Galactic Purple

Not much to report on the project right now. I've been very busy with work lately and have not had the time to take the Stagemaster back apart and swap out the pots. I am hoping to have some time maybe this afternoon or tomorrow perhaps. I am anxious to get on with this and get the guitar back in order.

On another topic though, I found a photo of a "Galactic Purple" HSH Stagemaster. Along with the Arctic White one, I've never actually seen a purple one in real life. I don't know if the color is accurately represented in this photo or not, but I think not. For some reason, I got the impression that "Galactic Purple" would be more purple than this. Anyone ever seen a purple one?

Crispy

I Hate Electronics!

Please take a look at the image to the left. This is, according to DiMarzio, how the volume pot in my "hum-canceling" pickup configuration should be wired up. They recommend 500K pots and a capacitor and resistor on the volume pot lugs as pictured. The recommended values for the capacitor and resistor are 560 pf and 300K respectively. The capacitor and resistor, according to DiMarzio, are optional and only serve to "restore the treble response that is sometimes lost when the volume control is turned down."

Well, I didn't use 500K pots, nor did I install the "optional" capacitor and resistor. This, apparently, was a mistake on my part because the Stagemaster does not sound the way I expected it to sound. The sound is unacceptable, so the Stagemaster has to come apart again.

So here is where I get confused. While DiMarzio recommends specific capacitor and resistor values (see above) for this set up, these values, come to find out are widely argued amongst people who know a lot more about guitar electronics than I ever will. These values aren't chiseled in stone and everyone, it seems, has an opinion on the matter. Some argue that they are a needless headache and shouldn't be used at all and they even offer up alternatives, which I'll get to soon. I will now give you 2 examples of completely differing opinions out of the dozens I found:

Example #1:

This mod will keep the sound a little brighter as you turn down the volume, and it won't get so muddy/muffled. Worth doing, IMHO.

The cap and/or cap- resistor are added between the hot of the volume pot (the terminal connecting to the switch) and the center lugs. The third terminal of the volume pot is ground, and is probably bent over and soldered right to the bottom of the pot.

There are several ways to do this. I've only tried a couple.

a) Cap only.
b) Cap and resistor in parallel. (This is what I have now on my Clapton.)
c) Cap and resistor in series. (I haven't tried this one.)
d) Cap and resistor in series, with another cap in parallel with those. (I haven't tried this one, either.)

The value of your volume pot will determine what values to use here. If your volume pot is a 250K, then I'd recommend starting with example "b" and using a 220K resistor with a 680pf capacitor. Any wattage resistor (1/4 watt is fine) and any rating of cap (50v ceramic disc) is more than OK. For more information go to the websites for Kinman pickups, Acme guitar works, or Seymour Duncan.

If your volume pot is a 500K, then multiply the resistor by two and divide the cap by two. (Approximately 470K resistor and 330pf to 500pf.)

FWIW, on Strats with volume pots of 250K, for the cap only method (a) I have used anywhere from 330pf to 800pf. Try about 500-600pf for starters.

Example #2:

I've used the cap/ resistor method, and another one that's free and works better:

There's a wire that goes from the outside lug of the volume pot to the tone pot. Simply move the wire from the outside lug of the volume pot to the middle lug.

That's it. Try it. I did and found it to be less nasally, more natural sounding, and no screwing with different value caps.

So there you have it, and because I am a huge fan of simplicity, I think I am going to toss the 250K pots and go back to 500K's, and try Example #2 first. The reason for this is that stuffed up and "nasally" sounding is exactly what the Stagemaster has going on right now.

My next step will be to unstring the Stagemaster, take the pickguard back off and try a different set up. I'll keep you up to date.

Crispy

Houston, we have a problem...

I'm not happy. Well, I strung up the Stagemaster last night just for a test run, plugged her in, and didn't like what I heard. I'm not sure if it is the 250 k pots I used or what, but I don't like the way she sounds. Don't like it at all. It was said that the 250 k pots would produce a slightly warmer tone, but this is a little too warm . . . no, way too warm for my liking. Be prepared for a lengthy read next entry. I have lots to report, a few ideas, a lot of conjecture and personal opinion mixed in with some other people's ideas I've read on the web which may solve the problem.

I only attached the pickguard with 3 screws, but taking the Stagemaster back apart and unstringing this thing is a depressing thought, but I'm afraid it has to be done.

Crispy

P.S. The good news is that tortoise shell looks sweet on gloss black paint. : )

P.P.S. The copper foil shielding works perfectly. The Stagemaster is virtually silent no matter how it is waved around. No static, no hum, no buzz, no microphonics whatsoever.

Success!

Today I am happy to report that after installing the new Fender Superswitch I bought, all of the new pickups seem to be working in accordance with the switch settings. All 5 positions are working when the are supposed to be working, and not working when they are not supposed to be working.

I took me at least an hour and a half to uninstall the standard 5-way switch I bought earlier and to install and wire up the new Superswitch. Again, if you are interested in looking at the wiring diagram, click here to view the PDF from DiMarzio. I wired everything up exactly as instructed, and it was no piece of cake.

I do not have an ohm meter (or whatever they're called), so after I loosely attached the pickguard back onto the guitar with a couple of screws, I tested the pickups by plugging the guitar into my amp and tapping on each of the pickups with a small screwdriver. After I moved the switch through all 5 positions and tapping on each pickup respectively, I determined that they are all active when they are supposed to be. According to DiMarzio, this is the reasoning behind a "hum-canceling" configuration such as this:

"One reason the 3-pickup humbucker-single-humbucker setup is popular is because of the Stratlike sound of the 2nd and 4th switch positions. Because these positions utilize 1 coil from the neck or bridge humbucker and the single-coil in the center, they are humcancelling. If there is also a humcancelling pickup like a Virtual Vintage® model in the middle position, it becomes necessary to turn off the bottom coil of the middle pickup as well as one coil from the outside humbucker. This can't be accomplished with a standard 5-way selector switch. The diagram shows how to do this with a multipole 5-way (EP1112). Observe the positioning of the humbuckers: the neck pickup is installed in the opposite direction from the bridge pickup. This was done so that the coil closest to the middle pickup remains on in the 2 & 4 positions. This produces the most "quack". If the humbuckers are turned around, the result is a less hollow, more Tele-like sound."

At this point, all I can tell you is that all of the pickups are working. I won't have any idea of what the Stagemaster actually sounds like until I put it all back together and put some strings on it--which will be the next step.

And regarding strings, this guitar has been jostled around a lot in the course of this mod. I hope to heck it hasn't developed any intonation problems as a result of all of the handling. Intonation problems, I know from experience, can be a real headache.

Not too much longer now . . .

Crispy

Minor Update

I received my Fender Superswitch Saturday so I should be able to continue on with the project very soon. This is the biggest switch I have ever seen for a guitar and I sure hope it fits in the electronics cavity. I haven't actually fitted it yet, but I can see where some guitars might require routing in order to fit this switch. Just eye-balling things the switch looks like it will fit, but before I wire this thing up I will definitely do a test fit. More on this soon.

Crispy

Red Stagemaster on eBay

If you are interested, there is a red Stagemaster for sale on eBay right now. The person selling it obviously doesn't know anything about the guitar (or guitars in general for that matter). This Stagemaster certainly isn't one year old. If you are interested in a red HSS, here is your chance. I kind of like the red ones; however, the Arctic White Stagemaster is still my holy grail.

Crispy

P.S. I'm still waiting on the "Superswitch" I ordered last week. Once I get it, I'll continue on the project. And also, this eBay sale is over so I removed the link.

Stewart-MacDonald

I'm a new fan of the Stewart-MacDonald web site. I hadn't actually heard of these people until I started this project, but they have a remarkable web site that not only has any part you can think of, but what I really like, is they tell you how to use the parts.

Furthermore, the design of their web site is excellent (take it from me, I was in the web design business for almost 10 years). It is easy to navigate and the overall design usability is outstanding. If you are looking for guitar accessories and parts, I highly recommend Stewart-MacDonald. It was reading the descriptions of switches on their web site that finally made it clear to me which switch I needed to finish the Stagemaster project. Bravo, Stewart-MacDonald, bravo!

Crispy

Switching Gears

After researching wiring information on the web until about about 1:00 am this morning, I have decided and ordered. In order to achieve this wiring configuration (pdf), I need a 5-way "Superswitch" (pictured left). Not a "Megaswitch" or any other kind of switch, a "Superswitch."

To quote from the Stewart-MacDonald web site:

"Unlike standard 2-pole lever switches, this 4-pole switch has 24 solder lugs, which allows for virtually limitless wiring options."

And because my middle pickup is the 4 conductor type (pdf), this switch is what I need to make the whole thing come together.

The best price I could find on a Superswitch was at GuitarElectronics.com for $17.95, which is a couple of bucks cheaper than anyone else, and it is Fender OEM.

Sheeeesh! And to think that before I ever started this project I had never even heard of a "Superswitch!"

Crispy

Guess what? More on wiring...

Well, I have found out why my current wiring set up doesn't work. It seems that the DiMarizio single coil (YJM) pickup I bought for the middle position is a 4 conductor, hum canceling pickup (pdf). Which isn't a bad thing, but I wasn't planning on the pickup having more than 2 wires. In this case, it has 5 (1 white, 1 black, 1 red, 1 green, 1 ground).

The wiring diagram from DiMarzio that I was trying to use assumed that a standard single coil pickup (2 wires) would be used. Take a look at this diagram (pdf).

As I understand things, if I want to use the new YJM I bought and make it do what I want it to do, I can't use a standard 5 way switch. I have to use a multipole 5-way switch (sometimes called a Megaswitch) that will facilitate the desired, hum-canceling hookup. Please take a look at this diagram (pdf) and you can see how the YJM is hooked up to the switch. Obviously, this setup cannot be accomplished with a standard 5-way switch.

I have found the switch I need at Stewart-McDonald, take a look here. So it looks like I am going to have to order up and wait for it to get here.

If any of you have any input regarding this wiring issue, I'd sure like to hear it.

Crispy

Wiring Disaster

Sigh . . . the rewiring job has turned into a nightmare. After wiring up the Stagemaster, I loosely attached the pickguard and plugged the guitar in to see if everything was working. I tested the pickups by simply tapping on them to see if they were all working. Wired up like the DiMarzio diagram, nothing happens when the 5 way switch is in position 4 or 5 (or the bottom two positions). It appears like in positions 1, 2 and 3, all of the pickups are on, however. I have checked and rechecked all of the connections and it appears like everything is right, but two positions don't seem to work at all. I don't know if the diagram is wrong or I have a bad 5 way switch. Back to researching . . .

Crispy

Finished Wiring

Okay then, with the exception of the 3 wires that are attached to the Stagmaster's body (the ground to the spring bridge and the 2 wires that come from the output jack), the wiring is done. Here is a photo of the finished product.

After I found the wiring diagram on Dimarzio's web site, everything fell into place. Here is the most interesting thing of all, in my opinion (taken from DiMarzio's own wiring diagram):

"Observe the positioning of the humbuckers: the neck pickup is installed in the opposite direction from the bridge pickup. This is done so that the coil closest to the middle pickup remains “on” in the 2 and 4 positions. This produces the most "quack". If the humbuckers are turned around, the result is a less hollow, more Tele-like sound."

So this told me that it does indeed matter which direction the pickups are mounted. It doesn't necessarily affect an individual pickup's sound, but it does affect the overall sound when the 3 pickups are used in combination with each other.

That being the case, I had to remove the bridge pickup and flip it over where it would be opposite of the neck pickup per the instructions. I know it sounds confusing, but it makes sense to me when I think about it.

And finally for today, as nice as the new tortoise shell pickguard is, I discovered to my dismay that none of the screw holes were counter sunk. I hadn't noticed this until today. Luckily I had a counter sinking drill bit that took care of the matter. No big deal, but it was an annoyance.

Crispy

Wiring Woes

Much to my surprise, the wiring diagram for the Stagemaster which I downloaded from the Squier web site, does not match up with the way the guitar is actually wired. Furthermore, the DiMarzio pickups I bought have more wires than that original pickups. The original pickups have 3 wires, red/white/ground. The DiMarzios have 5 wires, red/white/black/green/ground.

If this wasn't confusing enough, the instructions that came with the DiMarzio pickups are not what I would call "user-friendly" at all.

I was totally confused as to how to proceed, so it was necessary to get on the web and do some research. Interestingly enough, I found some completely "user-friendly" wiring diagrams right on the DiMarzio web site--you just have to dig around for them. Why this information isn't included with the pickups is beyond me.

I decided to go with this set up (pdf). This is the diagram and a complete description of the sound that is likely to be achieved. I have now finished the wiring and will post a photo in the next entry.

Crispy

P.S. And come to find out, it DOES matter which way the pickups are facing. More on that later...

Gone to Pot

The new Fender pots arrived today and they, of course, fit the holes in the pickguard perfectly. I have attached all of the parts to the pickguard and here are a couple of photos of the progress. I haven't done any wiring yet as I ran out of time today to work on the project. Speaking of wiring, I guess I am going to have to refer to the Stagemaster wiring diagram from the Squier web site (pdf) after all. In handling the old electronics over and over, a couple of the wires have unattached and I can't remember what they were attached to. The soldering was inferior in the first place, so the wires just came right off. Even though I'm not that good at reading wiring diagrams, this doesn't look too tough.

I do have a mystery to solve though. Take a look at the pickup in the neck position (top photo). Can you see how it has screw-type pole pieces on the top and solid pole pieces on the bottom? I can't tell if I have it in upside down or not. If anyone has any input on this dilemma, I'd sure like to hear it before I put the pickguard back on. I've never had a humbucker like this one so I don't which side is up. I suspect that I may have it right, but would like to know for sure.

At any rate, I finally have everything I need to finish this thing. I hope to do some wiring tomorrow. I'll keep you posted.

Crispy

Floyd Rose

I had no idea that there was a Wikipedia entry for Floyd Rose. Ever wondered how you would like a Floyd Rose tremolo? Check out this page for everything you ever wanted to know about Floyd Rose tremolos including how they work, how to adjust them, advantages, disadvantages, parts, etc. Since the Stagemaster employs a Floyd Rose, I thought this information might be appropriate here. The page also includes some really interesting diagrams and photos. Here is the actual url, if you need it:

http://en.wikipedia.org/wiki/Floyd_Rose

This is the most informative page I have found on the web regarding this remarkable tremolo system. Check it out before you buy a Floyd Rose for yourself. Although I love mine, it took some getting used to and I can see why it wouldn't be for everyone. Changing strings for the first time was a real adventure in cluelessness on my part.

Crispy

F-Spaced Pickups Revisited

Remember in a way earlier post when I described the importance of having an f-spaced pickup at the bridge? Take a look at this photo which I found on the web somewhere--I believe it may have been a pawn shop web site or something. This is an HH Stagemaster and you can plainly see that the bridge pickup's pole pieces don't even come close to lining up under the strings. This is a much better example photo than the one I posted of my guitar, and this one is as bad, if not worse, than mine was.

Take a look a your own guitar. If the bridge pickup's pole pieces don't line up precisely under the strings, you need to get f-spaced.

Crispy

Pickguard Shielding

While I am waiting for the Fender pots to get here, I went ahead and shielded the tortoise pickguard with the copper foil. As you can see, I added a generous amount of foil to completely cover all of the electronics cavities in the Stagemaster's body. The pickups, pots and other electronics will be completely encased in grounded copper foil. If all goes well, this guitar should produce no electronic noise or hum whatsoever. We'll see!

Crispy