TEST: Boss WL Series

 Despite guaranteed stable signal transmission, the instrument cable has a difficult time on stages around the world these days. What was considered exquisite special equipment for the better-off just a few years ago has now even found its way into the hobby sector thanks to digital radio with all its advantages and disadvantages due to constantly falling retail prices.

With the WL series consisting of the models Boss WL-20, Boss WL-20L and Boss WL-50, Japan's finest in terms of stompboxes now wants to conquer the area of low budget guitar transmitters and has thought about a few interesting ideas.

“But my cable sounds much better…”

Opinions still differ on the basic sound of the various transmitters. Over the decades, the human ear has become so accustomed to the natural induction of the instrument cable that the sound of some transmitters appears to the user as too “clinical” or “sterile”. In order to prevent this argument, Boss has implemented various approaches that, depending on the area of use, are intended to help the listening impression by using a guitar cable simulation.

The Boss WL-20 model was designed for the electric guitarist. It includes a new technology called “Virtual Cable” and is intended to emulate the height attenuation of a 3 meter cable. It is recommended for electric guitars or electric basses with passive pickups.

The Boss WL-20L model is identical to the Boss WL-20, but does not have a “virtual cable” circuit. This model is recommended for active pickups or acoustic guitars with preamps etc. The operating time for both WL-20 models is given as 12 hours.

The third model, the Boss WL-50, goes one step further. It has the dimensions of a Boss standard floor pedal and can be placed at the beginning of the effects chain. It charges the guitar transmitter at the same time and has a “Virtual Cable” emulation that can be switched off if necessary, which can also be switched between long and short. In addition, it can be operated with 2 type AA batteries if necessary. The operating time is specified as 10 hours, which ensures good independence from electricity, for example for street musicians.

Concept and structure of the Boss WL series

WL-20 / WL-20L

The Boss WL-20 / WL-20L comes with very compact dimensions of (W x D x H): 87 mm x 25 mm x 38 mm and weighs only 60 grams in a robust-looking plastic housing and consists of a receiver and a transmitter. The receiver can be recognized by its slightly larger dimensions, a second LED and a 6.3 mm socket, behind which an interesting detail is hidden. Both components can be charged via a Micro USB port, or you can plug the transmitter into the receiver via the said socket and let both devices charge together via just one port. Any standard smartphone USB charger can be used as a charger. A USB cable is included.

Up to 14 radio links should be able to be operated in parallel, which search for their frequencies independently. For this purpose, the two components are also plugged into one another and then search for a free frequency range in the 2.4 GHz range within 10 seconds. So far, so simple. With a latency of just 2.3 ms, you can concentrate on your timing in peace; there is no noticeable delay here.

WL-50

Due to its use on the pedalboard, the Boss WL-50 offers a few extras that are not available on its sister models. Of course, the integrated charging slot proves to be particularly practical, where not only is the transmitter charged, but it also finds a nice place to park during transport. Furthermore, as with many floorboard tuners, a daisy chain circuit can be used for additional pedals in the power supply area if necessary.

Experience has shown that you should check in advance to see what power suckers are at the back of the effects chain. Overdrive and distortion usually work in the double-digit milliamp range, but a decent reverb can also draw around 500 mA and the power supply via daisy chain can often go to its knees. The housing makes a simple but stable impression; there are no rubber feet or rubber pads to prevent slipping on smooth surfaces. If necessary, you can also connect your instrument via a regular input socket.

The sound of the Boss WL series

When it comes to sound, the WL series leaves a really good impression. Compared to a high-quality 3 meter cable, the Boss WL-20 has just a tiny bit more treble and is a little less dependent on the guitar's volume control, in this case a 57'LP Gold Top, than the cable. The sound is marginally more compressed, but you only notice this if you sit in front of the speaker like a man possessed and devote yourself to the very hard A/B comparison.

The situation is similar with the WL-20L, although you can actually no longer hear any difference in the sound of a guitar equipped with EMG pickups. Here too, a tiny bit more compression, which in practice is no longer noticeable on a noisy stage anyway.

The cable simulation that can be switched in the WL-50, however, behaves a little differently than you are used to with a cable. The simulation acts like a treble stop in the upper treble range, which is also the case with a longer cable, but without the interaction of the cable. The height diaphragm works absolutely evenly, which is not the case with a cable. You can't say it's better or worse here, it just sounds different.


Compromises on the Boss WL series

Now let's move on to the other side of the coin, where you can't really speak of a problem. However, you have to keep in mind that there are a few drawbacks to be taken into account with the Boss WL series, and not just with it.

On the one hand, there is the frequency band of 2.4 GHz, which is used by almost all providers in this price range due to its unrestricted usability. Anyone who has ever played on larger stages or had to play in difficult rooms knows the problem. For my part, I had to play on the Full Metal Cruise last week with a 2.4 GHz transmitter on the theater stage in the belly of an ocean liner, or I wanted to, but unfortunately it couldn't be implemented. Countless signal drops due to the strong interference forced me to resort to a cable again.

The second show took place outdoors, which enabled good signal flow, but only up to a maximum of 10 - 15 meters. After that it’s closing time here too. So anyone who thinks they want to leave the stage in the direction of the audience or something similar with flashy shows must be clear about the radius of their area of operation. You can expand the radius a little, e.g. B. places his tuner on the edge of the stage in the middle of the stage and connects it to the amp with a cable. But if you plug the receiver directly into the amp, depending on the size of the stage, you won't even reach the other side of the stage, mind you, all with a direct optical connection. If even one drum set is in the way, the range of motion becomes slightly smaller.

This means that you can still get around easily with the radio link in a club without major broadcasting systems, but you also have to take into account the horde of cell phone users who pound on the 2.4 GHz range during the show. Remember, 300 visitors equals 300 more stations in your frequency band.

For me personally, however, the main problem with the WL series is the protruding plastic body on Paula class guitars with the socket in the frame. What can be solved quite easily with a Strat, brings with it some problems with Paula-type guitars, both visually and in terms of handling. People can have different opinions about the appearance of a guitar, but if a plastic body that is almost 6 cm deep protrudes from an instrument made of wood, it looks anything but charming, especially since the body does not look like a guitar. B. with the XVive U2 at least something can be folded away.

The problem only really becomes noticeable when you want to use the wireless gaming feel for appropriate shows. In fact, it is only a matter of time before an artistic performance causes either the transmitter or, even worse, the entire input socket to break from its anchorage. In my opinion, you shouldn't use the WL series if you think you have a rampant in your ranks.


Conclusion

With the Boss WL series, Japan's leading manufacturer of FX pedals offers three uncomplicated, good-sounding guitar radio routes. If you want to quickly replace your cable with more freedom of movement, are not a proven showman and are not planning to use it on large stages, you should give the products a try.

——————

Additional Informations:



Boss is a brand of effects pedals and other musical equipment manufactured by Roland Corporation. The company was founded in 1973 by Ikutaro Kakehashi, who also founded Roland. Boss pedals are known for their durability, reliability, and wide range of sounds. They have been used by some of the most famous guitarists in the world, including Jimi Hendrix, Eric Clapton, and Eddie Van Halen.

The history of Boss pedals can be traced back to the early 1970s, when Kakehashi was working on a new type of guitar amplifier. He wanted to create an amp that would be more portable and affordable than the large, expensive amps that were available at the time. Kakehashi also wanted the amp to have a variety of built-in effects, so that guitarists could create a wide range of sounds without having to use separate pedals.

In 1973, Kakehashi released the Roland JC-120 Jazz Chorus amplifier. The JC-120 was a hit with guitarists, and it quickly became one of the most popular amps in the world. The amp's built-in effects, including chorus, reverb, and vibrato, were particularly popular, and they inspired Kakehashi to develop a line of standalone effects pedals.

In 1977, Boss released its first three pedals: the OD-1 Overdrive, the DS-1 Distortion, and the PH-1 Phaser. These pedals were an instant success, and they quickly established Boss as a leading manufacturer of effects pedals.

In the years that followed, Boss released a wide range of pedals, including the CE-1 Chorus Ensemble, the DD-3 Digital Delay, and the MT-2 Metal Zone. These pedals became essential tools for guitarists of all genres, and they helped to shape the sound of modern music.

Today, Boss is one of the most popular brands of effects pedals in the world. The company's pedals are used by guitarists of all levels, from beginners to professionals. Boss pedals are known for their durability, reliability, and wide range of sounds. They are an essential part of the modern guitarist's toolkit.

**Some of the most popular Boss pedals include:**

* OD-1 Overdrive
* DS-1 Distortion
* PH-1 Phaser
* CE-1 Chorus Ensemble
* DD-3 Digital Delay
* MT-2 Metal Zone

**Boss pedals have been used by some of the most famous guitarists in the world, including:**

* Jimi Hendrix
* Eric Clapton
* Eddie Van Halen
* Jimmy Page
* Stevie Ray Vaughan
* Kurt Cobain

**Boss pedals are known for their:**

* Durability
* Reliability
* Wide range of sounds
* Affordability

**Boss pedals are an essential part of the modern guitarist's toolkit.** They are used by guitarists of all levels, from beginners to professionals. If you are looking for a high-quality, reliable effects pedal, Boss is a great option.

**Here are some of the reasons why Boss pedals are so popular:**

* **Durability:** Boss pedals are built to last. They are made from high-quality materials and are designed to withstand the rigors of touring and everyday use.
* **Reliability:** Boss pedals are known for their reliability. They are built to last and are backed by a comprehensive warranty.
* **Wide range of sounds:** Boss pedals offer a wide range of sounds, from classic overdrive and distortion to more experimental effects.
* **Affordability:** Boss pedals are affordable, making them a great option for guitarists of all budgets.

## Digging Deeper into the History of Boss Pedals: From Innovation to Icon

While the previous article provides a solid overview, here's an even deeper dive into the history of Boss pedals, packed with more details and insights:

**Early Innovations and Market Disruption (1973-1980s):**

* **Birth of a Brand:** Ikutaro Kakehashi's vision for portable, affordable amps with built-in effects led to the JC-120 and the subsequent birth of Boss in 1973.
* **Compact Revolution:** 1977 marked a turning point with the release of the OD-1, DS-1, and PH-1 pedals. Their small size, robust build, and affordable price challenged the bulky, expensive rack effects then favored by professionals.
* **Pioneering Technology:** The DD-2 (1983) became the first mass-produced digital delay, opening doors for affordable, high-quality time-based effects. Boss continued pushing boundaries with innovative pedals like the VB-2 Vibrato (1982) and the GE-7 Graphic Equalizer (1979).
* **Collaboration and Artist Endorsement:** Early endorsements from renowned guitarists like Eddie Van Halen and Jimmy Page catapulted Boss pedals to iconic status. Strategic collaborations with Ibanez (TS-9 Tube Screamer) and MXR (M101 Distortion+) further widened their appeal.

**Expansion and Diversification (1990s-2000s):**

* **Multi-Effects Units:** Responding to changing trends, Boss introduced multi-effects units like the ME-50 (1991) and GT-3 (1996), offering diverse effects and processing power in a single unit.
* **Digital Dominance:** The DD-5 (1994) and DD-6 (1999) solidified Boss's leadership in digital delays, while advancements like COSM modeling technology on pedals like the GT-10 (2002) expanded sonic possibilities.
* **Boutique Appeal:** Recognizing the popularity of boutique pedals, Boss released limited-edition "Waza Craft" versions of classic pedals like the OD-1W and DS-1W, capturing vintage tones with modern refinements.
* **Expanding Palette:** Beyond stompboxes, Boss ventured into loopers with the RC-20XL (1998) and modulation effects with the MD-2 (1999), cementing their position as a comprehensive effects solutions provider.

**Adapting and Innovating in the Digital Age (2010s-Present):**

* **Embracing Digital:** The Katana Artist amplifier (2016) embraced digital modeling technology, offering versatile amp tones and onboard effects in a compact format.
* **Blending Analog and Digital:** The DD-200 (2017) and the MD-500 (2017) combined classic Boss tones with advanced digital features, showcasing the brand's ability to adapt to modern demands.
* **Connecting Musicians:** The Blues Cube series amps (2018) integrated wireless technology, reflecting the focus on digital connectivity and ease of use.
* **Future-Proofing:** The GX-100 (2021) offered powerful multi-effects processing with USB audio interface capabilities, catering to modern players who integrate recording and digital workflows.

**Beyond Pedals: A Legacy of Impact:**

* **Shaping Genre Sounds:** Boss pedals have played a crucial role in shaping the sounds of rock, blues, alternative, and countless other genres. The DS-1's distortion fueled heavy metal, while the CE-2 chorus defined countless 80s pop tracks.
* **Democratizing Effects:** By making high-quality effects accessible and affordable, Boss empowered musicians of all levels to explore sonic possibilities previously reserved for professionals.
* **Enduring Design and Philosophy:** The distinctive stompbox design and commitment to rugged construction have become synonymous with Boss. This "built-to-last" philosophy and user-friendly controls further contributed to their enduring popularity.