It’s a good time of year for doing some preventative maintenance on your PA gear. It seems like speaker cabinets always need touching up, problem cables need to be checked
It’s a good time of year for doing some preventative maintenance on your PA gear. It seems like speaker cabinets always need touching up, problem cables need to be checked and resoldered, and loose, scruffy mic stands need cleaning and tightening. Power amps can almost always benefit from a good cleaning and the faders and connections on the board always sound and feel better after some contact cleaner and lube.
Cabinets
Speaker cabinets can begin looking ratty after a few years. Handles rust, paint flakes off, carpet tears, grills get scratched and speaker cones fade. First, use a staple gun and spray glue to pull any torn carpet on the cabinet back into place – just stretch, glue and staple. Next, use black fabric paint to touch up any seams and spots where the wood is showing through. Take off the speaker grill, lightly sand it, paint it and then set it aside to dry while tackling the rest of the repairs.
Take some glass cleaning wipes and a 1.5” paint brush and clean up the woofer and the horn. Alternately, you can use compressed air between 60-90 psi, taking care not to damage speaker components. Grab some Thompson’s WaterSeal and lightly mist the woofer with a sprayer – the goal here is not to get it wet, just slightly damp. Repeat this approximately three times, letting it dry thoroughly after each coat.
Between coats of water sealer, you can begin touching up the metal parts of the cabinet. You can clean the 1/4” jacks in your input plate with a .22 caliber gun bore cleaning brush by gently inserting the brush into the input. Use a rotating motion, and finish it off with some contact cleaner – preferably CAIG Laboratories’ DeoxIT, although WD-40 will work in a pinch.
Now it’s time to put the grill back on and check the cabinet for buzzes and rattles by running sound through it. If you hear anything, break out the screwdrivers and start tightening screws. If that doesn’t take care of it, you may have damaged boxes. Cabinets that have seen too much moisture or were made out of cheap plywood can be repaired with fiberglass matte and resin, although that type of repair is beyond the scope of this article.
Power Amps
Give the heat sinks a shot of compressed air and clean the filter elements if your amp is so equipped. Then use some contact cleaner to clean the inputs.
Check Your Cables
Pick up an inexpensive cable checker and check all of your cables, repairing or replacing as necessary, followed by a shot of contact cleaner on all contact points. Now would be a good time to label the cables if you haven’t done so already. Mark them for length and use – i.e. a 25’ speaker cable would be marked SP-25. Also consider using some type of “branding” to differentiate your cables from others, which helps when using your cords in festival environments. Check your snake and tape or shrink wrap worn spots in the cabling, and check all connectors using your cable checker to make sure all the connections are good.
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Blow all of the faders and connectors out with compressed air and spray all contact points with contact cleaner. If your board has insert jacks, spray them with a generous amount of contact cleaner and “exercise” them with a 1/4” connector. Blow out the faders one last time before spraying fader lube into each one, and then move each fader up and down through its full range. Finally take an auto detailing brush and clean the board by brushing between all the knobs, moving up and down and left to right. Finish by wiping it down with Armor All wipes.
Mic Stands
For black mic stands, rough up the surface with a scuff pad or sandpaper and then spray it with flat black spray paint. For chrome stands, use fine steel wool to clean off tape residue and remove rust – you can prevent future rusting by waxing the surface of the stand once it’s clean.
Almost all mic stand bases these days are painted black and can be touched up with spray paint when they begin to look ratty. Unscrew the stand from the base, clean and scuff the base and then paint. Remember, the more paint you use on cast metal, the better it looks and protects. The trick is to avoid runs – spraying multiple thin coats and waiting five minutes or so in between should help.
These tips can be done over a free weekend or over a few evenings during the week to help make that old gear look new again. Remember, people rate your professionalism on your gear’s appearance and most of us would find it too expensive to replace everything every couple of years. Take care your stuff and it will look and sound great for years to come.
Andy Anderson
Concert Sound
515-291-0464
www.concertsound.org
andent@lvcta.com
Get premium spring reverb tones in a compact and practical format with the Carl Martin HeadRoom Mini. Featuring two independent reverb channels, mono and stereo I/O, and durable metal construction, this pedal is perfect for musicians on the go.
The Carl Martin HeadRoom Mini is a digital emulation of the beloved HeadRoom spring reverb pedal, offering the same warm, natural tone—plus a little extra—in a more compact and practical format. It delivers everything from subtle room ambiance to deep, cathedral-like reverberation, making it a versatile addition to any setup.
With two independent reverb channels, each featuring dedicated tone and level controls, you can easily switch between two different reverb settings - for example, rhythm and lead. The two footswitches allow seamless toggling between channels or full bypass.
Unlike the original HeadRoom, the Mini also includes both mono and stereo inputs and outputs, providing greater flexibility for stereo rigs. Built to withstand the rigors of live performance, it features a durable metal enclosure, buffered bypass for signal integrity, and a remote jack for external channel switching.
Key features
- Two independent reverb channels with individual tone and level controls
- Mono and stereo I/O for versatile routing options
- Buffered bypass ensures a strong, clear signal
- Rugged metal construction for durability
- Remote jack for external channel switching
- Compact and pedalboard-friendly design
HeadRoom Mini brings premium spring reverb tones in a flexible and space-savingformat—perfect for any musician looking for high-quality, studio-grade reverb on the go.
You can purchase HeadRoom Mini for $279 directly from carlmartin.com and, of course, also from leading music retailers worldwide.
For more information, please visit carlmartin.com.
Designed to preserve Jazzmaster charm while eliminating unwanted noise, these pickups combine classic aesthetics with cutting-edge technology.
Designed and crafted by SeymourDuncan’s VP of Engineering Kevin Beller, these Jazzmaster pickups employ a patent-pending triple-coil system. With two outer coils canceling hum while an inner coil captures the unmistakable Jazzmaster sound, they offer pure, authentic vintage tone with plenty of punch and warmth, but with absolutely no hum.
Plus, the visible Alnico 5 pole pieces maintain the classic Jazzmaster look, so you get hum-free sound with an unaltered, vintage feel.
Enjoy the classic offset sound with a warm, punchy Jazzmaster neck tone and a bright and tight Jazzmaster® bridge sound with plenty of snap. Our Vintage Jazzmaster Silencer pickups are a drop-in replacement for any Jazzmaster®-sized pickups. Perfect for surf-inspired riffs, shimmering indie textures, modern pedal-driven explorations, and more, the Seymour Duncan Vintage Jazzmaster® Silencer pickups maintain bold presence without interference—just pure sonic clarity.
The Vintage Jazzmaster Silencer is a noiseless pickup that retains the bright, punchy neck tone and tight, snappy bridge sound that defines the Jazzmaster. Clean or overdriven, the Vintage Jazzmaster Silencer's vintage-voiced tone is perfect for shimmering indie textures, surf-inspired riffs, and modern pedal-driven explorations. No more hum holding you back—just the pure, classic Jazzmaster® tone you love.
The Hot Jazzmaster Silencer neck pickup has a crisp, full-bodied tone, adding extra warmth in the low end, while the bridge pickup brings sharp definition and sustain for solos that cut through any mix. Designed as a drop-in replacement for any Jazzmaster-sized pickups, this noiseless set lets you dive into gritty surf riffs, glimmering melodies, grungy fuzzed-out rock, reverb-drenched shoegaze, and beyond. With boosted output and zero hum, it’s everything you love about the Jazzmaster, amped up.
The Hot Jazzmaster Silencer pickups offer iconic Jazzmaster tone with powerful output and zero hum. Their patent-pending triple-coil design cuts unwanted noise while enhancing the rich, gritty Jazzmaster sound. Enjoy clear, punchy highs and warm, solid lows, perfect for distortion or clean tones. Get the classic Jazzmaster sound with boosted output—without the hum.
Kirk Hammett’s Top Three Guitars (Yes, Greeny Is One of Them)
Photo courtesy of The Collection: Kirk Hammett, Gibson Publishing
In a lavish new coffee table book from Gibson, The Collection: Kirk Hammett, Metallica’s lead guitarist shares some of his most spectacular vintage instruments and the stories that go with them, as well as his love of Hawaii.
Together with Nathaniel, we’re decoding our favorite eras of the Edge’s tones—from his early Memory Man days through his expanding delay rack rig, into his 1990s Achtung Baby sounds, and all the way through to his Sphere rig. How does he get those amazing delay tones? And what are those cool picks he uses?
There’s a good chance that if you’re a guitar fan, you’ve seen Nathaniel Murphy’s gear demos—either on his Instagram account, where he goes by @zeppelinbarnatra, or on the Chicago Music Exchange page. His solo arrangements of classic tunes display his next-level technique and knack for clever arranging, and he makes our jaws drop every time he posts. When we learned that the Irish guitarist is a huge fan of U2’s The Edge, we knew he had to be our expert for this episode.
Together with Nathaniel, we’re decoding our favorite eras of the Edge’s tones—from his early Memory Man days through his expanding delay rack rig, into his 1990s Achtung Baby sounds, and all the way through to his Sphere rig. How does he get those amazing delay tones? And what are those cool picks he uses?