Rode RodeLink FM Digital Wireless Filmmaker System
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- Provides everything you need to start shooting video wirelessly, including a receiver, transmitter and broadcast-grade lavalier microphone
- Able to constantly monitor and hop between frequencies to maintain the strongest possible signal level at a range of up to 100 meters
- The receiver features an OLED display with information on level, battery status (receiver and transmitter), mute and channel selection
- Can be mounted on a standard camera shoe mount, 3/8" thread or belt-clip, and the shoe mount can be located in one of two positions
- The lightweight transmitter can be fitted to a belt or clothing and features a locking thread to ensure the mic connection is as secure as possible
- Includes an omnidirectional lavalier microphone in the kit to provide the highest possible audio reproduction quality
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From the manufacturer
- Series II, 2.4 GHz digital transmission
- 128-bit encryption
- Up to 100 meteres range
- OLED display (on receiver)
- One button pairing
- Three level gain control
- AA battery or USB powered
- Includes RØDE's broadcast Lavalier microphone
Rode RodeLink Filmmaker Kit
Digital Wireless System for Filmmakers
RODELink represents the next generation of digital wireless systems. Using a series II 2.4GHz digital transmission with 128-bit encryption, it is able to constantly monitor and hop between frequencies to maintain the strongest possible signal level at a range of up to 100 metres (over 100 yards).
The RODELink Filmmaker Kit provides everything you need to start shooting video wirelessly, including a receiver, transmitter and broadcast-grade lavalier microphone. The receiver (RX-CAM) features an OLED display with information on level, battery status (receiver and transmitter), mute and channel selection. The unit can be mounted on a standard camera shoe mount, 3/8 inch thread or belt-clip, and for added versatility the shoe mount can be located in one of two positions. The lightweight transmitter (TX-BELT) can be fitted to a belt or clothing and features a locking thread to ensure the microphone connection is as secure as possible. RODE's omnidirectional Lavalier microphone is included in the kit to provide the highest possible audio reproduction quality.
At a light 190 grams, the TX-BELT transmitter can be fitted to a belt or clothing and features a locking thread to ensure the microphone connection is as secure as possible. It has a discreet, internal antenna with a 100 meter range and 3.5 millimeter TRS socket with dual mono output. Can be powered by 2 x AA batteries or microUSB.
This receiver accepts the audio signal coming from up to 8 transmitter channels. It can be mounted on a camera shoe or also be clipped onto a belt or clothing.The OLED display clearly shows battery status, level, mute and channel selection. Finally, the 3.5 millimeter TRS locking jack socket sends audio directly to the camera or recording device. Can be powered by 2 x AA batteries or microUSB.
This pressure gradient microphone can be clipped on to a person or object and the audio can be sent to the RX-CAM via the TX-BELT. It picks up frequencies from 60 Hz to 18 kHz, so you can be assured that whether your subject's voice is high or deep the audio will be recorded with broadcast quality. And at 1 gram they won't even know it's there.
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RODELink represents the next generation of digital wireless systems. Using a series II 2. 4GHz digital transmission with 128-bit encryption, it is able to constantly monitor and hop between frequencies to maintain the strongest possible signal level at a range of up to 100 meters (over 100 yards). The RODELink Filmmaker Kit provides everything you need to start shooting video wirelessly, including a receiver, transmitter and broadcast-grade lavalier microphone. The receiver (RX-CAM) features an OLED display with information on level, battery status (receiver and transmitter), mute and channel selection. The unit can be mounted on a standard camera shoe mount, 3/8" thread or belt-clip, and for added versatility the shoe mount can be located in one of two positions. The lightweight transmitter (TX-BELT) can be fitted to a belt or clothing and features a locking thread to ensure the microphone connection is as secure as possible. RODE's omnidirectional Lavalier microphone is included in the kit to provide the highest possible audio reproduction quality.
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1. To manually change a channel: Power up both units. Open battery door on RX, press red sync button, press channel button on front of unit to desired channel. Open battery door on TX and press red sync button. It should change to the channel you selected on the RX. You need to do this fairly quickly, the RX times out, if I recall. You should not have to do this if it actually seeks a clear channel, but here is how to do it manually. It bad you can't scan through the channels more easily.
2. Rode support specifically told me that NiMH batteries work fine in these units. Any AA battery should work. I wondered about this because NiMH batteries have a slightly lower voltage.
3. Rode makes a lav microphone with a detachable cord and swappable ends. This isn't it. The microphone end and connector end are molded on the cable. So for goodness sake, be careful!
4. I do get intermittent digital noise, but very low, less than -50 dB... but if you crank up the gain on a quiet spot, it's there. If your editing software is any good, you can use a audio gate function and make it go away without impacting your recording. I think, to a degree, you sign up for this when you go wireless. If you want perfect audio, you need cable and a good wired microphone.
Dead-simple brainless hookup -- "it just works" (after you figure out how to put the batteries in) without any pairing magic or channel selection issues. Unlike other solutions below this price point, this is a *digital* transmission, which translates to a lower noise floor -- less hum, hiss, dropouts, and spurious noise than with analog transmission. I tried the Movo kit, and the level of hiss and hum compared to the Rode was unacceptable. Didn't try the Azden kit, I jumped straight to the Rode after watching a youtube head-to-head comparison review.
The lavalier (lapel) mic sounds fantastic -- rich bass for nice chest tone, and picks up pleasant high-end sibilance from collar region. Includes spring-loaded pin mount, foam cover, and outdoor "dead mouse" wind sock. No instructions on how to attach the pin or covers to the mic cord, but given a diagram of the "finished" look you can puzzle out how to do it. Yes, the ultra-thin lightweight cord from the mic to the transmitter is fragile, but that also makes it easy to thread through clothing and minimizes cable rubbing noise. Love the positive-lock screw-in 1/8" mini-plug connectors -- you don't *have* to screw them in, but that avoids problems with talent or camera operators accidentally pulling out plugs and having no audio. Love the status display on the receiver -- shows battery level of *both* units, and indicates when talent unit is muted or shut off. Weight is heavier than cheaper units, but still fine to mount on camcorders or DSLRs (I measured 0.41 lbs for each unit). For use with a SONY 4K handycam and its recessed multi-interface shoe, I needed more room for my fingers to fit underneath the receiver, so I used a cold shoe adapter JJC MSA-MIS Standard Cold Shoe Adapter Converter for Sony Multi Interface Shoe Camcorder (Black) to gain an extra inch of height. There are internal level settings (0, 10db, 20db) on transmitter and receiver -- I like that, this setting is rarely changed (default is 0db on both and works fine) and there's no risk of accidentally hitting an external switch.
On the negative side, the manual is super-dense (you'll need a magnifying glass) and basically useless, and Rode is the WORST at designing battery compartments. I had to search for a youtube video on how to put in the batteries!! You push in a plastic button on the back and then *slide* the *larger* piece to open -- very non-intuitive. Inside, the battery springs are *crazy* tight, if you don't have long fingernails you will need a small tool like a mini-screwdriver to pry out used batteries. Rode suggests Energizer Ultimate Lithium batteries for max life; but just be disciplined about shutting off units right after an interview and they seem to last a long time.
Pros who want more channel options and XLR connectors and level/tone controls have lots of options starting at about 2x the price of this unit, but for hobbyists and semi-pros who want great wireless sound quality from a single mic without any fuss, this really is the best solution.
1) By the fact that something in this mic produces an obnoxious buzzing sound, regardless or mic or camera settings, and in every environment I have used it in.
2) It just randomly turns itself off, WHILE YOU'RE USING IT. This is causing me a major headache as I now have to reshoot several scenes for a video I'm making.
I understand that for whatever reason RODE products are fairly well regarded, maybe they're overall great except for the lemons which get through here and there. Total waste of $400, sending it back.
The exact problem is described at around 10:45 of this review video by someone else:
EIDT: Amazon won't show the YouTube link. The video is titled "RodeLink Wireless Filmmakers Kit Review" by DSLR Video Shooter on YouTube.
EDIT 2: I contacted Rode about the issue and they sent a replacement microphone.
Top international reviews
Ce kit est très simple, on a un récepteur d’un côté et un émetteur de l’autre, auquel on va brancher un micro-cravate.
L’intérêt de ce système, c’est de ne pas être relié par un fil à la caméra. On va pouvoir se déplacer et prendre de la distance par rapport à la caméra, tout en conservant le niveau de la voix avec le micro-cravate.
Dans la boite, on a un récepteur monté déjà avec un sabot de fixation avec vis, permettant de le monter sur pied ou directement sur la griffe de la caméra et comme le sabot est rond, on peut orienter le récepteur dans le sens qu’on souhaite, donc c'est plutôt pratique. On a également un câble jack reliant le récepteur à un enregistreur.
Ensuite on a le transmetteur, d'ailleurs on ne pas se tromper, il y a Rx sur le récepteur et Tx sur le transmetteur. Et puis on a une petite pochette de rangement, avec le micro-cravate, la pince, la petite bonnette et même un windjammer pour protéger le micro du vent en extérieur.
Les boitiers sont assez imposant, même plus grand qu’un seinheiser g3, mais avec ceux là, on a pas l’antenne qui dépasse, elle est directement intégrée.
Pour utiliser le Kit HF, c'est très simple, il suffit d’allumer les deux boitiers et ils devraient automatiquement se reconnaitre. Si ce n’est pas le cas, vérifier qu’ils soient bien sur le même canal. Sans quoi vous pouvez appairer les deux boitiers en appuyant sur les deux boutons à l’intérieur des boitiers. Si les deux boitiers sont bien connectés, en principe, ça ne clignote plus.
Au niveau des réglages, j’ai trouvé qu’avec +20db sur le transmetteur et -10db sur le récepteur, le rapport signal bruit avait l’air assez correcte. En tout cas, si vous l'utilisez avec une caméra, il est important descendre le gain au minimum, les préamplis des caméras étant rarement très bon.
Côté portée, elle est annoncée à 100m en condition optimale.
Jusqu'à présent je n'ai eu aucun souci particulier avec ce système, la qualité audio est très correcte, et le signal étant cryptée en 2.4GHz, il évite la plupart des interférences.
Je l'utilise en prestation, pour des interviews ou pour des vidéos YouTube. Je recommande.
ps: Vous pouvez voir mon test du kit RodeLink Filmmaker sur ma chaîne "Derrière La Caméra".
Je tiendrais ce commentaire un jour, si des problèmes viennent à apparaitre.
Si vous avez jugé ce commentaire utile, merci de cliquer sur oui, vous me ferez plaisir :)
After a year of VERY light use, I've had the following issues and have two useless units.
1. AA battery spring snapped off (even though I was always really careful with it).
2. Mic cover foam tore away from ring clip.
3. Interference comes and goes all the time with one of the units.
4. Audio crackles if the mic plug is touched in the slightest in the transmitter (on both units!).
5. Locking ring on 3.5mm jack has disappeared.
Such a shame because these are great, it's just that the build quality isn't there and I'm not a heavy user and probably use them once or twice a month.
I've contacted Rode, let's see how they can help me.
Without doubt this has been the best film kit purchase I've made in recent years.
Update: have now bought a second - no hesitation either.
Combining this set with the tascam dr60d ii and setting the levels relatively low It's meant that you have 'set and forget'. Even mobile, out on foot, with the reciever and recorder tucked into the top of a small camera bag, add an earpiece for monitoring & you're free to concentrate on the visuals, whether or not you link directly into the camera. Quality is very good indeed - eminently usable in broacast terms - and battery life is amazing; the current set has been in both receiver and transmitter for over four hours' woth of recording. Being able to monitor battery life on both units by looking at the receiver box screen just gives you more reassurance.
The only down sides are i) the size - slightly larger than competitors and ii) occasional dropouts if you're in a building and separated by more than one wall. But the range of 30m plus, and out to 90m in the right conditions is fabulous. Very glad I bought this. Will add another one as soon as budget becomes available.
I can't think of a reason why you would want to pay twice as much for a unit.
The wireless transmission is reliable and covers a long distance (concert hall / auditorium easily).
The caveat being the unit is quite large and chunky, it's made of plastic but feels robust too.
Compared to the Sony UWP-D11 for example, the quality of audio is just as good.
Battery is excellent, I'd estimate 9-12hrs
Doesn't have any complicated menu system - switch on and auto pair and the mechanical switches for -10 / +10db are a good design feature to include.
The mute control from receiver is another good feature too.
The gold locks for the mic and 3.5mm cable are an essential feature for a professional device. Mine cage loose and was lost. Rode sent me a new gold nut quickly.
My microphone also broke; I started getting noise and interference where the wire wore out near the 3.5mm input, not from any real stress either. Again, Rode replaced it quickly and courteously.
I have not noticed any degradation in quality when using the XLR adapter for the coiled 3.5mm cable.
Dual antenna model
Hot shoe attachment on top of the receiver
For the record, I've spent decades working in IT, so figuring out electronics is second nature to me. This product had me scratching my head from the minute I received it!
Firstly, the packaging on this is horrible. Both transmitter and receiver are packaged as if you were buying them separately and then put into a sleeve that keeps them together. Stickers with void marks - you need a knife to get in them. They both sit in a vinyl holder. Why this isn't packaged in cardboard boxes like their other products is mystifying.
Once you've done the surgery to get all the parts out, you've got to put batteries in. No they didn't include any. Also, there's a warning to be careful when taking out the batteries. If you read the reviews from others on Amazon, you'll discover that the design for removing batteries isn't foolproof. One battery is easy to remove, but the other isn't because the cover and the opposing spring makes it difficult. So you're now discovering a huge design flaw - both on the transmitter AND receiver. Had they had any design sense, both batteries would have pointed the same way and it would have cost them the expense of two inches of wire. Incidentally, unlike their video mic's and shotgun mic's that come with a 10 year warranty, the Rodelink comes with a TWO year warranty - now you know why.
Now you've got the batteries in, you need to pair them. You'd think someone with Rode's reputation would a) have the two paired up before it shipped to you, and b) have simple and quick step documentation in the box telling you how to do this without actually having to go to YouTube to figure it out! Yeah, it's not straightforward, it's not fool proof, and given the potential for having to re-program in the field (if there's interference on the channel you're using) then there's a potential to forget how to redo this when under pressure.
There's also the issue that the transmitter and receiver are huge and to be fair they're not particularly well built either. To be honest, based on how Rode builds their other gear, this stuff looks like rebadged gear from the Far East. The receiver has a plastic mount for a cold-shoe. Why plastic when their Videomic's are metal? So I tried exchanging a metal one from my old Video mic mount and it didn't fit. Grrrr.
Now for the icing on the cake. The lav microphone. If you're thinking this looks exactly like the Rode Lavalier Microphone (minus the case), then you'd be in good company. The only way you'd find this out is apparently to look at Rode's FAQ section for that exact question. No it's not the same as this is an all-in-one lookalike that doesn't appear to be nearly as sturdy and so you cannot change the Micon-1 connection end. For me this was the last straw as I was looking for the option to use XLR directly with their own Micon-5 connector (i.e. switch from Micon-1 to 5 as necessary). For me this was a deal breaker, as I'd have to spend another third more over the cost of this. Note that the screw on the Micon-1 lookalike comes off - which is great if you want that, but not if it comes off and you lose it.
Rode has since come out with a newer wireless Go mic, which might work better for what I want and at a more reasonable price point. But to be honest, even after owning two of their shotgun mics, I'm now pretty annoyed at them for these cheap shortcuts.
Sound quality is good - not great, but we're already taking a hit talking via wireless. A wired connection would always be preferable and based on Rode's own videos - they imply these wireless connections often need careful placement in a crowded area to reduce interference anyway. I came to the conclusion that for my needs, I'd rather buy a long XLR cable and hook up that way.
If you absolutely need wireless lav mics, then I'd suggest trying Rode's Go system instead and get a better lavalier microphone
I can tell you that a Purple Panda wired lav mic (circa £10 on Amazon) plugged into the same audio recorder sounds better. Maybe we got bad units, but it seems strange that we should get two poor performers.
We'll make do until we can afford something better.
Generally so far I have found it works very well with my Fujifilm X-H1, sound quality is good and it is easy to get up. Ideally I would like more information on the LCD of the transmitter but it isn't a big problems as I can check most stuff via the camera. Having a headphone jack would also have been really useful, as the X-H1 doesn't have a built 3.5mm jack socket unless you buy the grip.
Overall for the price you can're really go wrong but if I was going to do video more often I would still ideally go with the Sennheiser instead.
1) pairing is idiot-proof: the one button design is great.
2) sound quality is great! Matches Seinnheiser's for a fraction of the price.
1) size: probably due to AA batteries instead of the smaller AAA ones. Very bulky.
2) receiver gain buttons position: when mounted onto the camera's hotshoe, they are almost inaccessible. A better design would be to have them placed at the top when the slide cover is open.
3) receiver signal display appears to have only three levels: not ideal for those who want more volume control.
4) doesn't come with storage/protective case (and there doesn't seem to be one for this product).
- Multi channel selection makes interference avoidable and you can run multiple of these like 9 or something in the same room on different channels so conference and convention work just got easier for you voxpop people
- easy to hit between -6db and -12db. The receiver has adjustment increments of 0db, +10db and +20db i believe and the transmitter has 0db, -10db, and -20db (basically you can turn it up from your end, they can turn it down from theirs).
- mute button available on the transmitter for well versed subjects and you can unmute it from the receiver end. The LCD screen shows it is muted over the WHOLE screen so you know 100%
- locking nuts are cool but I've already lost one so hey
- place them lower than you think. These pick up vocal bass like mad but same time it's rich and warm in sound.
- if you're feeding into your camera (for example Panasonic gh5) then turn your preamps DOWN as much as possible (so for gh5 it's -12db) and then fine tune your sound through the RX and TX lavs. The sound is MUCH cleaner without your preamps getting in the way!
Unfortunately the product was dead right out of the box. I would expect some kind of quality control before it left the factory.
The instructions were small type and unintelligable with no hint of troubleshooting. The website support was just an online version of the paper copy in the box, so no help there.
after an hour of messing about trying to fault diagnose by plugging into various cameras & laptops, I discovered that the mic itself was dead, so wasn't even able to test the rest of the unit for quality.
Ive lost faith in the product, so its a return for refund, meaning I have to start searching again.
When you look into replaceing it the mic it’s £150 as it’s not one you can replace just the connections of.