EZ Mods: Guitar Tone Caps

March 15, 2012


Guest Contributor:  Rusty Wiseman

Guitar Tone CapsHey all!  Welcome back to The Corner.  We’re going to have a little discussion this week on a simple mod anyone with a soldering iron and 5 minutes can perform on their guitar, the tone capacitor.  Now this topic has been beaten to death all over the intrawebz and there is a lot of conflicting information, opinions, and “facts” floating around out there that can easily confuse those looking for some actual information.  So I’m going to give you the lowdown from my experience as a technician as well as some cool info and shootouts that I found online.  Hopefully this can be a solid guideline for those of you wanting to experiment with some different aspects of your guitar.  

First of all the capacitor (which shall henceforth be known as “cap” for ease of typing) itself.  What does it do?  The signal from the volume pot of the guitar is connected to the tone pot as well.  The tone cap is connected on one end to a lug of the tone pot and on the other end to ground.  This effectively acts as a low-pass filter with the setting of the tone pot deciding how much of the high frequency goes to ground (out of the signal).   The tone pot and cap are always in the guitar signal so the pot value has some effect on tone as well.  A 250k pot tends to leak a tiny bit more high frequencies to ground than a 500k or 1M but has a more even taper than the higher value pots.  If you don’t want any of the signal going through the tone pot, they make pots that are “no load” meaning that when set to 10, the pot is completely bypassed and out of the signal.  If you doubt that the pot still affects the signal when on 10, just check out the difference between positions 1 and 2 on an Esquire.  Position 1 is the pickup with the tone pot completely bypassed while position 2 has the tone pot engaged.  This is a great comparison of the effects of the tone pot on the signal.

Now that we know what the tone pot does, let’s talk values.  Capacitor values are measured in Farads but the ones we use in our guitars are measured in very small numbers called microfarads, the symbol for which is µf.  The two most commonly found values in modern production guitars are 0.022µf and 0.047µf.  The higher the value of the cap, the more high frequencies it rolls off, therefore it’s common to find a 0.047µf cap on a guitar loaded with single coils and a 0.022µf cap used in a guitar with humbuckers.  Just because this is the “industry standard” for off the shelf guitars in no way means that this is the necessary values that must be used with these pickups.  Experiment!  Enjoy!  This stuff is fun!  Depending on the style of music you play, a higher or lower value may be exactly what you’re looking for.  You’ll most likely want to stay below 0.1µf though; anything above this will pretty much give you mud.  A 0.1µf cap will yield a very warm, dark jazzy tone when the pot is rolled off.  This may be too dark for some but I’ve found my Tele-style guitar loves this value with the tone pot set around 4 or 5 for jazz and mellow accompaniment.  Your standard vintage Strat from the 50’s and perhaps the 60’s as well, used a 0.05µf (now replaced by 0.047 mostly) tone cap to tame the bright single coils.  Again, some people find this too dark and switch to a 0.022µf or 0.033µf.  The 0.047µf will also produce warm, jazzy tones with a bit more clarity than the very dark 0.1µf while the 0.022µf and 0.033µf values will retain more high end with a bit of (what I find to be very charming) nasal quality to it depending on the pickups.  Your standard LP type guitar with humbuckers will usually be found with a 0.022µf cap that won’t kill all of the highs from your humbuckers.  This value is perfect for getting that “woman tone” and I’ve found works very well with any pickups that are overdriven, single coil or humbuckers.  Feel free to experiment with any value of cap under 0.1µf in your guitar.  There is no way you’re going to damage the instrument with changing this part out (unless you’re just horrible at soldering, in that case check out this video and the results can be quite interesting.  A good way to A/B is to attach alligator clips to your tone pot and just swap caps out with the clips to find the tone you are looking for.  Also, P-90’s and other more specialized pickups may benefit from different, more oddball values.  I’ve found that a 0.033µf compliments my P-90’s quite well. Tone Cap

Now we need to discuss capacitor types.  Different capacitor types do actually yield different tones.  Now, this is a subject that I see a lot of debate and argument over.  There are believers and non-believers so we’re going to discuss the types without getting too into the tones they provide.  Then I’ll provide a link to a video shootout that I’ve found to be extremely well done and provides a good reference for the sound of different capacitor types. 

The most common cap found in production line guitars is ceramic.  These are small disc-shaped capacitors that are extremely cost effective and considered by most tone connoisseurs to need immediate replacement.   There is nothing wrong with these capacitors, they do the job they were intended to do which is shunt high frequencies to ground.  From what I’ve heard on these guys is they have a bit of a grainy aspect to the highs and really have no definitive character when rolled down, they just sound kind of flat to me.  Ceramic disc caps are super cheap (usually a couple of cents each) and easy to find.  If you’re not too concerned with the minutiae of tone, these work just fine.  If you’re picky like me, you may want to try something else.

One of the most popular capacitor upgrades I’ve seen and been asked to do for people is to install an “Orange Drop”.  These are made by Sprague/Vishay and are pretty easily identified by their orange casing and rectangular shape.  The 715P and 716PTone Cap Orange series are made from Polypropylene film and foil and have a slightly aggressive top end that I’ve heard described as “harsh” before but I prefer the term aggressive as they lend themselves well to more aggressive styles of music like rock and rockabilly and even country where a dominant top end is desired a lot of the time.  I’ve also found these to have a very “clear” sound when used with hotter humbuckers.

Another popular capacitor for a vintage tone is paper-in-oil caps.  These can be found in new manufacture from Angela Instruments (in both aluminum and copper foil), Allparts (Vitamin Q) and Luxe Repros.  I love these for Tele’s and Strats.  They have just the right amount of treble bleed when bypassed (tone on 10) and roll off highs smoothly with a rich sound.  They’re hard to describe but I’ve found them to be the most “vintage” tonally and the most pleasing to me on single coils. Paper-in-oil capacitors tend to be on the expensive side due to not being widely manufactured.  There are also lots of vintage paper-in-oil capacitors out there to be had but they command a premium price and are getting harder and harder to come by.

Polyester film capacitors are another cap upgrade I’ve used with great results.  The most sought after of these being the vintage Mullard “Tropical Fish” capacitors that are getting pretty hard to track down and quite expensive.  I’ve used some before and found them to be punchy and big sounding with single coils, fattening up otherwise thin sounding guitars.  Some great alternatives to the vintage Mullards are the Orange Drop 225P series.  Unlike the 715P and 716P series, the 225P is made from Mylar film and has a very smooth quality to it.  I hear it as having a similar “fattening” quality to the Mullards but I also hear a slightly more present top end and wonderfully clear midrange with these.  Another one I liked for customers looking to upgrade on the less expensive side are metalized polyester film caps that can be had fairly cheap.  While they don’t sound like the Mullards or Orange Drop they do have a “fattening” quality to them with what I’ve found to be an almost “hi-fi” top end and very even mids.

Mallory capacitors are also very popular.  These metalized film caps have been compared to the famous “Bumblebee” capacitors found in vintage Gibsons.  I personally have not heard the vintage “Bumblebee” caps so I cannot comment on this but I’ve found the Mallory caps to be transparent and gorgeous with a “sweetness” to the sound that I cannot describe.  Maybe it’s in the overtones but I just hear something in there that my ears really enjoy. 

Black BeautyOne of the most requested capacitors I had was the Sprague “Black Beauties”.  These are very sought after vintage capacitors that have a warm tone Les Paul fans adore.  I have never even come across them in my work but I know they can be found if you look hard enough.  You will more than likely pay a premium for them but if you do have or find them, please comment below as to how you would describe them, we’d love to hear.  Luxe does make a nice replica but I’ve been told they actually don’t sound quite the same.

A little quick note on vintage capacitors.  As capacitors age, the materials used to make them tend to dry out and become ineffective.  Some vintage capacitors were made for military use and have the internals protectively encased in other materials that keep them from drying out.  The point is, as with anything you are purchasing online, do your research.  Only purchase vintage capacitors from a reputable seller that specializes in them.  You might pay more than from the guy on eBay with the colorful auction, but you’ll be guaranteed a quality product that hasn’t dried up and gone past its useful specifications.

I’ve hit on the most commonly found and asked for guitar tone caps that I came across when I was a tech and my opinion of their sound.  Here’s a couple of links you absolutely should check out if this is an interesting subject to you.  This is a test with visual spectrum analysis results that I found fascinating:
Thank you for this article, it is very cool!

Also check this video out:

This guy A/B’s a bunch of different capacitors and values in his Epiphone.  I found this fascinating as well and have watched it about 20 times now. 

Thanks for reading folks.  Hope you enjoyed the article.  Please feel free to add your own opinion of what various tone caps have done for you and your guitar.  We’ll see you next time, in The Corner.


  1. Paul says:

    Super helpful…. Thanks so much for contributing. :)

    posted on March 15, 2012 at 11:26 pm
  2. geo says:

    You can replace the tropical fish with 368 philips caps. They are equivalent.

    posted on March 15, 2012 at 11:31 pm
  3. J says:

    Very interesting, & I have a good idea which two caps I’d probably use w/ P-90s, but is there a similar comparison w/ humbuckers? I play LP style guitars w/ humbuckers more often than any single coil.

    posted on March 15, 2012 at 11:38 pm
  4. John Fiaschetti says:

    I have never seen a more thorough analysis of this topic.  As an electrical engineer and someone who’s tinkered with building pedals, I have always been a real skeptic on this topic.  With the exception of aging dielectric materials, I’m still not sure there’s any real difference especially as you roll the tone knob down. The only part of this test I’d like to see redone is to have a robot play the guitar.  He’s a human.  His picking could be and probably is slightly variable, and that will alter how much current is induced in the pickups, which will slightly alter how the sound comes out.

    How do the caps age over time? I’d expect the oil-based caps are more different as they age?

    posted on March 15, 2012 at 11:42 pm
  5. david rolo says:

    the first part of the article is interesting indeed, but imo, the “kind” of cap you use should not have any impact on the tone, as long as the cap value is the same. What a lot of people experience when comparing different kinds of caps “labeled” with the same value is due to the varying tolerance resulting in very different capacitance than what is labeled. A cap labeled 0.033, if measured could be actually a 0.03 or a 0.04 for example, resulting in very different tone. But in terms of physics, 0.033 is 0.033, whether you got it for a few cents off radioshack or whether it was rolled in oil and paper by tibetan monks at full moon ...

    posted on March 15, 2012 at 11:57 pm
  6. Mark B. says:

    i usually remove the tone control from the circuit altogether.  I’ve always used the amp or effects to change the sound.

    posted on March 16, 2012 at 12:18 am
  7. Marcus says:

    I love the video. Thanks for sharing. Mallory does it for me in my LP, but sounds just wrong in my Telly.

    posted on March 16, 2012 at 12:22 am
  8. Scott Anderson says:

    What about cap types for Treble Bleed on Volume or Master Volume (on a Gretsch for example) pots? Is there much of a difference there?

    posted on March 16, 2012 at 12:29 am
  9. DrProgNerd says:

    Great article. Loved the video too. The Corner keeps me coming back to the PGS site every week. Thanks again.

    posted on March 16, 2012 at 12:42 am
  10. David Fellows says:

    I have been installing Orange drop 47 on everything for years sighting the best “cheepest” upgrade that anybody can do.I like the paper and oil caps but I’m gonna have to try some of these Malorys.They sounded good to my ear.I like vintage bumblebee’s but they are just to pricey for me and I don’t hear that much of a differance.This was a good one thanks for the time and effort it took to produce.

    posted on March 16, 2012 at 2:22 am
  11. Rod M says:

    Thanks for the great article. Hopefully, it will encourage people to listen to the different aural coloration caps can provide. For those that say “a value is a value” and the material types are irrelevant, they are simply not paying attention. Specs alone don’t account for the differences in tonal quality that different caps can provide. I’ve been playing since the 60’s and have had the good fortune to have played just about every “Holy Grail” guitar out there. The best vintage guitars always had one common denominator - a very “vocal” quality to their overall sound. Regardless of the tone setting, these guitars sounded sweet and had a very pleasing quality. My favorite was always the real deal “Bumblebees”. I was fortunate enough to buy a handful of these back in 1980 at Dick Smith Electronics, an Australian based surplus store. They were.022 uF and I started putting them in my Gibsons, which then really sprang to life tonally. A noticeable improvement to say the least was heard in every case. I’d long since used and sold off most of my supply by 1996. Of course, then they promptly started escalating in price like wildfire. These days, for my more aggressive guitars (Ibanez, Shecter, etc.) I currently use Sprague 225P Orange drops. They are a different animal than the 715P and 716P sound very good across the entire sweep and do impart a glistening edge to a hot humbucker. I still like paper and oil varieties in classic guitars I use for old rock or blues. Last year, I was foraging through some old electronic gear last year when I came across some .047uF “Black Beauties”. Big honkers! I’d just wound up some humbuckers for my Gibson R8 and I decided to rewire it “50’s style” and through in the “Black Beauties” for good measure. I kind of thought that the .047uF value would probably be too high and it might sound muffled when rolled down. Nope - that guitar really came alive and now you can’t get a bad sound out of it. It has a rich complexity to the tone now that is like 3D in character. Very vocal sounding and pleasing at any setting. Jazz players would love the warm, rich and complex tones at the low end. About 2/3 down, you’re in “Woman Tone” territory. I find myself rolling back about 1/4 just to impart some of it’s magic most of the time. These “Black Beauties” are pretty much the same as “Bumblebees” in construction. They just have the value printed on the jacket instead of being color-coded. At any rate, they are magical sounding holy grail treasures that are worth seeking out and obtaining if you want to hear “the best” 50’s vintage sound out of your guitar.  If you can’t hear the difference, go the doctor and get you ears cleaned.  If you still can’t hear the difference, then give up on trying to play guitar – you’re tone deaf!

    posted on March 16, 2012 at 3:09 am
  12. John Fiaschetti says:

    Rod M, next time you buy caps and think you’re hearing a difference, buy like 50 of each, and run them against each other.  Most caps are +/-20% tolerance.  I would bet that the difference you think you’re hearing is more the capacitance difference than the material.  Unless you’re pushing the caps to the point of nonlinearity, which should occur at a much higher voltage than your guitar can pump out, there isn’t a real difference.

    posted on March 16, 2012 at 3:42 am
  13. Rod M says:

    John F,  What can I say - some people just don’t get it.  There IS a difference and it is a profound difference to the trained ear.  The frequency roll off may vary slightly from, but the overall timbre of the remaining signal is definitely different between dissimilar materials used in the construction of the cap.  Oil & Paper, Mylar, Polyester, Ceramic.  All these materials are capable of merely filtering off frequencies, but the very materials used also imbue sonic properties to varying degrees.  They can give a special “character” to the sound.  We could argue the point from here until doomsday, but at some point everyone should scour the web for info on the tonal characteristics of various capacitor types.  Entire industries are based on providing “better sounding” caps for everything audio.  If there was no difference as you suggest, then there wouldn’t be the tremendous amount of public discourse on the matter.  There wouldn’t be all the current competition to make better sounding caps.  I know what I hear and I certainly don’t believe that the authors and readers of articles such as this one are delusional when it comes to their finely-honed perception of tonality.  I also grant that you are entitled to your own opinion and that you can be happy with any capacitor.  I guess I’m just happy that I can and do hear and appreciate the tonal differences that the different materials and construction methods can impart on my guitar’s overall sound in a positive way…

    posted on March 16, 2012 at 4:45 am
  14. david says:

    or one could also say that like religions, old beliefs are hard to let go ;-)
    one could also say that we have been conditioned to believe anything one tries to sell to us…

    posted on March 16, 2012 at 5:43 am
  15. Mac says:

    I too have been doing these mods for customers for many years & as I also service/build valve amps I’ve always got them on hand. Mallory 150s are my definite favs for standard values (.022, .047) although Orange Drops aren’t a bad choice either & available in a wider range of values (.015, .022, .033, .047, .068). Also regarding the sought after “woman tone” is accomplished using a 1/2 value smaller than typical cap (.015 for humbuckers, .033 for single-coils) & using the neck pickup or so the stories go when talking with us old farts. As the author of this article stated, go ahead & experiment. As long as you’re careful & take your time you won’t mess nothing up & you’ll be amazed what this simple trick can do for your tone!

    P.S. Please note DO NOT use electrolytic caps, they’re polarized (they have a plus & a minus side.) While they’ll work their tone will have you re-installing the cheapo ceramic cap plus they break down in time. Same reason I don’t recommend foil & oil caps for guitars… try Solen metalized poly caps instead.

    posted on March 16, 2012 at 6:03 am
  16. Mac says:

    I’d also like to add when working on many foreign made guitars (Mexican, Korean, Indonesian, Chinese & vintage Japanese) I also recommend replacing your other electronic components (pots, switches & jacks) with better quality parts such as made by Switchcraft, CTS, Bourns &  Oak/Grigsby. Many imports on today’s market have great construction/craftsmanship & many have very good hardware (Tone Pro, Kluson, Grover) but still use sub-standard asian electronic components from the lowest bidder. Just again, use caution & know the limitations of your skills as you may have to enlarge a hole that goes through the body & mistakes can be costly to repair.

    posted on March 16, 2012 at 6:24 am
  17. sam maddison says:

    I came across this video a few weeks ago too! I was amazed at how much the cap’s made a difference, both the article and video is a really big help, thanks

    posted on March 16, 2012 at 6:54 am
  18. J says:

    I can hear the difference in the caps, although I admit that difference is minimal w/ many of them. I’ve build a few FX pedals too & there is an even more noticable difference in tonality based on value & materials used.

    posted on March 16, 2012 at 7:35 am
  19. RON LIPE says:

    WHATS THE DIF IN A .02   .002   .022

    posted on March 16, 2012 at 8:48 am
  20. Jas says:

    Great article! Would love to see one on pots!

    posted on March 16, 2012 at 9:32 am
  21. Michael says:

    I scored a pair of black beauties of the bay a few years ago. Put them in my
    ‘94 gibson. Instant old school tone. Just a bit dark for the neck pickup but tamed
    The razor highs of th sd jb in the. Would probably really sing with some fralin paf’s.

    posted on March 16, 2012 at 10:12 am
  22. EF says:

    david rolo, yes in terms of physics, 0.033 is 0.033, but is capacitance the only measure that can affect how a capacitor might “sound”?  And if your answer to that is yes, then what branch of physics confirms your opinion?  What about ESR, dielectric absorption, capacitance changes due to temperature or frequency, dissipation, Q, and most importantly, the fact that caps distort in a non-linear way?  Let me ask you, If you measure an 80 and 120 hfe modern PNP silicon transistor, does that mean you can make a Fuzz Face that will sound exactly the same as an NKT275 version using transistors with the same measurements?  Or do you accept that there are some audible differences between silicon and germanium that are affected by something other than gain?

    posted on March 16, 2012 at 10:27 am
  23. blaine says:

    A interesting article and demo.  Very informative but it convinced me that those little buggers have no place in a guitar circuit.  Cut those little pests out and toss them - they just rob the signal and tone.  If I want to deaden my fiddle I place a bit of foam between the strings after the bridge. I prefer a mechnical approach rather than sucking the signal away.

    posted on March 16, 2012 at 12:11 pm
  24. FusionFanatic says:

    @ Ron Lipe…
    Didn’t you Ever take a math class?
    .2 = 2/10ths.
    .02 = 2/100ths.
    .002 = 2/1000ths.
    .0002 = 2/10,000ths…etc., etc., etc…
    So…0.022µf would be 22/1000 microFarads.
    0.047µf would be 47/1000 microFarads.
    0.1µf would be 1/10 microFarads.
    To the left of the decimal point are whole numbers…
    So…1.00µf would be 1 microFarad…or…1 mic.
    So, what do you do Ron? Accountant? Stockbroker?
    Just messin’ with you Brother!  Nobody can remember everything.


    posted on March 16, 2012 at 7:20 pm
  25. RON LIPE says:


    posted on March 16, 2012 at 8:26 pm
  26. Rick Fass says:

    Fabulous presentation! I have had great success with Sozo Caps, .047 for guitar tone pot, and .1 for bass guitar. Also using a Sozo .002 with 100K resistor for treble bleed.
    Many thanks!

    posted on March 16, 2012 at 11:44 pm
  27. Mac says:

    In response to Ron Lipe: There’s very little difference in value between between .02 & .022 microfarad, so little that they could be considered the same. Often on a schematic will just call for a .02mf value when the part on the actual board will read the more precise .022mf value printed on its casing. As for a .002mf or .0022mf cap that value is much smaller. So much smaller that a tone pot with a .002mf cap would cut almost no highs in the audible range but would tend to attenuate the guitars output due to the added resistance of the tone pot itself. While experimentation is commendable, knowing the general range of values to stick within is useful. To that end, here’s MHO of the value range to try: 0.1mf (dark/mellow) to .01mf (bright/harsh) & use good quality caps ($2.00-$5.00 ea.) You can buy even more expensive caps but IMHO they’re not worth the $20.00 plus prices. While you’ll see a very substantial tonal difference upgrading a stock ceramic or even cheap mylar cap to a Mallory, Sprague Orange Drop or similar going a step further any difference will be moot (or almost.) Finally, I’d like to add one more comment. Regarding the use of smaller value caps .001mf to .0033mf, while they’re not suitable for your “tone cap” they can be workable values for what’s called a “treble bleed” cap, sometimes seen alone or in series or parallel with a small resistor (typically 100K - 180K range if memory serves) wired to your guitars volume pot but then that would be another article I suppose. However if you would like more information just Google “treble bleed circuit” & you’ll find a wealth of information.

    posted on March 17, 2012 at 4:37 am
  28. socal323 says:

    Great article, now here are my two cents.  As a musician and tone junky I blelieve that the only people who “hear” the differences are the one’s who are listening for it, i.e “musicians”.  The majority of everyone else, the “audience”, wouldn’t be able to discern a fender from a marshall, a strat from a les paul, a tube amp from a solid state amp, etc.  They are more interested in the total experience, the music, the melody, the crowd, the event, etc. etc. 
    But since the subject is “tone caps”, It’s also not just about the tone caps, it’s about the entire package.  The sum of all the parts together is what creates that magical sound.  The type of body, neck, pick ups, strings, cables, amps, tone caps, etc.  Anyways, I’m rambling. 
    Play from the heart, create, inspire, and live.

    +1 on the pot suggestion.  I’d like to see what makes more of a difference, the pots or the caps.

    posted on March 17, 2012 at 5:11 am
  29. Mojave Johnson says:

    I have a pair of Sprague Black Beauties in my ‘73 Les Paul, and they sound amazing!  They were in the guitar when I bought it back in ‘87, so I don’t have any comparison on that guitar, but I have tried a few different pickups and they all have the same type of tonal spectrum, so I have to say it’s the caps.

    My ‘59 has caps that I haven’t been able to identify, though.  They were also in the guitar when I bought it back in ‘89.  They’re about the same size as the Black Beauties, but they’re kind of a mustard yellow, and have a greyish line around them that’s closer to one end.  These caps (with the PAF and Duncan Peter Green Antiquity) give me a sound that can only be described as “it”.  If anyone can identify this cap, please let me know!

    posted on March 17, 2012 at 10:59 pm
  30. Mojave Johnson says:

    John F - I guess you really don’t get it.  Rod M understands that, like us, a guitar is much more than a collection of components.  How those components work together has as profound an effect on the timbre as the temperature and humidity of the room it’s being played in!  In the same way, the components in a capacitor can greatly effect how that capacitor affects the timbre of an audio signal that passes through it.

    For example, you probably think that it doesn’t matter what kind of 9V battery you use in a stomp box.  Well, it does!!  I can easily tell the difference between a Duracell, Energizer, and Eveready battery just by listening.  Duracells are quieter (less background noise) and last longer (hours of use before dropping to 8.7V - the point at which it starts distorting the signal) than any other battery I’ve tested - and I’ve tested all the major brands.

    posted on March 18, 2012 at 1:21 pm
  31. Cameron Sutton says:

    Thanks for the article, especially for posting the link to the video. I have an 08 American Standard Strat that has never sounded that great to me. I have been through six different pickup combinations in it and still have the same issue, it just sounded a bit flat and lifeless. It’s had a cheap poly film 0.022 cap in it for years after a leg broke off the original during a mod. After reading this article and watching the video I decided to try an 0.047 Vitamin Q paper in oil cap. It seems to have made a big difference. I don’t know if it’s because of the value or the material type, but I’m convinced my guitar sounds much sweeter now, not so ice picky, much warmer and more alive. I’m well aware of the placebo effect and how we hear what we want to hear, but I have spent way more money on pickups and even a callaham block (which made no difference whatsoever) with less pleasing results. I only did it yesterday but I feel this is the best mod I’ve made to this guitar. I’ve since read where others think paper in oil isn’t a great choice for a guitar, but it sounds great to me, even with the tone control right up. I wasn’t aware that these caps had a preferred orientation, so no idea if I put it the right way around, but it sounds great how it is.

    posted on March 18, 2012 at 4:50 pm
  32. Lowdown says:

    If that Rod M above is the same Rod M of Sliders pups,I’m sure you know just what you’re talkin’ ‘bout…
    I personally hear a difference myself,between a PIO vs. ceramic,but that’s not to say the next person will/does.

    Dick Smith. I remember the days when you could get any electrical part you wanted from there. Now all you can buy is the latest TV/DVD/MP3…
    As you were…

    posted on March 18, 2012 at 8:21 pm
  33. Ken says:

    One problem with the caps that come in some of the Asian guitars is the tolerance of the caps. I recently swapped for Chinese Les Paul clone. I tested the caps in it. They were marked .022 but they both measured around .082 uF. I had a couple of old Sprague “Black Beauties” that was pull from an ancient TV. They both measured around .022 uF. Installed them in the guitar and the tone circuit was much nicer sounding. The stock caps should be changed because they are probably way out of the range we need.

    posted on March 19, 2012 at 11:27 pm
  34. salmonline says:

    Also keep in mind if you’re over 30 your hearing isn’t what it used to be.  You may not be physically able to hear some of the upper frequencies that younger people are able to. 
    You don’t have to like it, but it is true.

    posted on March 20, 2012 at 1:17 am
  35. Dave says:

    I have been buying up and using a multitude of different caps over the years, in my own guitars of varying styles, and in my customers guitars of varying styles, there is definitely a time and place, so to speak, for different values and types of caps; experimenting is the best course. One of the frustrating things about the whole tone thing, I find, is in the pots themselves. In order to have an overall good effect on the tone by using different caps, the first thing one needs is a volume pot that doesn’t bleed treble off or you have two things working against each other in the vol pot and the cap which completely messes with accuracy of what we hear from the cap value & materials. That said, I highly recommend trying different sized picofarad caps and resistors to create the treble bleed mod, the standard kits you might find on the web stores or not going to work the same for every guitar. However, without a treble bleed kit installed, I always find the best way to listen to the qualities of the tone caps is by varying the volume between about 6.5 and 8.5 (dependent on how your particular setup changes the tone when using the volume pots), especially when clean and when overdrive is engaged I’ll use those settings and, of course, full volume. I’ll also add that for Les Paul guitars (or any 1-3 humbucker axe) switching it to the vintage style 50’s Gibson wiring brings an entirely new aural dynamic; the tone really blooms and provides a more clarity. It’s a simple mod that can be found online that can also be used for Tele style guitars with 1 vol/1 tone setups, and you can also achieve the 50’s Gibson wiring on a Strat as demonstrated by Dirk Wacker, the tech guy for PG magazine, which is available at his website Lastly, I’ve also switched to using .022 caps on the bridge of Les Pauls, and .015 on the neck pup… it makes a world of difference in reducing the bass or boomy tones you sometimes find in that neck position. I was a big believer in PIO caps for a long time, but I recently picked up a set of Jim Wagner’s caps (WCR Pickups) that sound awesome and they’re a polymer cap that were voted #1 on the planet by audio freaks a couple years ago. They stay nice and clear when backing off the tone…

    posted on March 20, 2012 at 2:58 am
  36. says:

    I have a challenge to the author. If indeed different material caps can affect cutoff frequency, why not simply do a test to prove it and publish the results? Measure a group of caps of different materials to prove they are the exact same value, wire up a rudimentary tone circuit and hook it up to a scope and measure the cutoff frequency of each cap. In the linked vid, the creator makes no claims to have actually measured the cap values proving they are the same. I mean, you can even see the tolerances printed on a couple of the caps when he does a some close ups. +-10% and he just assumes is .022? Nope, not even close to an apples to apples comparison…

    posted on March 20, 2012 at 4:43 am
  37. josh paulonis says:

    helped relate the fire for the perfect tone

    posted on March 21, 2012 at 4:39 am
  38. Jim says:

    I have been a very, very happy user of Stellartone tone controls.  I have a choice of 14 caps plus a bypass.  Talk about fine tuning!!

    posted on March 22, 2012 at 6:18 am
  39. Norm says:

    absolute rubbish

    posted on April 18, 2012 at 1:22 am
  40. Jim says:


    Oh?  And why might that be?

    posted on April 18, 2012 at 4:17 am
  41. Lowdown says:

    Because Norm is all knowing…LMFAO

    posted on April 18, 2012 at 7:06 am
  42. Norm says:

    The emperor has new clothes.
    Sorry I just don’t hear that much difference to worry about the caps.
    What exactly is vintage tone?
    Do you think Hendrix worried about the caps?

    posted on April 18, 2012 at 8:51 pm
  43. Lowdown says:

    You tell us,Norm.

    Next you’ll be telling us there were no R0’s made in ‘93!
    Or there’s no difference in tone between an amp loaded with NOS as compared to CP…worms.It’s all worms.

    What exactly IS tone?
    Do “you” KNOW if JH worried about caps?
    I’m fairly certain he,as any other player,would care about his tone. Which would lead “me” to believe that,if he knew of caps and their role they play,he would most probably do whatever it took to get his desired “tone”.

    I seem to recall reading he favoured BB’s.

    I keed. I keed…Indeed,Absolute Rubbish!

    posted on April 18, 2012 at 10:40 pm
  44. Norm says:

    I don’t hear a diff.
    If you do O.K.
    It’s my opinion.

    posted on April 18, 2012 at 11:41 pm
  45. Will says:

    Could it be that the average ceramic cap that Fender use, costs between 10 and 15c or less in Asia is just as good as the $20 plus oil-in paper caps being flogged on ebay for $20, just don’t have the profit margin? Try this simple experiment. Take one ceramic cap, of the correct value, because that is important, and repeatedly dip it in coloured nail-polish. If you have a floyd rose, then you should have access to plenty. Keep dipping, let dry until it takes on a nice shape, that is important. Install. Tell friends about your exotic cap. Play. Listen to awe struck reviews. Tell friends it is an Emperors New Clothes Cap. Laugh a lot. Sell em on ebay for $20. After all, Slash’s Gibson LP wasn’t actually a Gibson. He had it made by a non gibson luthier. Gibson now claim it as theirs because it wasn’t a forgery, but a tribute. Yhey now market Slash Appetite LP’‘s. Clapton’s Blackie wasn’t a sock model. It’s a parts caster. Sold for a Million. Just shows ya what price mojo.

    posted on May 1, 2012 at 7:40 pm
  46. Lowdown says:

    Good points ‘cept the neck & body were the only differring parts on Blackie.
    Who cares about the HunterBurst & the Derrig.
    Any fool knows SlashTone’s in the Hat.

    Have no idea what you’re getting at re. your nail polish and cap business…but keep up the enlightenment.
    It’s all entertainment for the m/asses.

    posted on May 2, 2012 at 6:03 am
  47. Will says:

    The caps…I think guitarists have been conned into paying ludicrous prices for Capacitors to improve the tone of their instrument. Fender now use ceramic caps, at 10c each. When tested by electronic means, their is no difference in the electronic response of caps, no matter what the dialectic.People are confusing the electronics properties of caps and wanting to hear a difference. Changing the length and quality of your cable would produce a noticeable difference in tone….it produces capacitance. The value of this capacitance causes a change in frequency response, like tone caps…..but it is the value that is the important thing. Nailp-olish….dip your own caps. Make up a new colour and style, sell them at inflated prices. The big G offers ‘vintage caps at huge prices, which are in fact…modern caps in vintage plastic coating…but I bet you will hear the ‘improvement in tone. Cut one up and see. They have been weight reducing LP’s for years without telling us, so there is a precedent. Cheers!

    posted on May 2, 2012 at 9:19 am
  48. Lowdown says:

    Pfft…next you’ll be trying to tell us that they’re drilling holes in LP’s to reduce the weight. Or they’re using baked maple instead of Rosewood for fretboards or the top carve isn’t correct to 50’s specs.

    Yeah right.

    Will the Dill. Silly Willy.

    posted on May 2, 2012 at 3:58 pm
  49. Will says:

    Um yes, sadly. But you are too harsh. They drilled the holes for yours and my benefit, to ease our burden. That they neglected to tell us is not important. Either is it important that you can order a non-weight relieved LP at extra cost, because of the cost of NOT drilling the holes. Oh, abd they use Ceramic, non mojo 14c caps as standard. Hendrix apparently had about 9 fuzz faces (is there a plural..Fuzz facie?) Each night he would call for another one that sounded better….Mayer, in the end, just kept returning with the same one until jimi said it sounded good. Now if he had used Paper in oil caps and pickups wired in with white hook-up wire, while facing south, with the electrons in his lead aligned to magnetic north…........

    posted on May 2, 2012 at 7:25 pm
  50. Lowdown says:

    Stop making sense,Will. Someone may actually start seeing through the facade ;)

    James got his tone from the Vox whirly cord.
    All his tone hound fanbois know that…

    Now ‘scuse me while I kiss the sky and go buy another set of OTPG M-69 rings.
    They may be expensive,but they’re full of 22kHz awesomeness. The UV doesn’t lie.

    1 piece BRW boards forever…!!!

    posted on May 2, 2012 at 7:56 pm
  51. Vital says:

    You can try googling Vietnam Economic News and Vietnam Economic times. They both have English laaugnge websites. Also try the American Chamber of Commerce in Vietnam.Good LuckBTW, two companies that will probably be on the list are Daimler-Benz and Intel. I think D-B manufactures cars and trucks in Vn and Intel is currently building a $ 1 billion (usd)  chip plant on the outskirts of Saigon.  Was this answer helpful?

    posted on May 17, 2012 at 2:00 am
  52. kukitggtn says:

    t3kv26 vtfjkjaeptch

    posted on May 17, 2012 at 12:15 pm
  53. Lowdown says:

    Sure was Vital!

    Almost as useful as this story on caps and their merry little role they play in TOOOOOONNNE……!!!

    Now run away,like a good little oddball that you are.


    posted on May 18, 2012 at 2:51 pm
  54. Will says:

    Er, did I get it wrong. About 75% of guitar players run with their Vol and Tone pots fully cranked. So, no matter what super expensive, or in Gibson"s case, fake repros, (sort of like the Slash Les Paul, which wasn’t a REAL Gibson, but a real COPY of a real Gibson) capacitors you use as a treble bleed or tone cap, they only affect the tone of your signal IF you use your tone control or turn your vol down from max. If you use a signal diversion circuit to bypass the tone and vol pots, then they have absolutely no effect at all on your signal. Strat players that claim to hear a capacitor related effect on their bridge pickup, should check if their selector switch wiring, like most strats, bypasses the tone circuit in position 5, bridge only setting. Maybe the mojo capacitors affect the signal just being in the control cavity! Most of the time, with most guitarists, the tone cap, no matter how rare or expensive, is not actually in the circuit. Logic is hard to accept sometimes. All those players who hear a huge difference in their tone after installation, especially those using no load pots, should really listen. According to them, their guitar sounds so much better in all positions of the selector and pot settings…...a physical and electronic impossibility. I guess after being conned for $147 for Mr Gibsons replica, plastic coated fake bumble bees, thats gotta hurt. But…..don’t blame me, contact Mr Gibson. He is hollowing out LP’s too. And he uses 14c ceramic caps in the factory product. If it’s good enough for him to use them, and you think he makes the best guitars in the world, why would you go against his choice and stick a 600v rated cap in your guitar control cavity? Er, and Mr Fender uses 14c ceramics too.

    posted on May 18, 2012 at 7:20 pm
  55. CAPtain Tone says:

    Yes. You did. Again.
    75%,you say. Where’d you get those statistics? Show me your proof.
    “Fake repros”? Quite the oxy-moron there,Silly Willy.
    Either it’s a reproduction…or it’s a fake. So what’s it gonna be? A real copy,maybe ;)
    And forget the Derrig,I’ll stick with my HM PerryBurst. No need to sprout semantics and inane trivialities. I’ll leave that to those who can’t afford even an entry level USA Studio LP,so settle for Epiphone’s. That wouldn’t be you would it,Willy…?

    Tell me: why bother even dropping in a 600v as opposed to a 200v cap? More TONE,maybe? LMAO


    posted on May 19, 2012 at 1:22 pm
  56. Will says:

    Facts seem to frighten people, Captain Tone. Gibson cover modern capacitors with plastic, and sell them as Bumble Bee repros. They ain’t. They just look the same… Coke and Pepsi. A $2.00 axial Electrolytic cap wrapped in coloured plastic..: Fact source..Gibson website in their own forum. Seems many like me thinks it’s a ripoff. My 10 year old ‘solid bodied’ entry level studio, made before Gibson started hollowing them out without telling you….but I guess thousands like you never noticed the difference in tone. I got it because a friend needed the cash. Fact: caps play no part in the signal chain if the tone and vol caps are maxed. They are not in the circuit, so you can not possibly hear a tone difference. (The Hawthawn Effect Psych 101, surely you remember that from your uni days) Denigrating a forum member’s response and implying they cannot afford various models of guitar is a cheap shot. I like guitars. I started playing when a ‘58 Les Paul was a second hand guitar that people were off loading because they were too heavy, Clapton was yet to wield one on the Beano album. They sold for $400 au…Strats were $400 dollars new. : Fact source, I was there. I build my own guitars . So far 5 strats, 5 teles, 2 Lp jnr double cuts, jazzmaster, 2 PRS style guitars, a 335, two lap-steels, as well as purchasing cheapies and upgrading them for the local kids. Parts? Cts Pots, Crl switches, switch craft jacks, Pickups: Bare Knuckle, Tone Rider, Seymour Duncan, Stewmacs Parson Streets, Sperzel tuners….and caps? I place 14c caps in side aluminium tubes, print a label, fill up the ends with nail polish…they look like 1950’s caps, just like the Gibson fake /repros. But they do the same job as any cap…..bleed frequencies out of you signal. I don’t play the Gibson much. Prefer my own. No sticker envy there. I think Reverend do a good job there. Like my Peavey 30, the old one with the square front, make my own leads, Build valve amps a cabs, made over 50 effects pedals and over 45 amps of various sizes, Make my own waterslide decals. Just ordered an acoustic from a local luthier. Prefer his over any Martin. He does not/will not put a name on the headstock. He believes that you should judge a guitar from the sound, not the brand. Good advice really. I am an informed contributor to this discussion. Little boys, and the uninformed , often rant over brands, without being able to see the real situation. Big producers of guitars need that, so they can churn out endless copies of the same 1950’s model.
    Fact source for the 75%? Various magazines, and websites like your that explain to the young boys , “how to use a Tone Pot” or expound on the voodoo qualities of various capacitors. Perhaps you could explain to the boys how reversing your guitar lead improves the tone, or how using a Variac helped Eddie V get a better tone. I await your outpouring of factual bile.

    posted on May 19, 2012 at 2:01 pm
  57. CAPtain TONE says:

    Lolzy Lolzy Lolzy…
    Silly Willy. I KNEW you were an entry level boy.
    Silly Willy…you’re Studio is NOT a solid body. It’s swiss cheesed. Bored out. WEIGHT RELIEVED!!!

    I didn’t go to Uni. I’m not a theoretical believe-what-I-read playboy. I’m a hands-on,practical,hear it,do it,try it for myself MAN.
    THAT,is why YOU will never know TONE.

    You bore me with your tone and music related inaccuracies,inadequacies,inanity and insecurities.

    Come back when you have your facts correct and you have something worthy of posting.

    Silly Willy.


    posted on May 19, 2012 at 3:35 pm
  58. Will says:

    Well captain, so you may be, but tell us all what you done, besides buying an overpriced wannabe guitar. Tell us what you built, tell us what you got, let us decide your street cred. Anyone can brag about what they have, or can afford. No put up or shut up? Tell us your opinion based one your expert opinion. Facts frighten you. Don’t worry, maturity comes with experience. My Gibson must be crap because you said so. It was a pre weight relieved model, but you would know all about it, having never seen it. You would even know thw colour. Oddly enough when I contacted Gibson, they said it was pre weight relief…what would they know in light of your knowledge. So, give us the benefit of your vast knowledge bas and tell us what you play and what makes it so good. Any major manufacturer fan-boy can do that just by reading company ads. So, which major guitar outlet do you tech for, and which major company sponsors your band and supplies your equipment. Any way, captain Tone…give us a hard fact so we can judge your tech knowhow not your blather at any fact that challenges your fanboy posturing. I have, you seem unable to do so. Thanks for the laughs Cabinboy of Tone.

    posted on May 19, 2012 at 5:41 pm
  59. Will says:

    You heard it here….if you play an epiphone, or ‘entry level Gibson LP Studio, and I guess any asian guitar, then, according to CapTain tone, it is crap. And he knows. He plays a HM PerryBurst., Surely one of the most lauded and written about, guitars in all guitar history. Can any one tell me about a HM PerryBurst, whatever that is, because in my 30 years of playing, I have never heard of one. Apparently, it puts my Gibson LP studio to shame. Sad that.

    posted on May 19, 2012 at 5:48 pm
  60. CAPtain TONE says:

    What part of “come back when you have something worthy of posting” didn’t you understand!?

    Silly Willy.

    posted on May 19, 2012 at 11:41 pm
  61. Will says:

    What part of put up or shutup don’t you understand. Besides buying one of the 75 current versions of the Les Paul at a store, what gives you the ability to comment on technical points of guitars? So far, your only contribution is to confirm you are uneducated, opinionated in that only your choice of guitar is valid, and that the price you pay for a guitar, in your opinion makes it better. Lucky Jack White didn’t take your advice. He plays a plastic guitar, considered quite a novelty in it’sday, through basic gear, and sounds great. Tell us what you do, besides shooting your mouth off and playing your Joe Perry guitar in your bedroom. People have responded to my posts, but no-one has commented on your sad attempts at to be the funny guy. Read Lowdown’s responses, but look up ‘Sarcasm’ in your junior high dictionary first, or perhaps get someone to help you with that. Add some technical knowledge, or get back to jammin with your 14 year old buddies, who sadly know as little as you about how a guitar actually functions. Some people use these posts to try and increase their knowledge. You could try that, little fella.

    posted on May 20, 2012 at 2:18 am
  62. CAPtain TONE says:

    Stoopid is,as stoopid does…

    Glad to see you’ve expanded your consciousness when it comes to basic guitar knowledge 101,since your last verbal diarrhoea,Silly Willy.
    Google for the m/asses ;)

    Must’ve hurt to discover your cheap little entry level Stoodio was not solid as Henry’s deskjockeys and propaganda,aimed squarely at naive fangirls such as yourself,would have you believe.

    PCB’s/laminated fretboards/weight relieving/chambering/illegally sourced wood/improperly Plek’d frets & nuts/Baked Maple instead of RW fretboards…shall I continue with your education,Silly Willy…?
    I would not touch any recent “guitar” that Gibson has to offer. Not even with your fumbling little fingers.

    Pfft…Jack White?! He’s not even a pimple on my bum.
    James Patrick played a plywood guitar. Most of his earlier,more well known,solos/songs/tones were acquired through the use of a Tele.
    What is your point?!

    You have posted nothing but gibberish and hyperbole that you have scrambled to find via a search engine.

    As I’ve said and continue to say,post something worthwhile and useful.
    Something YOU know. Not what you have reeled in from HC or some other inane fangirl site that reeks of squealing uneducated drool.


    posted on May 20, 2012 at 7:23 am
  63. will, fanboy of the Erudite Captain of Tone. says:

    I work as a guitar tech. I build guitars, pedals and amps. Still, you can’t actually state what you do. You play a minor model fanboy Gibson, but fail to comment on why. Maybe it came in your favourite colour, or you are a Joe Wannabe. State your credentials for your great technical knowledge, which as yet you have failed to mention any thing technical. The topic of this thread was caps…..What caps are in your guitar, and how do they sound? Ceramic I bet. 14c at electronics outlets. They are in the control cavity. Have a look. What value do you prefer for your tone?  Why is your Gibson, one of 75 models on Gibson catalogue, any better than any other model. I don’t play the gibson. Bought it cheap off a friend. Don’t worship Headstock stickers myself, as you do. Gibson was hit for importing rosewood from India in its un-manufactured state. Rosewood, from India must be manufactured into a product, ie fretboards to be legal, under the Lacey act. Martin is starting to use resinated fretboards, as is Hagstom, but you would have known that. Time to prove your technical cred now, or I will stop responding to you, as I am the only one. I know you are a sad lonley boy, looking for a friend, but you have to prove that you are capable of responding to technical issues on technical based sites. There are plenty of Hero and headstock sticker worship sites that would suit your non technical mind better. I see to read the previous posts and base all your comments on their posts. If you read carefully, you will see the name ‘Silly Willy’ was sarcasm, as the respondent actually agreed with me. But you would have picked that up too.

    posted on May 20, 2012 at 1:49 pm
  64. Gertrude says:

    It depends – are you going to use it mainly plugged in or acoustic? If you already have a good acoustic then it’s plugged in sound is the most important, right?  Takamine makes some laminate top guitars with their premium pick-up system (Nt4, I think) – they sound weak acoustically but sound perfect plugged in.  If you want the best of both worlds, try the Alvarez Artist Series – you get a choice of body styles and woods and a great pick-up system (Sys 600). You can plug a mic into the system.  Going up the $$$ scale, Taylor’s expression system sounds great, as does the Fishman Aura system that Martin uses on some guitars. I would avoid the standard systems on Epiphones and Ibanez etc – they sound too electric.  Make sure you try them out with the type of amplifier or PA you are going to use – it makes a big difference, some pick-up systems have an “exciter” to make guitar amps sound more acoustic.In a band situation, mic systems always seem to feed back – I would use one only if you play solo – or maybe a duo with low volume monitors. Good Luck

    ordering cialis online 2737 amerimedrx nexium yasmin

    posted on May 20, 2012 at 3:58 pm
  65. Will says:

    Or….get a great sounding acoustic and install a K&K pickup yourself. The worst you can do is glue your finger to the inside of the guitar. Don’t ask how I know. Very natural sound. Maybe need a pre-amp, external box, but I run mine direct into the desk. I don’t like all the techy stuff on the outside of an acoustic. Process is 100% reversible if you don’t like it. Cheers

    posted on May 20, 2012 at 4:12 pm
  66. CAPtain TONE says:

    Aah yes. Of course. I just knew you were another one of the backyard self-appointed guitar “techs” our industry is unfortunately infected with,now.
    Don’t you feel guilty calling yourself that? What are your credentials? Who did you serve your apprenticeship under? Please don’t tell me Dan Erlewine’s book + (now)DVD series…or more than likely,judging from your prior answers/dribble here: “the internet!”

    So,Silly Willy the self-appointed Guitar “Tech”,I have a couple of rudimentary scenario/questions you can answer for me. Any Tech or player with basic knowledge should know the answers(WITHOUT GOOGLING) -

    1. I have a 2 3/16 spacing replacement bridge for my ‘87 MIM Stratocaster.
    How long will this take to do…?

    2. I have a replacement long shaft harness for ‘93 R0.
    Should I wire this 50’s or Modern…?

    My answers to your questions: Aerovox & what does it matter who or whom I’ve played with.
    I’ve seen & experienced more than most people(eapecially you) ever will.


    posted on May 21, 2012 at 6:41 am
  67. Will, mentor for Captain Tone says:

    Mr Duck and weave…......It’s a post about caps. Simple question, What do you have in your guitar? What lead you to that decision? What effect does cap composition have on tone if any? Does it affect your tone with the controls maxed out? Technical stuff, which you have avoided answering all along. You have a Mim strat? Never thought you would play a beginner, cheapie entry model? Wiring harness? I don’t think you have wired anything. Like a lot of fan boys, you denigrate everything. There is something wrong with Dan’s book? He only works for a small company,so I guess he wouldn’t know. Guess Seymour Duncan knows nothing about pickups, because he suggests .047 uf for Les Pauls. Don’t tell me, you are in a tribute band lol!!!  Profile: M&D bought you a guitar, but you dropped out of school early. Formed a tribute band to play at local pub with some mates. You are jealous of everyone that actually knows stuff. Your mate at the music shop does your setup and changes your stings. You post 27 minute vids of you playing on the tube in your bedroom , wearing your socks. You but in to serious posts with your inane dribble. You read the other posts and assemble your replies for them. You know everything, but can’t answer any technical questions. Lucky for you there are fgorums. Otherwise there would be no-one listening to you. Small town tribute ban!! What source of guitar tech knowledge do you offer , considering you consider Dan’s book is inferior. I think you have truly demonstarted you inflated ego and ignorance. What do you think of Denyer’s..‘Guitar Handbook”. Perhaps you could provide a list of books you have written/read that instruct and guide you. Or do you just know? Credentials? Junior High? Perhaps a shorter list may be books you have read, dropping out of school and all, and being so proud of it…..A tribute band. Do you dress like them? Do I call you Joe or Mr Perry? Fanboy, I knew it. Are you 21yet?.

    posted on May 21, 2012 at 10:02 am
  68. CAPtain TONE says:

    Silly Willy. You’re also a dipstick! LOL.
    I mentioned the caps I prefer. I hope you’re charging for your “tech” services.

    WHERE did I denote Dan OR MIM or MIC/MIK/MIJ assembled guitars/products for that matter?
    You presume to assume,when your literary prose is as shoddy as your IQ,knowledge and technical know-how,which leads ME to conclude with unwavering certainty…that YOU are a fool.

    I don’t know what drugs you are on,but you are proof that crack is indeed wack! Hahaha…
    Now off you go,Silly Willy,like the dribbling dimwit you are.
    Go on. Off you go. See you. Bye-bye.

    posted on May 21, 2012 at 12:31 pm
  69. Will says:

    For the record, having read all your post, unless of course you wrote the others under an assumed name… haven’t been able to actually state what caps are in your Legendary Perry burst, made for boys in tribute bands…..Do you really learn tabbed solos, then call it improvisation, because you can do what someone else has done, but thought of it themselves? I digress. Not once have you addressed the thread topic, ‘caps’, at least under your own name. You have not stated anything about them at all. You don’t address any issues in responses except to contradict your self. You fail to mention what experience has lead you to be the ultimate guitar tech, that being a “do it yourself” kinda guy, could enlighten us all. You fail to support any of your statements then slip in to puerile abuse. Best of all, you copy the writing style of other posters, unable to find your own style. You are either a very clever person assuming the role and name of a ignorant, know all poster, that sadly is the general standard of a lot of guitar post sites, where you would fit in, or, you are the normal opinionated, fanboy that you portray. Responding to you has been a fun exercise, if only to discover that if your skill levels ever does approach the over inflated delusional nature of your ego. In Australia (Put that in for some racist abuse from you)  we call responding to people like you as “feeding the chooks” You bin well and truly fed. Your responses are…..sad, but entertaining and a good indication as to why your education was so short. So yeah, go find another thread to offer your fanboy comments. I was the only one so far to respond to you, but that was to see what you were/were not capable of. If your are in fact an employee of the ProGuitar Shop, because you stated ‘our industry’ with no proof or obvious knowledge, hiding behind your moniker, that would be really un-professional. Time for your medication, that’s a good (fan)boy. Ps. the word you were looking for was ‘denigrate’, not denote, btw, you did. Have someone explain your answers to you. Ya shoulda stayed on at school a little bit longer.

    posted on May 21, 2012 at 7:02 pm
  70. Wally says:

    I have a replacement long shaft harness for ‘93 R0.
    Should I wire this 50’s or Modern…? Can some one explain? How about you Captain tone? You haven’t answered much of anything in your previous posts. What caps are in your guitar?

    posted on May 21, 2012 at 7:06 pm
  71. Wally says:

    Hey will, I think, on reading the posts, that Lowdown changed his name to CAPtain TONE and was taking the piss. Same style, same comments and references. Or the Cap’n was everything you said. His band…..10 old pictures on MYSPACE…...Not current..10 years old…faded memory and he seems pissed that the big time never called, so he has to dis anybody that makes sense, unlike himself. Or, he works at the store and they wind him up and let him go to keep some interest in what was initially a great technical post…(sigh). You are right, he never answered anything to show he knows anything, HM….Historic makeovers….they scratch your guitar for you and install special bits….and probably fake caps from Gibson. That got him really pissed that he was sucked in. They do a good job though. It’s the only fact he offered.

    posted on May 21, 2012 at 9:15 pm
  72. Will says:

    I think you are right. He uses the same comments..Pfft, next, silly willy. Funny though, Lowdown seemed like an intelligent sort of person that knows his stuff. It is a bit sad if it is him. The cap’n is a wanker. He is more sucked in by The Gibson rhetoric, than anyone. Peghead sticker fanboy, with his band still on Myspace…pfttt…all gone. Fancy wood and replica bits…all marked custom shop. You think he is on Pro Guitar payroll?  Feed the chooks. But do you think they would do that, get a staffer to crap on posters? Makes you feel that any brands he mentions can’t be any good, if they attract low intellects like him. Nuff said Wally.

    posted on May 21, 2012 at 9:46 pm
  73. AnTONEy "Da Man" Mundine says:

    Silly willy the dopey drongo bogan tosser from Blacktown.

    posted on May 21, 2012 at 10:00 pm
  74. Hey, the Captone has changed his name again says:

    Lowdown, Cap’n tone and now AnToney “daman’ Mundine…..champ boxer from oz. Gosh you do get around, my buddy and mentor…So, the story so far…You bought an$8000 guitar from the store you work in, had it reliced, bragged to the boys about the tone of your $147 fake Bumble Bees, even with the tone maxed, played in your band Aerovox, but only promoted them on Myspace…no other entries on the net, that you despise, Band folds, but you got so much experience, more than anyone would ever know, got a job as an early school leaving self taught guitar tech at a Pro shop, you know more than Dan himself, despise entry level gibsons, bag the company but play one of their products, but most of all, can’t name the caps in your own guitar, but think that you have done that…read your posts matey…it’s not there. You are a posing fool. Pro guitar would be embarrassed by their ‘Tech’ delivering such rants, so you change your name. Here chook chook chook chook… are entertaining, in that sad way, that Funniest Home videos is… crashing their bikes and hurting themselves. You are a train wreck. Your name suits you….....named after a capacitor…..bipolar eletro I think. Change it to Cap’n Bumble Bee. Like them, once you scrape the fake plastic coating off, ya get a fake like you.
    So what caps do you have in your reliced expensive gibson, oh super tech. Caps are the little coloured things in the control cavity on the back of your guitar. The world awaits your great moment to actually state something concrete, to prove that you can….(here chook, chook, chook)

    posted on May 22, 2012 at 9:39 am
  75. Wally says:

    Doing a bit of a survey. Like to know what giants of the guitar world run in their guitars. So Captain Tone, Lowdown, and AnToney, RESistor, FakeBUMBLEBEE, and of course Da Will….what caps do you use in your collective axes. Simple question. Perhaps you guys could help the Cap’n. He seem to have a problem answering a difficult question like this…....What caps ya runnin these days bro, like in the days of old when ya dug up the gold is the barnstorming Aerovox, last seen 10 years ago on ...wait for it…MySpace. He hasn’t recovered from the loss, so give him a break and help him out.

    posted on May 22, 2012 at 9:47 am
  76. Will, mentor for Captain Tone says:

    o.o33 uf…ceramic in Les Paul. However, I have encased it in an aluminium tube and stuck a little label on it With…“Mojo Tone Filter 1953” filled the ends with black acylic. Nice. You can really, really hear the differece. Now wasn’t this the topic of this thread before it was hijacked?

    I answered, but I don’t think we will have the benefit of that Titan of Tone, the CAPTAIN answering. He carn’t. Taking his medication. Sad really. But….he will come up with a really funny new name. See if I am right… chook, chook chook chook…

    posted on May 22, 2012 at 9:54 am
  77. Will says:

    Hey, it’s safe to talk technical now. The pit viper seems to be absent. Probably updating his Myspace account to Facebook.
    Can, or has, anyone heard a noticeable tone improvement after upgrading a Gibson Les Paul from the bog standard ceramic cap to an oil in paper cap, with the tone pots set on full? After installing the new caps, do you now play more with the tone pot engaged because the sound, filtered through your new cap is better? Does vintage push bask wiring have any effect on tone, considering my 2002 Lp studio has the thinnest hook up wire I have ever seen. Finally, if you install a pot bypass switch to re-route the pick up signal straight to the jack, will the tone improve, because it is pure pu tone, or be degraded because it is not going through the paper in oil cap. Fender is hedging their bets by installing said switch on some new models. Does the emperor wear new clothes, or are people actually hearing a measurable difference?

    posted on May 24, 2012 at 6:43 pm
  78. J says:

    Whole lotta wanking going on. I’m not surprised he (she or it) isn’t here, probably gummed up the keyboard.
    I’ve been playing off & on for over 40 years & doing my own mods, repairs & setup, as well as for others, for much of that time. One of the guitars I picked up on a whim is also one of my favorite gigging axes. It’s an ‘85 Gibson Avenger, a cousin to The Paul, & different from The Paul in that it’s solid mahogany w/ an ebony fingerboard instead of walnut w/ rosewood & a bolt on neck instead of set. It has zebra pickups, Grover tuners & the tone caps are green rectangles stamped IH473K, so they’re .047uf. I played the Avenger along side an ‘84 Les Paul & gave the $2500 Paul back to the dealer because the Avenger was hotter w/ better tone & sustain. The entire guitar is stock except for two knobs. I can hear some cap differences, generally from about 4 or 5 to 8. In this case, it’s probably the value more than the material. This may be the only guitar I’ve ever owned that I won’t do anything other than regular maintainance to.

    posted on May 24, 2012 at 11:54 pm
  79. Will says:

    Value….the old oil in paper caps age and lose their value like us I guess. Value drops, tone brightens. Wood dries out, tone changes. I’m just against headstock worship. Nothing wrong with brand loyalty, but if it prevents you from trying other axes, and being able to see their their merits, it encourages the emperors new clothes syndrome…ENCS. A guitar is ‘great’ guitar if it encourages you to play, seems to play better than anything else….and you get the sound. Like you did. Without the dark, mojo filter goggles ! If it looks good, then that’s a bonus. Heaven forbid, you might find it all in the Corvus or Modern. If you do, that’s ok. Nothing wrong with Paul, Strats, teles, Sg..etc, but I would like to see some development that is not colour, signature or new pickup based. The electronic era of gibson should be in a different category. I know 35mm camera collecting hits a wall from when electronics took over cameras in the ‘70’s. They don’t age well. It’s experimental. Maybe they could do what Nikon did, and try electronics, modelling, auto tuning etc, in the basic models…LP 100, Special 2, to get the masses used to the concept, then introduce it to the Pro level guitars as an option. Would you try one if they were, say $4oo? I think I would. It’s too market driven, with people forced to go to the custom shop branch of major companies, to get the quality and choice they once got in the off the shelf product. That’s my gripe…I squirm when I see another signature version of the same old models, at $10,000, for basically a LP Standard (ironic really) with a nice paint job and and some scratches and wear built in! Your thoughts?

    posted on May 25, 2012 at 9:21 am
  80. J says:

    I’ve played a lot of guitars, but I tend towards older Gibsons, & while there are some new guitars, PUs, amps & pedals & out there that play & sound good I tend towards certain things. I’m a hot tube guy, although I have friends that own non-tube amps that have great tone. I’ve built pedals w/ new pc boards & some new components, but I tend towards the values used in vintage equipment. I have friends that are more manic tweakers than I am, I don’t tweak to tweak, I tweak to make changes that produce the sound I’m looking for. I’m also more likely to swap components in a guitar I paid less than $1000 for than one over $2000, but that’s because I spent the money on a guitar I really liked rather than the name on the headstock. I’m not averse to changing caps, modding the EQ, swapping tuners or trying a different PU, but I don’t do it to do it, but w/ a specific objective in mind.

    posted on May 25, 2012 at 11:22 pm

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