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    Senior Member scorsesefan's Avatar
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    Quote Originally Posted by Throwback View Post
    Well, for what it is worth, I have been testing my newly arrived Rode Wireless GO II last night and today (when the rugby allowed). It is pretty much as expected, and I have posted a blog about my tests (not a review), with many of the WAV files included. I was particularly keen to see what the audio quality of the system was, outside the limitations of the on-board mics or a plugged-in lav (with high self-noise), so that was a particular focus.

    Here's a link to my post with the test: https://drbadphil.com/testing-the-ne...wireless-go-ii

    Cheers,

    Roland
    Interesting tests, Roland. 120ft with the TX behind the subject's back is pretty impressive. Did you do any OUT of line of sight tests?


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    Quote Originally Posted by scorsesefan View Post
    Interesting tests, Roland. 120ft with the TX behind the subject's back is pretty impressive. Did you do any OUT of line of sight tests?
    That WAS my out of line-of-sight test! That is, blocking the TX by being worn behind the subject's back. Without being so blocked, the range is much greater, as per the specs (just like the original version - i.e. easily meeting specs). I did some casual testing through walls/buildings etc., and it is certainly better than the original version (as expected), but it is hard to post anything meaningful from that: there are so many variables when dealing with walls and buildings that my experience wouldn't translate very well to another location. That said, if anyone thinks it will go right through a house etc. reliably, they are looking at the wrong product!

    Cheers,

    Roland


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    The biggest functionality issues I have found so far - and not covered in my testing posted yesterday (i.e. https://drbadphil.com/testing-the-ne...wireless-go-ii) are:

    i. No ability on the RX unit to stop or start internal recording in the TX units. This might seem trivial, given that the TX recorders roll round and start again once the 7 hrs (for WAV files) memory is full, except that it is otherwise extremely difficult to sync the two TX recordings if you - say - want correctly aligned stereo. Turning the RX on or off as a means of starting recording doesn't - in my experience - start and stop the TX recordings simultaneously. So to get the stereo recordings off my TX units properly aligned, I had to do this manually using the recordings from the RX unit as the guide. Even adding a marker didn't help: this doesn't show up in my audio software (Reaper and Soundforge) - not sure it shows up in anything.

    ii. Occasional failure of a TX unit to record. This is despite both being set to record (via the PC software) and recording icons showing up on the RX unit. So far, out of 19 recording sessions, each TX unit has failed to record one session. Obviously, if more prevalent this would be a concern (it rather undermines peace of mind from a TX back-up recording), so it will be interesting to see if others get the same problem (equally, if they don't). I'll also continue to monitor the situation with my recordings.

    I've messaged Rode about both and suspect both are addressable via firmware: I'll provide an update if they come back with anything useful.

    Otherwise, very pleased!

    Cheers,

    Roland
    Last edited by Throwback; 02-28-2021 at 05:04 AM.


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    Senior Member scorsesefan's Avatar
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    ^Yes, I agree about the lack of start/stop recording, but happy to have it at all ;).. I also had one recording error on a TX unit. As you say, probably firmware fixable...


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    Quote Originally Posted by scorsesefan View Post
    I also had one recording error on a TX unit. As you say, probably firmware fixable...
    So one recording simply missing? I've just been trying some ambient recordings using the TXs as a spaced pair, and have had each one miss a (different) recording. Odd.

    Cheers,

    Roland


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    Senior Member scorsesefan's Avatar
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    Yes, my first recording actually. I also get an occasional mounting error when I plug the TX into my Mac ...


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    Thanks for clarifying. Yes, it often takes a few goes to get my TXs recognized by my PC/Rode's software.

    R


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    Senior Member puredrifting's Avatar
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    "Fondly remembers days when producers actually hired audio professionals instead of DIYing it."

    Cool product but I will never rely on 2.4Ghz for anything that matters. I have two 2.4GHz systems and
    they are wildly random as to when, where and how they will work, not that UHF isn't similar. I've been stung and it hurts. Guess I'm old fashioned, I actually make clients pay to hire a sound mixer
    whenever humanly and budgetarily possible. Audio is too important to be an afterthought by someone who should be producing, directing or DPing, not mention working closely with talent/clients
    on set, not setting up their laptop to adjust their levels and options on their Røde wireless system ;-)

    Doing a two camera live stream at the end of this week, just me, prompter op and a PA on set. Two wired lavs, one each Sanken COS11BP running into the two cams. Two cams run into
    UTaps into laptops, which are beamed back to VMix in our studio a couple of hundred miles away. I can get away without a sound mixer on this one because talent is hard wired, stationary,
    one talent with one mic into one camera x 2. I'll have time to monitor the mics as the cams are lock offs. But if this client had added another talent/camera or wanted wireless so talent could roam around, I would have told them they had to cough up
    $850.00 for a sound mixer + a kit fee.

    DIY wireless is a failure point for soooo many productions. It's even been a failure point when we HAVE had a pro sound mixer on set but we were in a crowded
    RF environment and at least the pro had plan B and plan C. Wireless is so hit and miss it's ridiculous. The localized recording can save your butt but what a terrible implementation of it with one non TC stamped
    multi hour recording. The flags don't translate out of the Røde app apparently. I can't blame Røde, it's a great product for what it is. But a lot of people are going
    to try to rely on this for mission critical work when they should be hiring a pro. You only need to get burned once and have to apply the "reshoot filter" to understand.

    Just my .02
    It's a business first and a creative outlet second.
    G.A.S. destroys lives. Stop buying gear that doesn't make you money.


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    Senior Member scorsesefan's Avatar
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    ^ Oh, I agree. I probably wouldn't use the Rode on a paid gig, but in a pinch I'd feel more comfortable with them knowing the units are backing up. It really does seem as if their antennas and encryption are improved, but sonically speaking I don't think professional sound mixers will be rushing to use them.


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    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by puredrifting View Post
    "Fondly remembers days when producers actually hired audio professionals instead of DIYing it."

    Cool product but I will never rely on 2.4Ghz for anything that matters. I have two 2.4GHz systems and
    they are wildly random as to when, where and how they will work, not that UHF isn't similar. I've been stung and it hurts. Guess I'm old fashioned, I actually make clients pay to hire a sound mixer
    whenever humanly and budgetarily possible. Audio is too important to be an afterthought by someone who should be producing, directing or DPing, not mention working closely with talent/clients
    on set, not setting up their laptop to adjust their levels and options on their Røde wireless system ;-)

    Doing a two camera live stream at the end of this week, just me, prompter op and a PA on set. Two wired lavs, one each Sanken COS11BP running into the two cams. Two cams run into
    UTaps into laptops, which are beamed back to VMix in our studio a couple of hundred miles away. I can get away without a sound mixer on this one because talent is hard wired, stationary,
    one talent with one mic into one camera x 2. I'll have time to monitor the mics as the cams are lock offs. But if this client had added another talent/camera or wanted wireless so talent could roam around, I would have told them they had to cough up
    $850.00 for a sound mixer + a kit fee.

    DIY wireless is a failure point for soooo many productions. It's even been a failure point when we HAVE had a pro sound mixer on set but we were in a crowded
    RF environment and at least the pro had plan B and plan C. Wireless is so hit and miss it's ridiculous. The localized recording can save your butt but what a terrible implementation of it with one non TC stamped
    multi hour recording. The flags don't translate out of the Røde app apparently. I can't blame Røde, it's a great product for what it is. But a lot of people are going
    to try to rely on this for mission critical work when they should be hiring a pro. You only need to get burned once and have to apply the "reshoot filter" to understand.

    Just my .02
    Quote Originally Posted by scorsesefan View Post
    ^ Oh, I agree. I probably wouldn't use the Rode on a paid gig, but in a pinch I'd feel more comfortable with them knowing the units are backing up. It really does seem as if their antennas and encryption are improved, but sonically speaking I don't think professional sound mixers will be rushing to use them.
    There was an audio op over on JWSound whom I guess doesn't have a ton of experience and got a little too giddy upon seeing the Rode system and enthusiastically stated that he was going to sell-off off his Zaxcom system and switch to the dual channel Rode GO II. But after a few posts by other, presumably, more experienced ops and some much needed research and "digging" by the poster, cooler heads prevailed and he retracted his initial statement.


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