The actual kit that went around the world in the World in Six Strings footage. Sixteen months, twelve locations, about $900 all in.
Cables are a constant in a guitarist's life, or so they used to be before guitar wireless systems became common for both the rock star and bar gigger. However, getting rid of the cable is still a tough decision, as the fear of something going wrong when the trusty old jack is not under your feet is still there.
Sharing the same fear, I went through all the most popular systems in the last decade and prepared this list of the best wireless guitar system for all budgets. I have done heavy research and got through my stage failure in the past, so you don't have to now and can get all the info you need on how to choose and buy wireless systems from my guide.
A modern digital wireless guitar system today can be as reliable as a quality cable without being very expensive as long as you choose the right one for the venue you typically play.
Even though the higher, the more reliable they become, any wireless system shares the same failure points as all wireless electronic devices. The longevity of the parts used, the battery, the signal strength, the selectable frequency bands, and the learning curve for using it properly are what you should keep in mind.
A wireless guitar system works similarly to any closed wireless system. A receiver is plugged into the amp (or anywhere you end your chain), and a transmitter is plugged into the guitar - both of which communicate in various selectable frequency ranges depending on the model used.
Nowadays, using a wireless guitar system is not any riskier than using a standard cable if you know how to set up the transmit and receiver and respect its distance and charge limits.
While it's commonly said that fewer cables equal less trouble, my rule of thumb is that any quality cable will do much better than a poor wireless system, while a good wireless system, if setup up right, will be safer and give you much more freedom than a cable can.
When they first came out, there were all kinds of stories of analog transmitters during shows picking up police radio waves in the area among passing FM frequencies from local radio stations.
Analog transmitters have low latency, strong signal, many channels, and high bandwidth; analog wireless systems suffer from interference from other channels, can compress and 'color' the sound, and are harder to pair.
Digital transmitters are overall more reliable, cheaper, easier to use, and add no coloring to the sound. The downsides go hand in hand with the price; many affordable alternatives suffer from latency issues the bigger the show and setup gets.
Depending on the size of the venues your band plays, you need a good balance of price/reliability for your rig. A more expensive system won't improve your tone but will be far more reliable than a cheap one.
If you are part of a well-known artist's touring band, all of the above are sorted by pro-grade systems that are built considering all situations and use specific safe channels.
All wireless systems have a learning curve and specific routine to follow to make the most use of them and avoid any trouble on stage.
After everything is working, adjust the volume and gain as follows:
Depending on your setup, the receiver can go on the amp, mixing desk, audio interface, or pedal board. The best option for a regular gigger is placing a receiver at the beginning of the board.
Not all wireless systems work with high-output electric guitar active pickups or a plugged-in acoustic-electric. Check the specs of what you buy or buy a specific unit for the job.
You have to be careful when picking wireless guitar systems under 100$. While all promise to work just as well as a professional system, only some are reliable enough for a small to average-sized venue and will last for months or years.
These systems are suited for beginners, regular weekend giggers, and/or players who seldom use a wireless system. If you choose a proper one and follow the abovementioned steps, you will have a fully working, no latency system.
The downside of all affordable wireless systems is they are not great at handling the unexpected and likely fail when outside conditions you have no control over put too much pressure on them.
If the venue is shaped oddly with too many walls or the receiver has to go directly to the mixing board on the far side of the room, you might experience lag on the guitar.
The main thing to look for in an affordable system is the lack of latency at close to average distance and the ability to pick between a few channels. Don't look for antennas, big separate unit receivers, and solid metal materials in this range.
The LEKATO 5.8 GHz, compared to expensive systems, is like the Squire to the Strat. The Strat is much more costly, yet a quality Squire can do a great job if the setting is right.
I have used this system for playing bass and guitar on weekend venues for years and never had a problem as long as I tested it during soundcheck. It's very straightforward and what most players need on a budget.
Considering the price, the only thing I would improve is make the transmitter and receiver slightly more apparent as it's easy to confuse them. The high gain hiss is rare but easily amendable with a slight gate.
The LEKATO has its limitation, and I eventually upgraded to a pro-grade set only when the venues started getting bigger as I stepped into the session world.
The AG10 is very similar to the LEKATO system in how they operate. It does not have as strong a signal and can get noisy at loud volumes if you don't use the gate at the start of your rig. On the upside, the battery is highly reliable and charges fast.
The SWIFF's most significant advantage is the number of instruments you can use simultaneously. The signal strength and frequency response are not the best on the list though.
Wireless systems cost as much as a quality pedal or
These systems suit regular small-average venue players who occasionally play on a bigger stage. The options here are safer, as most if not all, will cause no problems. You don't have to worry about everyday issues like battery failure, the equipment breaking down, or lagging at close to average distance.
The disadvantage of intermediate guitar wireless systems is that they can't always handle the unexpected in bigger venues and stages where failure or latency is not accepted.
While I have played festivals with a few of these units, trust them only if the soundcheck went 100% smoothly - In a high-pressure situation, go for the cable at the first sign of lag or noise.
The WS1 follows the logic of two small pocked-sized units you can carry everywhere. It has a great range and a cable tone simulator, yet it is less powerful and is battery-powered - differently than systems with a separate big transmitter.
The WL-50's most significant advantage is the transmitter design which fits on a pedal board like a pedal. You place the transmitter on your feet, connect it to the power source, and don't worry much about distance or battery.
The G-30 is overall the most powerful system among the three with its range and arguably the most reliable. You can place the receiver handily on the pedal board, yet you still need to run a short cable from the guitar to the bodypack transmitter.
In the premium range of wireless systems, prices equal that of an excellent used high-end guitar or special intermediate one. Once you get to the level of playing big stages, often with your band or as a session musician, you can't allow yourself to have flaws in your rig.
As reliable, professional gear, pro-grade systems have no direct disadvantage or risk of lagging like intermediate units. What would make you pick one unit instead of the other relates more to your band's setup and whether you need more range, more simultaneous channels, or work on a specific band.
If you're lucky enough to have a crew, ask your guitar tech or engineer before picking on. They are the ones who will most likely use it on your behalf.
The GLXD14+ price is often the starting point for professional systems. It will work perfectly in any situation, exactly a more expensive unit double its price. The only area where it lags compared to those systems is that it's not a rackmount but a tabletop unit with a slightly shorter range.
The EW 500 is a pro-grade unit with 32 simultaneous channels and extraordinary signal strength. The downside is the non-rechargeable transmitter batteries.
The QLXD14 is a high-end costly system with which you can pull a world tour as many famous players do. The receiver fits perfectly in your rack, only takes up 0.5 space, and connects with a tap, making any guitar tech happy.
If you're settled in the US, The Sure Frequency Finder will help you find the best frequency bands to use and pick between the QLXD14 H50, V50, G50, and J50A.
Answer: Despite the many opinions and famous players like Steve Vai, who still use a cable to get a 'raw' tone, a modern wireless guitar system does not affect the tone at all - In fact, the signal from good wireless equipment has less loss than a long cable, doesn't need any buffers along the way.
Considering how passionate some musicians are about the cable 'tone,' some expensive wireless system has a switch that emulates the 'vintage' signal loss of a cable.
Answer: A well-tested and set up wireless guitar system will rarely fail on a stage If you respect the distance from the receiver, check the battery limit, and pick and test the right frequency ranges.
Answer: A wireless system for guitar will work on a bass as long as it has high-quality digital transmission; analog transmitters suffer from signal loss in the low range.
It's good to have quality gear, but if you mostly play small-middle-sized venues, there are better investments than a premium long-range wireless system. Delicate equipment on which a show depends should be reliable, but there are other fault points to take care of first that the sound guys need help with.
A good tone will give your more freedom than any wireless system. For the same price as a high-end system, you could buy a value one and spend the rest on pedals that shape your tone, pickups that kills feedback, a new cabinet, or anything that will make sound better.
You don't always need the best system if you're not playing concerts regularly. However, if you compromise, it's best to compromise on the range rather than the ability to choose frequencies.
The actual kit that went around the world in the World in Six Strings footage. Sixteen months, twelve locations, about $900 all in.
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