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Trying to Get a Handle on the 5-Way Switch

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  • Trying to Get a Handle on the 5-Way Switch

    I am pulling my hair out trying to figure out how things work before I dive into rewiring my HSS Ibanez. I have gone from initial plan of using a super switch to one of using an ordinary Fender 5-Way switch with a rotary switch for pickup selection. I want to get a hand on the 5-way switch before I make my final schematic and set about wiring it up.

    I found a schematic today that helps me understand it pretty well (see Schematic 5-Way Switch). The Switch is actually simple with 2 poles and 3 terminals on each, in addition to the common terminals, 0. The selector tied to the commons is wide enough to tie two adjacent terminals together when it is in an intermediate position (positions 2 & 4, that don't show up in the diagram).

    Then I found a wiring diagram for the standard use of the switch to get the usual bridge, bridge-middle, middle, middle-neck, and neck pickup selections (see Standard Strat 5-Way Wiring). That looked pretty straightforward and readily understandable, for the most part, I think.

    Then I found a schematic of the Mexican Fat Strat (see Standard Wiring of Fat Strat) and the way the 5-way switch was used on that (see Fat Strat 5-Way), and I found I was totally confused again.

    If I am looking at that correctly, it appears the hot lead (usually North start) from the humbucker ties into terminal 1 on pole 1, that both North finish and South finish tie into terminal 1 on pole 2, and that terminal 3 on pole 2 goes off to ground. The other connections look fairly straightforward, I think.

    I start out presuming the two poles are electrically tied together, as they must be in the standard wiring. If they are tied together, I find that in position 1, the hot lead (presumably North start) of the humbucker is tied to both wires that tie the two coils of the humbucker together (typically North finish and South finish), and that whatever signal comes from that combination goes off to the volume pot and hence to the tip of the jack. I cannot fathom why you would ever want to tie those three wires together, so that is problem one. Position 2 shares that problem and just adds the middle pickup signal and opportunity to use the middle pickup tone control.

    Then, in positions 3 and 4, the primary question is why you want to tie the signal from the middle pickup and/or neck pickup directly to ground. There was no direct patch to ground for the middle pickup in position 2 (so why does it need it in position 3?), and there was none at all on the standard wiring of the 5-way switch. I even ask myself if it is just because the switch needs to be grounded, but then I note that there is no grounding of the switch demonstrated in the standard wiring. This leaves me confused.

    I remain confused if the two poles are not electrically tied together. The first pole then looks pretty straightforward--it looks just like the standard wiring, except the connections to the tone pots are wired directly to the pickup leads at the terminal instead of connecting through the second pole terminals. But that leaves looking at pole 2 as a separate entity, and I have no clue what would be going on. If the wires from the humbucker on terminal 1 of pole 2 are not connected to the common on pole 1, then I don't see that having the switch set to position 1 would tie those two wires into anything. I just don't get it.

    This may be asking a lot (as if hoping people will read this is not already a lot), but if someone could explain what I'm missing here, I think it would help me get a better handle on the use of this switch.

    Thanks in advance for consideration and any assistance. Rob R
    Attached Files

  • #2
    Try this on a 4 pole MegaSwitch with two pups. Hell my friend, hell.

    1. N
    2. B
    3. N+B series
    4. N+B parallel with cap=Strat #4 tone
    5. N+B parallel with cap/res=Strat #2 tone
    One pole for assigning tone pot to any position.

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    • #3
      Hey, thanks. That sounds really cool. The thing is, my current project involves bridge humbucker with 2 single coils, so I couldn't put the same switch to that use. I am going to record your suggestion, though, for future use.

      It's been a good while since I tried to start that thread, and I think you're the first and only soul who responded to it. I've considered a bunch of different options, but I finally came away with the following (it is probably ridiculous in regard to the number of available tones (I'm pretty confident there are 47 distinct settings (I made a list for myself and put it up as an attachment if you're at all interested--it's pathetic!), some of which will probably sound like a turntable needle scratching on an old LP !D and others of which will have very similar sounds--I'll certainly have difficulty recalling or distinguishing 47 different tones): In place of the first pot I am putting a 6-position, 4-way rotary switch just for controlling the bridge pickup settings. That will allow selecting full humbucker in series, single coil, or full humbucker in parallel, then all three of those in or out of phase. Then I am going to cautiously drill holes in line with the 5-way switch slot to mount 4 sub-mini toggle switches rather than a 5-way switch. The second and third of those (DPDT) will allow selecting either neck or middle, neither, both in series, or both in parallel. The first (also DPDT) will allow putting neck out of phase with middle. The fourth (SPST) will simply allow me to turn on or off whatever bridge pickup selection has been made.

      On top of that, I decided to replace the third pot with a 6-position, 2-phase rotary capacitor selector to allow a broader range of tone control than having a single cap on the tone pot. As I've taken up 2 of the 3 pot positions with rotary switches, I will be using a stacked concentric pot in the second pot position to control both volume and tone. Although I am bound and determined to do this, I have to ask myself, when you have 47 different pickup combinations to choose from, do you really need tone control on top of it? I have to wonder if I'll ever get around to playing the guitar, or if I'll just be flipping switches and turning knobs all day.

      I know this is straight out crazy, but I figure this particular guitar is nothing special, so I can beat it up all I want, and this will give me an opportunity to get a lot of experience with planning wiring and soldering, fitting things together, and understanding how several different sorts of components work together. It will also give me a chance to hear scads of different pickup combinations, so I can be more selective with future projects, knowing what I actually like!
      Attached Files

      Comment


      • #4
        LOL, ahh the suffering. Innit funny, the variations fall on deaf ears. Cool for noodlers and recording, but loud and live...meh.

        I actually purchased a couple test mules. Floyd Rose Discovery Speedloader for $140 each. Great players actually.
        I can remove the trem springs, pull it apart, change pups and reinstall, all in short order. No tuning required!

        One has a partial Strat pick guard mounted off the side with a MegaSwitch and a few mini-switches. Need to add a couple pots for complete outboard circuit work.

        BTW, go to 'thegearpage.com' and post. I've seen full graphic responses! I must say your project is INSANE man. lol

        Comment


        • #5
          That sounds like a deal. I have an old Floyd Rose trem bridge on this guitar, but instead of using the locking nut contraption, I put on Steinberger locking tuners and took the lock nut plates off. I found it a real pain loosening them just to tune the guitar or change the strings. I wasn't familiar with the Speeloader until you just brought it up, so I looked it up on line and was also surprised to learn Floyd Rose is manufacturing guitars. I've never run across one. I'll have to check out thegearpage.com and see what's up.

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