
It can be easier than you think to cause heat damage to your power supply.
Without more knowledge about heat and electronics, you might be complicit to the slow but deadly effect of accidentally overloading your power supply.
Heat’s effects on electronics can range from the magic of thermionic emission in vacuum tubes to the horror of smoke pouring out of the polarity protection diode in your Klon Centaur.
For all the electronic arenas where heat can do some good, power supplies are one place where heat is persona non grata. Pedalboard power supplies convert the AC voltage from your outlet into something your pedals can actually use. This conversion process is not 100 percent efficient, and those inefficiencies are energy losses that become heat. For most power supplies, the amount of heat generated in the regulation process is directly proportional to the current consumed by the attached pedal. The more power hungry the pedal, the more load on the connected supply, and the more thermal energy that will need dissipating inside the supply. If heat levels are manageable, the power supplies can stay cool enough to operate for years. If heat builds faster than conduction (heat sinks) or convection (fans) can cool, the power supply may overheat, and long-term overheating can damage components and reduce the working life of the supply. The higher the temperatures, the more precipitous the failure, up to and including instant small-scale detonation.
In short, heat in your power supply is an insidious thing. If you’re pushing the maximum limits of your supply’s capabilities, you may not be making enough heat to instantly damage something, but you can be operating at a temperature that reduces its reliability and longevity significantly. A lot of DIY pedalboard builders will plug everything into a supply and assume that if everything appears to power up initially, the setup will be stable and reliable in the long-term. Unfortunately, that is not necessarily true. If you strain all the constituent ports of your isolated power supply just slightly, you may produce enough heat overall to slowly roast sensitive components. While these components may take months to accrue enough damage to cause a failure, overloading your supply will eventually result in an effect the player can see or hear.
The components generating the heat in most supplies are the regulators of linear power supplies and the switching elements in switched-mode supplies. Many of these devices and/or schemes are smart, and will shut down gracefully as ambient temperatures get too hot. The parts that surround these heat generators are not nearly as clever, and the regulator can heat up other parts of the supply to failure, even while operating normally itself.
“Don’t think that your setup is kosher just because the pedal powers up.”
Parts like electrolytic capacitors are particularly prone to damage when operated outside of their specified heat range. Electrolytics are typically rated for a lifetime in hours at a specific temperature. That lifetime is usually halved for every 10 °C increase in ambient temperature. So, if the total heat produced by your supply raises the temperature of the air inside its enclosure by 10 degrees over the capacitor’s rating, you’ll have cut the power supply life by half.
We’ve recently run a series of tests on the thermal performance of a host of pedalboard power supplies. The results were surprising. Of all the supplies we tested, every single one of them was shockingly warm when loaded to even 75 percent of their rated maximums. Many were too hot to touch and had chassis temperatures that measured in the 130 °F range, which is quite a bit more than what most electrolytic capacitors are rated for. To be fair, just because a supply runs hot does not mean it will be unreliable, and most pedalboards don’t come anywhere close to using even 75 percent of the supply’s available power. However, it is also safe to say that these devices will run longer at lower temperatures, and maybe by a substantial amount depending on the types of components they have inside.
My advice is this: Firstly, do not connect your power supply to a device that draws more mA than the connected port is rated for. Don’t think that your setup is kosher just because the pedal powers up. Secondly, plug in your ’board and let it come up to temperature. If you can’t touch the surface of the enclosure indefinitely, it is almost certainly too hot. You may want to add another supply to the ’board to distribute the heat load and maintain a more reasonable temperature. Continuously check your temperature as you make changes to your board, particularly if you are adding high-power devices.
Power supplies can be easily ignored. They do their jobs without complaining, sometimes even while they’re dying. Make sure to check in on them to keep them operating safely for the long-term.
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- State of the Stomp: Less Really Can Be More ›
Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).