
Image 1
How you connect the tone cap and potentiometer to the volume control has a huge effect on your sound.
There are three different ways to configure the volume and tone controls in an electric guitar. Typically referred to as “modern," “'60s," and “'50s wiring," they perform differently and are a subject of great debate amongst tone fanatics. These wirings are often discussed in the context of a Les Paul, but the schemes apply to any guitar with a volume and tone control—whether it's a master-volume-plus-master-tone configuration, as with a Telecaster, or a guitar with individual volume and tone controls for each pickup, such as a Les Paul, ES-335, SG, and so on.
Let's examine these three systems and see how they differ. But first, some background: In a standard electric guitar, the potentiometers are used as variable resistors. We use two of the three lugs on each pot, and the tone cap is connected between the volume and tone controls. To keep it simple, we'll say each pot has an input lug, an output lug, and a third lug connected to ground.
As you close the pot—i.e., turn it counterclockwise—the wiper moves towards the grounded lug, sending more and more of your signal to ground. With the pot completely closed, all of the signal is sent to ground. In the case of a volume control, this results in silence. For the tone control, this yields the darkest tone. How dark depends on the capacitance of the connected tone cap.
With the pot completely open (turned fully clockwise), essentially the input and output are directly connected. This allows all the signal to pass through the output, which means you get full volume and, in the case of the tone control, maximum high-end chime because the tone cap has almost no influence on the sound.
On a tone pot, instead of sending the complete signal to ground, the capacitor only sends a part of the signal to ground. The capacitance of the tone cap determines the cut-off point of the high frequencies. A low-capacitance tone cap—3300 pF, for example—will pass the least amounts of high-end chime to ground. Thus, when you roll the pot completely back, you'll hear only a subtle change in the high end. This value keeps your sound alive and vital, creating something I like to call a "warmth control." A higher capacitance value, like 0.022 µF, will roll off much more of your high end, creating a darker tone. With capacitances of 0.1 µF or even higher, your tone will be close to clinically dead with the tone pot fully closed.
Okay, now that we've done our homework, it's time to compare the three wiring schemes. We'll begin with the configuration that's so commonly used in today's production guitars that it has become a quasi-standard.
Modern Wiring
As shown in Image 1, in this wiring scheme the tone cap is connected between the volume pot's input and the tone pot's middle lug (aka wiper), which in this case is also the output. This configuration yields the behavior we've come to expect from a passive guitar. When you turn down the volume (even just a bit), the treble loss is disproportionate to the drop in volume. In other words, a small cut in volume creates a far greater loss in your guitar's treble response. That's the nature of the beast—something we all know well. There is only one real solution to combat this "volume-versus-tone" problem: active electronics. All other solutions are just a compromise … but as is often the case, some compromising can make things much better.
This natural behavior in passive electronics is not an issue for all players. Many guitarists aren't bothered by it because they've gotten used to it over the years. Others really like this effect because it gives them a second tonal color from the same pickup. "Cool—I simply roll back the volume to fatten up the tone."
That said, many players prefer to have a consistent amount of treble at any volume setting. If that describes you, putting a carefully calculated treble-bleed network on all volume pots can be a good compromise. I explain how to do this in "Diving Deep into Treble-Bleed Networks."
There's one other thing to consider: How a control responds depends a lot on the pot's taper and ratio. Today, typical audio (aka logarithmic) pots have a 90:10 ratio, which results in a more or less "on-off" effect early in the rotation, rather than a useable range of control. Our human hearing simply doesn't work like this. To feel and sound right, a control needs a different ratio—preferably 60:40 or at least 65:35, which was the standard in the '50s and '60s. Sadly, most modern guitars come equipped from the factory with 90:10 audio taper pots.
People often talk about the magical tone of late-'50s sunburst Les Pauls. Well, part of this mojo is due to the '50s wiring.
Linear pots have a different problem: Over almost the whole rotation, you won't hear a significant change in tone or volume, but when you reach the end of the rotation, the "on-off" effect suddenly appears. This is exactly the opposite of an audio pot with an ineffective taper. For more on this subject, read "Dialing in the Passive Tone Control."
Classic '60s Wiring
As you can see in Image 1 (middle diagram), in this configuration, the tone cap is still connected to the input of the volume pot, but on the tone pot the middle lug is now connected to ground. Electrically, the '60s wiring is completely identical to the modern wiring with the same tone, behavior, and problems. But there is one significant difference: In terms of shielding, the '60s wiring is superior to the modern wiring scheme. When electromagnetic interferences enter a guitar, they will also stray into the tone pot's unused pin and therefore into the middle lug (the wiper) in both wirings. With the wiper connected to ground, as in the '60s wiring, the interferences will stop at this point. But with the tone cap connected to the middle lug, like in the modern wiring, electromagnetic interferences will find their way through the cap and carry on.
So, compared to the modern wiring, the signal-to-noise ratio in the '60s wiring is superior. This is technical knowledge from yesteryear: The wiper of a variable resistor is connected to the low resistance part of the circuit. This knowledge was really important when designing and building tube amps, radios, and televisions, but is almost forgotten today.
So why did Gibson switch from the '60s to the modern wiring? My personal theory is that this allowed them to use pre-configured pots for both volume and tone, with the same third lug soldered to the case as the grounding point. I don't know if this is true, but if you know the reason or have another theory, please share it.
Vintage '50s Wiring
In closing, let's look at the almost legendary '50s wiring, which is by far the most discussed wiring scheme when it comes to Gibson guitars (Image 1 — bottom diagram). Here, the tone pot's middle lug is also connected to ground, like in the '60s wiring, so it also offers the benefit of superior signal-to-noise ratio. But in this case, the tone cap connects to the volume pot's output lug, rather than its input.
With the volume fully opened, the '50s wiring is identical to the modern wiring: In both versions, the tone circuit is galvanically connected to the pickup's output, so the behavior and operation are comparable. The magic starts when you turn down the volume. With the modern wiring, the tone circuit is still directly connected to the pickup, but with the '50s wiring, the tone circuit is uncoupled from the volume, which is now electrically located between the pickup and the tone circuit. Because the tone circuit can no longer react directly to the inductance of the pickup, no resonance superelevation and no resonance shift can happen at this point. With the tone pot almost closed, the bass frequencies will be relatively raised—perfect for creating the "woman tone" that's often associated with Cream-era Eric Clapton.
What's so special about the '50s wiring? It will influence the guitar's performance in three major ways:
- The overall tone gets stronger and more transparent. It's difficult to describe, but I think of it as more "in your face."
- The typical treble loss that occurs when rolling back the volume is greatly reduced, and both the volume and tone controls react more smoothly and evenly without the typical hot spots. As a side effect, it's easier to clean up an overdriven amp by simply rolling back the volume on your guitar a bit.
- The tone and volume controls interact with each other—something you may know from certain early Fender tube amps. When you change the volume, the tone also changes a little bit and vice versa. Such interaction may feel strange at first, but it only takes a few minutes to get used to.
People often talk about the magical tone of late-'50s sunburst Les Pauls. Well, part of this mojo is due to the '50s wiring. The guitar responds differently—notes seem to "bloom," as if they're opening up after leaving the guitar. Why not give it a try? You might love it.
Next time, we'll resume our exploration of different types of guitar wire and how to use and handle them, so stay tuned. Until then ... keep on modding!
[Updated 9/9/21]
- Mod Garage: The Fender Greasebucket Tone Circuit - Premier Guitar ›
- Grounding Passive Circuits, Part 2—Plus, How to Build a Solder Cage - Premier Guitar ›
- How to Install and Maintain Your Guitar's Pots - Premier Guitar ›
- Mod Garage: Four Ways to Configure a 4-Conductor Humbucker - Premier Guitar ›
- Mod Garage: Four Ways to Configure a 4-Conductor Humbucker - Premier Guitar ›
- Mod Garage: The Fender Greasebucket Tone Circuit - Premier Guitar ›
- Mod Garage: Decouple Your Les Paul’s Volume Controls - Premier Guitar ›
- DIY Relic’ing: Harmony Benton DC-Junior Electronics - Premier Guitar ›
- Auditioning Tone Capacitors, Part II - Premier Guitar ›
- What Does Phase and Polarity Mean for Your Guitar’s Pickups? - Premier Guitar ›
Featuring vintage tremolos, modern slicer effects, and stereo auto-panners, the update includes clever Rate and Tempo controls for seamless syncing and morphing.
Today Kemper announces the immediate availability PROFILER OS 12.0 including the highly anticipated collection of advanced Tremolo and Slicer FX for the entire range of KEMPER PROFILER guitar amps.
The Collection features three vintage tremolos, two modern slicer effects, and two stereo auto-panners, that have been derived from the slicer effects. They all feature a clever Rate and Tempo control system, that allows for syncing the tremolo to the song tempo, retriggering the timing by simply hitting the TAP switch, and changing or morphing the tremolo rate to different note values,
The new Advanced Tremolo Modules in Detail
- The Tube Bias Tremolo is the familiar Tremolo in the Kemper Profilers. Formally named "Tremolo“ and available in the PROFILERs since day one, it is a reproduction of the famous Fender Amp tremolos from the 50‘s. Placed in front of the amp it beautifully interacts with the amp distortion.
- The Photocell Tremolo dates back to the 60‘s and features a steeper pulse slope, and its width varies with the intensity.
- The Harmonic Tremolo also dates back to the 60‘s and was introduced by Fender. The low and high frequencies alternate with the tremolo rate.
- The Pulse Slicer is a modern slizer or stutter effect that will continuously transition from the smoothest sine wave to the sharpest square wave, using the "Edge“ parameter. The "Skew“ parameter changes the timing of the high level versus the low level, sometimes also called pulse width or duty cycle.
- The Saw Slicer creates a ramp like a saw wave. The saw wave has a falling ramp when "Edge“ is at full position, and a rising edge at zero position. Towards the middle position a rising and falling ramp are forming a triangle wave. The „Skew“ parameter changes the slope of the rising and falling ramp from a linear trajectory to a more convex or concave shape.
- The Pulse Autopanner and the Saw Autopanner are derivates from their respective Slicers, they spread their signals in the stereo panorama. The "Stereo“-control parameter is included in many effects of the PROFILER. Here, it introduces a novel "super-stereo" effect that lets the Autopanner send the signal well outside the regular stereo image. This effect works best if you are well positioned in the correct stereo triangle of your speakers. When you move the “Stereo” soft knob beyond the +/-100% setting, the super-stereo effect comes into place, reaching its maximum impact at +/-200%.
- A single press on the TAP button at the beginning of the bar will bring the rhythmic modulation effects, such as Tremolo or Slicer, back into sync with the music without changing the tempo. The sync will happen smoothly and almost unnoticeable, which is a unique feature. Of course, tapping the tempo is possible as well.
- Modulation Rate - The “Rate” control available in many modulation effects is based on a special philosophy that allows continuous control over the speed of the modulation and continuous Morphing, even when linked to the current tempo via the To Tempo option. The fine Rate resolution shines when seamlessly morphing from, e.g., 1/8 notes to 1/16 notes or triplets without a glitch and without losing the timing of the music.
Kim Deal on Failure: “There’s a Sweetness to Seeing Somebody Get Their Ass Kicked"
While creating her new solo record, Kim Deal was drawn to exploring the idea of failure.
The veteran musician and songwriter steps into the spotlight with Nobody Loves You More, a long-in-the-making solo record driven by loss, defeat, and friendship.
While Kim Deal was making her new album, she was intrigued with the idea of failure. Deal found the work of Dutch artist Bas Jan Ader, who disappeared at sea in 1975 while attempting to sail by himself from the U.S. to England in a 13-foot sailboat. His boat was discovered wrecked off the southern coast of Ireland in April 1976, 10 months after Ader departed the Massachusetts coast. Ader’s wife took one of the last photos of him as he set off on the doomed journey from Chatham Harbor: Ader, wearing a blue tracksuit and a bright orange life jacket cinched around his neck, is beaming.
Deal isn’t smiling on the cover of Nobody Loves You More, her new album, but the art bears some similarities: Deal is floating on a platform in an expanse of gentle, dark blue waves, accompanied only by a few pastel-colored amps, her guitar, a stool, and a flamingo. It’s an unmistakably lonely image, but for Deal, failure doesn’t mean loneliness. It’s not even necessarily a bad thing.
“I mean, at least something magnificent was tried, you know?” says Deal. “At least there was something to fail. That’s an endearing thing. I think there’s a sweetness to seeing somebody get their ass kicked, because they were in it. It warms my heart to see that, just people getting out there. Maybe it gives me the courage and confidence to try something. It’s okay if I get my butt kicked. At least you’re trying something.”
“I think there’s a sweetness to seeing somebody get their fucking ass kicked, because they were fucking in it.”
Nobody Loves You More feels at least a little like Van Ader’s journey: an artistic project so long in the making and so precious to its creator that they’re willing to break from all conventions and face the abject terror of being judged by the world. That might seem like nothing new for Deal, who’s played music professionally for over 35 years, first with Pixies, then with the Breeders. But this LP marks her first proper solo album under her own name—a thought that mortified her for a long time. (“I like rock bands,” she says.) Even when she recorded and released what could be called “solo” music, she released it under a pseudonym. Initially, it was to be Tammy and the Amps. “I still was so uncomfortable, so I created Tammy and the Amps,” explains Deal. “I’m Tammy, who are my band? It’s the amplifiers downstairs in my basement. But the Tammy thing sort of got on my nerves so I just dropped it, so it was called the Amps.” She also assembled a band around that concept and released Pacer under the Amps’ name in 1995.
The cover art for Nobody Loves You More echoes the doomed last voyage of Dutch artist Bas Jan Ader.
This new record hums with the soft-loud energetic alchemy that defines much of Deal’s previous works. The opening title track is a slow, romantic strummer with string arrangements, while “Coast” is faintly ska-indebted with horns and a ragged Blondie chord progression. “Crystal Breath” gets weirder, with distorted drums, synthy bass, and a detuned, spidery guitar lead. “Disobedience” and “Big Ben Beat” continue the darker and heavier trajectories with fuzzy stompers interspersed with ambient, affective interlude tracks like “Bats in the Afternoon Sky.” It’s a patient, sensitive, and unmistakably scrappy record.
Some of the songs on Nobody Loves You More are as up-close and personal as solo records get. One in particular that’s drawn attention is “Are You Mine?,” a sleepy-eyed, lullaby ballad. At first listen, it could be taken for a love song. (In fact, Deal encourages this interpretation.) But it’s a song about her mother, for whom Deal cared in her home while she died from Alzheimer’s. The song title comes from a gut-wrenching moment.
“I was in the house, she doesn’t know my name,” explains Deal. “She’s still walking, she can form words, but she doesn’t know what a daughter is or anything. She passes me in the hallway, stops, grabs my arm and says, ‘Are you mine?’ She doesn’t know my name, she doesn’t know who I am, but there was a connection. I knew she was asking if I was her baby. I said, ‘Yeah, mama, I’m yours.’ I’m sure five seconds later, she forgot that conversation even happened. It was just a flicker, but it was so sweet. To have her not see me in so long, and then for one brief second, be recognized in some capacity…. She was such a sweet lady.”
Deal’s mother wasn’t the only loss that went into this collection of songs. Her father passed, too, after a prolonged illness. “My dad was this big bravado sort of personality and watching them get extinguished a little bit every day… I don’t know,” she says. “They both died at home. I’m very proud of that.” But writing “Are You Mine?” wasn’t painful for Deal; she says it was a comforting experience writing the gentle arpeggio on her Candelas nylon-string acoustic.
Deal assembled the bulk of Nobody Loves You More in her Dayton, Ohio, basement, recording with Pro Tools and a particularly pleasing Electrodyne microphone preamp. (Some of the songs date back more than a decade—versions of “Are You Mine?” and “Wish I Was” were initially recorded in 2011 and released as part of a series of 7" singles.) Deal recorded a good part of the record’s drums, bass, and guitar from home, but other contributions came in fits and spurts over the years, from old faces and new. Her Breeders bandmates, including Mando Lopez, Jim MacPherson, Britt Walford, and sister Kelley Deal, all pitched in, as did Fay Milton and Ayse Hassan from British post-punk band Savages, and the Raconteurs’ Jack Lawrence.
Kim Deal cared for her parents in their Dayton, Ohio, home until their passing, an experience that colors the music on her new solo record.
Photo by Steve Gullick
Kim Deal's Gear
Guitars
- '90s Fender Stratocaster
- '70s goldtop Gibson Les Paul
- Candelas nylon-string acoustic
Amps
- Marshall JCM900
- 4x12 cabinet
- Kalamazoo combo
Strings & Picks
- .011-gauge strings
- Dunlop Tortex Standard .60 mm
One day, ex-Red Hot Chili Peppers guitarist Josh Klinghoffer stopped by the studio to see what Deal was working on. He listened to “Wish I Was,” and scrambled together a lead idea. Deal kept the part and expanded it over time, leading to Klinghoffer’s writing credit on the record.
Deal used her trademark red ’90s Fender Stratocaster HSS along with a ’70s goldtop Gibson Les Paul for most of the electric work, pumped through either her long-time Marshall JCM900 or a tiny vintage Kalamazoo combo. Deal has never been a gearhead—at one point on our video call, she uses a tooth flosser as a pick to demonstrate some parts on her Candelas. “Kelley is a pedal person,” she says. “I’m not doing leads. I’m just doing a rhythm that needs to sound good.”
“I don’t think I’m taking it very well still, actually, or I’m a sociopath because I don’t even talk about [Steve Albini] in the past tense.”Over the years, Deal’s sonic thumbprint has been tied up in the work of her good friend and frequent collaborator Steve Albini, the producer, engineer, and musician who died unexpectedly in May 2024. (Deal quips, “Steve’s the lead character in my own life.”) Albini and Deal began working together in 1988, on Pixies’ debut LP Surfer Rosa. Their friendship continued over decades—Deal even performed at Albini’s wedding in Hawaii, for which he gifted her a ukulele—and the final sessions for Nobody Loves You More were under Albini’s watch. His parting hasn’t been easy.
“I got a text: ‘Call me,’” remembers Deal. It was a mutual friend, telling Deal that Albini had passed. “He told me and I just said, ‘You’re absolutely wrong. That didn’t happen.’ I don’t think I’m taking it very well still, actually. I don’t even talk about him in the past tense. I say, ‘What he likes to do is this.’ I never think, ‘What Steve used to like to do.’ My head never goes there. I wanted to record a song that wasn’t working and I said, ‘I need to do it from top to bottom at Albini’s.’ That’s not going to happen.”
YouTube
Along with Rob Bochnik and Spencer Tweedy, Kim Deal plays two tracks from Nobody Loves You More for a holiday fundraiser in November 2024 in Chicago.
The iconic hard-rock shredder breaks down his incredible career and runs down one of his carpal tunnel-inducing face-melters.
From Ozzy Osbourne to Black Label Society to Zakk Sabbath to, most recently, his stint filling in for his old friend “Dimebag” Darrell Abbott in Pantera, Zakk Wylde has left an unmistakable mark on the hard-rock and metal music worlds. Fresh off performing “The Star Spangled Banner” at the Cleveland Browns game in October, and paying homage to his boss Ozzy at the 2024 Rock and Roll Hall of Fame induction ceremony, Wylde joins this episode of Shred With Shifty to share his teachings from the book of rock.
When he was learning to play, Wylde studied Frank Marino, Al Di Meola, and John McLaughlin along with Sabbath shredder Tony Iommi, Jimmy Page, and “King Edward”—Eddie Van Halen—but Osbourne’s original right-hand guitar-man Randy Rhoades was top of the crop. Little did Wylde know he’d go on to replace him after his tragic death, following up the work of Rhoades, Brad Gillis, and Jake E. Lee. He got to join his favorite band, but it wasn’t an easy gig. “What’s expected of you as an Ozzy player?” says Wylde. “The bar that Randy set was lights out.”
After a quick pinch-harmonics tutorial, Wylde lays out how he used a Marshall JCM800 and Boss SD-1 with his “holy grail” bullseye Gibson Les Paul Custom to track the alternate-picking intensive on “Miracle Man,” a mix of “ingredients” from all the players Wylde loves. (“Pass the Ritchie Blackmore, boss!”) For those thinking of skimping and swapping in some hammer-ons and pull-offs, Shifty warns: “There are no shortcuts! Pick every note!”
Along the way, Wylde discusses the inner workings of his tenure with Osbourne, including being the longest-running player in the group—like “working at the deli,” according to Wylde. And tune in to hear about Wylde’s relationship to Ozzy’s wife and manager Sharon Osbourne, who he refers to as “mom”—a role she performed well when she busted him at a nightclub while he was underage.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
The Georgia-based sludge slingers rely on a Tele-to-Marshall combination for their punishing performances.
Since forming in 2010, Atlanta noise rockers Whores had only released one LP, 2016’s Gold.—until this year. Eight long years later, their new full-length, WAR., dropped in April, and Whores celebrated by tearing across the country and blasting audiences with their maelstrom of massive, sledge-hammering rock ’n’ roll.
The day after their gig at Cobra Nashville, Whores frontman Christian Lembach, dressed in his Nashville best, met up with PG’s Chris Kies at Eastside Music Supply to run through his brutal road rig.
Brought to you by D’Addario.Earthy Esquire
When vocalist and guitarist Christian Lembach got sober over 20 years ago, he bought a Fender Telecaster off of a friend, then picked up an Esquire shortly after. That original Esquire stays home, but he brings this pine-body Earth Guitars Esquire out on the road. (It’s the lightest he’s ever played.) It’s loaded with a German-made reproduction of Schecter’s F520T pickup—aka the “Walk of Life” pickup intended to reproduce Mark Knopfler’s sound. (Lembach buys them in batches of five at a time to make sure he’s got plenty of backups.)
It’s equipped with a 3-way selector switch. At right, it bypasses the tone circuit; in the middle position, it’s a regular bridge-pickup configuration, with volume and tone activated; and at left, the tone is bypassed again, but an extra capacitor adds a bass boost.
Lembach installed six brass saddles in lieu of the traditional 3-saddle bridge. He often plays barre chords higher up the neck, and the six saddles allow for more accurate intonation.
All of Lembach’s guitars are tuned to drop C, and he plays with D’Addario Duralin .70 mm picks. They’re strung with heavy D’Addario NYXL sets, .013–.056 with a wound G. The 30-foot Bullet Cable coil cable attenuates some of the guitar’s top end.
Tuned-Up Tele
Lembach had this black Fender Telecaster—the one he bought from his friend—modified to his preferred Esquire specs, with a single bridge pickup and the same 3-way selector configuration as his other weapon. He prefers the 6-saddle bridge to this rusty 3-saddle version, but this one holds a special place in his heart all the same.
Favor From Furlan
When John Furlan of Furlan Guitars reached out to Lembach about building him a custom guitar, it was an easy sell. The two worked together on this beauty, based on a non-reverse Gibson Firebird body with a Fender-style scale length, roasted maple neck, and rosewood fretboard.
It’s got a bridge and locking tuners from Hipshot, and it’s loaded with Greenville Beauty Parlor P-90s. A typical Gibson-style toggle switches between neck, bridge, and both configurations, while another Esquire-style 3-way switch on the lower bout handles Lembach’s preferred bridge-pickup wirings: no tone, tone and volume, or bass boost.
No Logo
Lembach stays loyal to his twin Marshall Super Leads, with taped-over logos—an aesthetic Lembach picked up from Nirvana. A tech in Atlanta figured out that the one on the left is a 1973, which runs at eight ohms, or half power (Lembach removed two of the power tubes), into a 16-ohm cabinet. The power drop allows Lembach to coax feedback at lower volumes. The original preamp tubes from Yugoslavia—no longer a country, mind you—are still working in the amp.
The one on the right is a reissue 1959SLP from 2002 or 2003, which Lembach finds brighter than his vintage model. He goes into the lower-input second channel to dampen the edge.
Both amps run through Marshall JCM800 cabinets with Celestion G12T-75s.
Christian Lembach's Board
A Loop-Master Pedals Clean/Dirty Effects Switcher manages Lembach’s signal. Its A loop is used for verses, bridges, intros, and outros, and has the majority of the pedals in it. The first thing in the A loop is the ZVEX Fuzz Factory made specially for the band, followed by a Devi Ever Soda Meiser, Beetronics Swarm, Keeley Nova Wah, Spiral Electric FX Yellow Spiral, Boss NF-1, and Alexander Pedals Radical II Delay.
The B loop has a clone of the Electro-Harmonix Green Russian Big Muff, an EHX POG, and a ZVEX Super Hard On. The A loop is already pretty loud; B somehow gets even louder. An EHX Superego+ is a new addition that Lembach’s planning to integrate.
A CIOKS DC10 powers the board, and a Lehle device under the board cleans up unwanted hum and noise.