A completely constructed Control plate, for a Fender® Telecaster® built with the 4 way switching mod, allowing for pickups in series as well as the standard options- so its bridge, both in parallel, neck, both in series, all controlled by 1 volume and, 1 tone - all the classic Tele® tones, but with a little extra muscle in the new 4th position.
Built using the highest spec parts - CTS pots, Oak Grigsby Switch, Cornell dubillier cap, 22 AWG vintage cloth hookup wire and a switchcraft socket, all connected together, ready to do, and mounted onto a beautifully plated control plate and barell knobs fitted.
The Standard Parts
This particular model is specifically designed to be used with single coils; simply because it’d get pretty daunting pretty quickly if we let you tweak every single part.
Pots – we always use CTS pots where we can, they’re top quality, they’ve got an exceptionally long life span, they’re what’s been used on the Telecaster® since day one, and let’s be honest, that’s the tone we’re chasing with this assembly.
Caps – You’ll see various discussions out there about which cap is the best, “which value/which voltage/what materials are going to give me the best tone?” – And there’s a whole raft of opinions as to the right answer. Rather than get drawn into it, we’ve kept it simple – you’re getting a 0.047, 100v Cornell Dubliner Orange Drop cap. Not because we don’t subscribe to the whole “great cap debate” – but it’s just the most bang for your buck you’re going to get. It matches up to the originals in terms of electrical specification.
Wire – we use vintage correct 22 AWG black and white cloth covered waxed wire. A dream to work with and has no adverse effects on your tone.
Socket – That’ll be a Switchcraft standard Mono, best in the business if you ask us, dead simple to get your head around how it works, and just like CTS – will probably outlast every other part on a guitar.
4 Way -I'm always suprised 4 way wiring hasn't become to modern standard to be honest - it gives you all the same tones as a standard setup, but gives you 1 extra position that really is something very different, and, really? Very usable! And thats both pickups wired in series (rather then in parallel, which is the normal position 2 wiring)
I wont bore you to death with an in depth explanation of series vs parallel wiring with pickups, but in a quick and dirty way, think of it like this. A Strat® or a Tele® when 2 pickups are "on", they're in parallel - literally 2 pickups "on" - and its great. Its a distinctive sound we all know and, ultimately, like.
Series wiring (which you're getting in pos 4 with this loom) has more in common with humbuckers - where you have one coil "on" but rather then going to output, the signal it is generating, is rammed into the negative of another coil, and that second coil finishes at output. This results in a bigger, more aggressive tone, with less signal loss (an inherent problem with parallel pickups) and more signal degredation (think of that as pickup heat)
Control plate – OK, it’s not the most interesting part you’ll find on your guitar, but it’s worth bearing in mind that we use a 32mm wide plate, which will be standard on 90% of Telecaster® styled guitars out there (there are other sizes, but they’re getting rarer and rarer by the day thankfully). When we talk about the assembly colour, the control plate is the main component of that, be it Chrome, Gold, Black, Nickel or Reliced, it’s a steel plate, electroplated in the desired finish.
Knobs – This was a bit of a bone of contention when it came to customisation to be honest. It was very tempting to offer knobs in different colours to the control plate and screws, offer them in different styles, different sizes. To be truthfully, it was just too much choice sadly, so we’ve limited you a little bit here – depending on your choices when it comes to optional extras you’re either getting solid shaft, dome topped knobs in the same colour as the Control plate. If you pick up the phase switch or wide range tone, then you’re getting push fit knobs (which work better with the split shaft pots well be using in those cases)
Tip – Supplied with a barrel switch tip.
Fender®, Squier®, Stratocaster®, Strat®, Telecaster® and Tele® are registered trademarks of Fender Musical Instruments Corporation and Axesrus ® has no affiliation with FMIC
Please note – these assemblies are made to order, and as
such, come under the rules and regulations pertaining to
custom work in regards of returns.
How to - Prep
This is how we build up the 4 way control loom for a Telecaster®, and its actually not a bad little guide to follow if you’re interested in doing it yourself either – we’ll show the details to watch out for and how we do things to a very high standard to get the best results.
The 4 way mod setup differs from the standard setup in one obvious way, and thats the switch - so rather then a 3 way switch, we're using a 4 way here - so with this kit, its a4 way, short, solid shaft (250k audio taper) with a 0.047 capacitor, and a mono socket – – so we’re following that here, using CTS pots, an Oak Grigsby Switch, a Switchcraft Mono, a Cornell Dubillier orange drop cap, and as a nice historic touch, 22 AWG vintage cloth covered wire.
So lets start with the preperation.
You're going to need some basic tools here - soldering iron (we use a 50 watt number, but anything upwards of 30 watt will be fine) a pair of side cutters to snipping wire, a pair of pliers for various jobs, and a screw driver for mounting the switch - any medium cross head will do)
The preparation is half the battle here – so heres how we do it. Get all your parts together, get a cardboard box (we have a plastic template we use, but its the same idea) - poke holes in it that match your control plate. It'll save you any embarassing scratches to your hardware.
Take your volume pot – first using just your fingers, and then using a pair of pliers, bend the right hand lug over so its in contact with the pots casing – this will be your ground point, and make the pot function as a volume pot.
The tone pot doesn’t need anything doing to it just yet.
Take the orange drop, and pull the legs out so they look like the photo – just makes connecting it up easier when we get to that point.
Trim the legs down so you’ve got roughly 5mm from the bend.
Keep one of the leg cut offs! They come in handy for the switch later.
The Wire #1
This is the boring bit, but plenty of folks struggle with the cloth covered wire, so heres the tricks!
First off – cut your wires to length.
You’ll need the following.
160mm (volume pot live output)
100mm (switch wire)
50mm (tone to volume wire)
170mm (ground from volume to mono socket)
70mm (ground from volume to switch)
And that cap leg you've cut off.
The Wire #2
Now you’ve got your lengths – its time to get strip! This is push back wire, so it’s a little tricky, but heres how to do it.
Taking the length in one hand, between thumb and fore finger, and about an 25mm from the end where you want to expose the core, remember to grip nice and firmly.
The Wire #3
With your other hand, thumb and fore finger, grip the very end of the wire – again, good and tight.
The Wire #4
Now push the second hand towards the first. Then insulation on the wire will compress between both points of contact.
The Wire #5
Now remove the first hand (the one 25mm in), keeping the “pushing hand” gripping firmly. With the now free hand, just smooth the compression down the length of the wire, just a little light pressure, and run your “pinch” down the wire.
The Wire #6
Do this to all the lengths, exposing as much or as little of the inner core as you need to. As a rough guide, I like to expose about 5mm of the core, but, honestly? Do however much you feel comfortable with.
We’ve now got ever read to go. Switch, tone pot and mono socket need nothing doing to them before we attack them with solder, so we’re ready to go.
How to - Volume
With all the prep done, its time to get the soldering iron how, and get those connections made.
The Volume pot
Starting with the "bent over" lug, place the soldering iron so its in contact with the lug and the base of the pot. This is going to heat the up, and make the area capable of melting the solder.
Go with the flow.
Now slowly feed the solder into the area, and it will melt, and it will flow, and it'll get into all the little nooks and crannies to give you a rock solid collection.
Notice how its flowing flat? Not in a dome? This is the correct way to solder.
Dont worry about burning out pots or excessive heat - whilst its not impossible to damage parts during soldering, pots, are their casings are pretty bomb proof - just let the heat do its work and get a good joint here.
And you're done! The thing nearly everyone stuggles with when they first start soldering (soldering to pot cases) is that easy.
Worth nothing that the above photo, thats looks a fairly hefty bit of solder - its just so we can show how it should be, if yours is a little smaller then that, then thats fine. Just as long as you've got a good, smooth covering of solder that is over both the lug and the pots case.
Notice how there isn't any burnt orange gunge around the solder? That shows that the solder hasn't been burnt by excessive heat.
Now repeat the process on the input and output lugs as shown - same principle - iron onto lug, let it heat for a second, then feed the solder in. Remove the iron, remove the solder.
Technically speaking, this isn't tinning - we think of it as flooding the terminal - but its a similar idea.
What we're going here is putting on the solder we'll be using to connect the wires, so we wont need to add any more. (saves growing that magical 3rd hand!)
So now we start putting wires on! Grab your longest white wire (vol pot live output @ 160mm) and you should already have the end stripped back (if now, check out how we do it #1)
Place the exposed core onto the solder as shown above, and then put the soldering iron onto that core.
The trick is this - the heat from the iron passes through the core, and into the solder. By the time to solder has become a liquid, the core is hot enough to pull it up (via capilary action)
Live wire 2
Now simply remove the iron, and let the solder reset to a solid, and you should have a good, solid connection.
Now, sometimes (usually when you dont put enough solder on in the tinning stage) you wont get as nice a connection as the above. When this happens to us, we just put the iron back on the terminal, and put more solder in there - the wire might fall off, but at that point its just a case of repeating the process from step 1 (and you'll definately have enough solder on there by the 2nd go!)
Live wire 3
Now taking a firm hold of the wires insulation, give it a little pull and a little twist to expose some more of the core away from the lug. Smooth the wire out to push the compression in the insulation to the end of the length.
Live wire 4
Now trim off the end which should now contain no core, and reverse the process - push the insulation back towards the lug. Should leave you an exposed length of core at the far end. This will be going onto your mono socket, but not yet!
Live wire 5
This ones probably optional, and if you're going it for yourself, then you dont really need to do it - but its best practise, and for us, its pretty important. Heatshrink! (you do get it in the wiring kit)
Heat shrink basically seals the whole lug, wire and solder joint in a rigid coating (just give it a blast it a hair drier set on high, or a paint stripping heat gun set on low and it'll shrink and set) and that gives great stength at the joint.
Now for the ground wire that'll go to your mono socket.
Same principle as connecting a live wire - take your long black wire (170mm), take the exposed core, put it on your already soldered case, fold it in place with the iron, give it a second, and then feed a little solder on.
Wired for sound!
And the same as the white wire - pull, twist, expose a little more of the core, smooth the wire, trim off the slack, and push it back.
You should be left with something similar to the above. A volume pot thats ready to go into any single volume guitar!
Twist and shout
This ones optional again, but we like doing it, purely because it looks nice and neat - nothing flash, just a case of gently twisting the wires around each other.
We also put on heat shrinks at the end, ready for the next stage, the mono socket.
How to - Tone & Switch
Now for the Tone pot
I'm going to assume by this point, tinning the terminals, and connectiong the wires to them is no problem - just follow the guide set out in the volume pot section.
The cap is the only tricky part really. Connecting to the central lug is simple - tin the lug, one of the cap legs (doesn't matter which) up to it, apply a little pressure, and heat the leg.
Grounding the thing is the same as connecting the black wire to volume - heat the other leg and the case, give it a second, apply solder, let it flow, remove iron, let it cool.
Andthe input of the tone cap is the same as the live output on the volume - take your shortest wire (50mm white) - solder that onto the left hand lug, pull away a little more insulation, trim off the slack, push back, and if you fancy, stick on the heat shrink.
Switch it up
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Getting the wire on
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Switch is done.
And this is what you'll be left with!
Notice how the solder on the lugs is only on the very tips of the lugs? Thats correct - you really want to avoid getting solder down any further then that, otherwise it can cause the switch to fail mechanically (the more solder you get down there, the sooner its going to fail!)
Connect 'em together
Heres where things really start coming together - take the wire from your tone pot, and the wire from your switch. Shove them both into a piece of heat shrink, and grab both exposed cores, at the same time with your pliers.
Switch and Tone assembly
And you'll be left with something looking similar to this - tone pot and switch both connected by their outputs. Now we move back to the volume pot and the final stages of soldering.