I've kept a keen eye on affordable wireless systems since the late ’90s, when I first decided to go cable-free. The latest entry is Fishman’s look-ma-no-cables debut, the AirLock Wireless GT. It’s an appealing and compact system. There’s a 3.5" x 2.5" receiver that plugs directly into a pedalboard or amp and a 3" x 2" transmitter that plugs into your guitar jack, so size-wise it’s comparable to Line 6’s G30. Like that device, it also has cable tone settings, with positions that replicate the effect the capacitance of 3-meter, 5-meter, and 10-meter cables have on a guitar’s sound.
The kit comes in an 8" x 5" x 3" molded carrying case that includes a Y charging cable to juice up the transmitter and receiver via a single USB out, and a USB data cable. A 5-minute charge gets you two hours of playing time, but a full charge can last for 9 to 10 hours, according to Fishman. There is also a USB power supply that's sold separately, plus the GT can take a barrel pin connector for more permanent pedalboard installs. That’s a lot of options for power.
The transmitter also has a switch to combat frequency interference, with low, medium, and high settings. The higher each setting goes, the higher the latency, but, again according to Fishman, the maximum latency is only 4.9ms, which is, essentially, undiscernible. I certainly could not detect any while I played.
Firing up the AirLock Wireless GT was effortless. The devices are pre-paired and connected instantly every time. The transmitter and receiver also felt very secure when plugged into the inputs of my guitar and my pedalboard, and both devices feature the sam articulating plug, so it’s easy to plug securely into a variety of input-jack styles.
True Tone
Where the AirLock really shines is fidelity, and the cable tone settings are a big part of this device’s overall sonic picture. I loved how sparkling and alive my guitar sounded with the cable tone set at 3 meters: harmonically rich and vibrant in a way my current wireless setup doesn't quite achieve. Honestly, I felt the Wireless GT’s interior circuitry improved my natural tone. With the setting at 5 meters, I heard some loss of high end more like what I’m used to in cost-efficient wireless units. But I also find the resulting darkness and midrange focus appealing, since I typically shoot for a warm, burnished, mid-focused sound. At 10 meters, there was a bit too much detail loss for my tastes, but as always with guitar tones, each individual player’s preferences will out.
The hitch for me was range. While Fishman promises 120 feet under what it refers to as “spin range” conditions (essentially taking a spin around the venue while playing with a lot of energy) and promises that “line-of-sight” is not required, I experienced some dropouts walking just two rooms away from the receiver in my home. When I wandered outside the sound became intermittent at about 50 feet. Granted, there was a wall with a window and a door between me and the receiver, but I’ve gone well over 100 feet off stage in a club and outside into the street, with the signal sustained through a brick wall with glass windows and a door, with my current wireless, which falls in the same price range. Your results may vary.
The Verdict
While my experience with the AirLock Wireless GT’s range didn’t match Fishman’s testimonial, the unit’s price, sound quality, ease of use, and small size is wildly appealing, and I would not hesitate to use it on a large stage or in a space where line of sight is not an issue. As a result, I would urge guitarists looking to play untethered take it for a literal spin themselves.
PG contributor Tom Butwin dives into five clever, gig-ready tuner options—some you’ve seen, and at least one you haven’t. From strobe accuracy to metronome mashups and strap-mounted stealth, these tools might just make tuning fun again.
KORG Pitchstrap is the world’s first strap-mounted tuner and features a state-of-the-art technology that allows the tuner to detect the pitch of the guitar or bass from the strap’s vibrations.
The StroboClip HDC features a high-definition, color backlight display, rechargeable battery and over 65 Sweetened Tunings. With tuning accuracy of 0.1 cents, the StroboClip HDC is the ultimate clip-on tuner.
The latest Cherub Pix Tune (WST-915Li) offers 16 vibrant display modes, allowing users to customize their tuning experience to match their own styles. There are 5 meter styles, 3 animal cartoon styles, 2 sports styles, and 6 user customizable styles. You can conveniently upload your boot-up animation and tuning display pictures through the accompanying APPs. With its engaging visuals, tuning has never been this enjoyable!
The Taylor Beacon combines a tuner, metronome, timer, and flashlight in one compact device, offering five tuning modes, 12 time signatures, and up to 100 minutes of practice timer.
PG's video crew recounts their favorite moments from this year's interviews and counts down the most-popular episodes—featuring some obvious big-hitters like Kenny Wayne Shepherd, Billy Strings, Steve Vai, and Alter Bridge—that culminate with a few surprises that top out the list.
PG contributor Tom Butwin details RAB Audio GSRS – a studio racking system purpose-built for guitarists looking to declutter, customize, and elevate their creative space. Whether you’re a pedal enthusiast or amp collector, RAB Audio has a solution for your recording setup.
Matt Sweeney (far left) knew that if he got his friends Stephen Malkmus (second from left), Emmett Kelly (second from right), and Jim White (far right) in a casual recording environment, the four of them could make something awesome together.
The two musicians and songwriters have been part of the same cohort since Malkmus’ band Pavement took off in the early 1990s. Pavement went the way of indie-rock royalty, defining an entire new generation of slightly left-of-center guitar music. Sweeney slugged it out for years inbands like Chavez and Zwan, that never reached those levels of influence. Still, he was an indispensable sideman and in-demand collaborator. But it wasn’t until just before the pandemic that the two friends recorded together, on Malkmus’ solo acoustic record, Traditional Techniques. It went well—really well.
