Have you ever wanted to crowd surf while busting out a guitar lead? Hit those vocal high notes as you climb the rafters at Reading and Leeds festival Eddie Vedder-style? But your guitar leads are holding you back? It might be time for a wireless system.
As a previously professional touring musician who has played Glasto, Reading, Leeds, and shared stages with multiple musicians, I can tell you that guitar leads can seriously get in the way. Mic and guitar leads (although useful) sometimes hinder performance, especially if you want to move into the crowd and crack out a killer solo while neck-deep in the pit.
When playing at a festival, the thing that sets you apart from other bands is the connection between the audience and performer. So let’s face it – if you’re onstage playing a festival you don’t want to stand in the same spot!
So, we’re looking at the 9 best wireless systems for festivals that won’t let you down, perfect for singers and guitarists who want to move around the stage and say goodbye to those guitar leads. They’ll ensure your sound is as good as, if not better, than a wired version and set you free onstage.
Top benefits of a wireless system for a festival
In a nutshell, the main benefits of a wireless system for a festival are:
- They allow you to move freely between the stage and crowd
- They’re more reliable than leads as no one can tread on them and break them
- They actually improve the tonal qualities of the sound as there are no issues with poor cable soldering
- In a festival setting, being able to move around and connect with the crowd could be the difference between a good performance and a great one.
Keep reading for more detail on the specific benefits for guitarists, bass players, and singers later in the article.
In a hurry?
Here are our top 3 picks for the best wireless systems for a festival.
| Shure GLXD24+/SM58 Digital Wireless Microphone System | The Shure GLXD24+ has 12 hours of use, is ultra-reliable thanks to dual-band connectivity, and comes with the industry standard live vocal mic, the Shure SM58. | Check the current price |
| Line 6 Relay G50 Wireless Guitar System | The price point is incredible and the 200 ft range gives you wireless freedom of the guitar with the same tonal quality as a wired system - for the tone snobs out there! | Check the current price |
| Electro-Voice RE3-ND96 Single Handheld Wireless Mic Set, Band 8M | This mic has a supercardioid polar pattern for greater precision, perfect for solo vocalists where your voice is the focus rather than the band, and the frequency scanning allows you to choose both free and licenced channels. | Check the current price |
Best wireless systems for festivals
1. Shure GLXD24+/SM58 Digital Wireless Microphone System
Licence-free wireless system with the industry standard live vocal microphone
Key features:
2.4 GHz & 5.8 GHz wireless operating frequencies
Dual-band technology keeps you connected at all times
12 hours of runtime from the included rechargeable lithium-ion battery
Includes the SM58 live vocal mic
Pros:
Dual-band technology ensures better signal stability and auto connection
Long battery life with quick-charge function for extended use and quick setup
Industry-standard SM58 dynamic microphone included with a cardioid polar pattern
Cons:
A higher price point could be a barrier – but it’s definitely worth the investment
If you want to get the best possible live vocal sound in a wireless system, the Shure GLXD24+/SM58 Digital Wireless Microphone System should be your first consideration. The SM58 is easily one of the best, if not the best, live vocal mics ever, and the fact you get this with the brand new Shure GLXD24+ system is a killer deal. For more info on great live vocal mics, take a look at our article here.
The mic’s robust aluminium alloy and ABS plastic housing ensure durability and reliability on stage, so if you drop it (and you likely will at some point in your career) you’re OK! The high level of off-axis rejection also means your sound engineer won’t have to battle with the other onstage musicians.
The major benefit here is that the GLX-D+ system automatically pairs between transmitters and receivers, (the box and the mic) so you don’t have to worry about setup. Just turn up and plug in. This is a huge benefit if you’re in a touring band or setting up between festivals. Stage changeover is around 15 minutes – you don’t have time to mess with setting up!
You also get a whopping range of up to 100 feet (30 metres) which is more than enough for a festival
Again, the fact that the dual-band wireless technology scans both 2.4 GHz and 5.8 GHz bands (we cover what this means below) to find the cleanest channels for your performance makes sure you have a stable, interference-free connection, without the risk of dropouts.
You may not always have time to charge your battery pack after the gig, but that’s fine as the rechargeable lithium-ion battery provides up to 12 hours of continuous use at the 5.8GHz band and 17 hours in the 2.4GHz band on a single charge. If you only have limited time before you go onstage, the quick charge feature offers 1.5 hours of use after just a 15-minute charge, which is long enough for a festival slot.
Shop now | Shure GLXD24+/SM58 Digital Wireless System
2. AKG DMS100 Wireless Instrument Set
One of the easiest to operate and set up wireless instrument systems on a small budget
Key features:
Wireless range up to 100ft 30 metres (100ft) – more than enough for a festival stage
High-res 24-bit/48kHz audio transmission which is studio quality
Easy to use with plug-and-play usability and push-button channel pairing
Long battery life (up to 12 hours) for reliable performance on the road
Very budget friendly
Pros:
Large 30-metre operating range, perfect for wide open spaces.
Budget-friendly at just over £200
Licence-free operation on the 2.4GHz Wireless Operating Frequency
Cons:
You can’t recharge the batteries – you need 2xAAs each time
We’re now in the realms of guitar and instrument packs. The AKG DMS100 Wireless Instrument Set is one of the best wireless systems for festivals as, again, it lets you set up in seconds and provides a reliable sound that retains the tonal qualities of your instrument.
The high-frequency range and 24-bit/48kHz audio transmission actually make it the perfect option for recording situations too. But the major benefit for festivals is the fact you get a better sound than you would with a guitar cable – which is pretty awesome.
The wireless range is up to 30 metres, which is around 100ft, providing musicians with the freedom to move around the stage without any restrictions. You also get usage of up to 12 hours from 2x AA batteries, which is more than enough for a week’s worth of hour-long sets with one pack of batteries.
AKG have made it super simple to operate straight out of the box, with a simple plug-and-play setup that requires no technical expertise whatsoever (your drummer can even operate it – jokes!). Just plug your guitar in, hit the channel pairing button, and you’re good to go!
Another key benefit is the fact it runs on the global licence-free 2.4GHz frequency range which the unit automatically scans for when you turn it on – perfect if you’re in a hurry.
Overall, the AKG DMS100 Wireless Instrument Set is an excellent choice for musicians, guitarists, and bass players on a budget who need a reliable and high-quality wireless system for festivals that they can plug and play.
Shop now | AKG DMS100 Wireless Instrument Set
3. Electro-Voice RE3-ND96 Single Handheld Wireless Mic Set, Band 8M
Supercardioid polar pattern for high-quality vocals and 8m band licence-free operation across Europe
Key features:
ND96 Capsule with supercardioid offers superb off-axis rejection
Frequency channel scan lets you choose a free frequency – perfect for busy festivals
863 – 865MHz band is licence free across most of Europe
Sync function on the transmitter and receiver gets you set up in seconds
Pros:
Supercardioid capsule
Licence-free operation in Europe
The frequency scanner can choose the best free frequency
Cons:
No onboard recharging system
Requires a licence outside of Europe
May require frequency scanning in a crowded festival (but only a few extra seconds)
There are two major benefits of the Electro-Voice RE3-ND96 Single Handheld Wireless Mic Set, Band 8M which are weighted explicitly for festivals.
Live vocals can sometimes sound a little lost at a festival – there’s a wide open space and zero acoustic treatment. So the ND96-RC3 wireless mic head with ND96 capsule has been loaded with a supercardioid polar pattern for extreme off-axis rejection – your sound engineer will be able to mix your vocals extremely clean, free from the bleed of the other instruments.
The other main feature is the fact that the unit has been set up specifically for festivals – you can even check what frequencies are available in the immediate area with the receiver’s channel scan function.
Festivals often use a lot of wireless receivers, clouding the quality of the signal, but the channel scan function allows you to choose the better signal at the touch of a button and get set up in seconds.
This is ideal if you need to use more than one wireless set in the same frequency band without interference (e.g., you have two singers) or at festivals where many other bands and singers might be using a wireless set around you (e.g., on the next stage).
The shock-mounted construction of the ND96-RC3 wireless mic reduces handling noise – perfect for singers who hold the mic and need studio quality level of audio every time. This is great if you want to take recordings directly from the PA and release a live EP.
If you’re worried about a licence, the 863 – 865MHz band is licence-free across most of Europe, but you can purchase a licence for the 823 – 832 MHz band if you’re playing international festivals in the USA/Asia/Australia etc.
A hard-wearing, studio-quality microphone with a wireless system designed specifically for festivals – what’s not to love?
Shop now | Electro-Voice RE3-ND96 Single Handheld Wireless Mic Set, Band 8M
4. Shure BLX288/PG58-K3E Dual Handheld Wireless Microphone System
One touch Quickscan and two Shure PG58 microphones in the box – perfect for multi-vocalist bands
Key features:
606 MHz – 630 MHz frequency range is super-reliable at festivals
Two PG58 microphones offer vocalists and backup singers wireless freedom
One-touch Quickscan ensures optimal frequency selection for clear signals
14-hour run time and 100-metre range with just 2 x AA batteries.
Add up to 12 compatible systems per frequency band for expandability – perfect for touring bands.
Pros:
Internal antenna
Two incredible Shure mics included
14-hour run time on 2xAA batteries
QuickScan feature gets you connected in seconds
Cons:
Requires a wireless licence
No recharging capabilities
Let’s say you have two vocalists in your band: two backup singers or a lead vocalist and a guitarist who does backup vocals. And you both want the freedom to roam onstage. Well, you can’t always afford two wireless systems! Fortunately, the Shure BLX288/PG58-K3E Dual Handheld Wireless Microphone System solves that problem.
Straight out of the box you get 2x Shure PG58 mics with adjustable -10dB gain control for the heavier vocalists, as well as a cardioid polar pattern and a capsule that provides the same iconic sound and off-axis rejection as a wired microphone, isolating you no matter where you move onstage.
It’s the quality of wired but the freedom of wireless. If you have two vocalists, this is ideal as you can both enjoy the highest quality audio on one system.
This is one of the best wireless systems for festivals as you have a 100-metre range at your disposal, so diving into the crowd and roaming the stage won’t be a problem. The 14-hour run time is also especially useful if you’re playing multiple sets throughout the day or multiple festivals on a weekend.
The one-touch QuickScan feature makes it easy to set up as you simply press a button and you’re connected to the highest quality frequency in seconds – no complicated setups or scanning for uncrowded frequencies. This is great for a festival scenario as you don’t have time to lose during the changeover!
Typically, the receiver and the transmitter boast the tour-tough construction that Shure are revered for. The PG58 mics withstand the “drop test” and the receiver features an internal microprocessor-controlled antenna which keeps the unit discrete, compact, and safe from knocks and bumps onstage and during load-in/out. Not that singers help with load-ins!
Shop now | Shure BLX288/PG58-K3E Dual Handheld Wireless Microphone System
5. Line 6 Relay G50 Wireless Guitar System
Professional-level wireless guitar system that won’t break the bank, perfect for festivals
Key features:
Licence-free Digital 2.4GHz Wireless Operating Frequency
24-bit digital transmission for superior sound over analogue
200ft range for total freedom
Switchable cable tone
Pros:
Budget-friendly
Set up in seconds
Cable simulation onboard
Cons:
No recharging feature on the receiver pack (but that’s not really a big issue)
200 feet is dependent on “line of sight”
The Line 6 Relay G50 Wireless Guitar System is one of the best wireless systems for festivals as it has been designed for guitarists who hate wireless systems. Let me explain.
There’s a myth or common misconception that wireless systems destroy your tone. They don’t. They’re just not affected by guitar cables, which inherently affect your tone. This is why playing a wireless system may sound a little jarring to experienced guitarists. However, some guitarists prefer the sound degradation and “real feel” that longer guitar cables can be affected by.
Well, the Line 6 Relay G50 Wireless Guitar System allows you to actually set the tone as though you’re playing through a 15 feet or 30 feet guitar cable, or you can go completely digital. This is perfect for the tone snobs out there who are after the wired sound in a wireless system!
The receiver pack is pedal board-ready with side-mounted 1/4″ ins and outs and a tuner pass-through, as well as the standard 9VDC connection, so you can hook it up to your power supply on your board in seconds. There are also no setup issues – just plug the receiver into your signal chain, connect the receiver pack, and play!
The reason why it’s also one of the best wireless systems for festivals is the fact you have 200ft of range to play with (get in the pit!) while the DCL (Digital Channel Lock) technology eliminates interference from other sources for a crystal-clear sound, even when using a high gain amp.
Thankfully, the G50 operates in the 2.4GHz band, avoiding common interference issues and licence fees, and the unit provides 120dB dynamic range and studio-quality resolution with 24-bit A/D conversion – even when you’re miles away from your board, shredding a solo.
If you’re a guitarist looking for the best wireless system for festivals, this should be on your list of considerations.
Shop now | Line 6 Relay G50 Wireless Guitar System
6. Shure GLXD16+ Digital Wireless Guitar System
The new industry standard wireless guitar system with an onboard tuner – the GLX-D series contains the wireless guitar system the pros use
Key features:
2.4 GHz and 5.8 GHz wireless operating frequency
Dual-band technology doubles the available bandwidth
12 hours of runtime and rechargeable lithium-ion battery
Includes bodypack transmitter, pedal receiver, and WA305 guitar cable
Pros:
Onboard professional-level tuner
9V power supply connects to your pedalboard power supply
Dual frequency range scans for the best frequency at all times
Easy to set up – just add to your pedalboard
Cons:
Price may be a factor for smaller budgets
May have to take up room on your pedalboard
We now have one of the best wireless systems for festivals on the market today, the Shure GLXD16+ Digital Wireless Guitar System. The key benefit here is that guitarists simply need to plug it into their pedalboard, connect the wireless pack to their guitar strap, and you’re good to go. The transmitter and receiver pair instantly and you’ve got 100 feet (30 metres) of range to play with.
Best of all, the GLXD16+ sits snugly on your pedalboard, hooks up to your existing power supply, and has a built-in chromatic tuner with changeable Hz settings, so you don’t have to waste any room on your board – just replace your existing tuner.
When it comes to playing festivals, guitarists will appreciate this wireless system as it automatically scans for the most suitable channels. It does this while logging and storing backup frequencies, switching between the two seamlessly if interference is detected and ensuring the best sound possible.
You also get extended battery life – the Shure GLXD16+ Digital Wireless Guitar System offers up to 12 hours of use at 5.8 GHz frequency and 17 hours at 2.4 GHz frequency, perfect for longer sets and multiple shows.
Another key benefit is that the included lithium-ion battery pack is rechargeable and you get everything you need, including the transmitter, receiver, and guitar-to-bodypack cable, in the box – you’re completely ready to go in seconds. If you’re in a pinch and you forget to charge, the Quick-charge function gives you 1.5 hours of battery from a 15-minute charge – ideal for those backstage last-minute checks before you perform.
Shop now | Shure GLXD16+ Digital Wireless Guitar System
7. Wharfedale Pro WF-300 Dual Wireless Microphone System
Rack-mounted receiver with onboard EQ sculpting for greater control and two mics for just over £200
Key features:
863MHz – 865MHz Wireless Operating Frequency
Auto microphone muting/unmuting with integrated gyroscopes
Five built-in EQ curves for tonal sculpting
Easy to synchronise
Wide 100-metre range ideal for festivals
Pros:
Onboard EQ for tone sculpting
Dual microphones connected to one system
100-metre line of sight range
Cons:
The rack-mounted system needs to be placed inside a rack/case
No rechargeable battery function
If you’re in a band with multiple vocalists and you have a specific sound in mind for each person, you’ll love the Wharfedale Pro WF-300 Dual Wireless Microphone System.
The ability to sculpt the EQ specifically for each microphone is an incredible feature, considering the low price point. You may have one vocalist with a lower register and another with a higher register, you can simply use the onboard EQ features to set each mic to suit the vocalists exactly. This is ideal as some festival sound engineers may not realise you have different vocal techniques or styles until mid-way through the gig!
The onboard muting feature provided by the internal gyroscope is an interesting yet useful addition as it automatically senses microphone movement and mutes or unmutes the mic as needed. This is perfect for bands who need silent stage sounds and really helps reduce feedback if you hold the dynamic mic down towards the monitor speakers.
With a 100-metre (line of sight) operation range, the WF-300 wireless system gives you a strong and consistent signal performance across larger festival stages so you’re free to roam! The 863MHz – 865MHz is also licence free, so no extra costs there!
Best of all, the intuitive IR synchronisation makes the setup process a hassle-free experience for both performers and sound technicians.
Shop now | Wharfedale Pro WF-300 Dual Wireless Microphone System
8. Shure GLXD24+/B87A Digital Wireless Microphone System
One of the best wireless systems for festivals where the vocalist needs absolute purity of tone
Key features:
2.4 GHz and 5.8 GHz wireless operating frequency
Reduced chance of onstage signal dropouts
12-17 hours of runtime from included lithium-ion battery
Beta 87A capsule for professional, studio-quality vocals
Pros:
Shure B87A mic with wireless connectivity
Licence-free operation
Cons:
The price may be a sticking point for up-and-coming musicians
Although robust, it’s not as hardy as the SM58 version (don’t throw it!)
We all know why we should aim to upgrade to a Shure Beta mic where possible and why it’s one of the best live Shure mics. Put simply, it gives you studio-quality sound onstage with superior off-axis rejection, so the crowd hear your voice and only your voice from your mic.
When you couple the quality of sound from the Shure Beta 87A with the new industry standard Shure GLXD24+ wireless receiver system, you’re unstoppable.
So why is this one of the best wireless systems for festivals? Well, it operates on the 2.4 GHz and 5.8 GHz wireless frequency ranges, meaning the system automatically scans for the best frequency at all times and logs backup versions in case of dropout. If the frequency becomes too crowded, which can happen at festivals, the system switches to an optimal channel so you’re interference-free!
You get 12 hours of continuous use at the 5.8 GHz band and 17 hours in the 2.4 GHz band, while the 30-metre range ensures you’re totally free to roam the stage and get up close with your fans!
There are no setup issues. As soon as you turn it on, the system instantly pairs transmitters and receivers, so you’re good to go as soon as you arrive onstage. The rechargeable lithium-ion battery provides up to 12 hours of battery life and the all-important quick-charge function allows for 1.5 hours of battery from just a 15-minute charge.
This is pro-level, studio-quality vocal capture in a wireless system that offers freedom onstage – you’ll never go back to wired after this!
Shop now | Shure GLXD24+/B87A Digital Wireless Microphone System
9. Boss WL-60 Wireless Guitar System
20-metre range and cable tone switch with ultra-low latency makes it perfect for the festival circuit
Key features:
Seamless integration into your pedalboard
20-metre range
Cable tone selector
Licence-free 2.4 GHz band
Pros:
A high-quality system that doesn’t break the bank
Simulates cable tones
Compact, pedal-style stompbox-size receiver fits easily on any pedalboard
Con:
At 20 metres, the range isn’t as long as other options on this list, though this is still ample enough for a festival
If you’re on a budget, you don’t mind a shorter range, and you have room on your pedalboard, the Boss WL-60 Wireless Guitar System is one of the best wireless systems for festivals available today.
At just over £200, it won’t break the bank. But Boss know what they’re doing when it comes to good pedals and guitar tone, so you’re in good hands.
Again, the onboard cable tone selector makes an appearance with this option, so you can enjoy cable tone simulation if you want to reproduce the natural sound of a standard live rig but still be free and wireless.
This is one of the best wireless systems for festivals as it has a 20-metre range, which is more than enough for us guitar and bass players. The automatic 14-channel scanning flicks through 14 wireless channels and then selects the best one based on the available frequencies in a matter of seconds. Just turn it on and you’re ready to rock and roll.
Best of all, the Boss pedal-style stompbox-size receiver fits easily on your pedalboard, runs off your 9V power supply, and the bodypack transmitter works with nearly any instrument and runs for up to 25 hours on two alkaline AA batteries. You get everything you need too, including transmitter, receiver, and guitar cable. You’re basically ready to go straight out of the box!
Shop now | Boss WL-60 Wireless Guitar System
Benefits of wireless systems for guitarists and bass players
The benefits of a wireless system for guitar and bass players are instant freedom; you’re not tied to your pedalboard or amp. With the likes of the Shure GLX-D+ range allowing you to get as far as 200ft away from your receiver pack, you can do a Dave Grohl and move way into the crowd and make that connection with your audience.
Plus, you can jump/move around freely and not worry about tripping over cables, which is also a bonus. Guitar cables can suffer tonal degradation at anything over 18.5ft – you don’t get that with a wireless system.
Wireless systems are not what they used to be. They’re way more reliable. With systems like Shure, AKG, and Line 6 providing incredible latency-free wireless systems, you no longer have to worry about your solos being out of sync.
There’s also no chance of accidentally unplugging your guitar cable – which happens, trust me! In a festival scenario, this is a nightmare. Wireless systems eradicate that risk completely.
Benefits of wireless systems for singers
The benefits of a wireless system for singers, especially in festival scenarios, are that they also provide freedom of movement. Unless you’re Robert Plant or Adam Lazzara and you use the mic lead to swing your mic, you don’t need the cable.
You can walk around the stage, into the crowd, and fully take advantage of the larger stages at festivals. There’s nothing worse than trying to connect with an audience and getting trapped by a mic lead or it coming undone and killing your sound.
In addition, you don’t have to worry about the poor quality XLR cable which has likely been used by 20 million other bands and not replaced (or even tested). You can simply hook up your system to the PA and remove the risk of a dodgy XLR cable altogether. The quality of vocals can make or break a gig, so it’s something worth considering if you’re a serious singer.
How do transmitters and receivers work?
In the context of wireless systems, the receiver is the box with all the settings and the place where you select your channel. The transmitter is the microphone or bodypack which you use to connect to your instrument or microphone.
In these systems, the transmitter converts the audio signal from the instrument into a radio frequency signal which is then broadcasted wirelessly through the air. The receiver is usually positioned near the sound system or mixer and controlled by your sound engineer. It picks up the transmitted signal, decodes it, and converts it back into an audio signal that can be amplified and sent out to a PA or processed for recording.
This is how performers can move freely on stage without being restricted by cables.
Things to consider when researching wireless systems
Frequency spectrums (VHF, UHF, 2.4GHz)
One thing you’ll see a lot is the term “frequency spectrums”, and different frequency ranges have distinct advantages and disadvantages.
VHF (Very High Frequency) systems are usually more affordable, but they can be susceptible to interference as they run on the same channels as walkie-talkies and TV channels.
UHF (Ultra High Frequency) systems offer more channels dedicated to wireless microphones. They also have better signal stability, making them popular on pro-level setups.
2.4GHz systems are licence-free as they’re on the Wi-Fi channel, so they can sometimes come up against interference with other wireless devices, but they have a longer range than UHF systems. However, 5.8 GHz band systems need a licence, so they’re often less crowded, but they provide a faster speed at a shorter range.
Condenser vs. dynamic mics
Condenser microphones are more sensitive and offer a broader frequency response, making them better for capturing detailed vocal performances, which is why they’re predominantly used in studio and podcast situations. You can use them live, but you do need to consider the polar pattern when choosing one.
Dynamic microphones such as the SM58 are considered the more “rugged” mic as they’re less sensitive to high sound pressure levels like screaming vocals, making them ideal for loud instruments and bands that like to swing, throw, or accidentally drop their mic!
Polar patterns
The polar pattern of a microphone refers to the direction of its sound pickup. Omnidirectional microphones capture sound from all directions, while unidirectional microphones, such as cardioid or supercardioid, are more focused and reject sounds from other directions.
When it comes to choosing the right polar pattern for onstage sound, you should always go for a cardioid or supercardioid option as it will not only isolate your vocals far better but also make the sound engineer’s life a lot easier as they won’t pick up unwanted noise or sound bleed from the other instruments onstage.
Cardioid and supercardioid mics also help reduce feedback onstage as they don’t pick up the sound from your monitor speakers. Read more about polar patterns here.
Digital vs. analog in the context of wireless systems
When it comes to digital vs. analog in the context of wireless systems, the key difference is that analog systems are licensed, so you have to pay a fee. They also rely on companding which will likely colour your tone and never give you an accurate representation of your sound. Analog wireless systems can also be heavily affected by interference from other radio waves – this is why you never really see them anymore.
Digital systems skip the compander altogether as they just convert the signal from analog to digital (you’ll notice AD/DA converters in some specs) and maintain a better sound quality overall as it’s sent across the 2.4GHz bandwidth (similar to Wi-Fi) and back.
When you buy a digital system of high quality, your tone is exactly how it should be. They’re also less likely to suffer from interference because the signal is transferred digitally.
Be aware that cheaper wireless systems can sometimes have a latency issue, so always check the latency scores! Fortunately, none on this list suffer from latency problems.
Companding in the context of wireless guitar and microphone systems
Companding is a process that compresses the audio signal at the transmitter before sending it out across the radio waves, expanding it at the receiver. This was originally designed to reduce noise and improve the quality of sound, which was fine back in the early days of wireless systems. In fact, AC/DC’s wireless system resulted in a tonal change and signature sound
However, if a signal is companded using an analog wireless system, it won’t sound exactly how it was intended, resulting in a change of tone – usually a bad one.
Digital systems don’t use companding but opt for AD/DA conversion instead, resulting in more natural sound reproduction, which is why it’s rare to see an analog system these days.
FAQs
What wireless guitar system do the pros use?
Professional guitarists use industry-standard wireless systems such as the Shure GLXD16+ Digital Wireless Guitar System, Boss WL-60 Wireless Guitar System, and Line 6 Relay G10S MKII Guitar Wireless System. These systems offer reliable connectivity, high-quality sound transmission, and comfortably fit on your pedalboard. Read more about our best wireless systems for guitar here.
What is the difference between 2.4GHz and 5.8GHz for wireless guitar?
The main difference between 2.4GHz and 5.8GHz wireless guitar systems is the quality of the signal range. 2.4GHz systems are more common and generally offer a longer range, but they can be susceptible to interference from other devices that operate on the same frequency, such as Wi-Fi routers and Bluetooth devices. 5.8GHz systems are less prone to interference and may offer better signal clarity, but they tend to have a shorter range and are not as widely available.
Is 2.4GHz good for wireless guitar?
2.4GHz is a good option for wireless guitar if you’re playing in a relatively interference-free environment like a festival or live show. However, if you’re going to play on a TV station or radio show, you may want to consider wired or 5.8 GHz as you may experience dropouts or signal interference from other devices. As always, choose the highest-quality wireless system you can afford from the likes of Shure, Boss, Line-6, or Sennheiser and the chance of you running into problems is almost zero!
Final thoughts
When it comes to the best wireless systems for festivals, you need to consider range, reliability, and frequency quality. Fortunately, all of these options are widely regarded as industry standard options with all of them capable of providing you with studio-quality sound straight out of the box. Make sure to choose the best you can afford so you don’t have to upgrade down the line.
We’ll see you on the festival circuit!
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