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If a buzz is encountered, a quick test to see whether or not the jumper position should be

changed is to hold a wire (a piece of speaker cable with bare ends or guitar cable tips)

against a chassis screw of the source and the grounding post of the 2-Bus. If the buzz

goes away, then the 2-Bus top should come off and the jumper position should be

changed. We'll repeat the appropriate cautionary notes from page two here:

5. If one is uncomfortable with opening gear and changing jumpers or making

adjustments, please seek qualified help if necessary.

6. If adjustments or jumper changes are required, please disconnect the mains plug

before opening the top. Dropped screws or tools on a live circuit board can manifest themselves

as burn marks and smoked components. While we feel your pain, (been there) subsequent damage

is not covered by the warranty.

The jumpers are located on the main audio board where the input wires connect. The

inputs are labeled and in order so finding the correct jumper is easy. These tactics rarely

need to be performed but if they do, please work on a well-lit table or workbench. We

always clean off enough space to have plenty of room so as not to lose screws and tools.

Using a cloth or other pad underneath the equipment will prevent scratches and damage

both to the gear and to the table.

Next is a quick set of hints about where to look when trying to cure buzz troubles

in a recording studio. While the techniques are not meant to be taken as Gospel (some

techs might disagree with this treatise, so be it) these bits of knowledge were gleaned

from decades of experience in test equipment use, manual reading, facility design,

construction, trouble-shooting and being the chief of maintenance in some of the world's

top studios, as well as problem solving in the home studios of rock stars and remote

recording/live sound situations. These hints have proven to work in many situations while

keeping systems safe and quiet.

Grounding Revisited

While the usual scenario in hooking up equipment is that one plugs in the cables and

starts to work, the more complicated a system, the more likely it is that something will

not work correctly as far as hum and noise performance is concerned. While some would

blame the equipment, this is the equivalent of blaming the eggs for a bad soufflé. Usually,

hum and noise problems (and jitter or clock troubles in digital interfaces) can be traced to

poor planning and implementation of the studio's grounding situation. It is illuminating

to realize that the engineers of yore in the recording, broadcast, and communications

industries have been through these troubles and figured out the solutions. History can

teach us a lot about how to avoid ground loops and their associated problems. The

manuals of many test instrument and recording equipment manufacturers from the '50's

to the 80's had chapters on how to fix hum and noise problems, and it is from this wealth

of information that the writer draws ideas from for trouble free grounding schemes.

Dangerous Music 2-Bus Manual