Wireless Guitar System Review!Sony DWZ-B30GB Transmitter/Receiver"Entry-Level Wireless Relays Clean Audio"

Brevis...

Price: $499 Retail

Like: •Exceptional Audio Quality,

•Robust Build-Quality, •Six Channels

Dislike: •No Functional Complaints

More info: DWZ-B30GB 

by John Gatski

  Wireless guitar systems have improved so much in the last few years that plugging-in now means attaching a little box on your belt with a small locking cable and a receiver box placed near your amplifier. No longer is it necessary to run a big, long cable into your amplifier or rack of pedals. Even in the studio, wireless boxes make it much more convenient.**A textbook example of how-to-do-it-right in a high quality wireless transmitter/receiver system is Sony's DWZ-B30GB, a low-cost setup that performs with DW’s that cost twice the price. 

Features

  Contained in a belt clip transmitter/standard-sized receiver set, the Sony DWZ-B30GB Wireless system allows guitar players to relay their precious signal via**a 24-bit/2.4 GHz wireless signal with six user selectable channels. At $499 retail, the package is perfect for onstage players for acoustic or electric guitar who want a more upper-echelon signal delivery at a not over-the-top price.

  The easy-to-attach, belt-clipped, compact ZTX-B01 transmitter (3-inches tall by 2.5 inches wide), connects to a guitar — via 1-meter 1/4-inch-to-1/8-inch locking connector cable. The front panel contains a small channel indicator, channel selector button and a power button. The screw-on belt clip is a sturdy metal design that gripped my belt pretty well.

Belt-attached transmitter

 The transmitter runs on two AA batteries. The transmitter contains a mic/instrument switch to allow use of a dynamic mic, as well as a guitar. An attenuator switch enables three gain schemes: (0 dB, -10 dB and -20 dB). A top-mounted lock/unlock switch enables the user to prevent accidental adjustments during a performance.

**The six frequencies range from 2.4022 GHz to 2.47825 GHz and a narrow/wide switch allows tuning to a slice of the frequencies that is less susceptible to interference from similar wireless signals.

The receiver

  The ZRX-C30 receiver unit features balanced XLR, 1/4-inch instrument level outputs, as well as a handy 1/4-inch tuner output. Onboard controls include cable selector (1a through 1b), which is a cable “tone” generator that simulates the “sound” of a real cable, from 1 meter to 25 meters; the onboard DSP progressively rolls off the high frequency as you select the larger number.

**A USB jack is contained on both the transmitter and receiver, but no explanation in the manual. I figured it is used for software updates, which was confirmed by Sony.

Full-featured receiver

**The ZRX-C30 includes LEDs for the power, transmitter/receiver RF connection and the receiver’s receipt of audio. The receiver is powered by a 9V battery or an included 12V adapter.

  The kit includes the transmitter cable, AC adapter, belt clip and CD and paper manuals. Overall, for an entry-level wireless system, the Sony DWZ-B30GB build is robust — with its metal enclosures and sturdy switches. You can buy cheaper, but not with this quality.

The audition

  I used the wireless in my home studio with my rig of guitar amps, as well as straight into my mixer and into an A/D converter, recording straight at 24-bit. Guitars included a Gibson Les Paul Studio equipped with Seymour Duncan Seth Lover humbucker pickups, a standard Fender Telecaster American Series, a Mark Knopfler Custom Strat with Custom Shop 57/62 single-coil pickups and a Gibson L5CES with Classic ‘57 humbucker pickups. I also hooked up a mono channel output from my Nord Electro-3 (Hammond B3 mode) to wirelessly transmit a signal to a Fender Twin Reverb combo amp.

  To test the robustness around other wireless signals, I also turned on an older wireless mic system at the same frequency, thus, giving me the chance to use the DWB30GB’s narrow frequency mode.

The Sony DWZ-B30GB is a first-rate, digital wireless system for those who need just a single-channel input/output. Its robust digital, 24-bit signal was as clean as the proverbial digital audio whistle.

  As a basic, single-channel wireless system, the Sony DWZ-B30GB worked like a charm. The first thing I noticed was how clean and extended the signal was. My old vintage style 20 ft. cable often picks up room noise from other components, which gets magnified through the tube guitar amps. The Sony wireless was much cleaner, and with more dynamic punch to the audio. The humbucker pickup guitars had much more audible high-end attack, yet without losing their inherent warmness; this wireless sounds great. Driving the overdrive mode in a Line 6 amp with the Les Paul, also sounded more distinct with less mush than with my vintage cord. Only high-end music cords give me this kind of sound.

  Delay was negligible, and any interference from the other wireless was nil when I flipped the Sony DWZ-B30GB to the narrow mode. I never had a drop out in close or when moving into another room.

  My extreme distance test for Sony DWB30GB was playing the guitar from the top level of my five level Cape Cod house. I wanted to record a really loud, distortion track through a Line 6 amp — without blowing out my ears; playing five floors away was an effective way to “play it loud.” I hit record, went to the top floor, played the riff, then went back to the recorder to play it back. The recording was spot-on with no drops out or audible anomalies. Talk about a long distance track.

 As a basic, single-channel wireless system, the Sony DWZ-B30GB worked like a charm. The first thing I noticed was how clean and extended the signal was. My old vintage style 20 ft. cable often picks up room noise from other components, which gets magnified through the tube guitar amps. The Sony wireless was much cleaner.

  If you want to muddy up the sound like a cheap, long cable, the cable tone dial changes the sound, and successive clicks roll off the high frequency. However, because a digital wireless’ virtue is its clean, full bandwidth delivery, I was much more interested in that sound than the dirtied up sound of the cable simulator circuit.

  Using the Nord keyboard in the Wurlitzer electric piano mode and the Sony wireless, through a mono output, I was able to relay the signal across a 20 ft. room with any wires. Yay!. And again, the sound was super clean through the Fender Twin Reverb reissue — with a tighter, more distinct upper midrange and treble than the standard 25 ft. cable I usually use.

  With its mic mode, I did a bit of singing through an Audix I5 dynamic plugged into the ZTX-B01 transmitter. Again, the dynamics, and low noise of the digital system were readily apparent. The sound was extremely tight, versus the 25 ft. Whirlwind cable.

**The Sony DWZ-B30GB ergonomics are first rate, as well, with the included cords and easy access to the battery compartments. The locking, guitar-to-transmitter cord worked perfectly. Battery life was robust as well. In fact, I had no complaints with the Sony DWB30GB. Well, maybe just the yellow legend around the dials. But that has nothing to do with its performance.

The verdict

  The Sony DWZ-B30GB is a first-rate, digital wireless system for those who need just a single-channel input/output. Its robust digital, 24-bit signal was as clean as the proverbial digital audio whistle, even in the narrow mode, and it could transmit from considerable distance. For its mic or instrument transmission capabilities and fine performance, I also gave the Sony DWB30GB an Everything Guitar Network Grade A Award.

©All original articles on this site are the intellectual property of the Everything Guitar Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

Electric Guitar Review!Gibson Melody Maker Special:"Budget Gibson Ain't No Cheapie"

Brevis...

Price: $$1,099 Retail

Like: killer P-90 tone

Dislike: only one volume and tone

More info: Gibson Melody Maker Special

by John Gatski

     The Gibson Melody Maker started its life in the late 1950s as a Gibson budget guitar, but its simple mahogany plank body and 24 inch scale, coupled with fat-sounding single coil pickups., made it a favorite of many a high-end player. The new Melody Maker Special, a non-monogrammed version of the Jonas Brothers Melody Maker that was on the market a couple of years ago, is now its own model with assorted colors, and that fat P-90 single coil tone. The guitar is a combination of the best Melody Maker, with its unique all-in-one pick guard control panel, and the Les Paul Special (the P-90s)

The details
 Made from solid mahogany, the MMS is a single-cutaway model with a thinner profile than your average Les Paul. The neck is solid mahogany, but the fingerboard wood is baked maple, that looks surprisingly close to rosewood. The peg head is more of Les Paul shape and size than the small headstock of the original Melody Maker. The MMS is equipped with Kluson-style tuners. The nut is made from Corian (a hard plastic).

  The neck scale length is the Gibson standard 24.75-inch with 22 frets and a 12” radius. The MMS is equipped with the ‘50s style wrap around bridge that does have some adjustment for intonation. Wrap around bridges, I believe, help enhance sustain on top loaded string guitars, and the MMS certainly has wonderful sustain. Not quite as much as a thicker body Les Paul, but the notes still sing sweetly.

  The key to the brilliant, girthy, warm, to-die-for-tone is the Gibson P-90 pickups. These non-hum canceling, big single coils have always offered a special sound; think Leslie West, Joan Jett, Bob Marley. Pete Townsend’s best tones were made on a P-90 equipped SG through the early to mid-1970s. These pickups have warmth, yet extra gain that a Telecaster and a Strat can only dream off; yet you roll back the gain, and they can be as sweet and jazzy as you want.

  Strung with Gibson .10-.046 strings, the first thing I noticed through the Deluxe is how familiar the P-90 tone was. Playing live or through an amp PA, I don’t think you could tell the difference between an upscale Les Paul Special and the MMS. 

  The pickups and the single tone and volume control are attached to a plastic pickguard, a la the original Melody Maker. Kind of like a Strat or Tele. The only quibble I have with the Melody Maker Special is that it only has one volume and one tone for both pickups (a 200K Switchcraft linear volume control and a 500K Switchcraft non-linear tone knob). Two controls per pickup, like the upscale Les Paul Special or standard Les Paul, would allow a bit more custom balance of the pickups when used together, but I understand it is a budget guitar. (I actually adjusted the neck pickup at a lower height, to match output of the bridge P/U when using both pickups.)

  Despite its budget Gibson positioning, the MMS is not a cheaply made guitar. The solid woods, USA made P-90s and real nitrocellulose finish give an air of quality that most budget guitars cannot match, Of course, this Gibson budget USA guitar is $1,100.  The Melody Maker Special comes in several colors, including the satin ebony, satin yellow, satin blue, and satin cherry. My review sample was finished in the ebony. With a thin nitro satin finish, you can feel the grain of the wood

The audition

  I played the Gibson Melody Maker Special through several different amps, including a 1966 Fender Deluxe Reverb, 1975 Princeton Reverb, and a 1965 Twin Reverb. I played it straight through those amps and through a number of pedals, including the Music Technology Assbite OD, my classic DOD FX100, and an Electro-Harmonix English Muffin tube OD.

  Strung with Gibson .10-.046 strings, the first thing I noticed through the Deluxe is how familiar the P-90 tone was. Playing live or through an amp PA, I don’t think you could tell the difference between an upscale Les Paul Special and the MMS. That warm tone with a jangly high-mid peak just nailed the rhythm tone I love with tube amps. And if you want more, just plug into an OD pedal, roll the selector switch to the bridge PU and that warm tone turns into a snarlin’, fat fuzz tone that will do any punker proud.

All hardware attached to pickguard

 The MMS is that versatile.  With the Twin reverb reissue, I also dialed in a really warm jazz tone on the neck pickup. For note picking, the neck is roomy enough with easy fret access, though the fret edges felt a little rough when moving my hand up and down the fretboard.  By the way, the compact mahogany body feels great. Its dimensions feel right with a healthy loud acoustic vibe. No cheap poly-smothered, cheap, feeble acoustic tone here. Nice and open. And the MMS does not weigh that much — about 7 pounds.

  The compact mahogany body feels great. Its dimensions feel right with a healthy loud acoustic vibe. No cheap poly-smothered, cheap, feeble acoustic tone here. Nice and open. And the MMS does not weigh that much — about 7 pounds.

  The black finish on my tester was kind of plain jane in its look, but it certainly fits the class and budget. Although its thinner nitro finish will likely ding easier than the normal Les Pauls, I consider any man-inflicted blemishes as warrior wounds and a badge of honor.

  There were a few setup issues that I addressed during the review, nothing out of the ordinary. I had to file a couple of nut slots to allow the guitar to intonate correctly when fretting and releasing, but the retooling took all of 20 minutes. The net result was also better tuning. Once the nut slot is properly routed for the strings, the tuners worked fine.

 The adjustable, wrap-around bridge means compromised intonation, versus the individually adjustable saddles of a Gibson tune’o’matic bridge. The wrap-around has two adjusters — one on each end of the bridge, but I adjusted the intonation to be dead on on every string.

The conclusion

  Although Gibson often recycles guitars from existing models that sometimes duplicate what they already have in a line up, the Melody Maker Special, gives us a the guitar we all really wanted when the Jonas Brothers Melody Maker signature edition hit the stores. Minus the white finish and teeny bopper autographs, the MMS, is definitely something special for those who want an affordable USA Gibson with that wonderful P-90 sound. 

©All original articles on this site are the intellectual property of the Everything Guitar Network. Any unauthorized use, via print or Internet, without written permission is prohibited.