The Seymour Duncan website has a ton of wiring schematics as well.
My main ax has 2 HBs and a 3-way selector. Both pups are wired to go series & paralell and there is a phase switch in between. When it's all said & done, I have 9 separate tones. Honestly, there are a few that are pointless. The difference between the tones is so subtle that unless you know what the setting id, you won't know the difference, and then only if you're listening. On top of that, if there is more than a medium overdrive, those subtle differences become even more obsured.
So... in my experinece, there is only so much you can do before it just becomes silly and pointless. Don't get me wrong - I like the extra switches and wiring tricks. I'm just saying that it's easy to go overboard. One dude here had it figured out how to get 20+ tones from 3-pup setup. You'll never convince me that they were clear and discinct, but technically, they were different.
There's an old acronym: KISS. Keep It Simple, Stupid.
My suggestions for a H-S-S setup:
normal 5-position switch
jumper between the bridge & neck pup so all 3 can be on, or just the outside 2
phase switch on the middle pup
series/paralell or coil tap on the bridge
This can be done without extra drilling, just swappping out some pots. You'll replace one volume for the jumper, one with a push/pull for the phase, and the tone with a push/pull for the bridge HB. This will give you 15 separate options. Observe: The numeral is the number of coils active, p=phased
1--
11-
1p-
112
1p2
111
1p1
-12
-p2
-11
-p1
--2
--1
1-2
1-1
There won't be much of a difference between some of them, but it'd be there if you listened hard enough.
IIRC: The purpose of the r/w middle pup is for hum-cancelling, but I may not have that right.