401:
depends on the respective polarities of the other pickup(s) and whether or not hum-cancelling combinations are desired). While the latter is usually a small matter of reversing the pickup's hot and ground wires, the former may be more difficult, especially if it requires the magnet(s) to be removed and reinstalled in a different orientation, a process which can damage the pickup and render it unusable if not done carefully. This is the case with most humbuckers. On the other hand, single-coil pickups with magnetic polepieces can simply be repolarised by applying a strong enough external magnetic field.
344:. Some manufacturers have used a pot to vary the amount of signal shorted to ground from one coil, thus producing a range of tones between a humbucker and a single-coil. Coil splitting results in a sound that's brighter and has less output than a full humbucker. It also eliminates the humbucker's noise-cancelling properties. This modification requires the start and end of both coils to be exposed, which is more commonly available on aftermarket than stock pickups.
80:
187:, shorting all frequencies above the adjustable cut-off frequency to ground. Another common use is a small capacitor in parallel with the volume control, to prevent the loss of higher frequencies as the volume pot is turned down. This capacitor is commonly known as "treble bleed cap" and is sometimes accompanied by a series or parallel resistor to limit the amount of treble being retained and match it to the pot's taper.
1843:
36:, respectively), 3-way pickup selector switch, tone capacitors that form a passive low-pass filter, the output jack and connections between those components. The top right shows a modification that allows both pickups to have their volumes adjusted independently when the selector switch is in the middle position: the two bottom connections are simply swapped on each volume potentiometer.
348:
385:
cancellation and thus the weaker and thinner the resulting sound. In case of a humbucker this results in a sound that is so weak as to be almost unusable, as well as the loss of the pickup's hum-cancelling properties (due to the coils being magnetically out-of-phase, but electrically in-phase with each other).
437:
the sound is usually a bit fuller and the pickup's hum-cancelling properties are retained. Like coil split, wiring a humbucker in parallel requires the start and end of both coils to be accessible, which is sometimes possible with stock pickups. Unlike coil split, it also requires a DPDT switch (coil
400:
Unintentional phase cancellation can also occur if a guitar's pickups are wired incorrectly, or if a new pickup installed in the guitar has different magnetic or electric polarity from the one it replaced. To fix this, the pickup's magnetic or electric polarity needs to be reversed (which one exactly
384:
Another popular modification is to reverse the electric polarity of one of the pickups (or one coil of a dual-coil pickup). When two pickups are selected, this produces a very thin and weak sound, due to phase cancellation between the pickups. The closer the pickups are to each other, the greater the
311:
are most common, with ceramic capacitors also being popular, especially in lower-end instruments. Reissues of vintage instruments often use reproductions of vintage paper capacitors, which are also popular aftermarket replacements. Finally, audiophile-grade polypropylene film and foil capacitors are
166:
No-load pots – also used by Fender, these pots have the clockwise lug disconnected from the resistive strip within, resulting in infinite resistance between the wiper and the other outer lug when turned fully clockwise. These are sometimes used as tone controls, to remove the load on the pickup(s)
388:
A way to increase the usability of the sound acquired this way is to wire a capacitor in series with the pickup that has its electric polarity reversed. This filters out that pickup's lower frequencies and thus preserves the corresponding frequencies from the other pickup. The resulting sound is
170:
Dual-gang pots – these are simply two pots stacked together, either with concentric shafts, allowing the independent control of two different parameters, or with a common shaft. The latter type can be used for blending the signals of two pickups together, and they usually feature a detent in the
339:
pickup is electrically equivalent to two single-coil pickups wired together in series. Coil splitting involves shorting one of the coils to ground, essentially turning the humbucker into a single-coil pickup (not a perfect replica, though, as the magnetic circuits of the two pickup types are
98:
convert the mechanical energy of a vibrating string to an electrical signal, allowing it to be amplified, processed and reproduced. Pickups vary greatly in construction, size, types of materials used, as well as various electrical properties, but are generally divided into two categories –
17:
162:
Push-push pots – a variation of the above, these pots also incorporate a switch which is activated and deactivated by pushing on the middle of the knob. This is used by Fender in their S-1 Switching System, and unlike push-pull pots, requires a special
312:
sometimes used in custom instruments, although their size can prove problematic as they're designed for use in audio amplifiers and consequently have working voltages in excess of 500 V, far higher than anything encountered inside an electric guitar.
450:
control found in stereo equipment – in the middle position (often marked with a detent) both pickups supply their full output, and turning the pot in either direction gradually attenuates one of the pickups while leaving the other at full output.
114:(often abbreviated as "pots") can be used to control a variety of functions inside an electric guitar. Most often they function as tone and volume controls, but can also blend two pickups together, attenuate one coil of a humbucker, and so on.
140:(also known as "log" or "audio" pots, and designated with the letter A) are generally used for volume controls, due to the human ear's response to sound pressure being roughly logarithmic, whereas tone controls can employ both logarithmic and
458:, the dual volume controls can be replaced with blend and master volume controls, to allow the instrument's output level to be adjusted with just one knob while still retaining the various combinations of the two pickups blended together.
144:(designated with the letter B), depending on personal preferences and wiring arrangements. Reverse audio pots are sometimes used for volume controls on left-hand guitars, but this is not widespread due to the relative rarity of such pots.
413:
with each other, it is possible to wire two or more of them in series, producing a fuller and stronger sound not unlike that of a humbucker. This is a popular modification for instruments with two single-coil pickups like the
376:", which actually involves bypassing part of a pickup's coil using a tap point on the coil. This also serves to reduce the pickup's output and change its sound, but is found only on single coil pickups (and even then rarely).
466:
While the modifications described above have all been passive (i.e. they don't require an external power source), active electronics considerably increase the number of possible wiring options. These can range from simple
275:
651:, p. 250: "In audio applications, logarithmic potentiometers are almost always used as the volume control potentiometers, whereas the type of the tone control potentiometer is chosen according to design."
282:
While this control is not very common in guitars, a number of aftermarket versions are available, both with and without an inductor (the latter being a simple low-pass filter with a movable cutoff frequency).
159:
on the underside of the pot that's actuated by pulling the shaft outwards and pushing it back in (hence the name). The switch is electrically independent from the pot and can be used for a number of functions.
368:. The modification shown in this diagram is an evolution of the original concept combining coil splitting, phase cancellation and parallel/series switching for a total of 22 different pickup combinations.
351:
A diagram showing a wiring modification for a Les Paul or a similar electric guitar with two humbuckers. Wiring schemes using four push-pull pots for additional pickup combinations were made popular by
675:, p. 98: "The push-pull pot functions exactly like its 'static' alternative except that it also contains a versatile double-pole double-throw switch activated by a pull on the shaft."
454:
Blend potentiometers are a popular modification to instruments with separate volume controls for pickups, no master volume and/or no pickup selector. For instance, on the
446:
Blend potentiometers (essentially two potentiometers ganged on the same shaft) allow blending together two pickups in varying degrees. The operation is the same as in a
183:(often referred to as "caps") have several uses in electric guitars, the most common of which is in the tone control, where it combines with the potentiometer to form a
206:. When placed between the signal and ground, this circuit starts to attenuate frequencies around its resonant frequency, as determined by the following formula:
1561:
689:
198:). The Varitone is actually a variable notch filter consisting of one of several capacitors (selected with a rotary switch) in series with an
1623:
214:
471:
that offer a volume boost and buffer the instrument's signal (to prevent loss of higher frequencies in longer cable runs), to multi-band
117:
Potentiometers are differentiated by their electrical characteristics, of which the following are most important in an electric guitar:
1336:
1315:
1290:
1263:
1236:
1209:
1182:
1161:
1136:
1109:
1082:
433:
can be connected in parallel. This results in a brighter sound and lower output resembling that of a single-coil pickup. Compared to
1374:
321:
There are countless ways to modify the wiring of an electric guitar. Some of the more popular modifications are described below.
941:, p. 132: "To accomplish the change in electrical phasing you'll simply be switching (reversing) the hot and ground leads."
809:
1784:
422:. For the former, special 4-way switches are available to replace the stock 3-way switch and provide a series wiring position.
293:– the amount of electrical energy the capacitor can store. Capacitors used for the tone circuit are usually in the 10–50
129:(for single-coil pickups) and 300–500 kΩ (for humbuckers), although values ranging from 50 kΩ to as high as 1
389:
fuller and stronger, yet still different from the standard in-phase combinations, resembling the sound of a "cocked wah" (a
361:
1811:
1472:
502:
430:
410:
1042:
1823:
1308:
Building
Electric Guitars: How to Make Solid-Body, Hollow-Body and Semi-Acoustic Electric Guitars and Bass Guitars
1867:
1640:
1630:
1477:
569:
365:
191:
95:
56:
485:
The main downside to active electronics is that they require power to operate. This is most often provided by a
1467:
685:
68:
1774:
1731:
545:
71:. There may be additional controls for specific functions; the most common of these are described below.
1367:
122:
1516:
766:
like the tone control on a guitar lets through the low frequencies and attenuates the high frequencies"
1645:
475:
and more. Enterprising guitarists have even built entire effects processors into guitars, such as the
1806:
1799:
1650:
1635:
1546:
472:
286:
Capacitors used in electric guitars are differentiated by the following electrical characteristics:
1706:
1586:
1569:
1761:
1598:
1444:
447:
300:
1174:
The Fender
Telecaster Handbook: How To Buy, Maintain, Set Up, Troubleshoot, and Modify Your Tele
148:
Besides the common pots used for volume and tone controls, a number of specialised types exist:
1746:
1701:
1696:
1660:
1603:
1332:
1311:
1286:
1259:
1232:
1205:
1178:
1157:
1132:
1105:
1078:
486:
415:
52:
1846:
1769:
1536:
1521:
1491:
1360:
455:
419:
195:
87:
The following section describes the most common components found inside an electric guitar.
340:
different). This is usually done with a DPDT switch, but can also be done with a push-pull
79:
1818:
1789:
1726:
1681:
1541:
1531:
1511:
1506:
1501:
1496:
1462:
1402:
564:
184:
136:
Taper – the ratio of wiper travel to the resistance between the wiper and the outer lugs.
67:
to select between different pickups (if the instrument has more than one), and the output
44:
21:
190:
A different take on the standard tone control is the
Varitone circuit sometimes used on
1828:
1618:
1608:
1579:
1486:
1434:
1417:
511:
1861:
1751:
1691:
1613:
1591:
1551:
1526:
1429:
816:
574:
490:
390:
341:
308:
141:
137:
111:
60:
393:
set in a fixed position). The capacitor used for this is usually in the 20–100
16:
1736:
1397:
533:
515:
468:
353:
347:
1326:
1280:
1253:
1226:
1199:
1172:
1126:
1099:
1072:
1716:
1686:
1655:
1574:
1412:
1407:
539:
290:
48:
1676:
357:
203:
43:
refers to the electrical components, and interconnections thereof, inside an
1711:
1439:
579:
527:
479:
426:
394:
336:
330:
304:
294:
180:
100:
25:
715:
1721:
521:
373:
199:
133:
have been used. 25 kΩ pots are usually used with active electronics.
1794:
551:
1741:
1383:
270:{\displaystyle f={\omega \over 2\pi }={1 \over {2\pi {\sqrt {LC}}}}}
156:
153:
130:
126:
64:
693:
1422:
346:
78:
15:
1074:
Electric Guitar
Construction: A Guide for the First-Time Builder
476:
372:
This modification is commonly (and incorrectly) referred to as "
297:
range, while treble bleed caps are smaller, usually 1–2 nF.
125:
between the two outer lugs. The most common values are 250
83:
Underside of a 1981 Fender Lead I pickguard, showing the wiring.
1356:
776:
774:
772:
507:
A list of popular manufacturers of guitar components follows.
167:
presented by the pot and the tone capacitor when turned to 10.
686:"A near-endless array of pickup options at your fingertips!"
1352:
1012:
1010:
850:
848:
493:
from an external source, delivered over the guitar cable.
47:(and, by extension, other electric instruments like the
1128:
The
Science of Electric Guitars and Guitar Electronics
620:
618:
961:
959:
791:
789:
217:
1760:
1669:
1560:
1455:
1390:
1252:Waring, Dennis; Raymond, David (1 September 2001).
269:
28:pickups with individual tone and volume controls (
1043:"Leet hax0r stuffs a Kaoss Pad into his Les Paul"
152:Push-pull pots – these pots incorporate an on-on
1101:Guitar Tone: Pursuing the Ultimate Guitar Sound
810:"The Gibson Varitone - Where's the Disconnect?"
1368:
1028:
926:
780:
530:(active pickups and electronics, accessories)
8:
1152:Hiscock, Melvyn; May, Brian (1 March 1999).
409:While most single-coil pickups are wired in
99:single-coil and double-coil (also known as
1375:
1361:
1353:
660:
648:
1016:
989:
977:
950:
902:
854:
839:
759:
735:
636:
548:(capacitors, misc. electronic components)
254:
247:
242:
224:
216:
1255:Make Your Own Electric Guitar & Bass
303:– the dielectric used in the capacitor.
590:
747:
672:
1125:Lähdevaara, Jarmo (30 October 2012).
1001:
938:
914:
878:
624:
597:
7:
1279:Schneider, John (23 December 1985).
1098:Gallagher, Mitch (9 November 2011).
965:
890:
866:
795:
609:
438:split only requires a SPDT switch).
434:
1285:. University of California Press.
20:A diagram showing the wiring of a
14:
1306:Koch, Martin (1 September 2001).
1198:Dailey, Denton J. (12 May 2011).
1041:Miller, Paul (8 September 2006).
808:Wargo, Chris (28 December 2010).
1842:
1841:
1325:Bacon, Tony (1 September 2012).
55:). It most commonly consists of
1785:History of the classical guitar
1225:Ross, Michael (1 August 1998).
331:Humbucker § Coil splitting
24:electric guitar. Shown are the
1071:Hirst, Tom (1 December 2002).
1:
1154:Make Your Own Electric Guitar
1077:. Centerstream Publications.
425:Likewise, the two coils of a
63:to adjust volume and tone, a
1171:Balmer, Paul (1 June 2010).
714:Owens, Jeff (6 March 2013).
503:List of guitar manufacturers
1228:Getting Great Guitar Sounds
317:Custom wiring modifications
1884:
1328:Ultimate Guitar Sourcebook
1201:Electronics for Guitarists
536:(potentiometers, switches)
500:
328:
1837:
1029:Waring & Raymond 2001
927:Waring & Raymond 2001
781:Waring & Raymond 2001
570:Pickup (music technology)
405:Parallel/series switching
1104:. Cengage Learning PTR.
360:and later produced as a
1282:The Contemporary Guitar
1775:Electric guitar design
661:Hiscock & May 1999
524:(pickups, accessories)
369:
271:
84:
37:
1812:list of manufacturers
350:
272:
194:guitars (such as the
82:
75:Electrical components
19:
1456:By type (six string)
1156:. NBS Publications.
442:Blend potentiometers
215:
1131:. Books On Demand.
600:, pp. 125–126.
429:which are wired in
1562:Additional strings
1517:Guitarrón mexicano
1258:. Sterling/Tamos.
1177:. Voyageur Press.
489:, but can also be
462:Active electronics
380:Phase cancellation
370:
267:
85:
38:
1855:
1854:
1697:Chitarra battente
1468:acoustic-electric
869:, pp. 28–29.
762:, p. 60: "A
612:, pp. 25–27.
416:Fender Telecaster
265:
262:
237:
1875:
1868:Electric guitars
1845:
1844:
1377:
1370:
1363:
1354:
1348:
1346:
1345:
1321:
1302:
1300:
1299:
1275:
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1272:
1248:
1246:
1245:
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1194:
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1191:
1167:
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1094:
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1058:
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981:
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882:
876:
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864:
858:
852:
843:
837:
831:
830:
828:
827:
821:
815:. Archived from
814:
805:
799:
793:
784:
778:
767:
757:
751:
745:
739:
733:
727:
726:
724:
723:
711:
705:
704:
702:
701:
692:. Archived from
682:
676:
670:
664:
658:
652:
646:
640:
634:
628:
622:
613:
607:
601:
595:
487:9 V battery
456:Fender Jazz Bass
420:Fender Jazz Bass
276:
274:
273:
268:
266:
264:
263:
255:
243:
238:
236:
225:
171:centre position.
138:Logarithmic pots
1883:
1882:
1878:
1877:
1876:
1874:
1873:
1872:
1858:
1857:
1856:
1851:
1833:
1824:Vibrato systems
1819:Prepared guitar
1790:List of guitars
1756:
1732:Six-string alto
1665:
1556:
1451:
1386:
1381:
1351:
1343:
1341:
1339:
1324:
1318:
1310:. Koch Verlag.
1305:
1297:
1295:
1293:
1278:
1270:
1268:
1266:
1251:
1243:
1241:
1239:
1231:. Hal Leonard.
1224:
1216:
1214:
1212:
1197:
1189:
1187:
1185:
1170:
1164:
1151:
1143:
1141:
1139:
1124:
1116:
1114:
1112:
1097:
1089:
1087:
1085:
1070:
1066:
1061:
1052:
1050:
1040:
1039:
1035:
1027:
1023:
1015:
1008:
1000:
996:
988:
984:
976:
972:
964:
957:
949:
945:
937:
933:
925:
921:
913:
909:
901:
897:
889:
885:
877:
873:
865:
861:
853:
846:
838:
834:
825:
823:
822:on 7 April 2014
819:
812:
807:
806:
802:
794:
787:
779:
770:
764:low-pass filter
758:
754:
746:
742:
734:
730:
721:
719:
716:"S-1 Switching"
713:
712:
708:
699:
697:
684:
683:
679:
671:
667:
659:
655:
649:Lähdevaara 2012
647:
643:
635:
631:
623:
616:
608:
604:
596:
592:
588:
565:Electric guitar
561:
505:
499:
464:
444:
407:
382:
362:signature model
333:
327:
319:
229:
213:
212:
185:low-pass filter
178:
109:
93:
77:
45:electric guitar
22:Gibson Les Paul
12:
11:
5:
1881:
1879:
1871:
1870:
1860:
1859:
1853:
1852:
1850:
1849:
1838:
1835:
1834:
1832:
1831:
1829:Vintage guitar
1826:
1821:
1816:
1815:
1814:
1804:
1803:
1802:
1792:
1787:
1782:
1777:
1772:
1766:
1764:
1762:Related topics
1758:
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1357:
1350:
1349:
1338:978-1937994044
1337:
1322:
1317:978-3901314070
1316:
1303:
1292:978-0520040489
1291:
1276:
1265:978-1895569704
1264:
1249:
1238:978-0793591404
1237:
1222:
1211:978-1441995353
1210:
1195:
1184:978-0760336465
1183:
1168:
1163:978-0953104901
1162:
1149:
1138:978-9522864208
1137:
1122:
1111:978-1435456150
1110:
1095:
1084:978-1574241259
1083:
1067:
1065:
1062:
1060:
1059:
1033:
1021:
1017:Gallagher 2011
1006:
994:
990:Gallagher 2011
982:
978:Gallagher 2011
970:
955:
951:Gallagher 2011
943:
931:
919:
907:
903:Gallagher 2011
895:
883:
881:, p. 280.
871:
859:
855:Gallagher 2011
844:
840:Gallagher 2011
832:
800:
785:
768:
760:Schneider 1985
752:
740:
736:Gallagher 2011
728:
706:
677:
665:
663:, p. 160.
653:
641:
637:Gallagher 2011
629:
627:, p. 139.
614:
602:
589:
587:
584:
583:
582:
577:
572:
567:
560:
557:
556:
555:
554:(plugs, jacks)
549:
543:
537:
531:
525:
519:
512:Seymour Duncan
498:
495:
463:
460:
443:
440:
406:
403:
381:
378:
329:Main article:
326:
325:Coil splitting
323:
318:
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314:
313:
298:
280:
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134:
112:Potentiometers
108:
107:Potentiometers
105:
92:
89:
76:
73:
61:potentiometers
13:
10:
9:
6:
4:
3:
2:
1880:
1869:
1866:
1865:
1863:
1848:
1840:
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1830:
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1807:Manufacturing
1805:
1801:
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1780:Guitar wiring
1778:
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1752:Viola caipira
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1692:Chapman Stick
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1614:Chapman Stick
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1548:
1547:Semi-acoustic
1545:
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1331:. RacePoint.
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1031:, p. 76.
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1019:, p. 70.
1018:
1013:
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1004:, p. 29.
1003:
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992:, p. 63.
991:
986:
983:
980:, p. 78.
979:
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968:, p. 29.
967:
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953:, p. 61.
952:
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928:
923:
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917:, p. 27.
916:
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905:, p. 77.
904:
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893:, p. 28.
892:
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884:
880:
875:
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857:, p. 62.
856:
851:
849:
845:
842:, p. 75.
841:
836:
833:
818:
811:
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798:, p. 49.
797:
792:
790:
786:
783:, p. 80.
782:
777:
775:
773:
769:
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761:
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753:
750:, p. 37.
749:
744:
741:
738:, p. 72.
737:
732:
729:
717:
710:
707:
696:on 2010-01-16
695:
691:
687:
681:
678:
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669:
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645:
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639:, p. 71.
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575:Potentiometer
573:
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558:
553:
550:
547:
544:
541:
538:
535:
532:
529:
526:
523:
520:
517:
516:effect pedals
513:
510:
509:
508:
504:
497:Manufacturers
496:
494:
492:
491:phantom power
488:
483:
481:
478:
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452:
449:
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391:wah-wah pedal
386:
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367:
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309:polypropylene
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62:
58:
54:
50:
46:
42:
41:Guitar wiring
35:
31:
27:
23:
18:
1800:experimental
1779:
1473:steel-string
1342:. Retrieved
1327:
1307:
1296:. Retrieved
1281:
1269:. Retrieved
1254:
1242:. Retrieved
1227:
1215:. Retrieved
1204:. Springer.
1200:
1188:. Retrieved
1173:
1153:
1142:. Retrieved
1127:
1115:. Retrieved
1100:
1088:. Retrieved
1073:
1051:. Retrieved
1046:
1036:
1024:
997:
985:
973:
946:
934:
922:
910:
898:
886:
874:
862:
835:
824:. Retrieved
817:the original
803:
763:
755:
743:
731:
720:. Retrieved
709:
698:. Retrieved
694:the original
680:
668:
656:
644:
632:
605:
593:
506:
484:
465:
453:
445:
424:
408:
399:
387:
383:
371:
354:Led Zeppelin
334:
320:
285:
281:
189:
179:
147:
121:Value – the
116:
110:
94:
86:
40:
39:
33:
29:
1478:dreadnought
748:Dailey 2011
673:Balmer 2010
540:Switchcraft
291:Capacitance
142:linear pots
49:bass guitar
1677:Bajo sexto
1661:Multi-neck
1344:2014-04-06
1298:2014-04-02
1271:2014-04-02
1244:2014-04-02
1217:2014-04-02
1190:2014-04-02
1144:2014-04-01
1117:2014-04-02
1090:2014-04-02
1064:References
1053:2014-04-07
1002:Hirst 2002
939:Hirst 2002
915:Hirst 2002
879:Bacon 2012
826:2014-04-02
722:2014-04-02
700:2010-01-16
625:Hirst 2002
598:Hirst 2002
542:(switches)
514:(pickups,
501:See also:
473:equalisers
435:coil split
358:Jimmy Page
356:guitarist
204:LC circuit
181:Capacitors
176:Capacitors
123:resistance
1770:Amplifier
1712:Guitalele
1670:Ancillary
1537:Resonator
1522:Lap steel
1492:Classical
1440:Guitarist
1403:Harmonics
966:Ross 1998
891:Ross 1998
867:Ross 1998
796:Koch 2001
610:Ross 1998
580:Capacitor
528:EMG, Inc.
480:Kaoss Pad
427:humbucker
337:humbucker
305:Polyester
252:π
234:π
227:ω
196:Blueshawk
101:humbucker
26:humbucker
1862:Category
1847:Category
1727:Requinto
1702:Craviola
1682:Baritone
1575:Armónico
1542:Romantic
1532:Requinto
1512:Fretless
1507:Flat top
1502:Flamenco
1497:Electric
1463:Acoustic
1047:Engadget
718:. Fender
559:See also
522:DiMarzio
418:and the
411:parallel
374:coil tap
200:inductor
53:mandolin
1795:Luthier
1619:English
1609:Baroque
1580:Russian
1487:Archtop
1435:Tunings
1418:Picking
1391:Playing
1384:Guitars
552:Neutrik
469:preamps
448:balance
397:range.
96:Pickups
91:Pickups
57:pickups
1742:Timple
1707:Cuatro
1592:Brahms
1552:Hybrid
1527:Parlor
1430:Rhythm
1398:Chords
1335:
1314:
1289:
1262:
1235:
1208:
1181:
1160:
1135:
1108:
1081:
690:Fender
546:Vishay
534:Bourns
431:series
366:Gibson
192:Gibson
157:switch
69:socket
65:switch
1737:Tenor
1722:Rajão
1624:Yepes
1423:strum
1049:. AOL
820:(PDF)
813:(PDF)
586:Notes
163:knob.
1747:Tres
1717:Lyre
1687:Bass
1656:Harp
1445:list
1413:Lead
1408:Jazz
1333:ISBN
1312:ISBN
1287:ISBN
1260:ISBN
1233:ISBN
1206:ISBN
1179:ISBN
1158:ISBN
1133:ISBN
1106:ISBN
1079:ISBN
477:Korg
307:and
301:Type
154:DPDT
32:and
364:by
342:pot
103:).
51:or
1864::
1651:25
1646:14
1641:13
1636:12
1631:11
1604:10
1045:.
1009:^
958:^
847:^
788:^
771:^
688:.
617:^
482:.
395:nF
335:A
295:nF
131:MΩ
127:kΩ
59:,
1599:9
1587:8
1570:7
1376:e
1369:t
1362:v
1347:.
1320:.
1301:.
1274:.
1247:.
1220:.
1193:.
1166:.
1147:.
1120:.
1093:.
1056:.
829:.
725:.
703:.
518:)
260:C
257:L
249:2
245:1
240:=
231:2
222:=
219:f
34:V
30:T
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
