![]() ![]() The 4 pole variety will also work but you would only use 2 of the poles : Fender 099-2251-000 5-Position Strat/Tele Super Switch: Musical one thing it lacks that I am missing, of course is the sound of the Tele neck and bridge pickups together, which I believe would be wired in series on a traditional Telecaster (right?) and set to the middle position. If you want to assign the neck + bridge to the "2" position, since you use that one the least, you will need a special switch. You can add the neck pickup to any position using a switch or a pot, that's how it's done w/ strats themselves (The 7 sound strat mod: ) But I am open to other suggestions, noting that I'd prefer not to have to completely change out the switches and electronics, if possible.Īny suggestions? "Nashville" Tele's are decently common, so I'm thinking somebody must have thought of this issue in the past and come up with a solution and/or wiring diagram. Is there an easy way to set up the wiring so I have the option of keeping the middle Strat pickup as an option, but also having the neck and bridge Tele pickups together? Ideally, I would like to assign the neck + bridge to the "2" position, since I use that one the least. I have a spool of wiring and passable soldering abilities. The one thing it lacks that I am missing, of course is the sound of the Tele neck and bridge pickups together, which I believe would be wired in series on a traditional Telecaster (right?) and set to the middle position. Output – The overall output of a passive pickup is influenced by several design factors: number of turns of wire on the coil(s), strength of the magnet, coil geometry and magnetic circuit geometry.The output of an active pickup is influenced by the same factors but is predominantly determined by the design of the onboard preamp.So the guitar now is a real tone monster - it has the twangy bridge pickup ("5"), the smooth neck pickup ("1"), a middle pickup in the "3" setting that gets surprisingly "Strat"-like, and "2" and "4" settings that combine the middle Strat pickup with the neck and bridge Tele pickups, respectively. Looking at this from another point of view, ceramic magnets can be said to produce increased clarity, better note definition and faster response to picking. It is for this reason that many consider ceramic magnets to have a brittle sound, not their gauss strength. This has the effect of decreasing the inductance of the pickup and significantly raising the resonant frequency. The magnets at the lower end of the scale tend to produce a softer attack and a degree of “bloom” to the envelope of the note.Ĭeramic magnets should be considered as an individual case because they do not contain any nickel or iron. As the gauss strength goes up, so does the output. From there in order of ascending strength you have A2, A4, A5, A6, Ceramic and A8. Of the magnets we use, Alnico 3 has the lowest gauss strength. In the case of pickups, the most significant characteristic is the gauss strength, which is a measure of the density of the magnetic field. Magnet – We use several different magnet formulations: Alnico 2, Alnico 3, Alnico 4, Alnico 5, Alnico 6, Alnico 8 and Ceramic 5/8. DCR is often used as a gauge of output because as the turns increase, so does the output, though magnet type and the coil geometry also influence output. The length of the coil form, the number of turns and the gauge of wire all affect the DCR reading. DCR – Short for DC Resistance, is measured in Ohms and is the total resistance of the copper wire wound around a coil form. ![]()
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