Line 6 Relay G55 Wireless Guitar
Line 6·Model Relay G55·line6-relay-g55
About the Line 6 Relay G55
The Line 6 Relay G55 operates on 2.4GHz digital wireless, avoiding the increasingly crowded UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. spectrum entirely. Its cable tone emulation feature compensates for the capacitance loading that a physical guitar cable provides, ensuring your wireless tone matches your cabled tone. The stompbox-format receiver lives on a pedalboard or shelf rather than in the rack, and the competitive price makes it a practical choice for guitarists who want clean digital wireless without a major investment.
The Relay G55 is Line 6's mid-tier entry into digital wireless guitar, and its defining choice is the 2.4GHz band. Where traditional UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. systems fight over a shrinking pool of legal frequencies — increasingly eaten up by broadcast TV repack and venue interference — the G55 sidesteps that entirely. The receiver isn't a rack unitThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one.; it's a stompbox-format box that sits on a pedalboard or gets shelf-mounted. That distinction matters for how you plan your rig. The transmitter clips to the guitar strap, and the receiver converts back to a standard analog signal with both a quarter-inch TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. and an XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. output, so it feeds a DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise., amp, or snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. directly.
At 5 watts nominal draw and 0.5 kg, this thing barely registers in your power budget or weight calculation. The two SMAThe small threaded RF connector on bodypacks and half-rack wireless — hand-tight antenna connections that survive a gig bag. antenna ports mean you can run remote antennas if the receiver is buried in a case or under a shelf where line-of-sight to the transmitter is compromised — worth thinking through at load-in rather than during soundcheck. The 12 simultaneous channels gives you room to coexist with other G55 users on a festival or theater stage without careful coordination. Cable tone emulation is the feature that earns its keep in practice: without it, removing the capacitance of a long cable can make a passive guitar feel and sound unexpectedly bright through certain amps or pedals.
The G55 is the right call for a guitarist who wants to stop chasing UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. frequencies, doesn't need a rackmount receiver taking up a rack unitThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one., and is playing venues where 2.4GHz WiFi congestion is manageable — which is most club and theater environments. It isn't the right tool if you need mission-critical range beyond roughly 200 feet, or if you're working in an environment already saturated with WiFi (large convention halls, arenas with dense audience device traffic). In those cases, a dedicated UHF system with coordinated frequency management is still the safer professional choice.
In the rack
- If you shelf-mount the receiver inside a rack or case, run SMAThe small threaded RF connector on bodypacks and half-rack wireless — hand-tight antenna connections that survive a gig bag. extension cables to antennas positioned on the outside face — never trust RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. to punch cleanly through a steel rack panel.
- The XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. output is your cleaner long-run option if the receiver is feeding a snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. or stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. more than a few feet away; save the quarter-inch for direct pedalboard-to-amp connections.
- At load-in, do a quick 2.4GHz scan with a WiFi analyzer app on your phone before assigning channels — venue routers and video streaming rigs can occupy chunks of the band that will cause dropoutsA brief audio gap when the radio link fails — the thing diversity, distros, and coordination all exist to prevent. if you're unlucky with auto-channel selection.
- Cable tone emulation settings should be matched to your normal cable length during rehearsal, not at show time — a mismatch on a passive single-coil versus a high-output humbucker can be dramatic through a bright amp.
2.4GHz digital wireless guitar system. 12 simultaneous channels, cable tone emulation.
I/O Ports (4)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| 1/4" Out | TRS QUARTER | output | analog audio | — |
| XLR Out | XLR MALE | output | analog audio | — |
| Antenna 1 | SMA | input | antenna | — |
| Antenna 2 | SMA | input | antenna | — |
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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