The 1976-issued Schaffer–Vega Diversity SVDS Model X-10 Transmitter & 63EX Receiver system was discontinued in 1981, but a reproduction is now available.
What were the most dangerous times for bassists, guitarists, and singers? Surely the '60s. Not because of wild backstage parties, drug abuse, or high-risk early international travel, but simply because of electrocution caused by amateurish electrical installations with missing grounds.
That's exactly what inspired Leo Fender to develop the TR-105, the first "Wireless Remote Unit," as they called it, back in 1961. Unlike the P-bass, this was really a world's first, but unfortunately a rather unsuccessful one. The unit was directed at guitarists, bassists, and accordionists, and had a radius of 50 feet—enough distance for those pre-arena stage dimensions. It looked surprisingly similar to modern units: a set-top box and a belt pack. Its transmitter, which weighed only 5 ounces, had an impressive frequency range of 20 Hz–75 kHz, while the receiver covered 20 Hz–20 kHz, with 100 to 150 hours of operation on one mercury battery. The system came with a hardcase, weighed 15 pounds, and cost $269.50—roughly $2,500 today. For whatever reason, it didn't catch on and Fender only offered it for around a year.
It wasn't until 1976 that Nasty Cordless, Inc. (later renamed Nady Systems) and Ken Schaeffer's Vega Diversity successfully entered a broader market. Both were analog devices and used a process called companding: a word-mix of compression at the sender side and expansion on the receiver side.
The specialty of the Vega was an integrated audio circuit that was known to colorize tone. This doesn't have to be a bad thing, as AC/DC's Angus Young is still using his today, even in the studio, and sees it as a central device for his signature sound. (See PG's AC/DC Rig Rundown from September 2016.) These systems also had greater operation ranges, so they were good for stadium stages.
Today, wireless technology is thriving in all aspects of electronic products, with cables nearly a thing of the past, except among—astonishingly—many musicians who still like to knot and tangle them.
Wireless systems got a bad reputation because of their early teething troubles, which included dropouts and problems picking up radio transmissions. Some guitarists really look down on them because of these initial foibles. Today's budget analog wireless systems can have companders with a fixed ratio, and this can make them sound unnatural. Better ones have more natural sounding companders that make it much harder to tell the difference between wired and wireless sounds. And the newer digital systems are even topping these, with their high-quality A/D converters.
In the foreground of today's discussions about wireless systems are most often things like tone, dynamics, range, energy consumption, bandwidth, and dropouts, while electrocution isn't that much of an issue. Although it should be for anyone touring exotic places with lesser-controlled electrical environments.
Today, wireless technology is thriving in all aspects of electronic products, with cables nearly a thing of the past, except among—astonishingly—many musicians who still like to knot and tangle them. As with all things mechanical, cable breakage isn't such a rarity and one might even be tempted to say that newer wireless devices excel in reliability. And—opposed to many early transmitters—they've switched to USB-equipped accumulators and far lower energy consumption. Choosing a system is almost a no-brainer, even though the sheer number of models is vast. With the exception of low-end budget models, almost all units fulfill the criteria of reliability, tone, ease of use, and operational range.
Fender was first in the wireless game with its unsuccessful TR-105 in 1961.
For us bassists, there are a few extra points to keep in mind. Our signal is pretty dynamic, so our wireless system should be as well. Analog wireless systems need to compress the dynamic range of the audio before it can be carried on a radio wave. Not only can this have an impact on tone; it also limits dynamics. Therefore, digital is the way to go, especially since these have a better low-end range.
All those owning basses with active pickups or preamps should check compatibility before buying, plus keep a few other things in mind. It's sometimes not mentioned in a system's spec lists whether it will work with an active instrument's stereo output jacks, due to a TRS-related connection issue that can occur. Output levels of active pickups can be another issue, which is why many devices come with a gain-adjustment at the transmitter. And finally, there can be whining and noise caused by insufficient shielding of the preamp on your bass, once the transmitter is plugged in and close to the electronics housing. To solve that, just look for a cable-equipped belt pack to keep the receiver's antennas farther away from it.
Some other common features to look for are capacity-load cable simulations, which are more directed at guitarists, and durable metal body packs, for the touring artist. Multiple transmitter supports could be nice to have, but are not essential.
Some research will help you find the right system. Don't be afraid to cut the cable! You might enjoy your new freedom to roam the stage.
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“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. They’re great in any musical setting but really shine when played solo. There’s an orchestral quality to them.” -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
Milkman’s Jerry Garcia-style JG-40 combo.
Entire books about the Grateful Dead’s gear have been written, so we can’t cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loop—an innovation he developed to control how much signal reached his effects—was dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fire’s recreation of Garcia’s Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, there’s a wide range of Garcia-esque instruments—with just as wide a range of prices—out there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo Elliott’sScarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. He’s outfitted many of the top Garcia guitarists today, including Tom Hamilton Jr. and Jeff Mattson. Elliott says, “I’m a self-taught luthier; I didn’t really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwin’s Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didn’t know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garcia’s Tiger guitar and get to know it really well, and by 2015, I had built replicas of that guitar. There’s one guy who helps me around the shop, but otherwise, I am building these guitars on my own. I’m collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.” That’s one way to get your Jerry going.
The JBL-inspired Milkman K-120.
Garcia’s choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garcia’s amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
It’s hard to find vintage JBL speakers today—at least ones in good shape. San Francisco’s Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-120. They’re coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. “I think 75 percent of Jerry’s tone is in the JBL speakers,” Milkman’s founder says. “But when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editor’s Note: Rich was the guitar player in Buck Owens’ band, pioneers of the Bakersfield Sound.] That’s Jerry’s tone, too, but the difference is Garcia’s midrange was a bit throatier. It sounds clean, but really, it’s not clean at the same time. Especially his tone in the late ’70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.”
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, you’d hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garcia’s as he can. “Some folks get too hung up on small things, like what kind of cable to use and things like that, and I don’t go that far. But it’s important for Dark Star Orchestra to get Jerry’s sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Dead’s famous Europe ’72 tour, so you have to pay close attention to what kind of gear they were using to do that right.”
Hamilton works differently. He’s always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) “I’ve always approached it like, ‘What’s the new information we can put into this thing?’” he says. “Not just recreate but pushing in a forward direction. And anytime I’ve played with the guys who played with Garcia back in the day, they always said to me, ‘You’re here because you’re here. Don’t try and do what we did back in 1978 or do it because Garcia did it that way.’ They’ve always encouraged me to be myself.”
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. “Besides Jerry, I’m influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,” she explains. “I’m generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didn’t know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.”
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.
