The ring is for charging the batterie inside the charging case only, it has no effect to audio signal.
For some active pickup systems you should use a TS Mono adapter.
https://device.report/manual/1837386
Yes, my PRS P22 has piezo and needs an adaptor for this type of wireless TRS device. Line6 G10 as well.
I have used wireless live for many years. The whole COVID shutdown changed my ears somehow. I hear things now I didn't necessarily hear when gigging every weekend. I also feel more interaction now than I did before. I decided to buy a couple of high end, low capacitance, cables to give them a try because they were on sale. I was very surprised at the results when using them. I would have been saying all of the naysayer things being said to me here before this.
It's not about being a naysayer IMO. Different cables have different impedance characteristics for sure. Abusive pricing that is justified by specs that aren't meaningful is why I commented. Consumers should be smarter than this, but many don't have the knowledge to understand. So, it falls into the more money than information category. There are cheaper ways to get low capacitance cable if that's what you think you need. And buffers work...really well for that. Personally, I am not looking for low C cable. With the Kemper especially, I am always looking for ways to tame the high end. The cable is one item that can help. For me, the high end characteristic of the Kemper is a main area to address. Especially with a FRFR cab.
One of the 'advantages' I've heard cited about the long, coiled cable Hendrix used was the high-end roll off it generated.
He was getting 'that' sort of sound without even realizing what he was doing.
One of the 'advantages' I've heard cited about the long, coiled cable Hendrix used was the high-end roll off it generated.
He was getting 'that' sort of sound without even realizing what he was doing.
I've heard or read directly from Hendrix that he was aiming for a fat, smooth, loud sound without upleasant highs. He was sensitive to the high end and was specifcally aiming for this. Don't know if the cable was part of that. Roger Mayer may have steared him in that direction - just a guess.
I've heard or read directly from Hendrix that he was aiming for a fat, smooth, loud sound without upleasant highs. He was sensitive to the high end and was specifcally aiming for this. Don't know if the cable was part of that. Roger Mayer may have steared him in that direction - just a guess.
Whether the cable was a known contributor or not - it was. Based on what you've read, I'd say he knew what he was doing.
If I may say...alle these guys were always knowing what they were doing. And what about this: Do you know any well known guitar player who is still chained to a cable on stage...? They are all wireless, so it can't be that bad.
OK, cabled Hendrix was God in those days but I wonder what he would prefer now...
Actually there still are quite a few big name players that play some pretty large venues that refuse to use a wireless.
I've heard or read directly from Hendrix that he was aiming for a fat, smooth, loud sound without upleasant highs. He was sensitive to the high end and was specifcally aiming for this.
Wonder why he played a strat then. It's about the hardest guitar to make fat, smooth and non strident on the bridge pickup.
Wonder why he played a strat then. It's about the hardest guitar to make fat, smooth and non strident on the bridge pickup.
Well he did play more than just the strat live and in the studio. Just guessing, but I think the simple answer for leaning heavily on the strat is the tremolo bridge. Not many other options at the time.
Wonder why he played a strat then. It's about the hardest guitar to make fat, smooth and non strident on the bridge pickup.
Huh? 
Huh?
He's not wrong. It's one reason EVH stuck a humbucker in his.
He's not wrong. It's one reason EVH stuck a humbucker in his.
Oh. Okay. He meant the old traditional SSS Strat. I use HSS myself. But what about Gilmour's sound? Fat as F to me. And what about those single coil P90's? Are they only fat in the neck position?
Oh. Okay. He meant the old traditional SSS Strat. I use HSS myself. But what about Gilmour's sound? Fat as F to me. And what about those single coil P90's? Are they only fat in the neck position?
It's not that you can't get a fat sound, but you have to tame it. Especially given the standard wiring doesn't give a tone control to the bridge pup.
Gilmour didn't live on the bridge, either. He used it of course (and no doubt compensated for the harshness).
Oh. Okay. He meant the old traditional SSS Strat
Yes, The strats I'm referring to don't have humbuckers.
But what about Gilmour's sound?
He was using SSL-1 pickups not "strat" pickups I recall. Those have a lot of highs rolled off and are fairly hot. Hendrix never had anything like it. I used them for a bit in my strat but they were too dull and didn't sound like a "strat" anymore. (I'm not using a strat to get smooth and warm, I got gibsons that do that.)
P90's? Are they only fat in the neck position?
In my old JR you can roll them off with the amp/definition to get pretty smooth. I had one with a Alnico5 and changed to a Alnico2 (Antiquity) and there was a big difference that took me a while to get used to. The A5 was crisp and sharp like a strat but bigger and was a little "crashy" on the top but great. The A2 still had that piano like string sound but rolled off just right. It will do Early ACDC exactly and simple as it seems is a difficult tone to replicate accurately, Its real raw and clear. I recorded over some ACDC tracks that had the guitar removed and it's about perfect. I used MB's L68 Marshall liquid profile that's in the rig packs and it was killer. P90's and strat pickups can be made close to the same tone wise but by themselves are different. My A5 P90 was close to a strat pickup and The SSL-1 was closer to the P90 with A2. I was never one of those magnet swapping guys but A5 to an A2 in a P90 makes a easily audible difference
Crap I just realized this was a thread about wirelesses. Sorry. I usually respond to the notifications and don't pay much attention to the start.
At least we're having some conversation better than dead air.
Well, I think we learned what we needed to know about wireless. Do they suck tone? Yes (but live sound is never 100% of what you want. 85% is probably good enough). Do they cause latency? Yes (but you sort of learn to deal with that and adjust). Would you use them in a studio? No way! Would you use one live? Yes ( but always have cables for backup and not dance around as much). 
Well, I think we learned what we needed to know about wireless. Do they suck tone? Yes (but live sound is never 100% of what you want. 85% is probably good enough). Do they cause latency? Yes (but you sort of learn to deal with that and adjust). Would you use them in a studio? No way! Would you use one live? Yes ( but always have cables for backup and not dance around as much).
That just about sums it up. Nice one
Well, I think we learned what we needed to know about wireless. Do they suck tone? Yes (but live sound is never 100% of what you want. 85% is probably good enough). Do they cause latency? Yes (but you sort of learn to deal with that and adjust). Would you use them in a studio? No way! Would you use one live? Yes ( but always have cables for backup and not dance around as much).
Not TRYING to be opposite but..
I really can't hear the difference between My Line 6 G10 and an expensive cable. Recorded in a mix I don't think Eric Johnson could.
The latency isn't any worse than standing 3' from the amp and I'm usually farther than that.
Sometimes I'll have my amp in the live room and run my G10 and end up recording with it. It doesn't sound any different than using a Mogami gold cable. Not saying the G10 is the best wireless ever and I'm sure it's not, but It sounds like a cable to my ears.
Not TRYING to be opposite but..
I really can't hear the difference between My Line 6 G10 and an expensive cable. Recorded in a mix I don't think Eric Johnson could.
The latency isn't any worse than standing 3' from the amp and I'm usually farther than that.
Sometimes I'll have my amp in the live room and run my G10 and end up recording with it. It doesn't sound any different than using a Mogami gold cable. Not saying the G10 is the best wireless ever and I'm sure it's not, but It sounds like a cable to my ears.
Personally I went down the whole Van Damme cables and George L's....and I felt it was a waste of money. Why? I didn't do a back to back test so I can't claim if they sounded better or not, but if they did it was a very small difference e.g. putting on new strings probably has a bigger impact.
The actual point is, we like what we like and sometimes we also get used to or work around things that aren't perfect e.g. the Hendrix example. It also doesn't matter if its really not better, if it makes someone "feel" better, they play better.
The only comparison I have is I have played live using my Sennheiser wireless, recorded the gig, and then overdubbed at home using a cable...I could not notice the difference.
JEverly - yeah here in the UK I can get Van Damme cable for £2.50 a metre or 12m lead with Neutrix connectors for £45 so supply must be harder in the US.
Personally I went down the whole Van Damme cables and George L's....and I felt it was a waste of money. Why? I didn't do a back to back test so I can't claim if they sounded better or not, but if they did it was a very small difference e.g. putting on new strings probably has a bigger impact.
I've just seen so many corksniffing people worry about the tiniest detail about their guitar, the finish thickness, cable type, IEC cable type, tube brand, potentiometer brand etc. etc., then go on stage looking horrible staring at their feet all night. They would have been way better off paying less attention to all of that and more to their stage presence which is going to be way more noticeable to the people paying them.
