Guitar wiring

Guitar wiring refers to the electrical components,

and interconnections thereof, inside an electric
guitar (and, by extension, other electric instruments
like the bass guitar or mandolin). It most
commonly consists of pickups, potentiometers to
adjust volume and tone, a switch to select between
different pickups (if the instrument has more than
one), and the output socket. There may be
additional controls for specific functions; the most
common of these are described below.

Contents
Electrical components
Pickups A diagram showing the wiring of a Gibson Les Paul
Potentiometers electric guitar. Shown are the humbucker pickups with
individual tone and volume controls (T and V,
Capacitors
respectively), 3-way pickup selector switch, tone
Custom wiring modifications capacitors that form a passive low-pass filter, the output
Coil splitting jack and connections between those components. The
top right shows a modification that allows both pickups
Phase cancellation
to have their volumes adjusted independently when the
Parallel/series switching selector switch is in the middle position: the two bottom
Blend potentiometers connections are simply swapped on each volume
Active electronics potentiometer.

Manufacturers
See also
Notes
References

Electrical components
The following section describes the most common components found inside an electric guitar.

Pickups

Pickups convert the mechanical energy of a vibrating string to an electrical signal, allowing it to be
amplified, processed and reproduced.[1] Pickups vary greatly in construction, size, types of materials used,
as well as various electrical properties, but are generally divided into two categories – single-coil and
double-coil (also known as humbucker).[2]
Potentiometers

Potentiometers (often abbreviated as "pots") can be used to control a

variety of functions inside an electric guitar. Most often they
function as tone and volume controls, but can also blend two pickups
together, attenuate one coil of a humbucker, and so on.

Potentiometers are differentiated by their electrical characteristics, of

which the following are most important in an electric guitar:
Underside of a 1981 Fender Lead I
Value – the resistance between the two outer lugs. The pickguard, showing the wiring.
most common values are 250 kΩ (for single-coil pickups)
and 300–500 kΩ (for humbuckers), although values
ranging from 50 kΩ to as high as 1 MΩ have been used.[3] 25 kΩ pots are usually used with
active electronics.[4]
Taper – the ratio of wiper travel to the resistance between the wiper and the outer lugs.
Logarithmic pots (also known as "log" or "audio" pots, and designated with the letter A) are
generally used for volume controls, due to the human ear's response to sound pressure being
roughly logarithmic, whereas tone controls can employ both logarithmic and linear pots
(designated with the letter B), depending on personal preferences and wiring
arrangements.[5][6] Reverse audio pots are sometimes used for volume controls on left-hand
guitars, but this is not widespread due to the relative rarity of such pots.

Besides the common pots used for volume and tone controls, a number of specialised types exist:

Push-pull pots – these pots incorporate an on-on DPDT switch on the underside of the pot
that's actuated by pulling the shaft outwards and pushing it back in (hence the name). The
switch is electrically independent from the pot and can be used for a number of functions.[7]
Push-push pots – a variation of the above, these pots also incorporate a switch which is
activated and deactivated by pushing on the middle of the knob. This is used by Fender in their
S-1 Switching System,[8][9] and unlike push-pull pots, requires a special knob.
No-load pots – also used by Fender, these pots have the clockwise lug disconnected from the
resistive strip within, resulting in infinite resistance between the wiper and the other outer lug
when turned fully clockwise. These are sometimes used as tone controls, to remove the load
on the pickup(s) presented by the pot and the tone capacitor when turned to 10.[10]
Dual-gang pots – these are simply two pots stacked together, either with concentric shafts,
allowing the independent control of two different parameters, or with a common shaft. The
latter type can be used for blending the signals of two pickups together, and they usually
feature a detent in the centre position.[3][11]

Capacitors

Capacitors (often referred to as "caps") have several uses in electric guitars, the most common of which is in
the tone control, where it combines with the potentiometer to form a low-pass filter, shorting all frequencies
above the adjustable cut-off frequency to ground.[12][13] Another common use is a small capacitor in parallel
with the volume control, to prevent the loss of higher frequencies as the volume pot is turned down. This
capacitor is commonly known as "treble bleed cap" and is sometimes accompanied by a series or parallel
resistor to limit the amount of treble being retained and match it to the pot's taper.[14]
A different take on the standard tone control is the Varitone circuit sometimes used on Gibson guitars (such
as the Blueshawk). The Varitone is actually a variable notch filter consisting of one of several capacitors
(selected with a rotary switch) in series with an inductor, forming an LC circuit.[15] When placed between
the signal and ground, this circuit starts to attenuate frequencies around its resonant frequency, as
determined by the following formula:

While this control is not very common in guitars, a number of aftermarket versions are available, both with
and without an inductor (the latter being a simple low-pass filter with a movable cutoff frequency).

Capacitors used in electric guitars are differentiated by the following electrical characteristics:

Capacitance – the amount of electrical energy the capacitor can store. Capacitors used for the
tone circuit are usually in the 10–50 nF range,[13] while treble bleed caps are smaller, usually
1–2 nF.[14]
Type – the dielectric used in the capacitor. Polyester and polypropylene are most common,
with ceramic capacitors also being popular, especially in lower-end instruments. Reissues of
vintage instruments often use reproductions of vintage paper capacitors, which are also
popular aftermarket replacements. Finally, audiophile-grade polypropylene film and foil
capacitors are sometimes used in custom instruments, although their size can prove
problematic as they're designed for use in audio amplifiers and consequently have working
voltages in excess of 500 V, far higher than anything encountered inside an electric guitar.[16]

Custom wiring modifications

There are countless ways to modify the wiring of an electric guitar. Some of the more popular modifications
are described below.

Coil splitting

A humbucker pickup is electrically equivalent to two single-coil pickups wired together in series. Coil
splitting involves shorting one of the coils to ground, essentially turning the humbucker into a single-coil
pickup (not a perfect replica, though, as the magnetic circuits of the two pickup types are different). This is
usually done with a DPDT switch, but can also be done with a push-pull pot. Some manufacturers have used
a pot to vary the amount of signal shorted to ground from one coil, thus producing a range of tones between
a humbucker and a single-coil. Coil splitting results in a sound that's brighter and has less output than a full
humbucker. It also eliminates the humbucker's noise-cancelling properties. This modification requires the
start and end of both coils to be exposed, which is more commonly available on aftermarket than stock
pickups.[17][18]

This modification is commonly (and incorrectly) referred to as "coil tap",[19] which actually involves
bypassing part of a pickup's coil using a tap point on the coil. This also serves to reduce the pickup's output
and change its sound, but is found only on single coil pickups (and even then rarely).[17][20]

Phase cancellation
Another popular modification is to reverse the
electric polarity of one of the pickups (or one coil
of a dual-coil pickup). When two pickups are
selected, this produces a very thin and weak sound,
due to phase cancellation between the pickups.[21]
The closer the pickups are to each other, the greater
the cancellation and thus the weaker and thinner the
resulting sound. In case of a humbucker this results
in a sound that is so weak as to be almost unusable,
as well as the loss of the pickup's hum-cancelling
properties (due to the coils being magnetically out-
of-phase, but electrically in-phase with each
other).[22]

A way to increase the usability of the sound

acquired this way is to wire a capacitor in series
with the pickup that has its electric polarity
reversed. This filters out that pickup's lower
frequencies and thus preserves the corresponding
frequencies from the other pickup. The resulting
sound is fuller and stronger, yet still different from
the standard in-phase combinations, resembling the A diagram showing a wiring modification for a Les Paul
sound of a "cocked wah" (a wah-wah pedal set in a or a similar electric guitar with two humbuckers. Wiring
fixed position). The capacitor used for this is schemes using four push-pull pots for additional pickup
usually in the 20–100 nF range.[23] combinations were made popular by Led Zeppelin
guitarist Jimmy Page and later produced as a signature
Unintentional phase cancellation can also occur if a model by Gibson. The modification shown in this
guitar's pickups are wired incorrectly, or if a new diagram is an evolution of the original concept
combining coil splitting, phase cancellation and
pickup installed in the guitar has different magnetic
parallel/series switching for a total of 22 different pickup
or electric polarity from the one it replaced. To fix
combinations.
this, the pickup's magnetic or electric polarity needs
to be reversed (which one exactly depends on the
respective polarities of the other pickup(s) and
whether or not hum-cancelling combinations are desired). While the latter is usually a small matter of
reversing the pickup's hot and ground wires,[24] the former may be more difficult, especially if it requires the
magnet(s) to be removed and reinstalled in a different orientation, a process which can damage the pickup
and render it unusable if not done carefully.[25] This is the case with most humbuckers. On the other hand,
single-coil pickups with magnetic polepieces can simply be repolarised by applying a strong enough
external magnetic field.

Parallel/series switching

While most single-coil pickups are wired in parallel with each other, it is possible to wire two or more of
them in series, producing a fuller and stronger sound not unlike that of a humbucker.[26] This is a popular
modification for instruments with two single-coil pickups like the Fender Telecaster and the Fender Jazz
Bass. For the former, special 4-way switches are available to replace the stock 3-way switch and provide a
series wiring position.[27]

Likewise, the two coils of a humbucker which are wired in series can be connected in parallel. This results
in a brighter sound and lower output resembling that of a single-coil pickup. Compared to coil split the
sound is usually a bit fuller and the pickup's hum-cancelling properties are retained. Like coil split, wiring a
humbucker in parallel requires the start and end of both coils to be accessible, which is sometimes possible
with stock pickups. Unlike coil split, it also requires a DPDT switch (coil split only requires a SPDT
switch).[26][28]

Blend potentiometers

Blend potentiometers (essentially two potentiometers ganged on the same shaft) allow blending together two
pickups in varying degrees. The operation is the same as in a balance control found in stereo equipment – in
the middle position (often marked with a detent) both pickups supply their full output, and turning the pot in
either direction gradually attenuates one of the pickups while leaving the other at full output.[13][29]

Blend potentiometers are a popular modification to instruments with separate volume controls for pickups,
no master volume and/or no pickup selector. For instance, on the Fender Jazz Bass, the dual volume controls
can be replaced with blend and master volume controls, to allow the instrument's output level to be adjusted
with just one knob while still retaining the various combinations of the two pickups blended together.

Active electronics

While the modifications described above have all been passive (i.e. they don't require an external power
source), active electronics considerably increase the number of possible wiring options. These can range
from simple preamps that offer a volume boost and buffer the instrument's signal (to prevent loss of higher
frequencies in longer cable runs), to multi-band equalisers and more.[30][31] Enterprising guitarists have
even built entire effects processors into guitars, such as the Korg Kaoss Pad.[32]

The main downside to active electronics is that they require power to operate. This is most often provided
by a 9 V battery, but can also be phantom power from an external source, delivered over the guitar cable.[30]

Manufacturers
A list of popular manufacturers of guitar components follows.

Seymour Duncan (pickups, effect pedals)

DiMarzio (pickups, accessories)
EMG, Inc. (active pickups and electronics, accessories)
Bourns (potentiometers, switches)
Switchcraft (switches)
Vishay (capacitors, misc. electronic components)
Neutrik (plugs, jacks)

See also
Electric guitar
Pickup (music technology)
Potentiometer
Capacitor

Notes
 1. Hirst 2002, pp. 125–126.
2. Ross 1998, pp. 25–27.
3. Hirst 2002, p. 139.
4. Gallagher 2011, p. 71.
5. Lähdevaara 2012, p. 250: "In audio applications, logarithmic potentiometers are almost always
used as the volume control potentiometers, whereas the type of the tone control potentiometer
is chosen according to design."
6. Hiscock & May 1999, p. 160.
7. Balmer 2010, p. 98: "The push-pull pot functions exactly like its 'static' alternative except that it
also contains a versatile double-pole double-throw switch activated by a pull on the shaft."
8. "A near-endless array of pickup options at your fingertips!" (https://web.archive.org/web/20100
116073158/http://www.fender.com/features/s1). Fender. Archived from the original (http://www.
fender.com/features/s1) on 2010-01-16. Retrieved 2010-01-16.
9. Owens, Jeff (6 March 2013). "S-1 Switching" (http://www.fender.com/news/s-1-switching).
Fender. Retrieved 2014-04-02.
10. Gallagher 2011, p. 72.
11. Dailey 2011, p. 37.
12. Schneider 1985, p. 60: "A low-pass filter like the tone control on a guitar lets through the low
frequencies and attenuates the high frequencies"
13. Waring & Raymond 2001, p. 80.
14. Koch 2001, p. 49.
15. Wargo, Chris (28 December 2010). "The Gibson Varitone - Where's the Disconnect?" (https://w
eb.archive.org/web/20140407085519/http://www.gtvnyc.com/okguitars1/varitonepaper.pdf)
(PDF). Archived from the original (http://www.gtvnyc.com/okguitars1/varitonepaper.pdf) (PDF)
on 7 April 2014. Retrieved 2014-04-02.
16. Gallagher 2011, p. 75.
17. Gallagher 2011, p. 62.
18. Ross 1998, pp. 28–29.
19. Bacon 2012, p. 280.
20. Ross 1998, p. 28.
21. Gallagher 2011, p. 77.
22. Hirst 2002, p. 27.
23. Waring & Raymond 2001, p. 81.
24. Hirst 2002, p. 132: "To accomplish the change in electrical phasing you'll simply be switching
(reversing) the hot and ground leads."
25. Gallagher 2011, p. 61.
26. Ross 1998, p. 29.
27. Gallagher 2011, p. 78.
28. Gallagher 2011, p. 63.
29. Hirst 2002, p. 29.
30. Gallagher 2011, p. 70.
31. Waring & Raymond 2001, p. 76.
32. Miller, Paul (8 September 2006). "Leet hax0r stuffs a Kaoss Pad into his Les Paul" (https://ww
w.engadget.com/2006/09/08/leet-hax0r-stuffs-a-kaoss-pad-into-his-les-paul). Engadget. AOL.
Retrieved 2014-04-07.

References
 Hirst, Tom (1 December 2002). Electric Guitar Construction: A Guide for the First-Time Builder
(https://books.google.com/books?id=fV1hFdkEHVkC). Centerstream Publications. ISBN 978-
1574241259. Retrieved 2014-04-02.
Gallagher, Mitch (9 November 2011). Guitar Tone: Pursuing the Ultimate Guitar Sound (https://
books.google.com/books?id=6XALAAAAQBAJ). Cengage Learning PTR. ISBN 978-
1435456150. Retrieved 2014-04-02.
Lähdevaara, Jarmo (30 October 2012). The Science of Electric Guitars and Guitar Electronics
(https://books.google.com/books?id=YUaWIhP5yrkC). Books On Demand. ISBN 978-
9522864208. Retrieved 2014-04-01.
Hiscock, Melvyn; May, Brian (1 March 1999). Make Your Own Electric Guitar. NBS
Publications. ISBN 978-0953104901.
Balmer, Paul (1 June 2010). The Fender Telecaster Handbook: How To Buy, Maintain, Set Up,
Troubleshoot, and Modify Your Tele (https://books.google.com/books?id=TYc21P6EZIsC).
Voyageur Press. ISBN 978-0760336465. Retrieved 2014-04-02.
Dailey, Denton J. (12 May 2011). Electronics for Guitarists (https://books.google.com/books?id
=PPg5_lPQJyMC). Springer. ISBN 978-1441995353. Retrieved 2014-04-02.
Ross, Michael (1 August 1998). Getting Great Guitar Sounds (https://books.google.com/book
s?id=CddgbKkAoxYC). Hal Leonard. ISBN 978-0793591404. Retrieved 2014-04-02.
Waring, Dennis; Raymond, David (1 September 2001). Make Your Own Electric Guitar & Bass
(https://books.google.com/books?id=aFuTGafghokC). Sterling/Tamos. ISBN 978-1895569704.
Retrieved 2014-04-02.
Schneider, John (23 December 1985). The Contemporary Guitar (https://books.google.com/bo
oks?id=6-QE1jyJHgEC). University of California Press. ISBN 978-0520040489. Retrieved
2014-04-02.
Koch, Martin (1 September 2001). Building Electric Guitars: How to Make Solid-Body, Hollow-
Body and Semi-Acoustic Electric Guitars and Bass Guitars. Koch Verlag. ISBN 978-
3901314070.
Bacon, Tony (1 September 2012). Ultimate Guitar Sourcebook (https://books.google.com/book
s?id=Bo4TQqP9lPkC). RacePoint. ISBN 978-1937994044. Retrieved 2014-04-06.

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