![]() ![]() This is particularly noticeable in analog AV setups, where the result is audio hum or visible bars in a picture, but is also sometimes the cause of unexplained equipment failures. This provides two separate paths to ground (B can go through its own connection to ground or it can go through the ground of the cable to A and then to A’s ground), and means that current may start flowing in unanticipated ways. The ground loop in a nutshell is what happens when two separate devices (A and B) are connected to ground separately, and then also connected to each other through some kind of communication cable with a ground, creating a loop. Understanding them will doubtless save you money and hassle. I'll redo the test with the P-Split and see if it reproduces in marginally different circumstances, and see if I can figure out what (else) is happening.These magical creatures crop up out of nowhere and fry your electronics or annoy your ear holes. Ground loops have been a problem, hence my experience with all these isolation solutions. In terms of design flaws, anything with a mains transformer that close to all the circuitry is prone to self noise, but it's no worse than an amp channel at similar levels of gain. It does something (full on amp channel in a box) drive better than anything else I've treid, but that is specifically with the HB, which has the 220k input in the clean channel as I use it. ![]() ![]() It ends up being fuzzy rather than fat.Ī bit of judicious tube swappery has it operating in a more useful range. The EQ is very sensitive and interactive, and there's far too much gain in the stock circuit with 12AX7s. On the subject of the Two Tone, what seems most relevant to me in terms of the sounds it makes is that it's very easy to make it sound rubbish, regardless of what you're feeding it into. My imagination (and a few episodes of That Pedal Show) suggest that impedance (mis)matching with big old(school) devices is an issue, and the presence of intervening transformers might make it more apparent. My only further observation here is that given we're talking about two old-tech (if not actually old) bits of kit, the chances of there being something application-specific to skew the results are quite high. As it goes, the only thing that might do the job here that I've not owned is the StageBug 6, and it most certainly made it on to my list to check out. That was more noticeable through the iso channel, and I still think it has something to do with the slightly odd input stage on the HB Love channel, which is the same one that the P-Split and Two Tone issue was most apparent. I did own the Humdinger as well at one stage, and that had a similarly subtle but noticeable effect on the sound at the amp (relative to straight in). Again, adding the buffer was the solution - things were much more consistent after that. That was most apparent into an AC50, but it definitely had the same effect across the board with different amps. Previously, I had an issue with the isolated out of the Radial Big Shot ABY being dull if not buffered. I had assumed that the high Z transformer would not care especially about being after effects, even my unusual choices, but it most certainly did. From the stuff in the manual, Lehle seem to be expecting the P-Split to be the first thing after the guitar, which would be a very different use. Adding the MXR CAE 401 (I think that's the right code) allowed me to achieve something like unity with the signal not through the Two Tone chain. That was most clear directly into the FX return of the Heartbreaker, but it was also apparent into the preamp. ![]() After the Bad Cat Two Tone, which I assume has a very high output impedance for a number of reasons, it robbed a load of bass and signal. Well, the transformer in one case was the one in the Lehle P-Split III, which I can imagine would back as being a good transformer. ![]()
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