I'm not entirely certain what you're describing but it doesn't sound quite right to me. There are two common, conventional ways for a Les Paul to be wired: vintage and modern. They behave differently on the middle position.I have a question/problem with my volume control on a 2016 T. I'm not sure I can even explain it but here goes. When I'm set middle position, the only volume control I get is with my bridge volume knob. BUT, and here's the part I don't get, If I have my bridge turned down and my neck turned up, my volume does increase when I switch from bridge to middle setting. With my bridge turned all the way down though, I can crank my neck pickup to full volume and still get nothing on my middle setting. When I switch to just the neck pickup though, the neck volume control functions as it should. This is my first LP so I'm not sure if I'm simply misunderstanding my controls or if I have an issue with my wiring/electronics. I hope this explanation makes sense to somebody because I'm baffled.
I would not call that vintage vs modern. What your describe is just the effect of having volume pots wired as a voltage dividers (what you call vintage) vs reversed (what you call modern). To my understanding, all Gibson Les Pauls have volume pots wired as voltage dividers from stock. The reversed volume pots are sometimes refered to as "indonesian wiring". I had it stock in a Greg Bennett AV6. Unfortunately, what it does to your tone when rolling off volume is not only decreasing the output, but also lowering the load impedance of your pickups, removing from them any sort of resonant peak there might be, which IMO translates pretty well into removing all the life from the sound.I'm not entirely certain what you're describing but it doesn't sound quite right to me. There are two common, conventional ways for a Les Paul to be wired: vintage and modern. They behave differently on the middle position.
With vintage, if you put the pickup selector in the middle position, and you turn either volume to zero, the guitar volume should drop to zero. Turn either volume all the way off, and you've turned the guitar off.
With 'modern', if you try the above, your sound should change and lose treble, but the guitar will remain on. You'll still have sound (a very distinctive and odd sound, but sound nevertheless).
Because a couple of people asked about it, here is the stuff I wrote in another thread about using the controls on a Les Paul. The OP asked how to use the controls to get sounds like Page and other classic players. My reply includes some alternative suggestions on how you might EQ your amp to get a different range of noises, and get a little bit more out of the neck and middle positions.
Hope it's of some use. Here it is:
First, your volume controls do not just control your loudness, but also your level of distortion (gain or overdrive). If your guitar has modern wiring, lowering the volume will also reduce the available treble, as if youd turned the tone down too. If you have 1950s wiring this effect is far less prominent.
Secondly, your tone control not only cuts your treble, it also reduces the amount of space your guitar seems to take up in the mix. Turning your tone down can effectively pull you back into the mix.
Enough basics. Heres some pointers.
EQ Your Amp for the Neck
Most of the time youve probably set up your amp for a good tone from the bridge. Try this instead and see what happens.
1. Turn all your volumes and tones up to 10.
2. Select the neck pick up.
3. Adjust your amp so you get a good soloing tone for that pickup.
4. Switch to bridge. This will be too bright. Ice-pick through ear territory.
5. Tame bridge with tone control, until youve got a good soloing tone.
You now have your boost sounds. Now turn the bridge vol down (about 75-80%), until youve got a good crunching rhythm sound. If you have modern wiring you may need to turn up the tone a little at this stage. You could now play the rhythm on the bridge, and switch to the neck for the solo.
Solo on Bridge, cleans on Neck
Turn up your bridge tone and vol. Thats your solo sound (ice pick and all). Turn your neck vol down to about 50%. If your amp is any good, that should be nearly clean. If youve got 1950s wiring, it wont be muddy either. You may now play the intro to Since Ive Been Lovin You on the neck pick up. Switch to bridge for the signature lick. Back to neck, or turn down bridge to 50-60%. For a more sensible bridge pick up sound, just turn the tone down a fraction to clip some of the hairs off it.
If your amp is good, it should be sensitive enough to clean up when you turn down, and also to clean up if you back off with your right hand an pick gently. Use both these effects to control your tone.
Leave your bridge in its rhythm setting, then switch to middle. Now turn down the neck to nearly nothing, then slowly turn it back up (to about 50%). Somewhere across this range youll hear three fairly distinct tones. Itll start out sounding like the bridge on its own. Next, it will fill out (i.e. get some extra bass), and it might do this quite suddenly. This is a really useful sound for soloing, because it basically sounds like the bridge pickup, but its fuller and meatier without being in any way muddy. As you keep turning up the neck vol it will start to sound more like both pick ups. This can be sort of nasal, but quite good.
Once you get both pick ups to the same vol (~ 75%) youve got the classic middle sound. Many people find this a bit muddy, but if you EQd the amp for your neck pick up, you should be OK.
That's a cool setting that I notice Jimmy Page using a lot, eg, 'What is and What Should Never Be' from Led Zep 2. The soft 9 & 7 chords of the verse are played on the neck pickup, turned down low. The chorus is played on either middle or bridge position. Then he gets to the solo and starts off with the first two phrases on the neck pickup. Then he switches to the middle for the next bit, and goes to the bridge flat out for the really raucous part played over the chorus part of the rhythm. It's a great example of three presets giving him just about everything he needs for the whole song.I enjoy having my amp hot, running 50s wiring and leaving the volume right under 5 for the neck pickup, that way the middle position is a touch cleaner than the bridge and when I switch to neck its almost cleaned up
This clip sealed it for me. Neck on about 7, bridge on 10.That's a cool setting that I notice Jimmy Page using a lot, eg, 'What is and What Should Never Be' from Led Zep 2. The soft 9 & 7 chords of the verse are played on the neck pickup, turned down low. The chorus is played on either middle or bridge position. Then he gets to the solo and starts off with the first two phrases on the neck pickup. Then he switches to the middle for the next bit, and goes to the bridge flat out for the really raucous part played over the chorus part of the rhythm. It's a great example of three presets giving him just about everything he needs for the whole song.