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Table of Contents
1.
Introduction
2.
Noise
3.
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
3.9
3.10
3.11
6
6
7
7
8
9
10
12
12
13
13
4.
Hum by Interferences
14
4.1
4.2
4.3
4.4
14
14
14
14
5.
16
5.1
5.2
5.3
16
16
16
6.
17
6.1
6.2
6.3
6.4
6.5
6.6
6.7
6.8
Hiss
Whistling Sound | Switching Mode Power Supplies
Scratching
Transparency | Volume Loss
Clicking | Popping Noise
Clinking | Ringing, Combined with Some Kind of Feedback (Microphony)
Crackling | Sizzle
Rising and Falling Sound
17
17
17
18
18
18
19
19
7.
Important to Know
20
7.1
7.2
7.3
7.4
7.5
7.6
Impedance
Capacity
Balanced Signals (Microphone Cables)
The Pseudo-Balanced Trick
Serial | Parallel Effects Loops
Latency
20
20
21
21
22
22
8.
23
8.1
8.2
8.3
23
24
26
9.
Trouble Shooting
29
9.1
9.2
9.3
29
29
30
10.
A Few Words About Prostage and the Author of this Guitar Rig Building Guide
32
Page 2
1.
Introduction
Page 3
Loudness
Preamp
Poweramp
ita
Gu
na
g
r si
mp
eb
Hu
eA
for
is
No
oo
Send
Return
ois
Hu
Gain
/N
m
fro
sL
ect
Eff
Volume
Page 4
Particular attention in this context is given to distortion pedals. The distortion which we all love is produced by a
component (e.g. the tube) when it is overdriven. Therefore it is driven into saturation.
The component should actually amplify louder than it can effectively do. Therefore, the signal will now not get any
louder, but the peaks are cut off. The higher the gain, the stronger the component is overdriven, the stronger the
signal peaks are clipped and the greater is the distortion. The distortion therefore comes along with a compression
effect.
Quiet signal components, for example our noise, are further amplified because they do not reach the limit of the
component. Therefore, with increasing gain the noise is coming closer to the actual guitar signal. In the extreme
case, both signals are even identically loud!
Gain
Saturation (Distortion)
Gu
al
gn
si
tar
ois
Hu
/N
Output Volume
Page 5
3.
Ground loops are certainly the most common reasons responsible for the hum. To understand and to get rid of
ground loops, it is important to distinguish between "earth", "chassis" and "cable shield". But in a way, "earth",
"chassis" and "cable shield" are the same, because they are somehow connected. And the term "Somehow" is
exactly the problem. To avoid ground loops, we need to know where "earth", "chassis" and "cable shield" are
connected. When wiring a guitar rig we must be aware where we want them to merge.
This is due to the "potential" or the "potential compensation". The explanation comes at the end of this chapter.
First we will take a look on how ground loops are created at all.
3.1 Earth | Chassis | Cable Shield
Earth: (also called "ground"): The earth is, as the name suggests, the connection to the earth. This is the zero
potential. In power cables, the connection to earth is called "grounding conductor".
Chassis: If the chassis (housing) of a device is made of metal and the device is operated with mains voltage (120 /
240V), the housing must be grounded (connected to earth inside the device) for safety reasons.
Cable shield: The shield is used to keep electromagnetic fields from the audio signal. Within guitar cables, this is
the outer, mostly braided conductor. In order that the cable shield can fulfill its function, it must be connected on
one (!) end to earth.
In guitar cables, the shield is also used for the negative pole (unbalanced signal). Therefore, the shield must always
be connected at both ends. With microphone cables (balanced signal), the shield can be connected on one side
only under certain circumstances. For more details, please refer to chapter 7.3
Conclusion: Earth, Chassis and Cable Shield are always connected somewhere. To prevent hum by
ground loops, it is important to know where they are connected.
3.2 Star-shaped Wiring
Basically, the connection of "Earth", "Chassis" and "Cable Shield" must be structured like a star:
Instrument
Cable shield
Chassis
Chassis
Chassis
Central / common ground point
(Zero-potential )
Earth
Page 6
Instrument
Cable shield
Cable shield
Chassis
Chassis
Central / common ground point
(Zero-potential )
Earth
3.4 Two Amplifiers
A typical example of such a triangle wiring is the use of two amplifiers. The following diagram shows a typical
ground loop:
Page 7
Iso
IMPORTANT:
Never cut the ground from the amplifiers power cord! Indeed this can solve the ground loop problem, but it is
dangerous to life!
Page 8
Page 9
Send Return
Page 10
The very strong hum you catch, when you use some effects before the amp and some in the effects loop (Send/
Return) of the amplifier and they are fed with the same, galvanically not isolated power supply or if the ground of
the pedals otherwise are connected together, e.g. by jack plugs that touch each other. Effects before the amplifier
and those in the effects loop must not have a common ground connection and must always be fed separately!
PSU
Send Return
* Note:
The use of power distribution cables (special cables for simultaneous powering of several stompboxes) already
creates a ground loop between the individual effect pedals. Since the cable run and therefore the circuit in which
the current can flow are very short, there is no significant potential difference and no audible hum will occur.
Therefore, this ground loops can usually be ignored. In certain cases, however, this very short loop may lead to
problems.
Page 11
Potential shift
Cable 2
Earth
Once the two ends of the cables are connected together again, a potential balancing occurs. Therefore, a small
current starts to flow, which is driven by the mains frequency. Here it is, the hum! What we hear is the basic
frequency of the power grid (50Hz in Europe, 60 Hz in America) and their harmonics with progressively reduced
volume.
Cable 1
Cable 2
Earth
Important:
The longer the power cords and guitar cables are, the greater is the potential difference and the greater is the hum.
On very short cables, typically in a rack's internal wiring, this potential shift can be usually ignored. A guitar rack
with very short cables can be seen as a large ground node with a single potential. But for all the cables leading out
from the rack, the potential shift must be taken into account.
3.11 Galvanic Isolation
Galvanic separation means that an electric signal is transmitted without electric contacts. This is done with
transformers. The signal is transmitted magnetically. The ground line at the entrance of the transformer may
have a different potential than the ground line at the output of the transformer. The two ground lines are not
directly connected. Using a transformer, a floating (galvanically isolated) transmission is possible. In our guitar rack,
galvanic isolation is used in two locations:
As a transmission transformer for audio signals to suppress ground loops (e.g. Lehle P- Split).
Within power supplies with multiple outlets for effect pedals. With these devices, you should always make sure
that the outputs are isolated. An isolated power supply or a power supply with isolated outputs means that the
outputs are galvanically isolated. Each output has a separate winding on the transformer and its own voltage
regulation and filtering. In addition, these power supplies should have a toroidal transformer (explanation in
chapter 4.2). These devices are, of course, more expensive than a simple power supply with multiple parallel
output jacks.
With such a power supply, it is also possible to simultaneously supply effect units in front of the amp and those
in the effect loop of the amplifier.
Page 13
4.
Hum by Interferences
Hum can also be introduced by Interferences. Lighting systems, power transformers, computer monitors, fluorescent
lights, electromagnetic interference from the building wiring, nearby high-voltage lines and many other sources
emit electromagnetic fields, which we can capture with our guitar rig in different ways.
4.1 Interferences via the Pickups | Environment
Pickups, especially single-coils, are very sensitive and act as antennas for noise. This is especially a concern because
the signal of the pickup will be 100 times, or even 1000 times, amplified afterwards. The electromagnetic
interference fields are different at each position in the room. In the studio, you can search the position where the
pickups captures the least amount of hum. Often it also helps if you just turn to one side a little bit.
When moving around the room, you can find out relatively easy where the interference may have come from and
then maybe place the interference source differently or simply switch it off when not in use. Particularly obvious
sources of interference such as fluorescent lights should just be turned off (and replaced with a candle ;).
Your own guitar amplifier is also a source that emits interference. This is explained in the next section.
4.2 Interferences from Nearby Power Supplies | Transformers
Transformers, especially the large power transformers of guitar amps or tube amplifiers, emit strong magnetic
fields. The electromagnetic interference field decreases with increasing distance from the transformer. Toroidal
transformers have, based on their design, a much, much lower electromagnetic interference field than normal
(square) transformers. Especially with power supplies for multiple stompboxes, it is highly recommended that you
choose one with a toroidal transformer.
Effect devices and other devices that are located near a transformer can capture the interference. Therefore we
hear the mains frequency as hum. If you stand too close to the amp with your guitar, the pickups catch this
magnetic interference field. Particularly sensitive, for example, is also the Prostage Remote WahWah, since it uses
a Fasel coil for the effect. The Fasel coil acts as an antenna for this interference.
Therefore, to minimize hum captured by transformers, the distance between the transformer and the device
that captures the hum, must be increased. Furthermore, the interference of (square) power transformers have a
direction. Therefore, it can often help, to just rotate the device that captures the hum by 90 in place.
4.3 Interference by Parallel Cable Runs
Guitar cables should never run in parallel to power cables. Otherwise, the mains frequency from the power cable
crosstalks to the guitar cable. An "All-In-One" multi-core cable with guitar and power cords from the rack to the
front edge of the stage is generally a very bad idea.
4.4 Interference over the Local Power Grid
Noise may come into the guitar rig via the local power grid. A typical problem are dimmers of lighting systems.
Dimmers chop up the power so that only a portion of the voltage goes to the lamp and therefore it lightens
less. This chopping of the voltage has an impact on the local power grid and can be noticeable in your amp with
unpleasant noise.
Nowadays also signals, for example, internet connections, are modulated over the mains voltage. In general, you
will never get a "clean" power from the power grid.
This problem can be alleviated by a line filter. There are power strips with a built-in mains filter available for 50 to
60 USD. Simple 1U rack power conditioners also work with such filters. A good quality power strip with a line filter
does the same job as an expensive 1U 19-inch power conditioner will do.
Page 14
In addition to power conditioners with a simple line filter, there are also AC voltage regulators. These devices do
more than a simple line filter. They use a large transformer which not only regulates voltage fluctuations, but also
helps to filter high-frequency noises from the power grid.
Page 15
5.
It may also be that a device hums without any external influences. On the one hand, this may be because the
grounding has not been correctly designed inside the device itself or the shield is missing at all. On the other hand,
it my be due to a faulty or poorly designed power supply or a defective component.
5.1 Missing Shield | Missing Ground
If the grounding is not installed correctly in a device or if the grounding is missing at all, the unit hums. For guitars,
this happens a lot of times. Note that very few guitars are adequately shielded and properly grounded ex-works.
Even expensive ones may lack this. If the noise actually gets louder when you touch the strings, it is likely that
the strings are not well grounded or that the hot and ground wires to the jack are reversed. Make sure that the
electronics are completely shielded inside the guitar, the strings are properly grounded and the jack connector is
properly connected. The strings are grounded in general by the bridge which has to be connected to the ground.
5.2 Faulty Power Supply
Devices that are operated with mains voltage, therefore alternating current (AC), must transform the voltage first
and then rectify it. After rectification, the voltage needs to be regulated and filtered in order to get the clean DC
voltage (DC) which the device requires. Now, if this filtering is not made properly (e.g. by the use of undersized or
inappropriate, cheap components), part of the mains frequency (50 Hz in Europe / 60Hz in America) remains in
place and the unit is buzzing. Particularly audio devices are very sensitive to dirty rectified power supplies.
This filtering, or voltage smoothing, is realized with the so-called electrolytic capacitors. These components dry
out over the years, therefore they are losing their effect. Therefore, especially old tube amplifiers tend to hum. The
only solution is to exchange the old electrolytic capacitors, even if the amp therefore no longer is original. But it
will sound better in any case. Have the unit serviced by a qualified technician.
5.3 Faulty Tubes
Tubes wear out and must be replaced from time to time. Also a new tube can sometimes have a manufacturing
defect and therefore is not working correctly. Tubes have a heating. The filaments are fed usually with alternating
current, similar to an old, traditional light bulb. In a defective tube, the heating current can crosstalk to the audio
signal. Power tubes need to be calibrated after the exchange. Have the amp serviced by a qualified technician.
Some tube amplifiers have a hum compensation circuit, which is adjustable via a potentiometer. If this is the case,
the hum can lead from a incorrectly adjusted or defective potentiometer.
Page 16
6.
6.1 Hiss
Hiss noise results from the fact that in every electronic component some electrons whirl around uncontrolled. How
strong the noise in a device is, depends on two factors:
The quality of the components used
The electrical design of the device, therefore how the components affect each othe
If we connect two devices in our signal chain, the components of the two devices affect each other too.
Consequently, the interaction of multiple devices has an effect on the hiss. Also, impedance plays a part (see
chapter 7.1). When devices are connected together with unsuitable impedance, this increases the hiss noise.
You can minimize the hiss by using only high-quality equipment. Whenever possible, avoid using devices which
generate unacceptably loud hissing. Pay particular attention to devices which are placed in the signal chain before
the distortion pedals. Under certain circumstances, a change in the effect order can reduce lot of the hiss. At least,
put very noisy devices in the signal chain after the high-gain devices, such as distortion pedals.
6.2 Whistling Sound | Switching Mode Power Supplies
Whistling sounds usually come from a so-called switch-mode power supply. These are power supplies that do not
have a power transformer, but crop the current. This occurs at a high frequency, and this can result in an audible
whistling. Switch-mode power supplies are suitable for audio applications to only a limited extent and only if
they are high-quality power supplies with very good filtration. Stay away from cheap power supplies from the
supermarket!
Switch-mode power supplies can be recognized by their very lightweight and small construction. A typical
example of such power supplies are cell phone chargers. In certain cases, however, these power supplies can also
solve problems. Since they do not have a classical mains transformer, they also do not send out mains frequency
interferences as described in chapter 4.2. If a normal power supply (wall wart) causes a hum, you can replace the
power supply by a switch-mode power supply and the hum is gone.
6.3 Scratching
Scratching when adjusting controls
A scratching noise indicates that the pots are worn or dirty. In particular, high humidity is detrimental to the
pots: The contact surfaces oxidize. A slight scratching can be usually eliminated with contact cleaner spray. Heavy
scratching pots need to be replaced.
In guitars and stompboxes you can possibly do it yourself. Amplifiers or other mains opperated devices must be
serviced by a qualified technician.
Scratching when moving an expression pedal
You have connected your MIDI-capable guitar amplifier, a multi-effect device and a MIDI foot controller with
expression pedal in a MIDI chain. Once you move the expression pedal with which you want to control an effect,
you hear a scratching noise? This is because the MIDI commands crosstalks into the guitar signal. The expression
pedal continuously transmits data as long as it is moved, that is, several hundred instructions per second. That's
where the scratching comes from. Program Changes are not audible since only a single, very short command will
be sent.
Most likely, the MIDI signal crosstalks in the guitar amplifier. You can solve this problem by inserting a MIDI adapter
in between, which filters out the commands from the expression pedal in front of the guitar amplifier (the amplifier
requires only the program change commands). For example, the Prostage XTMpro adapter offers two independent
MIDI Outs. You connect MIDI Out A to the guitar amplifier and adjust the MIDI True settings so that only Program
Changes are sent to the amplifier. You connect the effect unit to MIDI Out B and send out all MIDI commands on
this output.
Page 17
Page 18
Page 19
7.
Important to Know
For successful wiring a guitar rack, a few other important aspects need to be considered:
7.1 Impedance
The impedance describes the electrical resistance of an audio connection. The resistance at the input is called
input impedance, the resistance at the output is called output impedance.
If you connect your guitar to a stompbox, the guitar pickup has to drive the input of the stompbox. The lower the
input impedance, the more the pickup must work, respectively, the stronger the pickup is loaded. Therefore, the
guitar signal is attenuated and loses volume and transparency. For a high-quality signal transmission, the input
impedance of the "signal consumer" (e.g. the stompbox) must be much higher compared to the output impedance
of the signal supplier (e.g. the guitar).
Since guitar pickups have a relatively high output impedance and deliver only a low signal, the input impedance
on guitar amps must be very high. Usually it is 1 mega-ohm. In HiFi or studio equipment, the input impedance is
much lower (the advantage of a lower impedance is that the device is less noisy). Hence, if a guitar is connected
to a studio device, the signal is attenuated by the input impedance, which is too low. The guitar sound loses
transparency.
Unfortunately, there is no mandatory standard for the impedance within the bunch of stompboxes. Some devices
are optimized for guitars (with a very high input impedance). Other effect units comply to the studio standards.
And there are also units somewhere in between.
But in general, ground effects are more suitable for use in front of the amplifier (high impedance), while 19-inch
devices are usually inserted in the effects loop of the amplifier (low impedance).
If several stompboxes are connected to a looper, the guitar might be routed once to a device with a high input
impedance, and in another loop configuration the signal from the guitar encounters a low input impedance.
Therefore, the signal loses volume and transparency as mentioned above.
To solve this problem, the Prostage Booster | Impedance Matcher can be set between the guitar and the devices.
The booster has a very high input impedance, optimized for guitars, and a very low output impedance. Therefore,
stompboxes and studio effects devices can be connected to the booster.
The impedance matching can be carried out in two places:
As the first device right after the guitar. The booster is, therefore, placed firmly in the signal path and works as a
line driver | buffer amp. The impedance matching is for the subsequent effect device. When using a looper, this
means that the impedance matching is for the first stompbox activated by a loop (chapter 3.8).
Directly in series before a certain stompbox with a too low input impedance. Like this, the booster is only in the
signal path when the effect is switched on
7.2 Capacity
Each electric component, particularly the guitar cable, has a capacity. The longer the cable is, the higher the
capacity. The capacity is a resistance which depends on the frequency of the signal. The higher the frequency, the
lower the resistance. In cables, the capacity is between the signal conductor and the shield, or ground respectively.
Thus, the higher the frequency, the smaller the resistance between the signal conductor and the ground. As a
consequence, the signal loses trebles.
Therefore, it is extremely important that you use high-quality cables and that the cable runs are as short as possible.
If you are looking for the perfect sound, you will not use a pedal board front edge of the stage, but connect your
guitar directly to the amp using a cable as short as possible. Effect units are connected directly next to the amp or
in the guitar rack with the shortest possible cables.
Page 20
In the balanced (symmetrical) signal transmission (microphone cable), the current flows between the two inner
conductors. The outer wire mesh serves only as a shield. The audio signal is no longer hardwired to the shield
and therefore is not connected to the ground. Thus the audio signal has no reference to ground and is therefore
transmitted floating (potential-free).
Balanced (symmetrical) signal:
If two devices that already have a reference to ground are connected with an XLR cable, the shield should be
connected at one end only. Usually this is not done in the cable, but directly on the device itself (e.g. by a ground
lift switch which disconnects pin 1 of the XLR socket).
The balanced signal transmission has another important advantage. The signal is fed on the two lines in opposite
phase. The input amplifier of the device that receives this symmetric signal then inverts the phase of the signal on
pin 3 and mixes it with the one from pin 2.
2
3
1
If, now, a disturbing signal interferes into the XLR cable, it interferes equally on both lines. In the example below,
e.g. upwards. The input amplifier now inverses the phase of the signal on pin 3. The interference signal is thereby
inverted phase against to the interference signal on pin 2. When mixing the two signals, the noise on the two lines
cancel each other. So, we can run much longer signal lines with XLR cables.
2
3
1
In this particular cable, the tip of the jack-plug is connected to pin 2 of the XLR connector. The ground (shield) is
connected with pin 3 of the XLR connector. Pin 1 of the XLR connector is not (!) connected.
IMPORTANT: If you connect an XLR input with such a cable, the signal loses 6 dB of its level. If you connect an
XLR output this way, the signal is boosted by 6dB. Thus, give attention to correct levels and adjust the levels using
the input and output gain controls on the device.
Page 21
Page 22
Overdrive
Distortion
Compressor
Wah Wah
Buffer
Line Driver
Fuzz
Send Return
Pitch
Shift
Modulation
Reverb
Delay
Page 23
A buffer or buffered bypass pedal (which buffers your signal even when the effect is turned off) at a strategic
point in your signal chain can help maintain your core tone when running through lots of pedals and cables.
A buffer at the beginning of your effects chain helps to compensate losses due to the long guitar cable and
converts your guitar signal to a lower impedance which will enhance driving the following effects pedals.
Fuzz pedals want to be connected directly to the pickup of the guitar. Therefore, a fuzz has to be the first device
in the signal chain, even before any Buffer | Line Driver.
Modulation effects can also be before the amp, depending on your taste. But Delay and Reverb should always
come after the distortion. Therefore, if you are using the distortion of your amp, delay and reverb belong
basically into the effects loop.
A volume pedal can be used in very different places, depending on its purpose.
- At the very beginning of the chain, the pedal causes the same as the volume pot of your guitar.
- In front of the return of the amp, it regulates the total volume in case of a serial loop, or the amount of effect
in a parallel effects loop.
12 7
foot controller X10
Page 24
Foot Controller
Guitar Input
Buffer | Line Driver
Remote WahWah
midi
midi
out A
in
ground
18VDC
250mA
12VDC
500mA
9VDC
500mA
out B
9VDC
500mA
out
return 4
send 4
return 3
send 3
return 2
in
out/thru
send 2
return 1
in
out
send 1
in
SAG
Input
Output
MIDI In
Muliti FX unit 1
Thru
Muliti FX unit 2
Input
Output
Splitter with
isolated outputs
MIDI In
Thru
Remote Volume
(VCA)
midi
in
Input
Send
Dry cabinet
in
out
Return
Line Mixer
Guitar Amplifier
out/thru
Input
Power Amp
Wet cabinet
Page 25
13. It is very important that you mark the lifted side of every cable, for example, by a colored heat shrink tubing or a
different colored connector housing. Inside the rack it must be clearly visible at any times where grounds have
been lifted.
14. The protective conductor of individual devices, so the grounding pin of the power cord, must not be lifted for
safety reasons. Thus, always build your system in a way that no grounds must be lifted at mains cables.
Page 27
This is how a professional wired guitar rig looks from the rear:
Page 28
9.
Trouble Shooting
An ohm meter: Once you have located the hum, you presumably need the ohm meter to test cables or to
measure where the ground loop goes through. For example, you can check if the housing of the device is
connected to the audio ground.
How to test a cable:
If your ohmmeter has a dial to set the range, set it to the lowest range (usually 200 ohms)
Check the resistance from the tip of one end to the tip at the other end. It should read a couple of ohms or less,
the closer to 0 ohms, the better.
Check the resistance from the sleeve (ground) of one end to the other. Once again, it should be nearly 0 ohms.
Set your meters range (if applicable) to the highest setting (usually 10M or 20M). Check the tip on one end to
the ground on the same end. It should read as an open circuit (too high to measure). If the reading bounces
around, the cable seems to have a to low impedance. This can be caused, among other things, by soldering the
plugs too hot.
Its very important when doing this test to not touch the metal parts of the test probes nor the cables themselves
that will throw off your readings. Also, dont test on a conductive surface like a metal table!
9.2 >>> IMPORTANT WARNINGS <<<
Before you connect your guitar rig to the power grid, you have to make sure that the power grid meets the
requirements. For rehearsal rooms in old buildings, this is not necessarily the case. In particular, the socket to
which you connect your guitar rig must be properly grounded and the house wiring or temporary power source
at open-air concerts must have a fault-current circuit breaker together with the fuse. In case of doubt, consult an
electrician to check the installation. For the connection to the power grid, you must use 3-wire extension cables
(with earth conductor)!
A missing or broken earth connection of your guitar rig as well as the lack of a fault-current circuit
breaker are DANGEROUS TO LIFE!!
Mains powered equipment must only be opened and serviced by qualified personnel. Especially inside tube amps,
dangerous voltages remain even if the amplifier is not connected to the power grid (the thick electrolytic capacitors
store high voltages which quickly discharges over your body when you touch them).
Page 29
12. Remove the cables from the send & return of the effect loop of the amplifier. If the noise is gone now, the
problem is with a device in the effect loop. If you have multiple devices looped, reconnect one after the other
to the amplifier to find out which device is causing the problem. It is also quite possible that more than one
device causes the hum, or that the hum is produced only by the combination of several devices in the effects
loop (for example, when using a line mixer).
13. Disconnect one MIDI cable after the other from the MIDI In side. MIDI is basically a floating, and therefore
hum-free, signal transmission. Unfortunately, not all manufacturers adhere to the standards. If the problem is
solved by the removal of a MIDI cable, the MIDI In jack of the corresponding device does not comply to MIDI
standards. The device must be modified by a qualified technician: the connection to ground from the middle
pin (No.2) of the 5-pin MIDI In connector must be disconnected. This connection must only exist on the MIDI
Out / Thru, but never at the MIDI In.
If the "bad" MIDI In jack also runs phantom power for the foot controller, the problem must not necessarily be
the ground connection of Pin 2, but it may also be due to the phantom power.
14. If the "naked" amp already hums, that is, the 10k plug is plugged into the input of the amplifier, nothing
is plugged to the effects loop of the amplifier and no foot switch nor MIDI cables are plugged in, then
the problem is the amp itself. Certain components of the amplifier wear. Especially tube amplifiers must be
serviced regularly and the tubes have to be replaced from time to time. In very old devices, also electrolytic
capacitors may need to be replaced. Have the device serviced by a qualified technician.
Page 31
10. A Few Words About Prostage and the Author of this Guitar Rig Building Guide
You want a guitar rig with the ultimate sound. We support you in this! Our aim is to ensure loss-free signal
processing and to provide absolutely reliable and road-ready systems.
How are we doing this?
In a Prostage system the guitar signal is processed completely inside the rack. Thus, there are only remote control
units at the front of the stage. Realtime effects, such as the pure analog Remote WahWah, are controlled with
an expression pedal. You switch your amp channels and stompboxes using a MIDI foot controller. The effects
themselves are fitted in the XDS Loop System. This is a 19-inch drawer with an integrated true bypass looper and
six isolated power supplies for guitar effects. In the rack, the effects are protected from flying beer cans or clumsy
singers. Further, sound and dynamic losses due to long guitar cable runs belong to the past!
The Prostage MIDI Foot Controller and Looper | Switcher are interconnected via StageWire. StageWire was developed
by Prostage specifically for stage use. This stage-prove MIDI connection provides bidirectional communication of
multiple devices via just one standard microphone cable from device to device. Further, StageWire also includes
phantom power for the foot controllers. The Prostage devices are programmed very comfortably using the System
Manager software for Mac and PC.
About Prostage
Prostage was founded in 2001 by me, Lukas Truninger. I am an experienced audio engineer and backliner from
Switzerland. Beginning in my teenage years, I was increasingly interested in audio electronics and tuned tube amps.
After completing my apprenticeship as a mechanic, I studied audio engineering at the SAE Institute.
I have worked with several international touring bands, such as Krokus or the Pepe Lienhard Orchestra (Udo
Jrgens), during the 1990s and early 2000s. In 2008, I moved the production to the EU, specifically to Spain. Here,
the Prostage products are further developed and still handcrafted with Swiss thoroughness.
My experience has now contributed to many construction details of the Prostage devices. Today, Wolf Hoffmann
from "Accept" and "Flyleaf"'s Jared Hardmann are only two of many guitarists successfully using Prostage products
on their extended tours.
Lukas Truninger
Prostage SL