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Adding a cap might do something - I don't know what, but it won't add highs.
Reducing volume does cut highs - it's not just that it's quieter. What happens is that as you turn down the volume control, the cable capacitance which is in parallel with the lower part of the volume pot progressively acts as an extra tone control. Adding a treble-PASS cap to the volume control (NOT "treble bleed", that's what the tone control does ) counteracts this by balancing the potential divider.
So the correct cap value for the treble-pass depends to some extent on your guitar cable, but it will work just as well on 50s wiring. Where it doesn't work properly is on the 'backwards' or 'independent' volume control wiring where the pickup is connected to the rotor - it will to an extent, but it's fighting the loss of top-end as the load on the pickup decreases.
This is all because an electric guitar is a very primitive passive circuit, and everything - including the cable - interacts with everything else. From a pure electronics theory point of view it's a really poor solution - but it just sounds 'right' to most of us...
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
I've tried several "treble bleed" solutions in a few of my guitars. Worst was a Gretsch Jet that would not retain any high end when rolling back the volume, regardless of the value of cap or cap/resistor combo I tried.
I have a Tokai Tele copy that had a treble bleed cap installed that actually got brighter as I turned the volume down.
Best I've tried is the cap/resistor combo that came with the RS Guitarworks wiring kit that's in my Les Paul. It's just on the neck pickup but I can roll the volume right down and it stays clear and musical. Only problem is that the volume tapers are a bit mismatched so that, say, 3 on the bridge pickup is much quieter (or louder, can't remember) that 3 on the neck. It's no major problem though.
I'm guessing the best approach is the one taken here by John Cooper. He uses some fly leads so that he can just quickly clip/solder in different capacitor types and values to check what works with each guitar.
but I also learned something - did some research this time and the Gibson 339 has the custom 'Memphis tone circuit' which is specifically designed to retain the guitar’s full tone when the volume is turned down. Here it is:
You didn't let anyone down - this stuff is not all that intuitive (especially the way the resistance of the pots interacts with the often-forgotten capacitance of the guitar cable) and is not helped by marketing BS like the above .
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
Retains just that bit of treble when I roll back the volume.
EDIT: This one: