Tutorial on Rewiring 2-wire Humbuckers to 4 + Shield

Rewired Mini Humbuckers

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The mounts shown are 1/8″ thick Brazilian Cherry, sized to cover the holes in a pick guard made for full size humbuckers.

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Knobs 281, 285, 286 & 287, Cali “Fossilized” Bamboo

Knobs 281, 285, 286 & 287

These knobs were made from Cali™ “Fossilized” Bamboo, product 759153 (blond or natural) and product 759154, heated to a caramel color.  Bamboo is not wood, but grass.  In this product, strands of bamboo are apparently melded together under heat and pressure with plastic resin.  As I recall, Cali claims a Janka number of about 5000, very hard.  The material has no give, and the 6mm shaft hole must be cut with a 6.1mm drill, or it would not slide onto a pot shaft.  I sanded the hard clear finish off the tops of two flooring samples, obtained from Lowes, a local home and lumber center.  Then glued the two together with ordinary 5 minute 2-part epoxy, so as to fill any voids, since it was very hard to sand, even on a belt sander.

In two of these knobs, the epoxy failed, splitting apart, either on the application of pressure from the point of the lathe tailpiece, of or with the pressure of the #5-40 set screw applied to hold a 6mm drill rod shaft set in the lathe.  This can be repaired by cutting off the epoxy, sanding the mating surfaces of the two halves on a flat block sander, and clamping with superglue around a 6mm shaft coated with paste wax.  The 6mm shaft hole had to be redrilled with a 6.1mm drill, and the slight mismatch imperfections turned off on the lathe.

Because the material already has hard plastic embedded in it, and polishes to a fair gloss, only Kiwi neutral shoe polish was used to finish it.  With handling and time, this dulls to a pleasing satin finish, and can be repolished if needed.  Considering how epoxy can fail to fully adhere, other finishes might require some experimentation.  The side grain can have a little iridescence, but note how the end grain of the bamboo looks like micro leopard spots.  The contrasting grains make a convenient rotation pointer.

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Knobs 282, 284 & 284, Brazilian Cherry and African Bubinga

Knobs 282, 283 & 284

These knobs are all ¼” horizontal grain Bubinga (African Rosewood) glued to ¾” vertical grain Brazilian Cherry, cut from the same block as knobs 277, 278 & 279.  The end grain of Brazilian Cherry (top of knobs) looks like brown pinstripe.  The pale red Bubinga has iridescence.  All have #5-40 x 3/16” set screws.  These are finished with Rust-oleum Specialty Clear Lacquer (glossy, RCL), #1906830, from a spray can.  It goes on somewhat thick, and very shiny, producing slightly darker tones than clear water-based Minwax Polycrylic.  No more than two coats were used.

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Knob 280, African Padauk and Yellowheart

Knob 280

This knob, about 0.881” tall by 0.923”D, is cut from ¼” vertical grain Yellowheart glued to ¾” horizontal grain Padauk.  Both have strong iridescence, but since the Yellowheart shows mostly end grain in this knob, cut to mimic a chess pawn, it is not as evident.   The strong red dust from the Padauk has embedded in the Yellowheart grain during the turning and polishing process, impossible to completely remove.  The finish is no more than two coats of Rust-oleum Clear Lacquer.

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Knobs 275 & 276, Acrylic Paint on Unknown White Wood

Knobs 275 & 276

These knobs were cut from a board of unknown white wood from baby’s crib, salvaged by dumpster-diving.  After turning on a lathe, they were painted with water-based acrylic paint, starting with a base of metallic silver.  The finish is Rust-oleum Specialty Clear Lacquer (glossy), #196830, from a spray can.  There may have been some Minwax Polycrylic water-based clear acrylic used before that, but I forget.

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Knobs on Hand, March 2017

Custom wood knobs made are now up to s/n 280.  Some failed; some are still lost in storage; some have been given to friends; several of the last have not yet been documented.  These are the knobs on hand.  The older knobs have 1/4″-20 threaded shaft holes, which must be drilled out to be useful, a process which can ruin a knob, or fail to produce a hole square with the knob.  All the newer knobs have been mounted on 6 mm shafts in the process of hand cutting on a lathe, virtually eliminating that possibility.  Note that the scales of these images are all different.

(c) 2017 android originals LC – 1/4-20 holes

(c) 2017 android originals LC – 1/4-20 holes

(c) 2017 android originals LC – painted knobs w/ 6 mm holes

(c) 2017 android originals LC – Misc woods w/ 6 mm holes

(c) 2017 android originals LC – Yellowheart over Red Oak w/ 6 mm holes

(c) 2017 android originals LC – 2 Maple layered knobs, Yellowheart & Bloodwood knobs, w/ 6 mm holes

(c) 2017 android originals LC – Misc. wood knobs on effects box, 6mm to 1/4″ holes

(c) 2017 android originals LC – knob blanks w/ 6 mm holes;

These knob blanks are made of layered Padauk & American Cherry, Padauk & Yellowheart, and in front, Brazillian Cherry & Bubinga (African Rosewood).  The dark stain on the 2nd knob from the left, back row, is superglue, applied repeatedly to the set screw hole, foolishly placed into end grain.  It cuts away on the lathe.  Note two styles of relief for pot mounting nuts: bell-shaped in front row, cut with a custom spade bit, and cylindrical in back row, cut with a Forstner bit.  Both should work equally well.

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Knobs 127, 131 & 132, Refinished Wenge

Knobs 127, 131 & 132, Refinished Wenge

These knobs, made of horizontal grain Wenge and finished with Minwax Polycrylic, clear & glossy water-based acrylic finish, have 6 mm pot shaft holes with nut clearance bells, and #5-40 x 3/16” set screws.  They run from 0.841” to 0.869” diameter and 0.554” to 0.595” tall.  Another knob finished with superglue ended up looking almost pure black, disguising the grain colors.  First left as bare wood, the finish of these knobs was dull and lifeless, even though the grain showed clearly.  The clear acrylic finish does darken them considerably, but brings out the grain.  The bottoms and shaft holes are not coated.

Due to a suspicion that wax finish had been used, these knobs were first washed in ammonia, followed by 91% rubbing alcohol.  This leached out some of the natural wood dye, and lightened the wood a bit.  In very dark woods, such as Zapote, a soak in denatured alcohol can leach out enough wood dye to reveal grain that would not otherwise be easily seen.  The Zapote in mind had for some reason been dyed orange with a protective wax coating.

After soaking and after the first water-based coat, the softer, lighter-colored grain rose and had to be cut and sanded back down.  It might have added some interesting texture if left high, but didn’t really look that good.  The visible surface cracks are natural grain.  The decorative grooves provide a better finger grip.

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Knobs 277, 278 & 279, Brazilian Cherry & Bubinga

 

Knobs 277, 278 & 279, presented to Tulsa blues guitarist John Landis

These knobs are all ¼” horizontal grain Bubinga (African Rosewood) glued to ¾” vertical grain Brazilian Cherry.  The end grain of Brazilian Cherry (top of knobs) looks like brown pinstripe.  The pale red Bubinga has iridescence.  All have #5-40 x 3/16” set screws.  Finished with Kiwi neutral shoe polish over layers of Minwax Polycrylic water-based clear acrylic.  Tulsa blues guitar man John E. Landis graciously accepted their presentation to him.

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Drilling Jig for Guitar Knobs

Drilling jig for guitar knobs

Drilling jig for guitar knobs

Before a better method was developed, as many as 240 guitar knobs were made with a ¼-20 threaded hole where the shaft hole would be.  The inside diameter of that hole is less than either 6mm or ¼ inch, and has to be drilled out.  Without a drilling jig, it’s very hard to make the hole square with the knob bottom.

The jig above works most of the time, but not always.  It’s possible that the slop in the drill spindle of the Harbor Freight Item 38119 8” drill press (shown above) could be a problem.  The jig consists of two pieces of ~17 mm birch plywood (from Woodcraft), about 2.375 by 8 inches.  Two ¼ inch holes were drilled for bolts and wing nuts about 3/8 inch from the ends, so the bolts would sit off the drilling platform.

Four 3/8 inch holes were drilled through the two pieces clamped together with a Forstner bit.  Four rods of 3/8 inch drill rod, about 2.5 inches long, were glued (CA instant adhesive) into the holes in the bottom piece.  Then, for some reason, they did not line up with the holes in the top piece.  It could be that a straight bit should have been used instead of the Forstner bit, and that the rods should have been sitting in the holes in the top piece when being glued into the bottom, to assure alignment.

To correct this, the top holes were overdrilled by about 1/32 inch.  Four pieces of 3/8 inch thick maple with 3/8 Forstner bit holes were slid over the rods and glued (CA instant adhesive) to the top of the top piece.  This was done with both the holes and the rods coated with neutral shoe polish to avoid gluing the wrong pieces together.  Without the close-fitting maple guides, the top piece would have had too much slop to assure that the jig remained square.

A piece of 1/16 inch cork gasket material was glued to the bottom piece to protect the tops of the knobs.  The knob is placed upside down in the jig, with the ¼-20 hole centered in a 3/8 inch hole in the top piece.  The top piece is pressed down on it and the wing nuts are tightened.  Washers are used because the threads in the ¼ inch bolts were too short, and the nuts wouldn’t tighten all the way down.  If the nuts aren’t tightened enough, the knob can spin in the jig and the cork can wear the finish off the top.

After drilling, the knob is placed on a 6mm rod in a lathe or drill press and checked for wobble while spinning.  Even if it spins square and flat, it may spin off-center.  If the wobble is more than 1/32 inch, the hole should be coated with either CA adhesive or epoxy and re-drilled after it cures.  Some knobs require this more than once.  Care with the jig must be taken to assure that the shaft hole clears the 3/8 hole in the top piece, or it will be drilled off-center, and cause a major repair problem.

The best cure for this is to use a better method to make the knob in the first place.  The better method is being documented and should be the subject of an upcoming book on making knobs.  It virtually assures that there will be no wobble, and that the knob will fit a 6 mm shaft.

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Knobs 273 & 274 – Yellowheart & Bloodwood

Knobs 273 & 274

Knobs 273 & 274

Knobs 273 & 274 are the last 2 of 8 knobs made from a ¾” by 4” board of Yellowheart, glued to a ¼” by 1.5 “ stick of Bloodwood , and split in half along the 4″ direction.  Those two pieces were cut into four each, making 8 knob blanks of about 1 x 1”, ¾” high, with the Yellowheart grain vertical and the Bloodwood grain horizontal, as can be seen in the picture above.  The bloodwood provides a kind of rotation pointer.  Each knob has a superglue (SG) base coat, followed by layered and polished SG, with a final finish of Kiwi neutral shoe polish.  This give the Yellowheart iridescence on the sides, but not the top, and the bloodwood iridescence on the top and from a particular angle on the side.

With 274 on the right, I wanted to see if I could make a mushroom shape.  Later, with a white wood knob, I may try to paint one to look like a nuclear bomb mushroom cloud.  It needs a more narrow base.

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