rode wireless GO

[daniel]

https://nofilmschool.com/rode-wireless-go-transmitter-microphone

 

I know these are targeted at a different market than the sort which employs sound people but some interesting things to consider on a conceptual level if not practical:

~ I've read up to 8 channels can be used in the same location (it remains to be seen) but if true, along with the size and price, this would mean a Zoom and Rode bag combos could be tracking/mixing 8 wireless for less than $/£/€3000 - about the same price as a mirrorless camera with lens (and probably a similar production life to the camera).

~ I like the way Rode thinks 'out the box'; Eg: their previous plug-on TX had a HP socket; A TX with optional use of a built-in mic capsule has some practical advantages in some situations especially with such a small TX.

~ What do operators and manufacturers think the wireless market will be like in 5 years - when many of the current, top end radio mics would reasonably be expected to be still viable but Rode, Deity and Mipro will have improved their products?

[Mattias Larsen]

It was interesting to look at and I am sure this makes a lot of sense for no budget vloggers, sit down interwievs. To me there were a few things makes it impractical in reality. 

 

- No locking connector

- 7 hour battery life

 

The locking connector is a shame since it seems like such a small thing to implement. The battery time is understandable given the price and size or the unit. It was probably not aimed to replace the G3s or the earlier rode links and cannot be used for a full day's work without some additional battery pack or charging and swapping units. 

 

1 hour ago, daniel said:

~ What do operators and manufacturers think the wireless market will be like in 5 years - when many of the current, top end radio mics would reasonably be expected to be still viable but Rode, Deity and Mipro will have improved their products?

This is a really interesting point to me.

 

I can imagine that the budget brands will catch up the current functionality with things like small dual receivers, analog limiters, remote control to TX. Then I expect the high end will take a leap forward (compact big channel count receivers over Dante), better realtime performance compared to the budget section (less dropouts with less latency). 

 

Its almost impossible to get into this without bringing up 'the patent'. Is there an expiration date on it? Else I think we will see a few weird innovations to tackle the same problems as a recording transmitter with TC does. 

 

Just speculation here, but given that Deity seems to have a bit of the same mindset as Zoom and that the Transmitters can send stereo, I could see a mode of the Transmitters in the future where you send a safety track at lower volume from the same mic. 

 

Both Deity and Mipro are already equipped with analogue limiters which will give G3/4 some competition if everything else is good. Has anyone here got some experience with the Mipro Act80 kit? 

 

Maybe we will see a G5 with good limiting (this is one of the weakest links apart from the occasional dropouts). 

 

[Vincent R.]

25 minutes ago, Mattias Larsen said:

Has anyone here got some experience with the Mipro Act80 kit?

@Andrew Jones (from Deity 😁 ) has:

https://wavreport.com/2018/04/03/review-mipro-act-80-eng-kit/

[Mattias Larsen]

1 hour ago, Vincent R. said:

@Andrew Jones (from Deity 😁 ) has:

https://wavreport.com/2018/04/03/review-mipro-act-80-eng-kit/

Yeah I remember reading that one! Big up to you guys at Wavereport! Since that article they are also offering a Boom transmitter and a smaller receiver (alltho the display will be upside down for bag use). I think it would be really nice if they offered a 2/4 ch receiver in a small package. Andrew is mainly listing specs in that article thought. If someone can share their real life experience with them compared to maybe G3s and LMBs, that would be interesting. 

[daniel]

 

[JonG]

Another 2.4gHz product. I just gave up on Zaxcom ERXs because of that very thing. Always too many other things to compete with in set. Even small interview sets seem to be overloaded in this area. I got tired of fighting it. Tired of editors complaining that the scratch track would cut in and out. Let the camera monkeys have that space, and let the no budget film makers fight between their WiFi and their audio signals. I’m done there.