Pete B. wrote:I must have the A-model pot, and I need the B-model
he was giving you the standard U.S. codes
A= Logarithmic / Audio
most guitars will have log/audio tone pots. jerry specifically dialed in this circuit and it's reflected in both the wolf and tiger cavities. most players will find it useless, but jerry sought it out. i find that extreme bass side useful with a distortion and the mu3.
here is Brad Sarno's explanation of how and why it does what it does. i am sure he would probably recite this verbatim anyway.
Keep in mind that a linear taper pot used in an audio situation will have a lot of action in the very earliest 5% to 10% of the turn. Also a guitar tone control is unique. For most of its travel, it's a shelf type filter because it's a resistor in series with a cap to ground. But when that resistance goes away and the pickup sees pure capacitance, you suddenly get an actual shift of the resonant peak of the pickup. That's where you're not just cutting highs but all of a sudden the pickup's inductance sees the capacitive reactance of the cap itself, and the whole thing becomes a filter network. This only really shifts the pickup's general resonant frequency as that tone pot resistance approaches zero. Now typically there's an audio taper pot there, so that bottom 3% gets spread out over maybe 20% to 30%. But with a linear taper pot, it's all right there at the bottom. For Jerry, his tone control was two kinds of things. Most of the time it was used, it seems, to temper the high treble tone, but sometimes, he'd back it way down to get that frequency shift we hear as that real weird "horn" kind of sound, especially with distortion it was almost like a strange french horn or something. So the control is either used to tame highs, or to go to that extreme for the voicing shift
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