chilipeppermaniac
Ambassador of Decibels
HEHE Robert,
I am pretty darn certain we will never catch you playing one of these.
I am pretty darn certain we will never catch you playing one of these.
The dreaded Fender Strat knob inadvertently moving.....
- Thread starter Riffjack846
- Start date
Impossible for me
67plexi
Ambassador of Amps
I have 2 Fender guitars with D necks rare custom order D = 1 7/8" wide at the nut and 3 with C necks and 5 with B necks.
C = 1 3/4" B necks 1 5/8" standard A neck 1 1/2" My friend Scott owns a 1966 A neck Stratocaster only one I have ever seen.
My 1965 Gibson SG Standard is 1 15/16" at the nut.
I love playing Mandolin
C = 1 3/4" B necks 1 5/8" standard A neck 1 1/2" My friend Scott owns a 1966 A neck Stratocaster only one I have ever seen.
My 1965 Gibson SG Standard is 1 15/16" at the nut.
I love playing Mandolin
chilipeppermaniac
Ambassador of Decibels
Beautiful one, Steve.
I don't have one, but could try my buddy's. I did begin learning Banjo though.
chilipeppermaniac
Ambassador of Decibels
Killer Strat necks ya mentioned too, Steve.
Come to think of it...I don't think my Stratocaster volume knob has ever moved.
Every time I go to use it, it is still in the same place it's always been - conveniently located right next to the bridge pickup, ready for immediate, unobstructed access!
I don't think the volume knobs move around on my other guitars, either...at least, not that I've ever noticed.
Can you imagine how frustrating that would be - for the volume knobs to move on your guitars? Why, you'd never know where to find the darn things!
Every time I go to use it, it is still in the same place it's always been - conveniently located right next to the bridge pickup, ready for immediate, unobstructed access!
I don't think the volume knobs move around on my other guitars, either...at least, not that I've ever noticed.
Can you imagine how frustrating that would be - for the volume knobs to move on your guitars? Why, you'd never know where to find the darn things!
Those are some generous neck sizes!!!!
I do like how mandolins sound. My mom and dad had some Herb Alpert albums and I recall how unique that instrument sounded.
I’m at the opposite end of the hand spectrum. I wear a medium glove. There are children with bigger hands than me. Neck size is important to me as well….. just for a different reason.
Bottom line. Fortunately there are enough choices we should all be able to find something that fits and is comfortable to play.
I wish I’d have thought of this. It’d be a direction my warped sense of humor should have taken me. Getting slow in my old age.
I'm far too literal to think in such terms.
Oh yeah. Me too. Just ask my family. I’m also a bit twisted. It’s a dangerous combination.
I have messed around with both, but it's tough with big fingers.
chilipeppermaniac
Ambassador of Decibels
Umm, I am totally surprised no one mentioned how even Ritchie Blackmore had issues with his Strat volume knobs. His pissed him off so much he busted a few guitars before the song ever finished.
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Irregardless, I would never damage my equipment.
ivan H
Ambassador of Tubes & Grooves
I've no answer regarding the mandolin, but maybe try a 6 string guinjo, aka bantar (banjo body, guitar neck).
Before I moved inter-state a few years back, I had a buddy that had one (well, he'd still have it). Interesting instrument & fun to mess around on.
Neil Young is known to play one on occasion. Cheers
chilipeppermaniac
Ambassador of Decibels
How to Use a Stratocaster's Controls: Complete Guide - Pro Sound HQ
Wondering how to actually use the controls and knobs on a Stratocaster? Here's a complete guide to using the Strat's controls to get the perfect tone.
prosoundhq.com
How to Use a Stratocaster's Controls: Complete Guide - Pro Sound HQ
Wondering how to actually use the controls and knobs on a Stratocaster? Here's a complete guide to using the Strat's controls to get the perfect tone.
Much better when wired appropriately
chilipeppermaniac
Ambassador of Decibels
Not sure I know what this means.
I am so turned around with all the options of Strats. Makes me wonder what those Jazzmasters or whatever Fender guitars had all those oddball switches on them do.
I am so turned around with all the options of Strats. Makes me wonder what those Jazzmasters or whatever Fender guitars had all those oddball switches on them do.
Read about a Treble/Bass Expander. It functions as a standard tone control from 1 to 5, after which it decreases resistance, sending more bass, treble, presence and output to your amp.
The basic configuration of the TBX control (Fender part no. 0992052000) changed several times over the years. Fender used several different values for the two pots, the capacitor, and the resistor. The first few versions also lacked a center detent function. The current version consists of a detented 250k/1 Meg stacked pot, a 0.022uF standard film capacitor, and an 82k-ohm carbon-film resistor. In a nutshell, the TBX tone control is a special pot that cuts either treble or bass instead of a normal tone pot, which cuts only treble. This is done with the dual-ganged pot, which is wired to work as a low-pass filter in one direction and a high-pass filter in the other. The center detent in the middle is provided for the off or “flat” position.
The engineering behind this is actually very clever. Normally, the resistive material ring inside of the pot is a band of carbon-containing gunk that is printed onto the phenolic wafer. On the lower TBX pot, only half of the ring is conductive, as the other 50 percent is made out of a non-conductive material. So we can say it is a no-load tone control pot, but instead of going open at approximately 98 percent of its rotation, it goes out of the circuit at exactly 50 percent.
The other pot, which is labeled A, acts in the opposite direction. It also has a split resistive material ring inside, but instead of non-conductive material, metal is used for one half of the ring. This means that between 0 and 5 on the knob, its resistance is at maximum. After the detent position, the normal function takes place from 5 to 10 on the knob. This 1 Meg linear pot comes into the circuit in series with the resistor after the detent position. Because of the high resistance (1 Meg ohm), the load added to the passive guitar circuit is very low.
The engineering behind this is actually very clever. Normally, the resistive material ring inside of the pot is a band of carbon-containing gunk that is printed onto the phenolic wafer. On the lower TBX pot, only half of the ring is conductive, as the other 50 percent is made out of a non-conductive material. So we can say it is a no-load tone control pot, but instead of going open at approximately 98 percent of its rotation, it goes out of the circuit at exactly 50 percent.
The other pot, which is labeled A, acts in the opposite direction. It also has a split resistive material ring inside, but instead of non-conductive material, metal is used for one half of the ring. This means that between 0 and 5 on the knob, its resistance is at maximum. After the detent position, the normal function takes place from 5 to 10 on the knob. This 1 Meg linear pot comes into the circuit in series with the resistor after the detent position. Because of the high resistance (1 Meg ohm), the load added to the passive guitar circuit is very low.