A few quick tips to help save a soaked stomp.
My pedal got wet at a gig and it's not working, HELP!
I started out using some info from Bob Schwartz, a retired electrical engineer. I give him credit for his article which I have edited and modified from computer equipment specific to guitar effect specific.
What to do if something wet spills on your pedal or it falls into wet whatever? The following is not guaranteed but represents years of experience.
Quick, unplug it! Unless there is a likely shock hazard.
There are generally two items to have handy. One is distilled water to first wash off and dilute any non-pure water spill, especially any liquid that might be conductive. The second is alcohol, 90+% isopropyl (rubbing) alcohol. You can often find stronger rubbing alcohol in some stores, that's what we use at Analog Man for much pedal cleaning, inside and out. Ethyl alcohol or ethanol – 90% - will work too. Alcohol has an affinity for water, so it soaks it up and dries it out, then evaporates much better than water.
Rinsing the item first with the distilled water (if it was not soaked in pure water, for example to flush out cola) and then with alcohol will dilute, pick up water, carry it away, and evaporate quickly. The higher percent alcohol 90% vs 50% has a greater affinity for water.
Time is important. You do not want water to soak into an otherwise insulating medium, especially water that contains something conductive like salt. It will leave a conductive residue that will short out portions of the device. That is why you want to rinse first with distilled water to carry away any conductive residue and then the alcohol to remove the water film. Most tap water has dissolved minerals that remain after the water evaporates, hence the distilled water to rinse these away. Don't get water in switches if possible, and only rinse areas that may have been wet, or are still wet.
Internal pedal cases and battery compartments can then be cleaned with WD-40. WD-40 is a water displacing chemical. You can spray it anywhere in or on a pedal, but it can be tough to get out so I often use rags or Q-tips wetted with WD-40 to clean the inside (and outsides) of pedals. You just don't want to leave a lot of inside, as it smells and can drip around.
Potentiometers are one of the easiest damaged parts. They should be spray cleaned on the wiper area with some electronic spray cleaner/lubricant. Analog Man uses Deoxit spray cleaner, I like the "Fader" type for pots as it leaves some lubricant. Spray inside, then quickly turn the pot back and forth (slide your finger on the top of the knob) several times, then tilt it to let any excess cleaner run out, you can catch it with a Q-tip.
Jacks should also be cleaned with a Q-tip. The Deoxit is best but WD-40 will work. Also try to clean the tip of the jack, but be careful not to pull off the cotton inside the jack.
Switches are usually pretty well sealed, but water can get inside and it may be very tough to get it out. It's very hard to get a cleaner inside the switch to wash it out. There is a video that shows how you can open a switch to repair it, if your switch has issues you can try that. But it may be best to replace the switch if it does not work well after the pedal had time to dry. Power Jacks should be cleaned by spraying in a bit of the DeOxit or WD-40. Here is a video of how to repair a 3PDT switch.
Stomp box switch cleaning
Components like chips, transistors, capacitors, and resistors are generally not damaged by short periods of wetness. But the leads can corrode, so wipe any corroded or flaky/powdery leads with WD-40 on a Q-tip.
Foam or other soft materials used in pedals for holding in batteries, etc, should be replaced if possible as they will hold moisture.
After, and I repeat after, the above cleaning, you can use very modest heat to help dry out the pedal. You can use a hair dryer at some distance. Make sure you don't heat the item any hotter than is comfortable to hold. Some plastic materials deform at relatively low temperatures. Compressed air will work well too but it should be dry, come compressors spit out water drops which will not help. And the full force of 100PSI can damage your circuit so don't hit it too hard with compressed air.
Remember the Order:
- Rinse with distilled water
- Rinse with alcohol
- Clean and lubricate
- Warm gently with hair dryer or warming oven
For items immersed in flood waters, the above approach can be tried, but the outlook is not promising. Generally the conductive flood waters have had time to soak into the various insulating materials and are almost impossible to remove. Still, it may be worth a try, especially if you have the time, and possible success is worth the effort. Distilled water and alcohol are not very expensive. Most circuit boards are coated with varnish to resist moisture. In this case, wash repeatedly with distilled water. Use a soft brush to remove any remaining film such as mud. Then, the alcohol followed by the dryer. Using the dryer prematurely can "set" the offending material to the point that it may be almost unremovable. So save it for the very last step after you are sure things are clean. Your efforts may save part if not all of the equipment.
For more information:
Analog Man
[Updated 10/15/21]
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Discover the SoloDallas Orbiter Fuzz, a meticulously crafted effects pedal designed to blend genuine vintage tones with user-friendly versatility.
Building upon the legacy of the 1966 Arbiter Fuzz, the Orbiter Fuzz enhances this classic circuit with advanced fine-tuning circuitry.
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- Vintage Power: Our unique power circuit internally converts modern wall power to emulate the draw of a vintage carbon zinc battery.
- "Sweet Spot" Dial: An internal mini potentiometer allows you to dial in the perfect impedance response for your favorite pickups.
Versatile Controls:
- FUZZ: Adjusts the overall amount of fuzz by shaping the signal’s waveform from triangular to square as the knob is turned clockwise.
- GAIN: Increases the amount of signal entering the circuit, pushing it into harmonic clipping for smooth overdriven fuzz tones.
- BIAS: Modifies voltage to the matched pair of transistors, unleashing a wide range of vintage fuzz tones. Lower voltages produce spitty Black Keys responses, while higher voltages create smooth American Woman fuzz.
- Compact Design: Optimized for pedalboard space and easy integration with any standard pedal.
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Technical Specifications:
- Input Impedance: 500 kOhm
- Output Impedance: 10 kOhm
- Power Requirements: External 9V DC center-negative power supply
- Dimensions: 4.75" x 2.50" x 1.5"
- Weight: 0.8 lbs
- Bypass: True bypass
Design Details:
- Custom Artwork: Retro space-age design that pays homage to the Arbiter’s flying saucer enclosure.
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Why You Need the SoloDallas Orbiter Fuzz Pedal:
A great fuzz pedal is essential for every guitarist and bassist. The Orbiter Fuzz offers the smooth, singing fuzz tone every musician dreams of, combining musicality with the reliability you need. If you’re looking for a pedal that excels in both sound and style, the Orbiter Fuzz is a must-have. Complete your search for the perfect fuzz pedal with the Orbiter Fuzz.
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Price: $249 USD.
Revisiting the very first wah circuit with delicious vintage-flavored results.
Delicious, present voice. Satisfying, expressive range and filter curve. Well-made. Very little noise.
Toppy tones could be too hot for some players.
$279 street
Vox Real McCoy VRM-1 Wah voxamps.com
Some pedals are more fun than others. And on the fun spectrum, a new Vox wah is like getting a bike for Christmas. There’s gleaming chrome. It comes in a cool vinyl pouch that’s hipper than a stocking. Put the pedal on the floor and you feel the freedom of a marauding BMX delinquent off the leash, or a funk dandy cool-stepping through the hot New York City summertime. It’s musical motion. It’s one of the most stylish effects ever built. A good one will be among the coolest-sounding, too.
Vox Real McCoy - MAIN by premierguitar
Needless to say, there are not a lot of original Vox Clyde McCoys on the gigging circuit. They’re collector-spendy and a rarity, even in nice studios. And as anyone who has ever owned a wah knows, the combination of vigorous stomping and relative fragility in electro-mechanical terms means many wahs live short lives. A late-’60s Clyde McCoy can indeed sound special, though: top end that’s substantial, sweet and searing, and vowel-y contours in the filter sweeps that lend a haunting humanity to the voice. The new Vox Real McCoy VRM-1 is exhilarating in many of the same ways vintage specimens can be.
Of Halos, Pots, Treadles, and Trips
The Real McCoy mixes old and newer components and circuit construction techniques. The machine-populated board is clean, neat, and dotted with time-tested, familiar parts, like BC-109 transistors, and a contemporary halo inductor design. The latter component, like any inductor, shifts the resonant peak and shapes a wah’s voice. The one used here is less noisy than those on early Clyde McCoys, but clearly shares many very similar tone attributes.
Something in the Wahter
When I play a wah, I love using long, slow filter sweeps—like, “Maggot Brain”-at-half-speed slow. The McCoy’s nuanced taper means lots of copious tone colors to paint with if you take that approach. If you’re accustomed to the narrower vocal range of inexpensive wahs, the Real McCoy can inspire a relaxed approach to the effect—the kind that compels a player to lean on a single note and enables sweet, vocal-style support in more tender, soulful musical settings. As much pleasure as there is in these lazy-footed adaptations of the effect, the McCoy’s range and treadle action also makes it a standout for Wah Wah Watson and Skip Pitts “wocka-wocka” rhythm jabs. The Real McCoy is quiet, too, adding little hiss or noise to your signal.
At extremes of the potentiometer’s travel, the McCoy shines. The toppiest of the top end is blue-flame hot—a killer place to punctuate a solo or linger for a whole one, for that matter. The bassier reaches of the sweep are throaty, thick and powerful rather than muffled. I love the sounds the Real McCoy makes here, particularly with a nasty fuzz on the receiving end, which can sound really snarly and focused rather than grating.
The Verdict
The Real McCoy sounds, in most respects, very vintage in its tone profile. There’s lots of range, sharp trebly peaks, and fat, bassy resonance. It feels great underfoot, too. It’s responsive—facilitating fast, fluttering “Dazed and Confused” filter sweeps and long, slow throws of the treadle. About the price: $279 is on the high end for new wah wah. That’s only 20 bucks less than Vox’s V846-HW handwired wah and anywhere from 100 to 180 bucks more than wahs at the affordable end of the price spectrum, where the occasional wah-ist tends to look. If lyrical, super-present wah textures are a cornerstone of your sound, the Real McCoy merits a listen to see if the differences here justify the cost. Even wah newbies, however, may well find the Real McCoy’s characterful voice infectious and irresistible.
John Bohlinger & Tim Aven Play Guitar and Talk About Being a Pro Musician in Nashville
The LANCO lead guitarist sits down with John Bohlinger and covers his journey from software engineer to touring pro, surviving the deep waters of Nashville’s music scene, and how he uses social media and YouTube as a resume. Plus, he and John jam it out!
Martin D-11E Rock the Vote acoustic-electric guitar is a limited edition collaboration between Martin Guitar, Rock the Vote, and artist Robert Goetzl, honoring David Crosby's passion for voting. Crafted with premium materials and featuring unique LR Baggs M80 soundhole pickup and Luxe by Martin Kovar strings, this guitar inspires civic participation through music.
The Martin D-11E Rock the Vote acoustic-electric guitar is a special edition instrument crafted to inspire people to participate in our democracy. This collaboration between Martin Guitar, David Crosby’s estate, Rock the Vote, and artist Robert Goetzl tells a powerful story. “David was a patriot,” says Executive Chairman Chris Martin IV. “He believed deeply in this great experiment of ours, and his passion for voting is something we wanted to honor and continue.”
The vision for the original D-16E Rock the Vote guitar launched back in 2020 was born from a conversation between Chris and David Crosby, partnering with Rock the Vote to encourage people to register and participate in federal, state, and local elections. That conversation led to blending Robert’s compelling artwork with Martin's renowned craftsmanship. Robert shares, “David threw out this quote, that ‘democracy works if you work it,’ and that became a guiding theme for the artwork.”
A reissue of that original guitar, the all-new D-11E Rock the Vote model includes new features like an LR Baggs M80 soundhole pickup paired exclusively with Luxe by Martin® Kovar™ strings. Kovar is a unique alloy of two ferromagnetic metals, nickel, and cobalt, not found in conventional phosphor bronze strings. When paired with the adjustable M80 humbucking coil, these strings are guaranteed to deliver an exceptional acoustic-electric experience. It’s the ideal pairing for players seeking warm, authentic, amplified tones in any performance setting.
The D-11E Rock the Vote acoustic-electric is crafted with premium materials, including American sycamore satin back and sides and a spruce gloss top showcasing Robert’s custom artwork. Its Dreadnought size and unique 000 depth offer players a powerful, projective sound with strong bass and a comfortable feel. It also features a satin select hardwood neck, ebony bridge and fingerboard, silver binding, and includes a softshell case made of hemp.
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"We are thrilled to partner with Martin Guitar to harness the power of music in inspiring young musicians and their fans to engage in our democracy," said Carolyn DeWitt, President and Executive Director of Rock the Vote. "Music has always been a catalyst for change, uplifting critical issues and driving people to action. As we face the defining challenges of 2024, it's essential that young voices are heard and their passion is transformed into meaningful participation at the polls," adds Carolyn DeWitt, President & Executive Director of Rock The Vote.
With only 47 of these guitars made, honoring the election of the 47th U.S. president, each one represents a commitment to encouraging civic participation through the universal language of music. “I believe it’s our responsibility as citizens to participate in our democracy,” says Chris.
For more information, please visit martinguitar.com.