scorsesefan
Veteran
Newsshooter review of the wireless Go: https://www.newsshooter.com/2021/02/27/rode-wireless-go-ii-review/
Rode Wireless Go II
- Thread starter scorsesefan
- Start date
ahalpert
Major Contributor
Interesting review.
"The internal recordings being done directly to the TX units sound a lot better to me than the wireless audio that is being recorded. No real surprises there."
Why is it no surprises? Compression of the file before transmission?
It sounds like he got up to 82' distance in Tokyo without dropouts and the transmission passing through the subject. Not bad!
The only thing that worries me is having multiple people block the transmission. Like people are passing in and out of your shot or you can only see the subject's face and there are many bodies between the camera and the transmitter in their pocket. I imagine this would limit the range substantially more?
scorsesefan
Veteran
That is a surprise. The recordings should be identical. I need to test this further...
Throwback
Well-known member
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-new-rode-wireless-go-ii
Cheers,
Roland
Here's a link to my post with the test: https://drbadphil.com/testing-the-new-rode-wireless-go-ii
Cheers,
Roland
scorsesefan
Veteran
I've uploaded samples of the wireless files and internally recorded backup files from the Rode Wireless Go II. They were recorded with the onboard mic on the TX unit (At one point I went into my kitchen and you can hear the fridge running :/) but I'm hard pressed to hear a difference as noted by the Newsshooter reviewer. I did, however, have to add about 12db of gain to the internal recording to match the one recorded to my camera. I'm assuming this is because the preamp on the TX is working alone instead of being boosted by the camera preamp. A7SIII @ level 5 and Rode 0 db (highest gain setting)...
https://we.tl/t-FOBjOEOgC5
https://we.tl/t-FOBjOEOgC5
Yeah, I'm not hearing any real difference. Maybe in a quieter room with a better mic you might hear something.
Throwback
Well-known member
Then try listening to the samples I posted! The guitar is recorded with 7dBA LDC mics in a quiet room...I also cut out any effect from camera preamps etc.. I don't hear a big difference either.
R
Peter C.
Veteran
Thanks for the test results. I like reading from a range of people because whether it fits your workflow is more important than the specs.
One of things I didn't pickup on until I read Newshooter. Not being able to monitor what you're recording. I'm assume he means the RX doesn't have a headphone jack so if your camera doesn't have one you can't listen to what you're recording.
I'd agree having to use a computer to access settings isn't great although I'm not sure what settings you'd need to change. Once I setup my wireless the only time I've need to change it to a line input from a sound board. Btw, can this system take a line input?
Listening to the audio samples it's hard for me to hear any differences.
scorsesefan
Veteran
I don't believe there's a headphone in, Peter.
Run&Gun
Veteran
Well, to be fair, most fully professional, high-end, multi-thousand dollar receivers(like my Lectrosonics 411A's, SRb's and SRc's) do not have headphone jacks. You need to be monitoring the audio from the mixer or camera(in the case when the Rx is plugged directly into a cam). It doesn't mean anything if the audio sounds good at the headphone jack on the Rx and the levels are set incorrectly on the camera, but because you weren't monitoring the camera, you didn't catch that the camera recording is fried or too low.
scorsesefan
Veteran
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?
Throwback
Well-known member
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
Throwback
Well-known member
The biggest functionality issues I have found so far - and not covered in my testing posted yesterday (i.e. https://drbadphil.com/testing-the-new-rode-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
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
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scorsesefan
Veteran
^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...
.. I also had one recording error on a TX unit. As you say, probably firmware fixable...
Throwback
Well-known member
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
scorsesefan
Veteran
Yes, my first recording actually. I also get an occasional mounting error when I plug the TX into my Mac ...
puredrifting
Major Contributor
"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
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
scorsesefan
Veteran
^ 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.
Run&Gun
Veteran
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.