt like starting from scratch, since there was always something part finished, or almost finished that kept me excited. This has worked for me for everything from woodworking to songwriting. Either way, good luck to you, I hope you take a good break and come back eventually. Its a shame to see such talent redirected to things less important than guitars...like everything
If the battery is dead after a month, the problem is probably that the battery for some reason isn't disconnecting when you take the cable out (providing that you do unplug when you're not playing, since you should). To wire an active/passive, all you're doing is bypassing the preamp. If you find where the signal enters the preamp (after the volume knob usually) then you can break the signal there. I'm in school so I can't draw a diagram right now, but I'll try to come back later with one. For now, I hope this helps.

EDIT: I have an active/passive diagram drawn up, but I realized that it's not going to help you much since it doesn't actually interact with the battery. If you want to be able to cut the preamp out still for tonal reasons, I'll still put up the diagram but honestly just make sure that your output jack is wired as a switch like this:



Active/Passive wiring if you still want it.

That doesn't sound like something wiring could do, its most likely a damaged pot.
Ok, so I worked out an easier diagram for dsss guitars' P90 wiring. I hope you see it!
Again sticking to the red and green sets of pickups, this will allow you to select each pickup set independently so you can have green/green, red/red, green/red, red/green, and if you use DPDT on/on/on switches, you can have any combination of pickups in parallel.


Its nice to see Jim back in here, even if its temporary!
I think I'm missing something, because I've seen the back of the G Major and it has Analog L/R and Digital inputs and outputs, MIDI in, thru and out, an analog switch out jack (which I don't understand) and an analog "External Control In" jack (which I also don't understand.) I'm just confused as to how this and the Behringer combined can switch between 4 channels..
Quote by MatrixClaw
I own a G-Major and used to have a ton of pedals. Making patches and switching all your effects on and off with only one button is wayyyyy better than having to press multiple ones.

What you couldn't do before because you can't switch enough pedals on and off, you now have endless possibilities to do with a rack effects processor

I'm selling my G-Major though. Not because it doesn't sound good, just because I rarely use effects anymore


Thanks Matrix. I'm relatively new to rack effects though so I don't know much about patches and how to implement them. Do you have a separate foot controller?


EDIT: I've been doing some research on foot controllers and came across the Behringer FCB1010 controller and its in my price range, but it looks like it can only switch between 2 channels and I have a 4 channel amp. If I connect this to a G Major, it looks like I'll have to choose 2 channels to be 1-button changes, and for the other 2, I'll have to hit one button for the channel and one for the effects. Is that true? What controller should I look at if I want 4 channel 1-button changes and not shell out a lot of cash?
So, I'd like to start out saying happy new year to everyone, I hope it all goes well. Anyway, I've run into a predicament. This isn't a "which pedals?" thread, since I've already decided what pedals I want to buy. The challenge came when I was given a good offer for a TC Electronics G Major. I haven't bought anything yet, but I'm wondering if the G Major and a foot controller is a better idea than most of the pedals on the board and therefore should replace them. I'll be using them from everything from post rock, to Eric Johnson style soloing, to U2 style music, and so on.

My list looks like this right now:
In Chain:
Dunlop Crybaby
Ibanez TS9

In Loops: (I have a Roadking, so 2 effects loops)
MXR Phase 90/100 (whichever I find first)
EHX Electric Mistress Chorus
MXR 10 Band EQ
MXR M169 Carbon Copy Delay
EHX Holy Grail Plus Reverb

Everything but the Wah, TS9 and EQ pedal can be swapped for the G Major, but I'm not sure this is a wise decision. Thoughts?

EDIT: The only effects of the G Major not represented by the pedals are a Flange and pitch shifter, but I'm not sure if those are necessary for me.
I've found myself growing out of the Van Halen style of tapping however I love Randy Rhoads and his tapping solos so I'm not completely tossing it. I've started to get into Scale the Summit style multi string tapping and have incorporated it into a lot of my acoustic playing.
To do a series/split/parallel for each pickup you'd need 2 DPDT switches.
Quote by oneblackened
CL/LF. Invader is far too muddy for 7 strings. Too dark and bassy, really. Not really a pickup I like for much of anything.


+10

I may be a Petrucci fanboy and an A7X hater, but comparing strictly pickups, the CL/LF set is a far more versatile, organic set. I have a set going in one of my sevens soon. The Invaders are muddy, have bad cleans and sound lifeless.
I'm pretty sure it doesn't matter which direction your speakers are wired unless some sort of phasing issue could arise, but I'm no expert about that. Honestly, all you're doing is wiring a Series/Parallel switch like in a guitar but with speakers instead of pickup coils. I'm assuming the pinout of your switch is not the same as that in the diagram, but I can't tell the pinout of that switch from the picture though, if you have a better picture of the lugs, or a part number, it would be easier to decipher.
C = Common. That contact is always connected to one of the others. Which one is determined by what position the switch is in. Whichever one you use determines the side you should solder the pickups to. There's no need to do both sides unless you want different tone knobs for each pickup (Think Stratocasters).
The on/on/on mini toggle can be wired to one of your pickups to allow for Series/Split/Parallel wiring if you're up for it, and the extra pot can be used as a black ice clipping circuit if you're into that stuff. I don't suggest going for the blend idea as it's not a dual ganged pot and therefore doesn't ground out the other pickup when turned to either side. If you want a blend, do it the right way with a dual ganged pot but since you're set on not changing it, I'd leave that alone. You should really read the beginning of the Ultimate Wiring Thread, it will help you more than any one of us in here can.
Artist: Scale The Summit
Song: The Great Plains
Tuning: E Standard
Video: http://www.youtube.com/watch?v=o2uZJENx7Gw
Quote by dsss guitars
Hi Guys,
Planning my next builds and need an answer or two.
This is the planned build.........

http://i1139.photobucket.com/albums/n549/dsmillie/p90vox.jpg

I would like to fit two different matched sets of P90s as roughly colour coded.

White set....Gibson P90 6.4 neck and 7.0 in bridge positions
Black set .....Wilikinson P90 8.5 neck and 9.2 in bridge positions.

I would also like to fit two simple on/off slider switches for each pickup circut and retain the pickup 3way selector.

Can this be done.......well i suppose anything is possible. What i should ask is......

Do you see any problems with doing this?
Could all the pickups work at the same time via the 3way selector switch?
Ie. both neck
Both bridge
Etc......Etc......Etc.

My aim is to have a guitar with differing voices through differing combinations of switching.

Ok, now its your turn, Opinions, options, pro, neg, examples, diagrams.

And Thanks


From what I understand, you're looking to run basically 2 different sets of pickups off of one blade switch. I'm having trouble describing what I would do, so I'll draw something up.
Edit: Ok, so say that your pickup sets are a red set and a green set. By installing an On/On DPDT switch between them like in the diagram and grounding the other wires properly, you can substitute those two wires for the pickup wires in a standard P90/P90 wiring diagram. This lets you choose between the pickup sets by flicking the switch back and forth, however it does NOT allow for both sets to be activated at once. That would require more work IMO and would probably not be worth it. However if you do decide that you really want it, you can put another DPDT switch next to the other DPDT and that would allow you to choose between North/Parallel/South for both bridge and neck. Again, weigh how much you think you'd like it/use it against how much work you want to do and decide from there.
I have looked high and low for one, but came up empty. Your best option (what I did) is to salvage the toggle you have now with the wires still attached. Strip the ends of the wires and put them in the corresponding ports on the EMG Buss and tighten the screws to lock them in. If you already tore the wires off, or don't have one, soldering 4 wires to a switch is not as scary as it sounds.
In short, yes it is possible (and easy for someone with wiring experience). I'd like to direct you to the Ultimate Guitar Wiring Thread for future reference as all questions regarding guitar and bass wiring should go in there (amp, pedal, etc questions have their own threads). If you read the tutorial posts (first 7 or 8) you can learn a lot about each component and how it works.
A push/pull is just a dpdt switch which happens to be physically attached to a potentiometer so you should consider it to be electrically independent. All you would do would be to wire the guitar to the diagram of 5 way switch and 2 humbuckers, and then wire the middle single coil to the push/pull switch and then to a volume pot (if you want it variable) or straight to the output and the other end to the ground.
If you look at Rondomusic.com under the Parts section, every once in a while 7 and 8 and even 9 string necks, bodies and bridges show up. Key is to look often because there are usually only a couple and can sell out pretty fast.

If you don't want to do that, Allparts.com has 7 string hardware, and if you look on Ebay or the seven string forum's classified section, you could probably find an Ibanez 7620/7621 neck, or even the whole guitar for the price you'd pay for a warmoth neck or carvin kit.
The simple answer is no. The volume pot (and tone pots too) are passive alterations to the sound. This means that nothing is ever added to the tone, only taken away. When your tone pot is at 10, it doesn't mean you've added any higher frequencies, it means you haven't taken them away*, and the same applies to volume. your volume knob at 10 means you're not taking away volume*, not that you're adding it.
However, if you wire in an active circuit (includes a voltage source of some kind, like a 9V battery for instance), you can have a significant boost in volume. If you search for EMG aftermarket accessories, you'll find all sorts of solo boosts and mid boosts and such to install in your guitar.

Note: statements ending in an asterisk are simplified. In real life because of the laws of physics these statements aren't entirely true, but for your purposes will suit you just fine.
it does look like its missing something...


Volume knob maybe?
This seems interesting. My amp has something like this built into the loops, but I'm interested in this for my signal chain. I don't really understand the wiring aspect though, I'm no master of logic gates/momentary switching.
Quote by roast
Absolutely gorgeous looking build! The Burl for the cap is smashing.
On a slightly-unrelated note, have you ever built a fanned-fretted guitar? Might be an option for another build for you, seeing as you have the multiple scales down.

Really looking forward to the end result, and cheers for sharing the project log.


Quote by M.P. Guitars








Ummm, it looks fanned to me...
I made one out of ply and 1 inch dowels, it worked great. honestly PVC seems like it would be too flimsy at the joints.

^That set was announced a little ways back actually, but EMG gave absolutely no details other than whose name would be on them and that they're "based on the 81/60 set." Hopefully we'll hear more about them.
Quote by Pikka Bird
^Go with black... Red pores on light wood would look clowny. At least to my eye.


+999
Quote by Pikka Bird
That depth stop you bought for your Jap saw... That can be used to make a curved fret slot. Just radius your board first. You're not going to be fretting before it's radiused anyways, so radius it, put the depth stop on your saw, letting the teeth jut out just a hair more than the height of the fret tang and then cut.


That seems like it would work just fine. I've only ever radiused after slotting just because it's easier to saw a flat surface. No problems so far either.
I have a question for y'all. Being someone who doesn't dabble much in actives and such, I was wondering where I could get a compatible switch for my EMG solderless kit. I'm thinking of ordering this kit but the guitar I'm installing the EMG's in is an Explorer with a 3 way toggle switch, and I haven't been able to find a usable switch. If I have to cut one of the solderless jacks to solder to the switch, I can do that, but a completely solderless system would be preferred.

Thanks
frets can be (thankfully) cut like the top picture.
I drew something like this up a year or so ago, It was a dual function switching pedal with two switches and a pot. The first switch selects between the A/B stomp switch and the panning pot. Its a lot more useful in a studio environment where you have more capability and freedom, to be used live I've been thinking about tossing the circuit into a wah shell and jerry-rigging it to the wah follower so it can be adjusted with your foot. I'll find the schem.
The "off" position is going to give you lots of hum. If you want no sound to come from your guitar (ie. Killswitch) then you need to send the hot signal to ground, not interrupt it. The off position will give the same effect as unplugging your guitar and just having the exposed cable connected to the amp.
Quote by cminxi
Each bobbin has about 4,500 winds of 42 AWG poly-coated wire. It's wired with a 4-conductor wire so it can be coil-tapped. The screw side came in at 3.625k and the slug side came in at 3.504k; the entire humbucker has a resistance of 7.129k. Today, I'm going to pot the pickup with 80% paraffin and 20% beeswax.