I was first seduced into purchasing John Nady’s wireless wonder around 1979, when a salesperson at Don Wehr’s Music City strolled down Columbus Avenue in San Francisco’s North Beach while blaring out of a Marshall half-stack on the showroom floor. In 1983, the company provided me with head-mic and guitar systems to perform my multimedia rock show, Streetbeat, at Bill Graham’s Wolfgang’s nightclub, and, since then, I’ve used Nadys off and on for various projects.
The U-2100 ($172 street) offers one super-inexpensive, dual-channel plug-and-play receiver and a choice of transmitters. I choose the U-1100 GT for my Collings 290 and the U-1100 LT with head mic, and I so loved the simplicity of a single receiver for my vocals and guitar, that I went totally wireless for the first time since 1983.
The U-2100 worked flawlessly in Bay Area clubs and rehearsal spaces with no drop-outs or other gremlins—even while trekking around bars, posts, and patrons. Routed to my Vox AC30 with Roland Black Series instrument cables, my guitar sounded clear and articulate, and, during performances, the sound crew didn’t notice any significant tonal differences between the U-2100 and a cable. Nice. The head mic, however, produces a somewhat thin timbre that needed attention to dial in a more robust and dulcet vocal sound. It’s also fragile and can be finicky to position securely (I wore a military cap over it and had no issues).
Given its pricing, the U-2100 is a fabulous way for working musicians on a budget to decouple from cables and mic stands. I had a total blast rocking free and unfettered.
BY MICHAEL MOLENDA
Source: Guitar Player Magazine