First, we have to connect both sides of the switch by adding a “jumper” from terminal A0 to B0 ( Fig 2). If you remember from Part 1, the anatomy of a 5 way Strat switch, we have two sides: Pole A and Pole B ( Fig 1). If you haven’t read Part 1 yet, start here. NOTE: this preamp is designed for use with a standard 2-coil Music Man style pickup and will NOT work properly if combined with a 3-coil Sterling style pickup.In part 2 we are going to look at a traditional, standard Strat wiring configuration with a 5-way switch and teach you step by step how to get it done. We include all necessary mounting hardware: high-quality potentiometers on pre-wired harness battery clip stereo jack and black anodized, knurled, dome-style knobs. Two 9v batteries can be wired together in series for added headroom. The STC-3M4 is specifically designed for Stingray basses but will also work in any bass that is equipped with one passive pickup and has space for 4 control knobs (volume/slap switch, treble, midrange, and bass control) and a single 9v battery in the control cavity. Combine with our Music Man replacement pickups for a complete setup. The two small trim pots on the circuit board can be tweaked to preset the slap contour EQ just the way you want. Pulling up on the volume knob will engage the special EQ contour Voiced specifically for slap playing. The Slap Switch is a push/pull located on the volume control. The mids range from ultra-smooth to punchy and all points in between. The treble control can produce a wide ranging, extremely usable response that is brilliant, yet smooth without being brittle. The STC-3M4 is the 4-knob version of our Music Man Tone Circuit, and has a bass control, a treble control, a midrange control, and a master volume with a push/pull for our proprietary Slap Switch. Output – The overall output of a passive pickup is influenced by several design factors: number of turns of wire on the coil(s), strength of the magnet, coil geometry and magnetic circuit geometry.The output of an active pickup is influenced by the same factors but is predominantly determined by the design of the onboard preamp. Looking at this from another point of view, ceramic magnets can be said to produce increased clarity, better note definition and faster response to picking. It is for this reason that many consider ceramic magnets to have a brittle sound, not their gauss strength. This has the effect of decreasing the inductance of the pickup and significantly raising the resonant frequency. The magnets at the lower end of the scale tend to produce a softer attack and a degree of “bloom” to the envelope of the note.Ĭeramic magnets should be considered as an individual case because they do not contain any nickel or iron. As the gauss strength goes up, so does the output. From there in order of ascending strength you have A2, A4, A5, A6, Ceramic and A8. Of the magnets we use, Alnico 3 has the lowest gauss strength. In the case of pickups, the most significant characteristic is the gauss strength, which is a measure of the density of the magnetic field. Magnet – We use several different magnet formulations: Alnico 2, Alnico 3, Alnico 4, Alnico 5, Alnico 6, Alnico 8 and Ceramic 5/8. DCR is often used as a gauge of output because as the turns increase, so does the output, though magnet type and the coil geometry also influence output. The length of the coil form, the number of turns and the gauge of wire all affect the DCR reading. DCR – Short for DC Resistance, is measured in Ohms and is the total resistance of the copper wire wound around a coil form.
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