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Old 15th August 2019
  #16
Gear Maniac
 
9xSound's Avatar
Thanks for all the replies!

I'm actually rather surprised to find myself alone in seeing this as an issue at all, if only a minor one. If I want to use the pattern switch, I need to be able to see and access it. Yes, I can put down my guitar and headphones and go around behind my rack, reach in through the cables and change the pattern, then go back to my workspace, get my guitar back into position, put my headphones back on and test whether I like the sound. Then repeat. And repeat.

Or, I can turn the PS around so the pattern switch faces my workspace. Now life's good. Except that now the on/off switch and LED are only visible from behind the rack. This creates a risk of an inadvertent hot connect/disconnect, which could harm the mic. And it again becomes an annoyance to get totally settled in with your guitar in position, headphones on, ready to roll and: Damn! The mic isn't on.

David Rick did a nice job of explaining my initial technical question regarding why power supplies are designed the way they are. To resolve my immediate issue, I'm sure I could rig up some sort of master power strip to position all the on/off switches in a more visible location, but that just seems like overkill. I don't have spare rack space to sacrifice just to solve what amounts to an inconvenience and the burden of remembering.

But the theoretical issue goes to something Avare alluded to: this cannot possibly be that complex electronically. All amplification must deal with the issue of potential hum. Where's that dual channel universal PS that will operate any tube mic safely, which fits into a single rack space, with voltage selectors, pattern selectors, LEDs and on/off all facing the front, while the AC line and audio cables are in the rear at a sufficient distance to dodge the hum?

I know, I know! I don't know WTH I'm talking about. Rock and roll.
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Why are all mic power supplies designed for inefficience?-ps-rear-view-l.jpg