General installation and wiring instructions
ToneStyler GUITAR and BASS DUO SIX:
The DUO SIX is engineered specifically to optimize performance in three-knob "volume-volume-tone" control plans, such as found in the Gibson Flying V and the Fender Jazz Bass, and in four-knob "master-volume-volume-tone" control plans, such as found in many Gretsch guitars. A DUO SIX contains two independent tone circuits, one for each pickup circuit. Since this creates two separate tone controls in the space of only one, each circuit is optimally-wired to a 100% "pre-volume" pickup output.
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When multi-volume knob instruments are improperly-configured with only one "post-volume" tone control, the tone knob malfunctions unless one pickup's volume knob is set to maximum loudness at all times. Whenever both volumes are reduced, the tone knob stops controlling the pickups, and starts controlling the capacitance of the 1/4" instrument cable and the amplifier's input circuit, causing adverse tonal results: phase cancellation, comb-filtering, loss of clarity, and reduced signal level. The lower the volume knob settings, and the deeper the tone knob setting... the stronger the "mud tone" defect.
To solve this design flaw, the DUO SIX features TWO cables... one cable for the neck pickup (green GUITAR / blue BASS), and one cable for the bridge pickup (white). The wiring connections are the same as described above for the single-cable ToneStyler G-11 & B-11. For optimal performance and balanced output levels, the bridge pickup's EQ range is voiced about one octave higher than the neck pickup's EQ range.
ToneStyler TRIPLE SIX:
Each ToneStyler T-6 features one cable (yellow), but the wiring is NOT THE SAME as the ToneStyler G-10, B-10, G-D6 or B-D6 models described above.
Unlike all other ToneStyler models, the TRIPLE SIX cable's CLEAR WIRE is NOT a "floating ground". It's an alternate-range HOT signal wire... a unique feature, which allows the user a choice of three different maximum EQ ranges during installation:
• .022µF GUITAR tone range: solder the RED signal wire to the pickup's HOT wire.
No connection for the CLEAR signal wire.
• .047µF BASS tone range: solder the CLEAR signal wire to the pickup's HOT wire.
No connection for the RED signal wire.
• .069µF SUB-BASS tone range: solder BOTH the RED AND CLEAR signal wires to the pickup's HOT wire.
• For all three T-6 connection options, solder the stranded copper shield wire to the pickup's ground wire, which is typically found soldered to a metal volume pot case.
Important note: because there is no "floating ground" circuit provided in the T-6, this unique control is not compatible in some series/parallel pickup circuits which also require floating ground pickup wiring. If you are uncertain about any specialized wiring in your instrument, please contact Stellartone before ordering, or simply choose a ToneStyler TEN model.
General suggestions for proper guitar grounding
Most guitars feature a control mounting surface covered in a metallic foil, a metallic paint, or use a conductive plate that is grounded. These efforts are always helpful, but none are guaranteed to fully-ground your controls and circuits for optimal performance and hum reduction. For example, a metal control plate may appear to provide a perfect ground surface for mounting controls, but the metal may be clear-coated or anodized to prevent oxidation; this coating can prevent the controls from being properly grounded. For best results, always solder cable shields or ground jumper wires between the metal pot cases, mounting bushings, and ground terminals of switches and jacks, to a single common ground point, usually chosen as one volume control's casing.
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