daniel

Ever tested the the Zoom Automixer? Curious to know how well it handles unscripted 4 way.

But what does it sound like and how much? Nice it works with fader board.

Probably about 5 years late to the party but I wondered what recommendations sound folk have for these. My friend's kid has a toy 1 with a recorder, speaker and camera(!) not all the grown up 1s do though. I think I'd like grown-up 1 with a mic but it doesn't need to make calls. Thanks in advance.

True, but less so if the maximum number of channels is only 4 (vs 8 of some of the other systems). True and the test should have more than 1 channel going and ideally be head to head realtime. Maybe if the range is better people will keep a RodeLink in a bag but for most of the stuff this gets used for it's not about range. Deity's concept, packaging and features are all much more pro than the others even though it's fixed on a frequency band which limits Connect to 4 channels amongst other things. Hopefully the sound quality makes cheaply supplementing a UHF system with up to 4 extra channels viable.

At these prices and the target consumer I don't think difference between prices is very significant at all. If I was vlogging, OMB'ing or similar, choosing a consumer 2.4ghz system I would have similar criteria to choosing a pro UHF system (there are some some differences too especially regarding number of channels): Sound Quality > Range / TX Size > Number of channels and Features. Crushing the opposition with the least important of these maybe a bit of a pyrrhic victory.

+1. Version 2 may deliver what version 1 can't but the competition for the sales (to allow future development) looks strong with Rode Go. This might sound cruel but if Connect doesn't sound as good as Go and Go is also smaller, then Connect's USP features look a little wasted.

Sorry Allen, I know there will be (J.R posting as i type) many, more expert than me to give you better advice but... As good as I guess the CS-M1 might be for your work, the fact that you have 2 AKG preamps and at least 2 capsules with the same polar pattern means you can have separate (matching) overhead booms for 2 speakers is a really nice thing and potentially very useful. Would the corporate jobs need or allow you to work like this, you're probably best to decide. My main concern about the AKG would not be the self noise, weight or size but it's susceptibility to RFI. RFI can be quite high in some corporate environments and 1 of the areas more modern mics are better at dealing with, although I did not experience this on the occasions i've use AKG mics of this era.

Digital UHF systems seem to be able to incorporate some (intermittent?) RX-TX communications (for changing settings etc) but maybe the need for 2.4ghz systems to frequency hop means this is not an option and the 'traffic' is continuous and more of a problem to other devices. In very crude terms it seems like most digital devices chuck out RFI in someway and if we're lucky a design engineer has worked out a way to manage this. From the procurement perspective, is it impossible to tell on paper, from the published specifications for the device if the digital noise floor/RF spill (whatever the correct term) will be significant for the planned use - perhaps it's not possible? Would the RFExplorer show us anything meaningful in these terms?

Was it on the record tracks or getting into the unbalanced HP cable (still not good)? It's amazing how much youtube content is created purporting to be a product test/review yet so few relate to a real world context. Eg. in a bag with other gear and more than 1 or 2 channels. Hard to see where these online tests/reviews would come from either - end users don't have the budgets and kit to do much more than test a single unit with their own gear and the vendors don;t want to damage their relationships with the suppliers/manufacturers. The established wireless manufacturers are used to selling products to a pro market and have been mostly diligent in their testing (if understandably not publishing the results) I would be interested in developing a real world, multi channel test for RMs - I think it needs to involve the manufacturers stated maximum channel count and 2 recorders, in real world sound bags (and probably some vendor's cooperation unless they're going to do the test) - enough of the single channel range tests into a DSLR. <soz - rant over> So is this a fail? An un shielded Zoom recorder fail? Or Deity uncontrolled RF spill fail? Or both? Does the copper plate work (praps an influencer can demonstrate)? Is this an acceptable work around given the savings made using these cheaper products?

Rode wireless go-ing to sell by the trailer load to the market of the up and coming video producers etc and maybe influence peoples expectations about how big a transmitter needs to be(?) The only other TX remotely similar in size are all the top of the range TX (give or take), of the all the UHF wireless manufacturers. Obviously these are far better systems (with all the added professional features and reliability) and scripted drama productions of any ambition should be paying the rental on however many are needed but it's not hard to imagine in the less well funded sectors it becoming *tricky to use anything but the smallest TX even if the larger (UHF) TX are more reliable than 2.4ghz stuff. https://www.rode.com/wirelessgo https://zaxcom.com/products/zmt3/ https://www.lectrosonics.com/US/SSM-super-micro-belt-pack-transmitter.html https://www.soundnetwork.co.uk/product/sony-dwt-b03r-transmitter/ https://en-uk.sennheiser.com/news-setting-a-new-benchmark-the-sennheiser-sk-6212-mini-bodypack-ise-2019 https://audioltd.com/discontinued/minitx-micro-transmitter/ * eg we'll have to justify it because it's a long shot and out of range or the number of channels needed precludes the exclusive use a 2.4ghz system.

As cheap and cheerful as the Rode Wireless is, it IS 1 of the smallest, lightest TX available, IF the quality and range are passable, i can see a stronger case for 1 or 2 of them in the kit than I can see for the Instamic, which is also pretty small and the waterproof feature makes a case for 1 or 2 these being in someone's bag - but the idea of taking professional responsibility for a recorder I can't monitor doesn't appeal. Whatever the reason (and market), it's hilarious that near the end of Q1 of C21 'technology' companies can't/dont put realtime monitoring/outputs on an audio recorder. OK for vloggers (as intended) who can hear what they are saying and can decide to go again but Sennheiser memory mic does similar for those guys and then automatically transfers to app on smart phone, this 1 needs a USB connection to a computer and syncing in an editing program. Funny too that despite how small you can make a recorder there's only 1 P48 XLR plug-on recorder (without TX) and it's horrible.

Dual mono good for a 'passenger' mic but for $20 more (Rode Go wireless) you get a realtime output which you can plug in and record in your camera/recorder and monitor.

I quite like 'UTC' being the time reference but isn't that indirectly already available on the latest tentacle if you use a connected smart phone to set the time? Perhaps Dish is a useful accessory in a context where cell and internet services are not available. If you can jam sync a more featured system like tentacle E, even wirelessly 'Jam sync' the phone/computer. As a system (using several), wireless connectivity between them would make it easier to deal with loss of satellite signal because you could take a 'master' outside re jam with sat, go back to set and re jam the others in 1 wireless blast? I agree with others about size, more important than price given what's available. Tentacle E got a lot to offer to a wide range of productions for the money - fairly plug and play, great features and a nice UI for setting it up.

Hi Vincent, Any chance you get hold of enough units to do a density test?

Hi Iter, Is Dish your product? Reading through the FAQs i had to chuckle at this: What's the problem with telephoto lenses? For sync by sound, basic physics. Sound travels much slower than light. Speed of sound is 1,125 feet per second. During a single, 30fps frame, sound travels 1125/30=37.5 feet. If your boom mic (or lav) is on the talent, and the camera is 40 feet away, you're out of sync by a whole frame. This comes up all the time when filming public speakers. If your camera is in the back of an auditorium, its audio is several frames behind the master track.