the same value audio taper pot from different makers can behave differently in the way it moves through its range
QI have a Yamaha Revstar 502T and I was interested to read Dave’s Longtermers review of the model in the April issue with his comments “makes its lead voice turn the wrong side of mushy, especially on the neck pickup” and “a slightly softer voice, just stopping short of that ‘fifth gear’ when you really need it”. I have news for Dave: if he’d like to rev up his Revstar into fifth gear, then swap out the 250k tone pot for a more usual 500k. I did and the difference was like going from 8 to 10 on the tone control – it’s definitely a rev’d up Revstar all the way to 11 and beyond with the Dry Switch engaged. I’ve also done the tone pot mod to my Revstar 320; it really livened that one up, too. So, a question for Yamaha: why the 250k tone pots? Why not 500k like everyone else? Regards, Phil Taylor
AThose comments actually relate to the dynamic range of the guitar and, like so much, that’s down to what the player needs and can also be very dependent on your playing style and situation, not least live versus recording. I personally find the 502T a little soft sounding. While that makes it rather good
at lower volumes and in recording where you’ll invariably have to limit your dynamic range, live I’m used to something with a wider dynamic range so that when I have to really dig in and play hard that comes out of the amp. Sorry if I didn’t make myself clear.
I’ve asked Yamaha about that 250k tone pot choice, but I suspect I know the answer: they liked the way it sounded across the relatively wide range of Revstar models. Plenty of guitars use different value pots for their volume and tone controls, although I’d agree the majority use similar values for both. One classic mismatch example is the Fender Telecaster from ’67 or thereabouts, which went with a 1meg-ohm volume pot (with .001microfarad treble bypass) and a 250k tone control.
But it’s not just a perceived tonal difference. As you’ll know, the same value audio taper pot from different makers can behave differently in the way the volume or tone moves through its range. For example, I wasn’t a huge fan of the quick dip of the 502T’s volume control. On paper, the 502T has exactly the same volume pot value as the one on my Knaggs Kenai, but the difference in feel, if you like, is vast.
The 502T’s soapbar P-90s are interesting. They are true single coils yet can appear to have the power of a dual-coil humbucker. If the rule of thumb is 250k pots are for single coils and 500k are for humbuckers, why did Gibson use (mainly) 500k pots on its P-90 guitars? Because they liked the sound? That was all they had? And let’s not forget this is the same pickup that powered Leslie West’s mountainous tone, as well as Grant Green’s fabulously articulate jazz.
I’m inclined to say don’t worry too much about the supposed theory, and experiment. The whole world and their aunt might be telling you the ‘right’ way to wire up a guitar, but find your own way and try to tune in your guitar to your own needs. Your tone pot upgrade on your 502T works for you and that’s all that matters. Nice job!