Chad''s at his wit''s end with a noise issue, when the teeny-tiny solution presents itself.
In a perfect world, running all of your gear off of a unit that's supplying good, clean, consistent power and having everything on a common ground would eliminate noise issues. Unfortunately, from venue to venue and room to room there will still be a time you'll have grief from something not being 'properly earthed.' I'm thankful that for the last couple of years, my main use for those little gray ground lift adaptors has been to make up for the lack of rubber feet under one of my amps. Although, on things like TV appearances where I typically just have a few stompboxes instead of my rack, I still may have to lift an amp or two so that they'll play well with others—no big deal.
As I mentioned last column, we most recently had Brad’s rack rebuilt by David Friedman of Racksystems. Now for quite a while after having the rack rebuilt, we were noise free. Even when we quite a bit of gain dialed in on the amps, they wouldn't be any noisier than if they were sitting idle with no input.
Then one day, out of nowhere, the noise came. There seemed to be no getting rid of it no matter what I tried. The cleaner sounds had ground buzzes, and the distortion patches were all but unusable. Even the wah pedal would vary from not very good to terrible. As I'm sure you all have experienced, ground problems are some of the worst to track down. They seem to come from anywhere, and it feels like the slightest little thing will cause them. I'm not the type of person who just accepts things and moves along—I have to fix it. I just about drove myself crazy looking for an answer to why my brand new rig was noisier than the old one. I was searching at every show from the time my gear was set up until soundcheck with no luck. Nothing worked, nothing helped and I successfully shocked myself three times.
There had been no change in the rack whatsoever, so I could rule that out. I tried ground lifting each amp and the rack one at a time with no luck. To make sure I wasn't overlooking something, I talked through every step of my entire routine with our monitor engineer Mark Gould. I remember telling him that I had even tried lifting the wireless and it either made no difference at all or it was worse. I had just about settled into the idea that there was a cable going bad, and to make it all the worse, that it was somewhere inside of the rack.
Now that I’ve brought up the wireless, I have to address two things. First, the Shure UR4D wireless has a ground lift for each channel on the backside of the receiver—and flipping this switch didn't help either. Second, I have another UR4D receiver for my acoustic guitars mounted in my workbox. Both electric and acoustic wirelesses share a pair of paddle antennas by way of Shure's antenna combiner. This was the only connection that these two wirelesses have, and even breaking that caused no improvement.
By a sheer stroke of genius, Mark took the two acoustic wireless output cables and disconnected them from the sub snake. Just like that, my rig was dead quiet! Two cables that have absolutely no direct contact with my guitar rig had caused me more grief than I've ever endured in my ten years of touring.
Now this is where it gets interesting. There was nothing wrong with these mic cables at all. The problem was elsewhere. Have you ever, in an effort to keep noise levels down, grounded your fourth pin on an XLR connector? You jump your ground wire over to the fourth lug, which is generally left open and sometimes it can quiet down a noisy mic line. These had been wired this way from the factory, I'm certain for the same reason, but none of us had ever dreamed two centimeters of wire would cause such a massive ground loop through my amps. Just like a vasectomy, one quick snip made all the difference in the world. Thank you again Mark for all your help!
So remember, next time you have some noise issues and you've exhausted every avenue you can think of... it may not be your rig.
Beetronics FX Tuna Fuzz pedal offers vintage-style fuzz in a quirky tuna can enclosure.
With a single "Stinker" knob for volume control and adjustable fuzz gain from your guitar's volume knob, this pedal is both unique and versatile.
"The unique tuna can format embodies the creative spirit that has always been the heart of Beetronics, but don’t let the unusual package fool you: the Tuna Fuzz is a serious pedal with great tone. It offers a preset level of vintage-style fuzz in a super simple single-knob format. Its “Stinker” knob controls the amount of volume boost. You can control the amount of fuzz with your guitar’s volume knob, and the Tuna Fuzz cleans up amazingly well when you roll back the volume on your guitar. To top it off, Beetronics has added a cool Tunabee design on the PCB, visible through the plastic back cover."
The Tuna Fuzz draws inspiration from Beetronics founder Filipe's early days of tinkering, when limitedfunds led him to repurpose tuna cans as pedal enclosures. Filipe even shared his ingenuity by teachingclasses in Brazil, showing kids how to build pedals using these unconventional housings. Although Filipe eventually stopped making pedals with tuna cans, the early units were a hit on social media whenever photos were posted.
Tuna Fuzz features include:
- Single knob control – “Stinker” – for controlling output volume
- Preset fuzz gain, adjustable from your guitar’s volume knob
- 9-volt DC operation using standard external power supply – no battery compartment
- True bypass switching
One of the goals of this project was to offer an affordable price so that everyone could own a Beetronicspedal. For that reason, the pedal will be sold exclusively on beetronicsfx.com for a sweet $99.99.
For more information, please visit beetronicsfx.com.
EBS introduces the Solder-Free Flat Patch Cable Kit, featuring dual anchor screws for secure fastening and reliable audio signal.
EBS is proud to announce its adjustable flat patch cable kit. It's solder-free and leverages a unique design that solves common problems with connection reliability thanks to its dual anchor screws and its flat cable design. These two anchor screws are specially designed to create a secure fastening in the exterior coating of the rectangular flat cable. This helps prevent slipping and provides a reliable audio signal and a neat pedal board and also provide unparalleled grounding.
The EBS Solder-Free Flat Patch Cable is designed to be easy to assemble. Use the included Allen Key to tighten the screws and the cutter to cut the cable in desired lengths to ensure consistent quality and easy assembling.
The EBS Solder-Free Flat Patch Cable Kit comes in two sizes. Either 10 connector housings with 2,5 m (8.2 ft) cable or 6 connectors housings with 1,5 m (4.92 ft) cable. Tools included.
Use the EBS Solder-free Flat Patch Cable Kit to make cables to wire your entire pedalboard or to create custom-length cables to use in combination with any of the EBS soldered Flat Patch Cables.
Estimated Price:
MAP Solder-free Flat Patch Cable Kit 6 pcs: $ 59,99
MAP Solder-free Flat Patch Cable Kit 10 pcs: $ 79,99
MSRP Solder-free Flat Patch Cable Kit 6 pcs: 44,95 €
MSRP Solder-free Flat Patch Cable Kit 10 pcs: 64,95 €
For more information, please visit ebssweden.com.
Upgrade your Gretsch guitar with Music City Bridge's SPACE BAR for improved intonation and string spacing. Compatible with Bigsby vibrato systems and featuring a compensated lightning bolt design, this top-quality replacement part is a must-have for any Gretsch player.
Music City Bridge has introduced the newest item in the company’s line of top-quality replacement parts for guitars. The SPACE BAR is a direct replacement for the original Gretsch Space-Control Bridge and corrects the problems of this iconic design.
As a fixture on many Gretsch models over the decades, the Space-Control bridge provides each string with a transversing (side to side) adjustment, making it possible to set string spacing manually. However, the original vintage design makes it difficult to achieve proper intonation.
Music City Bridge’s SPACE BAR adds a lightning bolt intonation line to the original Space-Control design while retaining the imperative horizontal single-string adjustment capability.
Space Bar features include:
- Compensated lightning bolt design for improved intonation
- Individually adjustable string spacing
- Compatible with Bigsby vibrato systems
- Traditional vintage styling
- Made for 12-inch radius fretboards
The SPACE BAR will fit on any Gretsch with a Space Control bridge, including USA-made and imported guitars.
Music City Bridge’s SPACE BAR is priced at $78 and can be purchased at musiccitybridge.com.
For more information, please visit musiccitybridge.com.
Floyd Rose introduces new USA-made Original saddle sets in various configurations, crafted from premium hardened tool steel with precision CNC machining. Available in chrome and black finishes now.
The new facility offers immediate availability of the legendary Floyd Rose Original saddles in multiple radius configurations for the first time. Engineered to perfectly match specific fretboard curvatures, these saddle sets provide a range of radius options without the need for individual saddle shims. Alongside the classic 12” radius, Floyd Rose has unveiled 8”, 10”, 14”, 16”, and 17” radii saddle sets. Crafted from premium hardened tool steel with precision CNC machining and finished with durable, smooth plating, these saddles are built to withstand the demands of intense performances. Chrome and black sets of USA-made Floyd Rose Original Saddles in various radii are available now at the company’s website, followed by gold and black nickel finishes in the 4th quarter of 2024.
The new Floyd Rose manufacturing center in North Carolina was designed to meet growing demand while ensuring the highest quality available using modern high-tech processes. Bringing production in-house enhances control over every aspect of the process including engineering, material selection, quality control, and scheduling. The facility features four Haas VF-seriesCNC machines, delivering precision machining fine-tuned for high efficiency and clean surface finishes. Alongside machining, the company has established a state-of-the-art metal finishing department and acquired stamping equipment with new capabilities added monthly.
At the heart of the Floyd Rose USA manufacturing center is a dedicated team of engineers and technicians who excel in their craft and are deeply passionate about the legendary product line. With decades of collective experience, the company’s experts meticulously craft each component to exacting standards.
“We are ecstatic to be making these new Original saddles in the USA, giving us better control over quality and production times while offering more robust options like these new radii,” said Andrew Papiccio, longtime president of AP International Music Supply / Floyd Rose and an original owner of Kramer Guitars. "With this new state-of-the-art facility, we are poised todeliver unparalleled quality and performance to musicians worldwide. As we integrate newproducts into this facility, we are expanding our commitment to ‘Made in America’ craftsmanship.”
The company plans to ramp up production of parts and innovations at their USA factory forFloyd Rose and their new AxLabs Hardware division.
For more information, please visit floydrose.com.