Wired.

Hey Les, I have a kinda/sorta similar set up; I run 2 amps, and run my guitar through a ABC switcher (Morley, at the time the Lehle wasn't in stock). I get noticeable buzz when I hook everything up though! Is this the ground loop to which you were referring?
 
Hey Les, I have a kinda/sorta similar set up; I run 2 amps, and run my guitar through a ABC switcher (Morley, at the time the Lehle wasn't in stock). I get noticeable buzz when I hook everything up though! Is this the ground loop to which you were referring?

Sure is. What's happening with your rig is that there are two paths to ground for the signal, creating a ground loop. So you get a buzzing noise, or significant hum. The Morley isn't really designed to be connected to two amps, it's really more designed to connect two guitars to one amp, etc.

The Lehle not only switches the audio signal to the other amps, it also automatically switches the ground to the amp you've selected, thus preventing a ground loop. But there's a pretty easy fix -- all you need is a transformer box to lift the ground on one of the amps. You don't want to use a plug adapter to lift the ground of the amp itself, because that isn't safe. You want to lift just the signal ground. I have the Lehle P-split for that purpose, it's transparent. But since it's a passive box, you have to be using a buffered signal to avoid level drops.

However if you have two amps, you could combine everything by just getting the Fulltone ABY, that has a buffer, and individually selectable ground lifts. You simply lift the ground on whichever amp lets the signal turn out to be the quietest. Of course, you have to have one amp's signal grounded because the pickups need a grounded connection on at least one amp.

The Fulltone isn't terribly expensive, and that's what I'd have bought if I only had two amps instead of three and didn't need the features of the Lehle, like programmability.
 
Thanks Les! I am going to try to get one in by Saturday; if I don't get buried in snow, I have a show in Ocean City, MD during which I could use it!

Try it before the show to make sure Les actually has a clue to what Les is talking about first, though! ;)

And have a fantastic show!
 
So this little box shipped today. It's a DC filter designed to remove the DC offset that some vintage and vintage style tube amps can present to a switcher or pedal. The idea is to prevent the slight switching pop I've experienced with one of my amps and a variety of pedals.

Some effects boxes and pedals also can have a DC offset, and not the amp. So each situation can be different.

I will update with further info on its mysterious ways once it arrives. There are no controls. You plug the output of the pedalboard (or pedal) into one end, and the amp's input into the other end. The claim Lehle makes is that it not only filters the DC offset but is also sonically transparent.

I will put it to the test.

images
 
Wow a DC filter, I never knew they had such a thing, I think I'll get one just in case. And thank god it's not the size of a rack, I'm really out of space ;)
 
Wow a DC filter, I never knew they had such a thing, I think I'll get one just in case. And thank god it's not the size of a rack, I'm really out of space ;)

I didn't know about these, either! Seems to me it's a good tool to have around. Small, handy for when you need it, and inexpensive. What remains to be seen is whether it colors or changes the sound quality.

Obviously, it isn't going to solve the problems of something like a faulty switch, or noise that isn't related to DC offset.
 
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Hey Les iv been meaning to ask you, how do you like you Fulltone deluxe wah? I only ask because I have one too, but I'm finding my self using the original more. I definitely like the new deluxe, especially with all of the features like a biltin buffer. But there is something about the original,it's sweeter or something.
 
Hey Les iv been meaning to ask you, how do you like you Fulltone deluxe wah? I only ask because I have one too, but I'm finding my self using the original more. I definitely like the new deluxe, especially with all of the features like a biltin buffer. But there is something about the original,it's sweeter or something.

You know, I had the original, too, before this one. The thing with wahs is that as good as the Fulltones (and Teese and other good wahs) are, the parts tolerances aren't exactly space-age. They vary a little from wah to wah. They all sound a little different, even within the same model run.

So it's hard to say. I haven't noticed a difference between the new one and my older one, but that could just be those particular individual wahs.

I had a phenomenal sounding early Teese wah, sold it because it was really a little too vocal-sounding (what some call the "vomit" sound), but at one point I missed it before getting the Fulltone. I tried some others of the same model (RMC) and couldn't find one that sounded the same.

In the late 60s I had a Vox wah that killed. It lasted a long time, and just couldn't be fixed when it finally died some time in the late 70s. I couldn't find anything like it until I found the Fulltone. I tried some Vox 847s modded by a guy in Texas that sounded very good, and had one for a while. But for overall utility, I like the (new) Fulltone and find it useful. Especially because I like vintage style fuzzes after the wah.
 
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You know, I had the original, too, before this one. The thing with wahs is that as good as the Fulltones (and Teese and other good wahs) are, the parts tolerances aren't exactly space-age. They vary a little from wah to wah. They all sound a little different, even within the same model run.

So it's hard to say. I haven't noticed a difference between the new one and my older one, but that could just be those particular individual wahs.

I had a phenomenal sounding early Teese wah, sold it because it was really a little too vocal-sounding (what some call the "vomit" sound), but at one point I missed it before getting the Fulltone. I tried some others of the same model (RMC) and couldn't find one that sounded the same.

In the late 60s I had a Vox wah that killed. It lasted a long time, and just couldn't be fixed when it finally died some time in the late 70s. I couldn't find anything like it until I found the Fulltone. I tried some Vox 847s modded by a guy in Texas that sounded very good, and had one for a while. But for overall utility, I like the (new) Fulltone and find it useful. Especially because I like vintage style fuzzes after the wah.
Yeah you might be right. I actually had all the all the models of the Fulltone line and I wanna say there's three, all a little "more". I took them all apart and noticed that the original was all old school. Still the same as far as circuit board goes but less "electronic". I think it has .one to do with voodoo lol. Yeah from what I heard from my more seasoned buddys, the old vox wahs, if you could find the good ones where something to keep.
 
Yeah from what I heard from my more seasoned buddys, the old vox wahs, if you could find the good ones where something to keep.

They were great. Mine was so worn out that I actually broke the treadle in half at one point, and duck-taped a piece of wood to the treadle to hold it together! It really looked bad!

Finally the pots wore out, and it sounded kind of crummy, but I never threw it out. It just disappeared at some point...I still don't know exactly what happened to it. It might have been in a bag of gear I gave my nephew when he wanted to get into music, which he never really did; he threw that in the trash along with a combo organ from the 60s I gave him...which...yeah, still burns me....
 
You know, I had the original, too, before this one. The thing with wahs is that as good as the Fulltones (and Teese and other good wahs) are, the parts tolerances aren't exactly space-age. They vary a little from wah to wah. They all sound a little different, even within the same model run.

So it's hard to say. I haven't noticed a difference between the new one and my older one, but that could just be those particular individual wahs.

I had a phenomenal sounding early Teese wah, sold it because it was really a little too vocal-sounding (what some call the "vomit" sound), but at one point I missed it before getting the Fulltone. I tried some others of the same model (RMC) and couldn't find one that sounded the same.

In the late 60s I had a Vox wah that killed. It lasted a long time, and just couldn't be fixed when it finally died some time in the late 70s. I couldn't find anything like it until I found the Fulltone. I tried some Vox 847s modded by a guy in Texas that sounded very good, and had one for a while. But for overall utility, I like the (new) Fulltone and find it useful. Especially because I like vintage style fuzzes after the wah.
HI Les,i too have been looking at a new wha last couple of months and I think i'm pretty much set on a fulltone. The standard seem's very nice but for an extra £30quid the deluxe seem's the nut's,just need to have my arm twisted a bit more.Any view's i'm getting paranoid now & want a new good toy !!!
 
HI Les,i too have been looking at a new wha last couple of months and I think i'm pretty much set on a fulltone. The standard seem's very nice but for an extra £30quid the deluxe seem's the nut's,just need to have my arm twisted a bit more.Any view's i'm getting paranoid now & want a new good toy !!!

I'd get the deluxe just for the extra bells and whistles.

One reason I like the Fulltone wahs I forgot to mention earlier: they are very well shielded. Instead of the enclosure being a zinc housing like most wahs, Fulltone uses steel.

Most wahs I had in the past were extremely susceptible to hum and noise, especially if there was a power supply or wall wart anywhere near the wah. This is not the case with the Fulltone. The ones I have had are much more immune to induced RFI and RMI than any other wah I've tried. As an example my Teese RMC generated noise if it was within two feet of a wall wart power supply, and the noise came through even with the wah switched off. When the wah was switched on, there was a loud hum and buzz. I've had others that also had this issue.

My old board needed a wall wart power supply for a pedal and the AC outlet on my old board was right under the Fulltone wah, so the distance was maybe an inch or two. No noise! Of course, a wah will generate some normal noise and accentuate the noise from pickups, because of the nature of the filter when it's switched on, that's what wahs do. But it's dead quiet when the wah is off. And there is no humming or buzzing when it's on.

That alone justified the purchase, as far as I'm concerned. So for me...for studio work...nothing beats it.
 
I've had interns, but I've paid them. I don't believe in having guys work and not get paid. Because we all have a lot to learn on any job. And if someone's going to help me in the studio, thus help me make money, that person is going to be paid.

However, at this point the only thing an intern would be needed for would be to move furniture and amps. Otherwise he or she would just be underfoot in my house. So...nah.

Anyway, I have the HXDA, the DG30, and the Lone Star. I can't think of an amp I need that isn't pretty much covered.

Oh wait. A Vox.

But I'm not gonna go there. I wouldn't be able to get it down the stairs in my weakened state. I had to call my brother to help get the Lone Star into the studio, and the two of us old guys wound up sliding the box down the edge of the stairs at an angle, we couldn't wrangle it like younger men do. I have to laugh at myself for getting a combo amp! WTF was I thinking? I literally can't lift it!!

Yeah, it came with wheels, but I'm too weak to tilt the amp back, put the wheels on, and lift it back up. That's really, really, really sad!

Never buy an amp you can't lift by yourself. Right now, for me, that's just about any amp! LOL

AC-15 Handwired. Problem solved...

vox_ac15hitvl.jpg
 
AC-15 Handwired. Problem solved...

vox_ac15hitvl.jpg

Great suggestion for the physical issues, but it can't solve my problem...see, I've never been a fan of the AC15's sound. I love a good AC30, so it's truly strange that the 15 watt version never did it for me for some reason, going back to the 60s and 70s.

Maybe it's just the differences in the power and transformer section of the amp, or the two speakers in the cab (I've never loved 1x12 combos).

Could just be down to the way 15 watts doesn't push a speaker as hard. Can't say precisely why, I'm not sophisticated enough regarding amp design. I respect the AC15, and I know a LOT of guys who have one in their studios. Heck, Pete Thorn has one, and he makes his sound pretty good. It's just not my thing.

That's a really good looking one, by the way. Is it yours?
 
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I'd get the deluxe just for the extra bells and whistles.

One reason I like the Fulltone wahs I forgot to mention earlier: they are very well shielded. Instead of the enclosure being a zinc housing like most wahs, Fulltone uses steel.

Most wahs I had in the past were extremely susceptible to hum and noise, especially if there was a power supply or wall wart anywhere near the wah. This is not the case with the Fulltone. The ones I have had are much more immune to induced RFI and RMI than any other wah I've tried. As an example my Teese RMC generated noise if it was within two feet of a wall wart power supply, and the noise came through even with the wah switched off. When the wah was switched on, there was a loud hum and buzz. I've had others that also had this issue.

My old board needed a wall wart power supply for a pedal and the AC outlet on my old board was right under the Fulltone wah, so the distance was maybe an inch or two. No noise! Of course, a wah will generate some normal noise and accentuate the noise from pickups, because of the nature of the filter when it's switched on, that's what wahs do. But it's dead quiet when the wah is off. And there is no humming or buzzing when it's on.

That alone justified the purchase, as far as I'm concerned. So for me...for studio work...nothing beats it.
Thank's very much Les maybe that's part of why my old cry baby is a bit on the noisy side.much appreciated ill be ordering straight away cheer's Al
 
Great suggestion for the physical issues, but it can't solve my problem...see, I've never been a fan of the AC15's sound. I love a good AC30, so it's truly strange that the 15 watt version never did it for me for some reason, going back to the 60s and 70s.

Maybe it's just the differences in the power and transformer section of the amp, or the two speakers in the cab (I've never loved 1x12 combos).

Could just be down to the way 15 watts doesn't push a speaker as hard. Can't say precisely why, I'm not sophisticated enough regarding amp design. I respect the AC15, and I know a LOT of guys who have one in their studios. Heck, Pete Thorn has one, and he makes his sound pretty good. It's just not my thing.

That's a really good looking one, by the way. Is it yours?

That's a stock photo, but I have the same amp. My PRS 12-string and my Gretches love that amp!

I had a Brian May AC-30 that was a BEAST, just too damn loud for home use... Plus, it weighed more than my car...
 
That's a stock photo, but I have the same amp. My PRS 12-string and my Gretches love that amp!

I had a Brian May AC-30 that was a BEAST, just too damn loud for home use... Plus, it weighed more than my car...

I remember that AC30 model, it was great! But yeah, they can be loud!

Still, I got addicted to that AC30 tone back in the day, and a hankering for it has never quite left. Maybe that's why I never bonded with an AC15...it wasn't an AC30!

I keep saying that one day I'll get a real deal AC30, and a company in England has bought the JMI name and makes a real clone of the 60s models. I've heard the clips, and they're incredibly authentic.

If my nerve problem heals...yeah, I can't head into old age never having owned a true AC30 clone.
 
Circling back for the moment to the original point of the thread, having the ability to switch easily between the amps from right next to the workstation is SUCH a timesaver! I can set up a mic in front of each amp I plan to record, hit a switch, and there's the amp, no noise, no switching pops, no hums, no buzzes. This Lehle box is really good.

I just move to the next track, and I'm ready to go. Boom, zoom, done!

The initial issue I had with switching noises was cured by the DC Filter from Lehle when I put it between the pedalboard and the DG30. It's a tiny little box that I can stick right into the pocket of a guitar case (or in my gear cabinet in the studio). So simple, and solves a problem most guitar players scratch their heads at. I always used to wonder why some pedals seemed to make switching noises with certain amps, and not with others. Now I not only know why, I have this very simple solution.
 
Circling back for the moment to the original point of the thread, having the ability to switch easily between the amps from right next to the workstation is SUCH a timesaver! I can set up a mic in front of each amp I plan to record, hit a switch, and there's the amp, no noise, no switching pops, no hums, no buzzes. This Lehle box is really good.

I just move to the next track, and I'm ready to go. Boom, zoom, done!

The initial issue I had with switching noises was cured by the DC Filter from Lehle when I put it between the pedalboard and the DG30. It's a tiny little box that I can stick right into the pocket of a guitar case (or in my gear cabinet in the studio). So simple, and solves a problem most guitar players scratch their heads at. I always used to wonder why some pedals seemed to make switching noises with certain amps, and not with others. Now I not only know why, I have this very simple solution.
You should have a midi mic switcher too. So when you switch amps it also switches to your favorite mics as well. The future is here Les~
 
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