Andyjr1515

Hopefully these two pictures explain a bit better This is the standard circuit: And - for the volume pots of the stacked pots, this is what the amended circuit is basically doing:

I'll do an annotated pic later this eve just to explain what my assumptions are Andy

Just a small diversion for @Jimothey With credit to guitarelectronics.com whose diagram I've tweaked (theirs had a master tone), I'm pretty sure this circuit will work. Bear in mind that the stacked pots are just that - two standard pots on top of each other: And @vinorange - the tone pot connections would be pretty much the same on yours. Both - I've shown an earth wire connecting the two pots of each pair - but they usually earth each other in which case this is just belt and braces

This is the corrected one. I've also added a missing earth on the second volume pot. Anyone else agree or disagree this should work?

I might have the two wires to the volume pots the wrong way round. It might be feed into the middle lug and out to the switch from the end jug rather than how I've drawn it of feed into the end lug and out to the switch from the middle lug...

Isn't it just this (for clarity, this is just the volume pot bit of the stacked pots)? This: Becomes this: So just to clarify, the two hot wires from the pickups, instead of going direct to the 3 switch cluster, go there, instead, via their respective volume pots. Then the blue feed out of the 3 switch cluster can go straight to the single switch on the top left instead of going via the master volume pot. Does that make sense?

OK - I think it's pretty straightforward. Let me check my logic a bit first, but at the moment I think: The pickup hot feeds go to the three switch cluster The output of that cluster goes, via the blue wire, to the volume pot The adjusted signal comes out of the volume pot and goes, via the yellow wire, to the other switch trickery and ends up eventually coming out via the green wire to the jack So I think all you have to do is have each individual volume pot placed between the pickup and the three way cluster? So basically, the volume pots go in BEFORE the pickup feeds reach the 3 way cluster rather than AFTER the 3 way cluster as it is at present. Then, because the volume is already taken care of, you effectively join the blue wire and the yellow wire left dangling when you desolder the master volume (in reality, of course, you would simply route the blue wire coming out of the 3way switch cluster, directly to where the yellow wire attaches to the top left single switch and remove that particular yellow wire altogether)? I'll see if I can use the magic of Inkscape or maybe even just Powerpoint to amend the wiring diagram.

No problem. Do you want me to find you a circuit diag?

Ah - OK. That makes sense I'll sit in a darkened room for a bit and try to work it out, but yes, essentially, the two outputs from the new volumes will join back to where the yellow eventually goes...

Scrub this - two different people with two different requirements I shouldn't try to read this stuff on a small tablet!

Sorry - I had misunderstood. Are you planning just pickups and two stacked pots and no switches at all? If so, that is very straightforward - I'll find a wiring diagram or sketch one out. You threw me with the wiring diag you posted - that particular arrangement is one of the most complex anyone is likely to encounter on a bass. The two are on opposite ends of the scale, so hopefully it's the former rather than the latter you're planning

It will be a case of delinking the two feeds from the three switch cluster (top right on your diag.) and sending the output to each volume pot. Then the output from each pot will go back to the switch on the top left. As the diagram is shown , just confirm what each of those three switches do? I am assuming they are pickup on / off switches?

Of course we should

Just a thought, folks. These kinds of events tend to need extension leads. If you have an up to date PAT tested lead, probably worth popping it in your boot.

EXCELLENT!!!!!! Very pleased

I'm clutching at straws here because I can't find anything to explain what wire does what. Last ditch, assuming that the blue wire is an earth - try swopping the red and the black. If that doesn't sort it I'm stumped. You say right at the beginning that you were trying to replace the original jack. Are you able to work out from that original jack which is the ring, the earth and the tip? One thing is for sure, the braided wire HAS to go onto the earth tag. The blue one is a mystery...any way of verifying where it goes? And was it definitely soldered to the braided wire originally? If the red/black switch doesn't work, probably worth dropping the LR Baggs tech team an email ([email protected]) rather than relying on the LR Baggs forum and just ask them which wire goes to which tag (Ground; Ring; Tip) on the jack.

OK I'll have a peep and see if I can find the circuit diagram Andy

Just double check for me - does the longer of the two jackplug contact strips (the righthand one in your photo) attach to the tag that the red wire is soldered to? Also, have you checked your battery? The way it was wired before will have shorted the battery and therefore it might be dead. In the meantime, I'll try to find the preamp diagram to double check that we are interpreting the wire colours correctly.

Chrome or black? I've got some I can pop in the post to you (they are closer to 12mm long but out of a Squier bridge) FOC They are allen-key rather than slotted heads but will do the job.... Drop me a PM and I can get them into the morning's post

MIJ will be metric sizes, so my guess is M3 x 10mm

So to clarify. Assuming this is a battery-powered system and the black is the battery switch lead: I stress that in terms of the wiring, the above is if your assumptions of the wire conventions are correct. It looks like it is a Switchcraft or copy so I'm pretty sure my tag descriptions are correct. Let us know how you get on.

Don't panic about the preamp yet. I'm not sure quite which wants to go where, but you definitely have some of the wrong wires on the wrong tags. If this is the typical Switchcraft stereo jack, these are the tags: So the earth tag on the socket is where you currently have the black wire soldered (probably correctly) The shielding - and the blue if that is, as you say, an earth too - needs to be soldered onto the same tag. If the red is your hot lead, then is needs to be soldered to the tip tag, not the ring tag. If there is no battery and the lead you use is a mono lead, then - correctly - there will be probably nothing connected to the ring tag. POST SCRIPT - just read the beginning. This does have a battery? Then the BLACK - if that is the switch - goes to the Ring Tag

Just a short one this time - both the thread and the bass A couple of weeks ago @tauzero contacted me to see if I was up for taking on a small job on his beautiful Sei headless: He explained the problem: "Six years ago, I dropped it in a gig bag and it landed on the lower edge of the bottom bout. Because the core is quite thin, there's not a lot of meat around the jack socket area, and the impact cracked the centre core and sheared it away from the front and back laminates" At the time @jayDee did the fix and - wow - FANTASTIC job! It was an invisible mend and, honestly, I STILL can't see the join! But in recent times a second problem has shown itself - a bit like @TheGreek 's Alembic-esque of a few years ago - the top wood had started cupping and had pulled itself away to form an impressive gap! : The lines on the core, by the way are just lacquer cracks - probably from the original impact. The failed glue joint of the top was probably weakened, although not visibly split, at that same time. Two of the challenges were: The cupping is strong. I could only JUST close the gap with both hands pressing as hard as I could. Again - a bit like @TheGreek 's The joint area - the control chamber goes very close to the edge - is very narrow round that curve. We are talking 10mm max - in fact before the curve levels off at the top The glue joint that had failed is actually the bottom of a 2mm wenge demarcation strip which further round you can see the crack has also split the wenge So the challenge, apart from working on such a beautiful and valuable bass, was how to find a glue that was going to be strong enough to hold the continuing considerable force of the top wood trying to pull itself away. And how to try to fill and level any rough and damaged bits of the crack edge. I gave it some thought and also bounced off my ideas on a pro-luthier friend, Rob Hodgson, who gave them the thumbs up. The glue? Old fashioned leave-it-all-night-to-harden Araldite original. This is much stronger than the Rapid version or other shorter set epoxies like ZPoxy, etc.. Filling and smoothing? Wenge sanding dust mixed in with the epoxy Application? Syringe for the main gap, encouraged in with some very thin cellophane, and then re-syringed This was a test mix before I added the wenge dust. I did LOADS of trials of shapes of cauls. The top and back cantilever over the control chamber so you have to be VERY careful not to apply pressure to the edges. There was already a hairline crack at the back, maybe from the original bump. So the back clamping caul needed to be as big as possible to spread the load: The clamping would be on the very edges, with a middle clamp to act as the fulcrum. As such, I could leave the electrics in place: Masked right up to the gap line and epoxy syringed in. I also wicked a couple of drops of CA into the disappearing gap at either side of the main crack to prevent future spread of the glue fail Then clamped, 3 clamps at medium pressure - until the gap closed but not much tighter than that - with the load balancing clamp nearer to the body centre: I removed the bulk of the squeeze-out and then left it the rest of the day and overnight to fully cure. Next morning, I gingerly loosened the clamps - and it had held! To smooth off the joint lines, I just used a single-edged razor as a mini scraper. Quick wipe of the scraped joint with Osmo-dampened cloth, and we have the fix: The top is the repaired one I'm well chuffed (and moderately to majorly relieved)

I agree that USA would normally be #6-32 x 7/16" I'm pretty sure a Japanese Fender would have M3 x 10mm

Wouldn't the Japanese ones be metric thread? Which model have you got - is it USA or Japanese and do you know what year? Also, do you know for sure it's the original bridge.