EDIT: This thread wanders a bit and has multiple revisions to drawings. If you want to bypass all of this, the final drawing is located here
So, I'm working on the wiring layout for the Peavey again... Space is tight in the cavity, so it turns out the PTB mod I was planning won't fit. DireStrat's post Don’t know where to add this capacitor to TBX circuit got me thinking on how replacing two pots with one pot sounded like a solution. The video in the thread was helpful.
Quick background, this is a 1988 Peavey Foundation I've had since about 1992. It's a poplar body, maple neck bass with two Peavey Super Ferrite pickups. I did shield it and put a Schaller 3D-4 bridge on it, but otherwise it's stock.
Wiring On A Peavey T 40 Bass
It always had a pretty sing to it...but it never had any cojones. Hence, the introduction of a P-Bass pickup crammed right above the old neck pickup and the just below the neck...somewhere between where the 23rd to 25th fret would go...if it existed... I'll have to slant it and squeeze it a tad, but that's already worked out
And yes, the middle and bridge pickups are out of phase. Peavey did this to make them humcancelling...as they're single coils. Here's the wiring from the horse's mouth:
I just replicated everything from the original as close as possible from this. I don't really want to screw with the original wiring and pickup placement. I like it where it is. There are two outputs for a reason...the same one Billy Sheehan gives. Run one output to a clean channel and the other output to whatever evil the mind can conjure. You can distort the Hell out of the middle and bridge...losing all your low end...then put it all back with the neck output. I'm certain trial and error will find the sweet spot.
Schatten Designs The New Book Of Standard Wiring Diagrams Bswd
Anyone who has been here a while has seen previous versions for this bass. It's come apart and gone back together a few times over the years, but this time I think is the keeper.
Democracy is nothing more than mob rule, where fifty-one percent of the people may take away the rights of the other forty-nine - Thomas Jefferson
Well, the neck series/parallel switch looks fine, and the rest seems to follow the original Peavey diagram, so I think you're good to go.
Vintage Peavey T 26 Electric Guitar In Sunburst Finish
Since you're tearing it apart anyway, have you considered using a switched jack for one of the two output jacks? I have that planned (and wired already, although the rest of the project languishes) for my stereo Tele project.
That way, you don't always have to plug into a separate amp (or into a y junction, or similar) to use all 3 pickups. This would be wired such that, if a cable is plugged into just one jack (presumably tyhe Mid/Bridge, then all three pickups are operable, but plugging 2 cables in then switches the neck output to that other jack. That seems the most logical way to do the stereo wiring. Since you only have pots and no pickup switching, it's even easier in this setting than in my Tele, where I have to separate the switching as well.
I started out with a pickup selector switch...and a few other assorted switches... I put it back together when I discovered the control cavity was not a Tardis... The more I thought about it, the more I began to realize that the thing I loved about this bass was the simplicity of it.
Wiring Harness For Peavey Foundation Bass
I looked at going down the path Yamaha took with their Billy Sheehan Signature, but it seemed to make more sense to just grab an A/B/Y box for when I'm not going to two amps. That, and I've lived 30 years with it having just the two pickups and one output, so I figured it would be best to keep it simple.
If we go back to newey's original thread dealing with split outputs, one pup per jack, we'll find a short discussion that's even more apropos here. Namely, when using two amps, we open up the possibility, nay, the almost-certainty, of having standing waves within the environment. To not make everyone find and revisit that earlier thread, what that means is that two sources (speakers) of the same tone will fill the room (that's my 'environment', and it doesn't matter what size of room) from different points. As the wavefront of a note is pushed out from Speaker A, it will encounter that same wavefront from Speaker B. Somewhere in the room, that encounter will take place.
Now, as we've long known with the strings on our axe, one of two things will occur when this encounter takes place: either we'll have a reinforcement (aka a resonance), or we'll have a null point, i.e. a cancellation. That's essentially a 'dead zone', and not one where we hear pleasant harmonics.
Trash O Caster
All of this is based on a large number of factors, but it starts with the two sources (speakers). Where they are placed is probably the biggie, and the direction they're pointing is likely #2 on the Hit Parade. Since the room is also not a Tardis, there will be walls, and the reflections therefrom will also have an effect; good, bad, or otherwise. This is exactly why we see multiple amps/cabs on stage in one location, not all over the place. Errr, that is, until we get to stadium-sized venues, then that multiplicity becomes the Order Of The Day, for obvious reasons.
Now I'm not one to put a damper on the idea of stereo outputs, but, and especially in the bass range of frequencies, there is a tendency to try to overcome the dead spots with more volume. And guess what? It doesn't work. In fact, higher volume just makes the problem worse.
So all I'm saying here is, it's neat to experiment with tone and tonality FTM (for the Mojo!), but when it comes time to hit the stage, it is never a bad idea to keep the K.I.S.S. principle in plain sight.
Rothstein Guitars • Serious Tone For The Serious Player
I found a standing wave with just one amp...but as the bartender said, it ain't the Civic Opera...it's a bar, kid... In all likelihood, my playing out days are over. I just don't feel like hauling all the crap from the house to the venue and back again.
But seriously, the fact is that while you may not ever play out again, other viewers here are looking at our ideas, and they have their thinking caps on just like you and I have 'em on. That's all I wanted to say, that there are oft-forgotten little factoids that will jump out and play Mr. Murphy when one is considering multiple outputs from their axe.
In the 1st post, you describe thinking about PTB, and then moving to a TBX to reduce knob count. TBX's can be adapted per Phostenix, to make a bass or treble cut on a single stick. But the way the TBX is shown in the diagram doesn't seem to look like that.
Classic 412e Replacement Switch/input + Wiring Diagram?
Also, if a bass cut is to be part of the the design as on a PTB , then that part usually needs to go before a volume pot, I see the diagram has independent vols, pre-volume, which I know is common and works well on basses, but may reduce effectiveness if there's a bass-cut intended.
I Googled more diagrams, pictures and variations for the TBX configuration on bass and guitar that I admit to knowing damned little about it now.
First off, everything on the Peavey side of this diagram is really just a removal of 35 year old electronics for something from this century...although a part of me wants to recycle the old 102 capacitors... That, and the more I looked at adding another pickup to this bass, I didn't want to screw up what already worked well on it. That's why the two Peavey pickups kept their own circuit and output intact.
New To Me 1980s Peavey Foundation
Now, the Schaller P-Bass pickup... I know that from where this pickup is likely to reside that it's going to be a bucket for mud. I don't necessarily want to lose that...but I want to be able to pull it back from merely attracting whales to complimenting the middle and bridge pickup.
One of the first things you notice when adding any distortion or fuzz to a bass is that all the bottom end just evaporates. The point of the separate outputs was to allow me to process the signal from the middle and bridge pickup into one amp, then run the neck clean into another amp and be able to recreate in one take something that always took two...provided I could remember what I played the first time...
So yes, to your question, I am looking for the TBX configuration to act as a cut, either treble or bass, depending on what I want to do with the output from that pickup, or the amp I plug it into. As witnessed, I'm not actually certain what needs to change, or what variables a given change introduces. I just
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