Electric guitar tone won't dump highs

[pdf64]

Ok, but then there would be a significant treble "dump" with the tone pot on 10.
...

Unless it was a no load type control (rheostat rather than potentiometer) https://guitarelectronics.com/cts-25...w-brass-shaft/

[Helmholtz]

Maybe on 9 then?

[J M Fahey]

It will work fine from 0 to 9.5 (look at Bourns no load pot datasheet) but not on 10 because precisely that is the purpose of no load pots.
Track is cut *on purpose* _just_ reaching the 10 setting, and the typical "hot" lug is *disconnected* so soldering s capacitor to it does nothing.
Such pots are used in many modern guitars.
I suspect "fetzer" actually means "Fender"; of course mistyped or "autocorrected"
As mentioned above, pit is left with 2 x"working" lugs to be used as s rheostat.
Fine for tone controls ... if properly wired that is.

http://www.fender.com/en-US/parts/co...990832000.html

https://humbuckersoup.com/no-load-pots/

https://guitarsauce.com.au/what-are-...tar-tone-pots/

Look at curves: they do NOT reach 10

https://www.bourns.com/docs/product-...PDB241-GNL.pdf

[Mark Hammer]

These days, I like to use something I got from Craig Anderton, over 40 years ago. It's a "bi-directional" tone control.
I use a 1M linear pot. The wiper of that pot goes to the input of the volume pot ("modern wiring"). Each of the outer lugs go to a different value capacitor, that is connected to ground. I like to use a roughly 4:1 or 5:1 ratio of cap values. So if one cap is .022uf, the other one might be 4700-5600pf. The midpoint of rotation is the least treble cut. I say "least" because ALL Tone pots, with the exception of the "no load" type, will bleed at least a little bit of treble, even when up full.

Rotated fully towards the larger cap value, you get the traditional "dull" muffled tone. Rotated fully in the other direction, you get a "rounder" tone, like the edges have been sanded down a bit, but the mids are still largely intact. Note that when tone pots are turned down fully, there is a slight resonance introduced. I find the resonance produced with the smaller cap value is quite pleasing.

If the tone control is located appropriately, the perk is that this wiring helps with "pinky wah" - that simulated wah sound that Danny Gatton use to use with such skill. The reason it helps with this is because one only needs half the rotation to go from full cut to full bright.

I strongly recommend using 1M and not a lower value, because it will be used like two 500k pots in parallel, implying two paths for treble to bleed off when set to midpoint. Ideally, one might wish to use a W-taper pot with a centre detente, so that midpoint can be identified by a tactile click, without having to look. But if you can find such a mythical beast anywhere, you're a better person than I. W-=taper pots are usually in the sub-100k range and used for treble/bass controls on stereos.

Another recommendation, that is only usable with humbucker pickups that permit access to the junction between the coils, is the Peavey T-60 tone control. This is an absolutely brilliant idea that pans from a single coil at one end of rotation, to both coils with no treble-cut, to both coils with treble cut at the other end of rotation. IN other words it not only provides coil-cancelling, without having to install more switches, but also provides for things in between one and both coils. If you look around for advice/ or videos, on how to implement coil cancelling, one of the suggestions you'll see is coil-reduction, rather than cancellation, using parallel resistors.

Huh? Let us say one has a humbucker whose two coils each come in at around 4K DC resistance. Placing a 3K3 resistor in parallel with ONE of the coils, drops the effective DC resistance of that coil down to 1K8. So the balance between the contributions of the two coils is altered. The coil with the parallel resistor still contributes a bit of EMI to cancel out with the other coil. Not perfect hum-cancelling, but a bit more than you get by completely cancelling a coil. In any event, the Peavey circuit lets you go from complete coil-cancellation, through degrees of partial cancellation, to full humbucker. VERY clever circuit, that I think was the brainchild of either Red Rhodes or Bill Lawrence.