Not only a pedal wireless guitar system that also has an integrated tuner, but the Line 6 G70 is 5 different pedals in 1. 

1. Wireless Guitar System
2. Tuner
3. ABY Switcher
4. Direct Box
5. Gain Pedal

There is no other wireless guitar system on the planet with this combination. To get into tuner mode, you must hold down the stomp button for 2 seconds. By just clicking the stomp button, you change channels. The Line 6 G 70’s transmitter and receiver are made of rugged metal, it is designed for longevity and to withstand the harsh environments of touring. You can switch between multiple transmitters by tapping on the pedal when changing channels as well.  

Of the 16 different channels on this system, you can set up and customize each of them in any way you prefer under the “Add Scene” Tab in settings. You can customize and name each channel in various ways including gain, cable length simulator, or change the LCD brightness/colors for each channel.

In the settings of the receiver, it gives you the option to simulate cable length anywhere from 5-100 feet of length, or you can just turn cable simulation off. The gain setting allows you to increase up to +12dB or decrease to -18dB where you can set the gain to an output of your choice. 

There are two ways to power the receiver, either a USB or a DC 9V that most pedal power supplies have. The receiver has an XLR output and a ground lift on its top head. On the right side of the receiver is an extra aux-in jack that may save you in a bad situation. If the receiver does not sense the transmitter in a bad signal area, it will automatically use the aux-in for the input for all the patches.

The receiver shows the battery playtime left in hours and minutes on its front screen, although using rechargeable batteries, like Tenergy, tend to make the battery reading inaccurate.

The line 6 G70 is a digital wireless system where the transmitter uses a quarter-inch cable, yet the cable that comes with it has a nice cable lock. For minimizing dropouts, the receiver has a built-in quad-antenna array with advanced dual receiver topology for signal reliability and strength. When opening the transmitter by pressing the buttons on the side while pulling it vertically, within it gives you the option to change channels, change batteries, putting the transmitter into sleep mode, or attaching a USB for updates.

Details/Tech specs

Pros-

• 5 in 1 deal wireless guitar system, gain pedal, ABY switch, Tuner, and Direct box.
• Made of Metal for durability and longevity 
• Made with Studio quality DAC and ADC converters
• Abnormally low latency at 1.48 milliseconds
• Extra aux-in jack
• Output C (XLR direct in) gives you the ability to send a balanced or full ranged signal with 120dB 
• Great Tone 
• 24-bit/48kHz uncompressed digital transmission
• Built-in quad-antenna array with advanced dual receiver topology for signal reliability and strength
• Gain setting allows you to increase up to +12dB or decrease to -18dB
• Ground lift switch attached for DI
• Receiver shows transmitters battery life
• Compatible with active pickups

Cons-

• The metal clip on the transmitter for attaching to your guitar/bass strap has many complaints. To fix this, get a Neotech wireless pouch.
• Many reviews claim dropouts occur, although some claim its rare, others claim frequently.
• Low battery life (8 hours) compared to Shure GLXD 16 (16 hours)
• 2 AA disposable batteries needed
• Does not work well with rechargeable batteries
• Reviews claim tuner doesn’t work well with banjo
• Some claim the possibility of extra noise

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The post Line 6 Relay G70 – Full Review appeared first on Perform Wireless.

The Sennheiser XSW-D with a built-in tuner operates in the globally unlicensed and unrestricted frequency band of 2.4GHz. It uses digital diversity, meaning both antennas work together to hold the connection with the transmitter. If one of the antennas gets hit with signal interference, the other antenna still holds the connection. This system is very reliable, while signal interference only happens on a rare occasion for half a second.

The Sennheiser XSW-D produces a frequency response of 10 Hz-18 kHz. The latency is at 3.9 ms is entirely unnoticeable. The XSW-D delivers excellent clarity. The difference in tone between this wireless instrument system and a high-quality cable was very minimal.

The Sennheiser XSW-D is a plugin and play system with no manual setup. Not only is the receiver designed to fit nicely within your pedalboard, but Sennheiser XSW-D has a built-in tuner as well! In case your pedalboard is running out of room, you can replace your current tuner with the XSW-D receiver. As you use the wireless receiver as your new tuner, you can then sell your old tuner for some cash. What makes the Sennheiser XSW-D even more convenient to use is its lithium-ion rechargeable battery. This eliminates consistent battery purchases saving you money down the road. Unfortunately, the transmitter only gives you 5 hours of continuous playtime.

One of the Sennheiser XSW-D Pedalboard wireless guitar systems greatest strengths is its remarkable range of 250 feet. Imagine nearly an entire football field of roaming with your instrument. The Sennheiser XSW-D has one of the greatest amounts of range for a digital wireless guitar system with 250 feet.

One of the most significant longevity risks with the Sennheiser XSW-D is the rechargeable lithium-ion battery is not replaceable. This increases the chance of needing an entirely new transmitter every 2-4 years once the lithium-ion battery dies. The transmitter that comes with this system, unfortunately, is made of plastic, making it much more susceptible to damage than metal units.

Pros

• Built-in tuner
• Generally reliable with extremely rare cutouts
• Generally good tone with minimal difference between system and cable
• Globally unlicensed and unrestricted 2.4GHz frequency band
• Uses rechargeable lithium-ion batteries

Cons

• The rechargeable lithium-ion battery is not replaceable
• Low battery life of 5 hours

Details and Tech Specs

The post Sennheiser XSW-D Pedalboard Wireless Set – Reviewing a Great Wireless Guitar System appeared first on Perform Wireless.

Below is a video that shows me using the Micro POG Effects Pedal. I run through a few different settings as I’m switching back and forth between POG and NO POG. Keep in mind that all instruments are different; you may have to play around with your settings to get the sound you want.

Bass Solo’s

Although there are many settings to choose from for the bass solo, typically your going to want to increase the high octave to some degree. There are multiple ways of using the upper octave. You can raise it anywhere from 50% plus to make it very noticeable, or you can have it in the 20-40% range for a nice subtle layer.

It’s essential to use the high octave for the bass solo considering the average non-musicians (hearing rather than feeling) audible range is in the more upper pitch register like we mentioned before. You are more than free to change the sub-octave and dry octave of what fits your sound and instrument. Preproduction is key.

Slap Bass (1:19 in video)

I’m not the best bass slapper at all, but when I use the micro POG pedal for the few bass-slapping parts I have in my bands, the crowd cheers pretty loudly (mainly for a slap intro I have for one of my bands).

I know deep down, I don’t entirely deserve the cheers from the crowd during my bass-slapping parts. Considering the non-musician ear well receives the POG sound, but I don’t care really care ;). We play music, so when the crowd has fun, we the performers have even more fun and make new fans. I can’t speak for anyone else, but the micro POG makes me as a lousy slap bassist sound pretty damn good to non-musicians. Imagine what a decent slap bassist can do with the pedal!

These are the settings I use at shows and in the video (to the right). If you prefer more of a subtle sound than what you hear on the video, decreasing the high octave to 30-40% works great. 

As a General Rule: Although this pedal may make an OK slap bassist sound better, it’s a horrible practice to hide behind your pedals. If you want to be good at slapping, practice till your very good, then add the Micro POG, you will become unstoppable.

Funk (3:54 in video)

When I say funk, I’m mainly referring to groovy fresh bass lines, not only the genre of music.  

If not all, the vast majority of famous bass lines are considered funky/groovy; whatever you want to call it. If you have a really cool part in a song that you want to be enunciated, I highly recommend one of the 2 settings to the right.

For a cool bass part that you want to layer without an extreme effect sound, use version 1. If your going for that computerized/robotic high effects sound, version 2 is a better route.

Again, this is entirely up to your taste. The fun part begins when you first receive this pedal filtering through all of the different options to use for certain songs at certain parts.    

As a General Rule: You will be able to get away with using this pedal way more by using more subtle versions of the effects. That is strictly my own opinion. On the contrary, music is an art, express it as you wish.

Organ Sound (5:27 In Video)

One of the most famous uses of this pedal for guitarists and bassists, the almighty organ sound.

Starting off the video, I show the sound of taking a bass solo with the organ sound. It’s not necessarily my go-to setting for bass solos, but I adore the organ sound for some of the lighter and more emotional parts of the song.

Before buying, make sure to check the Reviews.

As a General Rule: when playing the organ sound for your significant other, don’t hit a wrong note as I did in the video. With the organ sounds bright tone, it’s far more apparent when you mess up.

Punchy Fills (2:25 in video)

In the video, I show some ideas of only clicking on the POG during a fill, then clicking off after the fill. This is a lot easier to do when you’re at home practicing than being in the moment on stage. But for the musicians willing to put in the work to make it to that next level, there is nothing that can’t be done with ease after putting in the hard work in your off time.

The reason the dry is at 100%, is because you don’t necessarily want to lose any of the primary bass frequency while doing a fill. The goal of this technique is mainly to brighten your fills up a bit. 

As a General Rule: If you don’t want to lose any of the main bass octave/frequency, keep your dry octave at 100% than embellishing from there. Preproduction and practice are key.

Sub And High Octaves (7:01 in video)

I personally love this one when playing in the high register. This setting creates a big frequency gap between 2 full octaves sounding as if a bass player and keys are playing together. 

You can adjust the low/high octaves accordingly to fit your sound, yet this sound will only work if dry is entirely off.

As a general rule: This setting works best playing in the mid to high register of your bass, lowest note being the Low B (4 string)

I Call This Effect FAT (2:59 in video)

The video did not give this setting a fraction of what it deserves in real life. Hovering around the mid notes of the bass provides a fat sound while maintaining the note clarity with dry and high’s at 50%. I recommend not hitting a lower not than the low A, but your music/amp/bass may be different enough to where it might work to go even lower.

Another excellent method with this pedal to “Fatten” up your sound in a non-effect subtle manner, is to put the sub-octave at 20%, dry at 100% then keep it on for as long as you wish. You can use this setting for songs that need an extra layer without overkill or muddiness.

General rule: This effect is definitely not meant for bass solo, use it wisely.   

Fast Riffs In The Lower Note Register (5:10 in video)

If you have a fast riff in the lower note register of your bass, you have a bit more leeway in increasing the high octave effect without making the bass sound to much effect overkill. 

This setting works great for prog rock/metal/punk but really any style of music with a fast riff in the lower register. I highly recommend using absolutely no sub-octave for fast riffs in the lower register. That’s a way one ticket to muddy everything up.

This same setting also works great for bass solos if all your looking for is a top layer of sound to punch through. To some bassists, the bottom layer (sub-octave) may be a bit overkill for the solo.

As a General Rule: I don’t recommend keeping this effect on throughout a long duration of the song. Fast riffs and bass solos are an excellent time to use this setting.

Main Riffs (7:45 in video)

I use this setting to create a wall of sound to where the audience will never forget the main riff of the song. 

We understand that every song’s “main riff” is different. Speed, duration, genre, and pitch register of the main riff plays a crucial role in which settings for the Micro POG works best. For some odd reason, this setting works very well with nearly all of my blues-rock band’s main riffs.

As a General Rule: Make sure to test this setting at practice with your band before surprising the hell out of them at the show. It’s possible that certain pitches may not add up with the other instruments, adjustments of these settings may be necessary.

Are There Other Octave Pedal Options Besides The Micro POG Effects Pedal?

There are many other options for octave pedals. The reason I highly recommend the Micro POG Polyphonic Octave Pedal for guitarists and bassists is that every other octave pedal I have seen below this pedals price generates an intensely colored and worse tone. The octave pedals above the Micro POG’s price do have more options with the roughly same tone, but the extra options are (for me and most) unnecessary.

The Micro POG Octave Pedal is, in my opinion, the best bang for the buck. This pedal is well worth the price and I wouldn’t trade it for a more expensive octave pedal even if they paid me.

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The post The Different Ways Bassist’s Can Use The Micro POG Effects Pedal appeared first on Perform Wireless.

PROS

• Increase layers of sound
• Great for bass solos when using the high octave
• Fattens Bass tone when slightly increasing the sub-octave
• Able to turn your instrument into an organ sound
• Increases the dynamics of the song
• With all of the various settings, hard to overuse the pedal if changed settings accordingly
• Ability to make bass fills brighter/punchier 
• Very durable, made of metal (I have never had a single issue with mine)
• (Opinion) able to make an OKish slap bassist’s like me sound like I’m good at slapping
• Able to create a choir-like effect with dry 50%, sub 50%, and high 25% with bass or guitar.
• Works very good with a delay pedal
• Micro POG tracks the notes very good without coloration
• Does not add unwanted distortion (unlike many cheaper octave pedals)
• Does not add any warbles
• Works great with all stringed instruments 
• Most claims (including me) highest quality octave pedal for bass players

CONS

• A little pricey but well worth it
• Trying to remember the exact settings for each song you used it on. This process took me a while. If you don’t get it perfect, its really not a big deal.
• Some settings can make the Guitar/bass sound too metallic. Make sure to play with the settings as much as you can before a show.

The Bottom Line

Bass is what the audience feels; Without the bass, there will be no dancing, no head-bopping, no feeling in the music, and everything is empty. Unfortunately, the bass is not an instrument that’s heard as much as felt to the non-musicians ear. The reality is difficult to swallow, but us bass players need a better way to keep the audience during our solo. The Micro POG Pedal gave the audience something to feel with the sub-octave/ dry signal while giving them something to hear clearly with the high octave during my bass solos.

The audience’s reaction to my bass solos radically changed since getting the Micro POG. This time around, every riff, every note that I practiced before the show finally counts when it’s my turn to take my bass solo. If you’re interested in getting better at stage performance, see 16 Tips And Tricks To Boost Your Stage Presence For Guitarists And Bassists.

May this pedal bring non-musicians to finally compliment you on your bass solo from here on out.

If you’re looking for over-ear headphones, see our top picks here.

See the top made-in-USA sunglasses here.

See the difference between hiking waterfalls or mountains here.

Need a modern outdoor coffee table? See the top picks here.

Need an alarm clock? See the top choices here.

The post Pros and Cons Of The Micro POG Octave Pedal appeared first on Perform Wireless.

Just like the first QLXD 24 system on the list, this one is slightly cheaper with a different microphone. The QLXD24/SM58 with its digital predictive switching diversity, above 120dB, one-touch sync function, durable metal receiver, and AES 256-bit encryption; All QLXD 24 systems have incredible reliability, audio clarity, easy set-up, security, durability, and signal strength.

The universal standard SM58 is a dynamic microphone that is fantastic at rejecting background noise. With a frequency response of 50Hz-15kHz and over 120dB of dynamic range, the cardioid microphone has excellent sound quality.

The SM58 being heavier but smaller than the Beta 87A has an interchangeable mic capsule as well for greater versatility. In scenarios where you prefer a shorter but heavier mic like the SM58 but the sound of a different mic capsule, the Shure SM86, Beta58A, and Beta87A are other capsule options.

Features

• Able to change the microphone capsule for incredible flexibility
• Secure transmission with AES 256-bit encryption
• LCD menu
• Digital predictive switching diversity ensures strong reliability and signal strength
• Above 120dB dynamic range
• One-touch sync function to connect transmitter and receiver for easy setup
• Mute feature
• Durable metal receiver
• Mac, PC, and iOS-compatible for remote operation

The post Reviewing Shure QLXD24/SM58 – Tech Specs & Features appeared first on Perform Wireless.

The Shure QLXD 24 digital wireless mic system is an incredible choice for speakers, houses of worship, and musicians in a mid-sized venue. Using 24-bit/48KHz with a frequency range of 20Hz-20kHz, this system has incredible audio clarity and sound quality.

An easy setup, its One-touch sync function feature automatically scans for the most robust open channels. This feature is an essential factor in reducing interference and dropouts.

The B87A that comes with this system is a supercardioid condenser microphone. In general, condenser microphones are much more articulate, which picks up all the nuances of your voice with the downside of picking up sound elsewhere.

Contrary to that belief, most users of this mic claim there are no issues with picking up unwanted noise with the B87A mic while maintaining the positive benefits of a condenser. The mic is either charged by 2 AA batteries or Shure’s Rechargeable Lithium-ion battery.

Although the B87A is one of the highest grade sounding mic capsules by Shure with its bright and detailed sound, you still have the option to change it with its interchangeable mic capsule. It is compatible with being switched to a Beta 58A, SM58, or SM86 capsule for true flexibility and preference depending on your application. All of these capsules are sold separately.

The Shure QLXD24 has a durable metal receiver able to withstand vigorous touring conditions for years to come making it an incredible long-term investment. The AES 256-bit encryption gives the highest level of security for essential speeches where hacks or breaches are not an option.

Features

• Able to change the microphone capsule for incredible flexibility
• Secure transmission with AES 256-bit encryption
• LCD menu
• Digital predictive switching diversity ensures strong reliability and signal strength
• Above 120dB dynamic range
• One-touch sync function to connect transmitter and receiver for easy setup
• Mute feature
• Transmitters compatible with the receiver are available in a variety of forms such as handheld, bodypack, headworn, lavalier, and instrument clip-on.
• Durable metal receiver
• Mac, PC, and iOS-compatible for remote operation

Tech Specs

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The post Shure QLXD24/B87A Wireless Microphone System- Full Review appeared first on Perform Wireless.

The Shure GLXD24R/B87A with the Beta 87A is an incredible digital wireless solution for the price. This system checks 4 out of 5 boxes for what to look for in a wireless mic.

Reliability/Signal Strength

With a globally unlicensed 2.4GHz frequency band, the Shure GLXD24R has a much higher chance of a secure future from the FCC auctioning off frequencies. This system features Shure’s state-of-the-art automatic frequency management and bidirectional communication that lets your transmitter automatically link to your receiver and follow any frequency changes.

Each channel uses 6 different frequencies that continuously scan to monitor the frequency condition. After it finds the 3 clearest channels, it transmits the audio signal upon the 3 clearest audio frequencies of the 6 available. If one of the frequencies gets interference or conditions deteriorate, it automatically changes to a backup frequency without interrupting the audio. This reason is why GLXD systems have been raved about for signal strength and clarity for years.

Convenient

The Shure GLXD family has the longest battery life of any wireless microphone system of 16 hours. Better yet, it uses lithium-ion rechargeable batteries that are conveniently charged by plugging the battery into the receiver’s docking port. Not needing disposable batteries ends up saving money and becomes much less of a hassle.

Hypothetically in a situation where your GLXD 16 is completely dead and you’re already at the gig, only 15 minutes of charge gives you 90 minutes of playtime. This definitely comes in handy for a bad situation.

Microphone and Sound Quality

Like mentioned earlier, the Beta 87A is an outstanding supercardioid condenser microphone with excellent sound quality. Condenser microphones are much more detailed and articulate that pick up all the nuances of your voice. The mic is either charged by 2 AA batteries or Shure’s Rechargeable Lithium-ion battery but it’s best to use the Lithium-ion battery that it comes with.

Durability

The Shure GLXD24R is a rack-mountable metal receiver able to take on extreme touring conditions for years to come.

Range

The one thing that the Shure GLXD24R lacks is its range of Indoors: Up to 100 ft. Line-of-sight (200 ft. max); Outdoors: Up to 65 ft. Line-of-sight (165 ft. ideal conditions). Most systems on this list have 300+ feet of range. For singers or speakers who don’t need above 200 feet radius of range, this system is a sound choice.

Features

• 2.4GHz globally unlicensed frequency band
• The transmitter automatically follows the receiver frequency changes using Bidirectional communication
• LINKFREQ intelligent frequency management automatically identifies the best open channels
• Completely eliminates signal interference by continuously monitoring for the clearest signal, then automatically change to the best open frequency without notice
• Allows operation of up to 11 compatible systems
• 16 hours of battery life with rechargeable lithium-ion batteries
• Battery charging docking port on the receiver
• 200 feet radius of range
• Integrate up to 6 GLX-D Advanced systems with a single GLX-D Advanced Frequency Manager

Tech Specs

The post Shure GLXD24R/B87A Wireless Microphone System – Tech Specs & Features appeared first on Perform Wireless.

The Shure ULXD24/Beta 58A is a wireless microphone system using 24-bit/48kHz digital audio. It uses intelligent scanning and predictive switching diversity to find the cleanest frequencies to minimize dropouts and interference.

This system is basically the same as Shure’s QLXD series (1,3) with the main difference being the ULXD’s Ethernet Networking feature. This feature can be advantageous if you’re using multiple wireless devices running at the same time. Ethernet Networking allows you to streamline the setup of multiple receivers enabling the entire band to run wireless without conflict in a much easier fashion.

Microphone Beta

The Beta 58A that comes with this system is a supercardioid dynamic mic for the highest amount of isolation. This mic naturally has a mid-range boost with a dip in the bass for singers who prefer a punchier high end. With very low handling noise and an increased mic frequency response of 50Hz to 15kHz, many sound engineers and singers are moving from SM58 to Beta.

Features

• Predictive switching diversity
• Ethernet networking
• Gain adjustment on the front panel
• Secure transmission with AES 256-bit encryption when security is needed
• Large LCD screen
• Made of durable metal
• 12 hours of play time with Shure Lithium-Ion Rechargeable Batteries
• Intelligent signal scanning automatically finds and switches to the cleanest frequencies
• Flat frequency response (actual frequency response depends on the microphone) 

Tech Specs

The post Shure ULXD24/Beta 58A – Reviewing A Great Wireless Microphone System | Tech Specs & Features appeared first on Perform Wireless.

The Shure GLXD 14R is a rackmount digital wireless guitar system that operates in the globally-unlicensed 2.4GHz frequency band. Unlike analog wireless guitar systems, there is no need to purchase an additional license, nor will your frequency ever be banned from certain countries using a digital system.

When first powered up the receiver searches for the best available frequency, then connects it to the transmitter. It does this automatically without having to press any extra buttons. Up to 9 systems can be used at once.

The Shure GLXD family stands out from all wireless guitar systems in terms of its performance reliability, consistent signal strength, and most extended battery life with rechargeable lithium-ion batteries.

Those who prefer to rackmount their wireless receiver rather than putting it in their pedalboard or on top of their amp will tremendously benefit from the Shure GLXD 14R.

This system has a charging port located on the right-hand side of the receiver for the lithium-ion rechargeable battery. Each lithium-ion battery for this system and the rest of the GLXD series lasts 16 hours per full charge and total life of 13,000 hours.

Reliability 

The Shure GLXD family is superb in terms of reliability. Each channel uses six different frequencies that continuously scan to monitor the frequency condition. After that, it transmits the audio signal on the three clearest audio frequencies of the six available. If one of the frequencies get interference or conditions deteriorate, it automatically changes to a backup frequency without interrupting the audio.

This is why GLXD systems have been raved about for signal clarity and reliability. It is a straightforward set up that automatically links the receiver and transmitter together. There is no need to set channels or mess with settings.

Tone

There is no noticeable difference in tone between the Shure GLXD 14 and a quality cable. Like all of the GLXD series by Shure, the frequency response is at 20Hz-20kHz with a dynamic range of 120dB. (great for bass players)

Every review of all Shure GLXD series claims the same tone between the wireless system and a quality cable, including me with my GLXD 16.

Durability 

The Shure GLXD 14R’s receiver and the transmitter are made of metal giving this system 5 of 5 stars for durability and longevity. For more protection for your transmitter from impact, dust, humidity, and sweat, we highly recommend adding the Neotech wireless Pouch from Amazon at $15. As a matter of fact, we recommend that pouch for all wireless transmitters.

Convenience 

The Shure GLXD 14R is the all-time most convenient wireless guitar system for a musician who wants to rackmount his receiver. Tied for 3rd for the most extended battery life of 16 hours with the GLXD 14 and GLXD 16, this system also eliminates disposable battery purchases. The lithium-ion battery that comes with purchasing this unit is recharged in the receivers charging port, making this system that much more convenient.

Range

All of the Shure GLXD family’s greatest and only weakness is that the range is not as far as most of the wireless guitar systems on this list.  Indoors: Up to 100 ft. Line-of-sight (200 ft. max); Outdoors: Up to 65 ft. Line-of-sight (165 ft. ideal conditions)

All though it is clearly more than enough to cover the biggest of stages, if you’re looking to take a solo deep within the crowd at a massive stadium, this may not be the best wireless choice for you. I personally use the Shure GLXD 16, which has the same range as the GLXD 14 and 14r, and I have never once had a single problem with range.

Features 

• Up to 9 compatible systems simultaneous channels (11 in ideal conditions)
• Ability to charge the battery in receivers charging port
• Rackmountable
• Compatible with active pickups
• Comes with Lithium-ion rechargeable batteries up to 16 hours of use per full charge and 13,000 hours total. Extra Shure SB902 Rechargeable Lithium-Ion Battery for GLX-D sold separate.
• Automatic Frequency Management by Shure’s GLXD family is used for clear audio easy auto-setup.
• Transmitter and receiver automatically change through frequencies together using bidirectional communication

Tech specs/details

Pros

• A very reliable wireless guitar system (little to no dropouts)
• High battery life (16 Hours)
• Lithium-ion rechargeable batteries cutting battery cost
• Battery charging port located on the receiver
• Metal transmitter and receiver (longevity and durability)
• Unnoticeable tone difference compared to quality cable
• Auto setup between transmitter and receiver
• Clear and clean audio
• Rackmountable for musicians who prefer a rackmount
• Globally-unlicensed digital transmission

Cons

• Higher latency than other wireless units 4 – 7.3 ms, yet still unnoticeable
• Lower range than most wireless guitar systems on this list

If you’re looking for over-ear headphones, see our top picks here.

See the top made-in-USA sunglasses here.

See the difference between hiking waterfalls or mountains here.

Need a modern outdoor coffee table? See the top picks here.

Need an alarm clock? See the top choices here.

The post Shure GLXD 14R – Reviewing A Great Wireless Microphone System appeared first on Perform Wireless.

The Sennheiser’s ew 500 G4 is an incredible rackmount Analog wireless guitar system that operates on 88MHZ. This system has a significantly lower chance of running into signal interference or dropouts for analog systems, considering it provides 3,520 tunable frequencies. Typically more frequencies for an analog system means less of a chance there will be a dropout.

The wireless uses an auto frequency scan that finds the best open channels. You can use up to 32 different channels with the receiver for incredible versatility. The Sennheiser EW 500 G4 comes with a unique integrated sound check and equalizer feature as well.

Reliability 

The Sennheiser EW 500 G4 provides 3,520 frequencies using true diversity for one of the most reliable analog wireless guitar systems to date.

Tone

One of the few perks of using an analog system is that there’s no latency. On top of that, the Sennheiser ew 500 G4 uses HDX compander for very clear sound.

Durability 

Both the transmitter and receiver are made of metal for increased longevity and durability. Apparently, Sennheiser designed this system for extra protection against humidity and splashes of water/sweat as well. Although this system was created with metal and additional protection from moisture, we always recommend attaching the Neotech wireless pouch to the transmitter to be safe. A $13 investment in a pouch that can save you roughly $200 in a transmitter is a perfect deal.

Convenience 

The Sennheiser EW 500 G4 uses a rackmount receiver where you can either place the receiver on your amp or a rackmount. If you already use a rackmount, this system will be very convenient for you to use.

Unfortunately, like the vast majority of wireless guitar systems, The Sennheiser EW 500 G4 uses disposable batteries. This can become very inconvenient and costly after a while. The only wireless guitar systems on this list that use high-quality rechargeable batteries are of the Shure GLXD series.

Range

One of the most impressive qualities of this system is the incredible range of 330 ft. Imagine crowd surfing a football field worth of audience as you take your solo.

Features 

• Up to 32 Simultaneous channels
• Built-in Equalizer
• Built-in Sound Check Mode
• Able to use up to 16 in-ear channels with the receiver
• Mute button after programming it
• Auto frequency lock function
• Enhanced AF frequency
• OLED display with automatic dimming, blue sync LED, red warning LED, and dedicated Escape button
• Transmitter shows battery life

Pros

• Range
• Durable (Both transmitter and receiver made of metal)
• Incredibly reliable true diversity analog system using 3,520 frequencies to choose from
• Built-in sound check and equalizer mode
• Incredible frequency response 10Hz-20kHz (great for bass)

Cons

• Expensive at $849
• Needs AA disposable batteries
• Some countries require a license to use an analog system
• Low battery life (8 hours) compared to Shure GLXD14R (16 hours)

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The post Sennheiser EW 500 G4 – Reviewing A Great Wireless Analog Guitar System appeared first on Perform Wireless.