Topic: This looks interesting

[mepaca]

New from Rode https://www.bhphotovideo.com/explora/pro-audio/news/rode-announces-wireless-pro-compact-microphone-and-recording-system?sc_src=email_44842&sc_lid=4323236&sc_uid=ieOQoih1V5&sc_llid=79256&sc_customer=8E9EABBB5285C7564C751FC86A0E77D7CEA47D61D309AA167FB7749586B109CE&utm_medium=Email%2044842&utm_campaign=Announcement+Emails&utm_source=230821_ANN_ANN_RODE_EMAR-5505%2020230822&utm_content=&utm_term=IMAGE+md_5111.jpg&encEmail=8E9EABBB5285C7564C751FC86A0E77D7CEA47D61D309AA167FB7749586B109CE

[breakonthru]

more details

https://rode.com/en-us/user-guides/wireless-pro

I emailed them to ask about what PIP voltage the system provides. Historically Rode has always been ~2.5V but hopefully they are getting on the 5V bandwagon with Lectrosonics, Deity, and Tentacle products

[adrianb]

Is it mono or stereo?

[Ozpeter]

I believe the transmitters are single channel but the receiver records each channel onto a separate track.  I can't picture that as being particularly neat in the context of music recording and stealth, although perhaps I am lacking in imagination!

[WiFiJeff]

Looks like 32 bit float only works for onboard backup on each individual (mono) transmitter, and no mention of the receiver recording  anything directly, only outputting to camera, cell phone or computer.  I assume it is 48 kHz, odd that there seems to be no mention of the frequency anywhere.  At least the price looks reasonable.

[Gutbucket]

Two sync'd transmitter/recorders handling one channel each would be fully stereo capable if able to maintain clock sync with each other to sample rate level precision (48,000/sec).  Rode states in the user guide linked above that when the transmitters are paired to a receiver, they are able to maintain clock sync to a frame rate level of precision (30/second).  The difference between word-clock and time-code level of precision is about two orders of magnitude.  Time-code (frame rate) level of precision is not sufficiently precise to handle a phase-correlated stereo pair..

..but may be sufficient to handle wide-spaced dedicated hall-ambiance or audience-reaction channels located some distance away from the primary stereo microphone array.  That's because the spacing between the two mic/transmitters, and between the transmitters and primary stereo array, effectively decorrelates the phase relationships between them down to a low enough frequency that a far looser clock precision becomes acceptable.  The question becomes, "is clock sync to a precision of 30 cps sufficient to support that role in a music recording endeavor?"  I don't know the real world answer to that.

If so I could see possibly using these for wide-spaced hall-ambiance or audience-reaction channels in live music recording, as long as the wireless sync range is sufficient.  Didn't see anything about the range of these things.  But would be cool to be able to just clip a couple little things on opposing side walls or along the stage-lip facing out at the audience.


Would be far cooler though if these things could be sync'd to word-clock precision levels.  There are lots of scenarios were I could use two or more channels capable of full sync without a physical connection to a primary recorder and without any wires running between them.

Better still if each could handle two channels instead of just one.  I contacted Deity through their website about their upcoming PR-2 which is similar this but features two external microphone inputs, asking about clock sync precision between units for multichannel audio use.  I received a response saying they will look into it and one of their engineers will be in contact, but have not heard anything additional yet.

[goodcooker]

I bought and tried the Movo version of this same setup except it has two lapel mics with integrated transmitters and a receiver.

Tried it out at a Bela Fleck show for shits and giggles although I bought it to use for it's intended purpose - recording dialog wireless to a camera for a video shoot. It worked fine although the mics were not really suitable for music IMO.

I didn't hear any artifacts from inaccurate clock syncing and I didn't check it at the sample level either. It produced a perfectly suitable recording for what I was trying to accomplish. Different device from a different manufacturer but working evidence.

I don't know that I would dismiss this device for taper uses based on the possibility that the clocks aren't synced to the sample level. Timecode accuracy will likely be fine for some if not most users.

[Gutbucket]

Ok, so presumably sufficient for less demanding stereo applications as long as both transmitters maintain wireless connectivity to the receiver, based on your report using the similar Movo version.  Certainly good enough for it's intended use for non stereo stuff such as dialog.

Most demanding usage case is going to be a coincident or near-spaced stereo pair, or a soundboard feed split across two independent transmitter/recorder units.  First thing likely to be noticed as sync begins to drift is an image shift over to one side, possibly followed by a very slow phase/flange effect (although I think any drift would likely be too slow to hear it as active flanging), before the drift grows significant enough to begin to be perceived as audible delay.

A couple excerpts from the guide breakonthru posted a link to above which hint at what may be expected-

"Note: Using the jam sync method can result in very minor fluctuations in the synchronization between your devices over time (referred to as ‘drift’) as their internal generators aren’t perfectly matched. As such, we recommend performing a jam sync about every four (4) hours, or whenever you power cycle your cameras, to ensure frame-accurate syncing."

-and-

"A Note on Timecode Limitations

Cameras and other recording devices differ in how they handle internal video and audio file synchronization, as well as in how they accept timecode, and this can have some consequences for timecode syncing.

While the Wireless PRO system is perfectly synchronised internally between the receiver and transmitters, there’s a small chance that your video and audio may be out of sync by a tiny amount depending on a wide range of variables in the other equipment you’re using (this disparity could measure 1 or 2 frames in extreme cases).

Even with this in mind, it is still significantly quicker to use timecode to synchronize your files and then adjust them by a frame or two. We recommend you record a clap that’s visible and audible on all of your video and audio recording equipment. Once you’ve synchronized your files using timecode, this can be used as a reference point for nudging your video or audio if it’s needed."


One frame is ~30ms, two ~60ms,which represents a rather significant delay over the course of 4 hours in the worst case scenario.  The last paragraph essentially describes how tapers have always gone about sync'ing two separate sources using a snare hit, clap, or verbal announcement.