How can this wiring even work. It undermines all that I know and understand about how a 5 Way Switch works. From all that i read on Google from various sources this 5 Way switch appears to have been wired up incorrectly. A 5 way switch is supposed to have 2 sides to the switch albeit that this is an imported 5 way where the configuration runs up all on one side. However in principle it operates exactly the same as the original Fender 5 way switches. It has a Part A which are the the first 4 connectors then a Part B which are the next 4 connectors. Both sides are separate so that Part A ends at connector 4. The first 3 connectors are normally connections for pickups starting with Bridge, the Middle than Neck. The 4th connector is a common to all these inputs and is usually used to either take output from the switch to the Volume pot Input. however it can also be used with a bridging wire to connect up both sides of the switch to open up more options for connectivity.
So what is baffling about this wiring is the output to the Volume Pot goes out from Connector 5 on the switch. this should be the Common to the second B Part of the switch. There is no bridging wire being used to connect 4 to 5 so the switch parts remain separate. Therefore Parts A and parts B of the switch remain separated. There should be no signal here to send to the Volume Pot. however before I undertook the breakup of the guitar it was working. So what was making it work because from what I understand about 5 Way switches this was not possible? Can anyone enlighten me. most of the research that I have done on Google supports my assumptions.
This guitar was originally set up with a HSS configuration.
I have read a lot of published material about Scale Modes and the conclusion that I have come to is that much of what has been written tends to over complicate the issue.
Part of the problem with Scale Modes is that many suggest always making references back to the parent Scale and working out new patterns from that. The problems with this method is that you have to make multiple mental jumps constantly referring back to the parent scales. This method isn’t very intuitive at all and means learning lots of new Scale shapes.
The main reason not to buy a Squier guitar is because the Company is owned by Fender. Because of this reason alone it ensures that any Squier guitar is going to be somewhat inadequate and inferior because Fender will make sure it is. I own a Squier Classic Vibe 60s Stratocasters and taking it at face value it looks and feels really nice. It certainly looks like a quality guitar in every way. It is only when you come to plug it into an amp when you understand it’s shortcomings and to all intents and purposes it was designed to be a disappointment because Fender simply do not want you to get anywhere near the quality of their own premium Fender lines. In a way it makes financial sense to protect the originality of their own more expensive guitars. They simply do not want you to be able to obtain that quality at a bargain price. It is such a shame because when not plugged in this guitar has such potential. The Squier Classic Vibe had the potential to be a classic guitar in it’s own right and could rightly have been up there alongside many classic Fender Strats but obviously Fender could not and would not tolerate this so it designed a system of poor quality, inferior pick ups and/or electrics to make sure that the Classic Vibe never quite reached it’s true potential and thus protected its premium brand status. The Classic Vibe feels like a real instrument of quality made for a musician of intermediate to professional level. It is not an entry level guitar until you plug in it into an amp when all its potential just ebbs away into dissatisfaction. The same goes for Gibson and it’s own cheaper brand of Epiphone. I feel sorry for the workers and designers in these factories who must get pretty frustrated at seeing their products and handiwork being sabotaged in this way because they are certainly very capable of producing lovely instruments.