Feeding clean power to guitar effects is really important. We do our best to buy the highest quality power supplies that we can find for our precious pedals. Once that clean power is fed into the unit from the wall outlet, it often goes through something called a power filter, inside the power supply. This ensures that the pedal's power needs are being met, and allows each pedal to function properly. It also mostly gets rid of ripple.
Ripple (specifically ripple voltage) in electronics is the residual periodic variation of the DC, or direct current voltage, within a power supply using an AC, or alternating current, source, like the electrical outlets in your home or studio. If you're curious, you can read all about DC versus AC current at electrical4u.com/dc-current.
Ripple is wasted power, and has many undesirable effects. It heats components, causes noise and distortion, and may cause digital circuits to operate improperly. Ripple can be reduced by adding the aforementioned electronic filter into the circuitry, to ensure that the pedal is getting the proper juice. There are parts called electrolytic capacitors that do a lot of the heavy lifting in this section of a circuit. You can learn more about capacitors at a variety of websites, including Wise-Geek.com, Techcircuit.org, Beavisaudio.com, and coda-effects.com, and you can see what they look like above.
Ripple is wasted power, and has many undesirable effects.
Those of us who love and cherish old amps know all about capacitors. The first thing I do when I acquire a gem from yesteryear is take it to a qualified amplifier technician to have it thoroughly inspected, and to have the power filter capacitors replaced with new ones. The reason for this is that over time these capacitors can dry out and cause the amp to not function properly, or to just simply stop working. In a worst case scenario, it can even cause electric shock.
When an electrolytic capacitor is going bad, it can appear to be deformed, sometimes bulging out at the ends. If the power filter capacitors—or really any of the electrolytics—look like this, it's a sure sign that it's time to take the amp to a tech for them to be replaced. In some cases, there might not be any visual indication at all when a cap goes bad. Most amp technicians I have dealt with say that a good rule of thumb is to replace these capacitors every seven years or so.
For reference, here's what caps can look like when they're blown:
The electrolytic capacitors in effects pedals also wear out over time. As in amps, caps in pedals are used for multiple purposes. Coupling capacitors let AC pass through them, but not DC. And RC (resistor-capacitor) filter caps cut off frequencies above or below a certain threshold. But the classic role is the one we're discussing here: smoothing out ripples in the power supply. Capacitors have what is known as an "end of life cycle." This means that the manufacturer only guarantees them to remain fully functional for a certain amount of time. That time frame can typically range anywhere from 1,000 to 5,000 hours.
There have been a few occasions when I have purchased a vintage pedal I had been trying to find for ages, only to get it plugged in and find it unusably noisy and/or dull-sounding. I usually re-cap these old circuits before I do anything else to them. This usually brings the pedal's power back to its former glory, ensuring that the unit will behave as it was intended to for another decade or so. I would say nine times out of 10, replacing these capacitors creates a massive difference in clarity and sound. Take a look at one of my recapped circuit boards:
Keeping your pedals healthy internally is a great way to ensure that they will last lifetimes. Having them re-capped is one way to help maintain the integrity of the circuits inside. I am so glad I discovered this when I was early in my career as a pedal user and builder. It has certainly given a few of my formerly fallen soldiers a new lease on life.
In honoring the tradition of the original, MXR’s Rockman X100 is built around a complex compression circuit tasked with keeping the signal clear, whether the mode is clean or dirty. Directly tied to the Input Gain, the circuit is tuned for a slow release when a clean mode is activated and a fast release on dirty modes. The result is a concentrated force of sound that cuts through both live and studio mixes. Key Features:
- Pedal-sized revival of Tom Scholz’s 1982 Rockman X100, the secret studio weapon that defined the textured guitar tone of '80s arena rock
- 2 clean and 2 dirty tone presets, identical to the original headphone amp
- Dedicated volume and input gain sliders provide hands-on tonal control
- A complex compression circuit provides dynamic and intuitive release
- Lush, expansive chorus modulation courtesy of an original bucket brigade chip
- Multiple advanced features, including off-board switching and stereo mode
Developed in collaboration with John Mayer, Earthwood Bell Bronze acoustic guitar strings are the first to offer this new patent-pending alloy, which was inspired by blends used for bells and cymbals. In addition, Ernie Ball introduces the Tim Henson Signature Collection of strings and the Pino Palladino Smoothie Flats Signature bass strings.
Earthwood Bell Bronze
Developed in collaboration with John Mayer, Ernie Ball Earthwood Bell Bronze acoustic guitar strings have been carefully crafted to meet John's exacting standards, providing a new voice for your acoustic guitar. Inspired by alloys used traditionally for bells and cymbals, ErnieBall's patent-pending Bell Bronze alloy offers a richer, fuller sound than any other string in our catalog. These strings will breathe new life into your guitar.
“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, anddurability. They’re great in any musical setting but really shine when played solo.There’s an orchestral quality to them.”
- John Mayer
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection & sustain
- Patent-pending alloy unique to Ernie Ball strings
- Available in 4 gauge combinations:
- Extra Light (10-50)
- Light (11-52)
- Medium Light (12-54)
- Medium (13-56)
Acoustic Earthwood Bell Bronze Demo on a Gibson L-00 - YouTube
Tim Henson Collection
Ernie Ball introduces the Tim Henson Signature String and Accessory Collection ,developed in collaboration with one of today’s most innovative players. Designed to meet Tim’s unique specifications and versatile performance style, these new classical strings pair fluorocarbon trebles with silver-plated copper basses for a dynamic, brighter response with a percussive tonality. The electric strings comprise Cobalt and Paradigm technologies for maximum output and clarity with unmatched durability.
Classical Strings
- Dynamic, percussive sound
- Silver-plated copper basses
- Fluorocarbon treble strings
- Gauges: 24, 27, 33, 30, 36, 42
Electric Strings
- Engineered for maximum output & clarity
- Nano-treated for maximum life and corrosion resistance
- Paradigm core wire for added strength
- Gauges: 9.5, 12, 16, 26, 36, 46
The Ernie Ball Tim Henson Signature Collection will be available this spring. The SignatureElectric strings, Classical strings, and Fretwrap will all be available to purchase separately. TheSignature Cable will be available to purchase as part of a box set bundle. This Tim HensonSignature Bundle will include all of the products in the collection.
Ernie Ball ntroduces Pino Palladino Smoothie Flats Bass Strings, designed for effortless playability and exceptional tone. Precision-polished for an ultra-smooth feel, these premium flatwound strings glide easily under your fingers. Crafted with a cobalt alloy ribbon, they deliver a deep, rich tone that perfectly balances vintage warmth with modern flexibility.Developed with legendary bassist Pino Palladino, Smoothie Flats offer unparalleled performance and a silky-smooth playing experience.
Key Features:
- Premium flatwound strings developed with Pino Palladino
- Precision polished for an ultra-smooth feel
- Wound with cobalt alloy ribbon for a rich, deep sound
- Smooth, vintage tone and flexible, low-tension feel
- Available in 2 gauge combinations:
- Extra Light (38, 54, 68, 98)
- Medium (43, 61,76, 108)
The Ernie Ball Music Man StingRay II and StingRay II Deluxe were designed in collaboration with Cory Wong to deliver unmatched clarity, versatility, and precision for every performance.Both models feature a roasted figured maple neck, 22 stainless steel frets, ultra-clean CoWong HT humbuckers, and an ergonomic body design for smooth playability and effortless fret access.
The Deluxe model adds a roasted maple fretboard, parchment binding, and a matching headstock for a refined touch. Inspired by the iconic StingRay Bass, both guitars showcasleek styling with a redesigned larger headstock, a custom Cory Wong neck plate, and gold hardware for a sophisticated finish.
Features
- Ultra-clean Cory Wong HT humbucking bridge & neck pickups
- Ergonomic body design inspired by the StingRay Bass
- Select alder body with roasted figured maple neck
- Gold hardware with Cory Wong neck plate
- 2 finish options including Charcoal Blue & Cashmere
- Mono CaseStingRay II Deluxe Features
- Ultra-clean Cory Wong HT humbucking bridge & neck pickups
- Ergonomic body design inspired by the StingRay Bass
- Select alder body with roasted figured maple neck
- Gold hardware with Cory Wong neck plate
- Parchment binding and matching headstock
- 2 finish options including Pine Green & Polaris White
- Mono Case
Both StingRay II finishes along with the StingRay II Deluxe in Pine Green are available authorized Ernie Ball Music Man dealers. The StingRay II Deluxe in Polaris White is limited to 30pieces and available exclusively from The Vault at www.music-man.com. All models are available for purchase starting today.
