RØDE Microphones LLC has today announced the acquisition of iconic American pro audio leader Mackie. The acquisition represents a new chapter in the evolution of RØDE and establishes The Freedman Group – parent company of RØDE – as one of the most well-rounded pro audio companies in the world, with an enviable catalogue of products spanning a wide range of audio solutions for content creation, home and studio recording, broadcast, and live sound production.

“I am absolutely thrilled to welcome Mackie to The Freedman Group’s roster of iconic audio brands,” says Founder and Chairman Peter Freedman AM. “They are true legends, with a pedigree of live sound expertise that is simply unmatched. Today, RØDE and Mackie are both leaders in audio, and we share the same passion for creating innovative, high-quality products with a strong customer focus. With this acquisition, The Freedman Group is now a premier audio technology company offering world-class products to an even wider range of customers, from up-and-coming content creators to professionals working in live production and everyone in-between.”

Since 1989, Mackie has been a leading designer and manufacturer of pro audio products, including mixers and loudspeakers for home, studio and stage use. An integral player in the home recording revolution in the 1990s, Mackie quickly made a name for itself as a highly innovative brand with a focus on ‘built-like-a-tank’ quality and affordability. Groundbreaking products like the 1602 and D8B mixers and SRM450 loudspeaker were instant classics and, combined with a unique approach to marketing, established Mackie as a go-to brand in the recording and live sound industries – a status they uphold today with leading products like the ProFX series of compact mixers, the Thump series of powered loudspeakers, and the popular CR series of desktop production monitors.

“Mackie is one of the great success stories in pro audio and I have admired them for a long time,” says Mr Freedman. “My background is in live sound production. It’s something I have always been passionate about, ever since I saw Tom Jones at the Chevron Hotel in Sydney as a kid back in ’69 – my father Henry installed the sound system there, as well as many other venues across the city. Live sound is where I cut my teeth in audio, so this very much feels like that part of my career coming full circle.”

He continues: “Having met Greg Mackie before I even started RØDE, I found his passion for audio and approach to business inspiring. Their origin story is uncannily similar to ours. Both brands helped fuel the democratisation of DIY recording in their own way, Mackie with their mixers and speakers and RØDE with our microphones. We shared a similar path and today both brands are leaders in what we do, so I am incredibly excited to bring these two audio icons together.”

Speaking about the acquisition, Alex Nelson, CEO of Mackie says: “The entire Mackie team is excited to be joining forces with Peter, Damien and their incredible crew. Having worked in the audio industry for many years, I have always held RØDE in high esteem. Their manufacturing capability and technology leadership is second-to-none in pro audio and I think they are the perfect partner to help Mackie expand as we enter an exciting new chapter in our history. Also, the timing could not be better. We have an incredible product roadmap ahead of us, which we’ll be making some big announcements for leading up to NAMM ’24. This is an extremely exciting time for Mackie, and we couldn’t be happier doing all of this alongside the RØDE team.”

Greg Mackie, founder of Mackie and audio industry legend, shares a similar sentiment, saying: “I can’t think of a better company for Mackie to be associated with than RØDE”.

“RØDE and Mackie are incredibly harmonious brands,” says Freedman Group CEO Damien Wilson. “This acquisition diversifies our product offering in a very complementary way. We now offer end-to-end audio solutions for everyone from musicians setting up a home studio to professional live sound engineers. Whilst Mackie’s brand, manufacturing and operations will remain unchanged, there are incredible opportunities to combine the complementary IP, infrastructure and resources of both brands in powerful ways. I am very excited about the potential this offers RØDE and Mackie.”

Commenting for RØDE Microphones LLC, Joe Hockey says: “This acquisition offers powerful growth opportunities for RØDE and is a significant milestone in their global expansion. It is exciting to see RØDE continue to invest in their future, and I am looking forward seeing the ongoing success of these two legendary brands.”

Legal counsel for RØDE was provided by Skadden, Arps, Slate, Meagher & Flom and Gilbert + Tobin, with financial advisory from PwC. Funding was provided by Amicaa & Carlyle, with legal counsel from Baker McKenzie. Seller Transom Capital Group received legal counsel from Kirkland & Ellis and financial advisory from Lincoln International.

“It has been our pleasure to work with the Mackie leadership team over the past several years,” says Russ Roenick, Managing Partner for Transom. “Their spirit of innovation, customer-facing approach, and overall drive for excellence has built a company culture that is unparalleled. I wish the team continued success as it takes the next step in its journey alongside the outstanding team from RØDE.”

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Røde NTH-100: What is it?
The NTH-100 is Rode’s first foray into the world of headphones.

Røde NTH-100: What’s great?
Articulate, revealing and confident sound. Comfortable. Good-looking (in a rugged sort of way).

Røde NTH-100: What’s not?
Sonic balance won’t suit everyone. Shorter cable is somehow a cost option.

Røde NTH-100: The bottom line
If it’s insight into a recording you want, but not insight of the dry and analytical kind, these Røde could be just the ticket.

Røde NTH-100: Equipment
Rode is an Australian company (the ‘ø’ is a nod to the founding Freeman family’s Scandinavian heritage) – it was established in the 1960s and had its first successes with condenser microphones. Anyone with even a passing interest in professional audio and/or recording equipment knows exactly what Røde is capable of.

And it’s safe to say the company isn’t chasing any kind of modish area of the headphones market with the NTH-100 – this is a closed-back, hard-wired over-ear headphone of the sort that was popular back in the last century.

Røde NTH-100: Build quality
There’s nothing remarkable about the materials Røde has specified for the NTH-100 – sturdy, quite tactile plastic, some exposed and complex angled metal for the arms of the headband, and alcantara-covered memory foam where the headphones contact the wearer at the ears and the inside of the headband. And until you remind yourself the NTH-100 cost just £149, there seems nothing remarkable about the way they’re put together either – but once you keep the asking price in mind, the Røde seem disproportionately robust and well-made.

The black-on-black colour scheme is businesslike (or dour, depending on your point of view) – but you can spend a little extra on differently coloured headbands, earcups and cables if you want to jazz things up a little. And on the subject of cables, the NTH-100 are supplied with a 2.4m cable with a 3.5mm connector at one end and a ‘twist/lock’ version at the other – it’s a sensible length for those who want to use the headphones in a professional environment, especially as the cable can attach to either earcup. But the fact that a 1.2m alternative is a cost-option seems a bit mean.

At 350g the Rode aren’t the lightest headphones around, but they’re comfortable for extended listening sessions. This is thanks in part to the ‘CoolTech’ gel in the ear-cushions that prevents the pads returning your own body heat for an impressively long time. And they stay adjusted exactly as you like them using ‘FitLock’ – a physical headband-locking mechanism that’s a strong contender for a ‘so simple it’s brilliant’ award.

Røde NTH-100: Sound

Inside each earcup, Røde has fitted a 40mm full-range transducer with a claimed frequency response of 5Hz – 35kHz. You don’t need to spend long inside the NTH-100 to realise those numbers are entirely reasonable.

The Rode are an obsessively detailed, painstaking and thrillingly open listen. Their soundstage is so spacious you might be fooled into thinking you’re listening to open-backed headphones. They organise a recording with almost military precision, giving its every element enough space to express itself unhindered. Height, width and depth are described explicitly, too – but integration is impressive at the same time. It’s not easy to combine a sense of space with a feeling of unity and singularity, but the NTH-100 manage it almost casually.

Tonality is equally impressive. The company’s ‘pro’ heritage is obvious in the swift, controlled and unshowy way they hand over low-frequency information – and bass stuff is so well-behaved that the midrange has more than enough space to do its detailed, expressive and revealing thing. At the top end, too, there’s precision allied to bite – and, as everywhere else, prodigious detail levels.

Dynamic headroom for big volume changes is more than adequate, and the Rode pay proper attention to the more nuanced harmonic variations apparent in pretty much any piece of music too. Rhythms are expressed with absolute certainty, and the low-frequency rigour the NTH-100 demonstrate means tempos are always on the front foot too. Some listeners will undoubtedly find these headphones wanting when it comes to outright bass presence, but those who value realism over unnatural, overheated and overconfident low-end sounds will realise the Røde are giving them a complete, but uncoloured, picture.

Which is not to say the NTH-100 are in any way dispassionate, overly analytical or prissy. They understand full well that music is entertainment that’s meant to be engaged with rather than a puzzle that’s there to be solved.

Price and availability
The Røde NTH-100 are on sale now, and they’re priced at £149 per pair.

The post Røde NTH-100 Headphones Review appeared first on Audio Media International.

Freedman Electronics, parent company of RØDE Microphones, has appointed former Federal Treasurer of Australia and Australian Ambassador to the United States, Joe Hockey, to its newly established board of directors.

The new board comes as part of a period of significant expansion for Freedman Electronics. The company recently opened a new R&D facility in Europe, while also expanding its operations in China and the US. 

Meanwhile, RØDE has significantly ramped up its operations in Sydney with the addition of a new 15,000 square-metre production and logistics hub, as well as new high-tech manufacturing facilities, which will be commissioned in the coming months.

Hockey’s association with Freedman Electronics stretches back to 2014, when he visited the RØDE campus in Sydney. Since then, he has written the foreword for Freedman Electronics’ 50th-anniversary book in 2017 and was the guest of RØDE founder Peter Freedman on his first visit to the proposed site of the Momentary – a contemporary arts space in Bentonville, Arkansas of which RØDE is a founding funder – during his time as Australian Ambassador to the United States.

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“I am very pleased to appoint Mr Hockey to the Freedman Electronics Board of Directors,” said Freedman. “He has been a trusted advisor on many occasions since we first met in 2014 and has played a significant role in several key milestones for the company, including our partnership with the Walton Family, founding owners of Walmart and the Momentary.”

He continued: “The past 24 months have been a period of momentous growth for the company and this appointment is a significant step in the next phase of our expansion as we look to increase our global presence, develop our operations here in Australia, and continue making innovative, world-leading audio products. Mr Hockey is a tremendous leader and global business facilitator, and his presence on the Board will help guide RØDE on its path for future success.”

Commenting on his appointment, Hockey added: “RØDE is a true Australian success story – a story of innovation, investment and resourcefulness that proves that Australia can be the best in the world in any field. I have witnessed first-hand the strength and capabilities of the team Peter has assembled and look forward to playing an active part in the continued expansion and success of this iconic global brand.”

Hockey is the first person to be added to the Freedman Electronics board of directors, with more appointments expected to be made throughout the year.

“2020 led to great growth, but we need to manage that in 2021”
Read the Audio Media International partner plan.

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RØDE has unveiled its Wireless GO II microphone, adding a range of new features to its original iteration. 

RØDE Wireless GO II is an ultra-compact dual channel wireless microphone system designed to offer maximum versatility. 

Providing the pocket-sized form factor and sound quality as the original Wireless GO, the RØDE Wireless GO II comes with dual channel recording, universal compatibility with cameras, mobile devices and computers, extended range and improved transmission stability, as well as on-board recording capabilities. 

“The original Wireless GO was a gamechanger,” said RØDE CEO Damien Wilson. “It truly revolutionised sound capture for everyone from vloggers to business professionals producing content while working from home. The form factor and feature set had never been seen before and many have attempted – and failed ­– to replicate it since.

“The Wireless GO II is a huge leap forward in terms of usability and versatility, while retaining all the elements that made the first edition such a success. It represents RØDE’s mission to innovate and continue evolving our product lines, always with creators in mind. The Wireless GO II is once again going to change the way people record audio for their content.”

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The RØDE Wireless GO II features all-new Series IV 2.4GHz digital transmission with 128-bit encryption, delivering an extended range of up to 200m (line of sight), optimised for stable operation in dense RF environments.

Furthermore, its on-board recording capability enables users to record over 24 hours of audio direct to each transmitter as a failsafe against dropouts and other potential audio issues.

Other notable features of the RØDE Wireless GO II include the ability to switch between mono and stereo modes, meaning users can record each transmitter separately or combine the two in post-production; a mute button; in-built rechargeable lithium-ion batteries that last up to seven hours; and more.

RØDE Wireless GO II

“We want to stay in touch with our customers beyond Zoom!”
Read the Audio Media International partner plan.

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RØDE founder and chair Peter Freedman has donated $5 million to the Sydney Festival in a bid to help the event survive the effects of the COVID-19 pandemic. 

Freedman has been the principal philanthropic partner of the Australian arts festival since 2013, contributing significant funds during that time. In 2016, he was honoured with the Order of Australia for his services to business manufacturing and export, as well as his support for the Sydney Festival and other cultural events.

“I am extremely proud to continue my support of Australian arts and culture with this donation to the Sydney Festival,” said Freedman. “Our artistic communities need assistance now more than ever. The creative arts are at the mercy of this pandemic, more so than any other industry, and the past 12 months have highlighted just how fragile the industry is.”

The $5 million donation is the largest singular philanthropic contribution to the Sydney Festival in its history.

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“Mr Freedman’s generous philanthropic gift will do much to rescue the state of our arts industry after the immense disruption COVID has caused,” commented Olivia Ansell, Incoming Sydney Festival director. “New commissions, major presentations and the livelihoods of so many talented Australian and international artists will be made possible because of his generosity and unwavering belief in what we do. Ongoing support is vital to sustaining a pipeline of new work creation that can ensure the Sydney Festival can remain excellent in all that we do.”  

Freedman continued: “I have long been an advocate for the Sydney Festival and strongly believe it is one of the world’s most important cultural events and most certainly Australia’s. The Festival has supported thousands of creative artists and behind-the-scenes workers in the industry. These are the people who have supported my career with RØDE, and this is my way of giving back to them.

“The fact that Wesley Enoch and his wonderful team have managed to persevere through 2020 to put on such an incredible event in 2021 is remarkable and a testament to the resilience of creativity. I know that the next few years are going to be tough for the Festival and for the Australian arts as a whole and I am humbled to be able to make a contribution that will help ensure our cultural heart continues to beat.”

Freedman has backed several philanthropic ventures in recent years, having funded the RØDE House, a live performance venue within the Momentary, a new contemporary arts space in Bentonville, Arkansas, which was opened to showcase Australian arts in the US. Last year, he purchased Kurt Cobain’s MTV Unplugged acoustic guitar for a world record amount of A$9 million to highlight the plight of the performing artists across the globe. Plans to tour the guitar around the world to raise funds and awareness for struggling artists re currently underway. 

The post ‘The arts are at the mercy of COVID’: RØDE founder donates $5m to Sydney Festival appeared first on Audio Media International.

It’s that time of week again, when Audio Media International rounds up the Top 10 stories dominating the pro audio headlines.

Claiming this week’s top spot is our interview with Dean St Studios managing director Jasmin Lee and Dolby Atmos specialist Jan Stan Kybert, who took us inside the legendary facility’s relaunch and the brand new Dolby Atmos setup at the heart of its flagship Studio 1.

Meanwhile, our review of the new Cubase 11 software has proved particularly popular, as have our Next Generation Spotlights, in association with Genelec, in which we meet some of the most exciting emerging talent in the studio sector.

Other notable highlights this week came in the form of Stagehand’s prize draw to raise money for its Crew Relief Fund, in which people can win all manner of memorabilia such as signed instruments and lyric sheets from some of the biggest names in music, while our interview Georges Fornay, CEO of high res music platform Qobuz, continues to capture the market’s attention.

You can check out the Top 10 in full below.

1. Dean St MD Jasmin Lee and Dolby Atmos specialist Stan Kybert take AMI inside revamped studio

Audio Media International has spoken to Dean St Studios managing director Jasmin Lee and Dolby Atmos specialist Jan Stan Kybert about the legendary facility’s relaunch and its new Dolby Atmos set up.

2. REVIEW: Steinberg Cubase 11

Music technology author and lecturer Stephen Bennett casts an expert eye over Steinberg’s Cubase 11…

3. Next Generation Spotlight: Dean Glover 

Audio Media International, in association with Genelec, is proud to present our Next Generation Spotlight interview with Manchester-based record producer, Dean Glover…

4. Next Generation Spotlight: Alberto De Icaza 

Audio Media International, in association with Genelec, presents the latest in our series of Next Generation Spotlight interviews. Today, we chat to mixing and mastering engineer, Alberto de Icaza…

5. Stagehand campaign launches prize draw to raise funds for events staff

Live events industry charity Stagehand has launched #ILoveLive, a new prize draw to raise fund for production staff impacted by the COVID-19 pandemic…

6. ‘The market will return to quality and forget MP3, it’s just a matter of time’, says Qobuz CEO

Georges Fornay, deputy CEO at high-res audio music streaming platform Qobuz, has outlined his vision to “bring quality back to the music market” in a new interview with Audio Media International…

7. RØDE Microphones reveals all-in-one vlogger kit

RØDE Microphones has rolled out three additions to its range of solutions for vloggers…

8. Next Generation Spotlight: Aryanne Maudit

Audio Media International, in association with Genelec, presents the latest in its series of Next Generation Spotlight interviews. Here, we catch up with engineer, producer and multi-instrumentalist Aryanne Maudit, who discusses career origins, industry challenges and plans for the future…

9. Waves CLA Epic plugin now shipping 

Waves Audio’s new CLA Epic plugin, designed by legendary Grammy Award-winning producer Chris Lord-Alge, is now shipping…

10. ‘You may be doing a bad job and not know it’: Steve Albini on how to up your studio game 

Legendary producer Steve Albini offers some sage advice on how aspiring producers and engineers can improve their skills in an in-depth interview with AMI…

The post ICYMI: Check out the Top 10 stories on AMI this week appeared first on Audio Media International.

RØDE Microphones has rolled out three additions to its range of solutions for vloggers.

The new Vlogger Kits are designed to cater for those looking to improve their mobile content creation capabilities. The range offers solutions for every type of smartphones, including a RØDE VideoMic Me-L with a Lightning connector, and the new RØDE VideoMic Me-C with a USB-C connector. A Universal Edition is also available, which includes a RØDE VideoMicro for use with smartphones that feature a 3.5mm input.

Meanwhile, each kit comes with the new RØDE Tripod 2, new RØDE SmartGrip mount and RØDE MicroLED on-camera light, which slots onto the SmartGrip.

The kits have been designed for all manner of mobile content creation applications, from vloggers and filmmakers, to journalists and YouTubers. 

You can view the new kits in action below.

The post RØDE Microphones reveals all-in-one vlogger kit appeared first on Audio Media International.

Jerry Ibbotson works out the kinks with this compact wireless microphone system…

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This is showing my age, but do you remember Sony’s original Walkman Pro cassette recorder? This little baby was beloved of radio documentary makers in the days before DAT, Minidisc and then solid state. It might not have had the ultimate quality of a reel-to-reel Nagra but you could put it in your coat pocket. It’s come to mind just now because I’m mulling over the very blurry line between pro and consumer kit.

A cynical radio station engineer once told me that things like the Sony were professional because they’d been painted black and had the word “Professional” written on them. So where does gear like RØDE’s Wireless Go fit in? It’s a wireless microphone system that is tailored towards DSLR shooters (a corner of the market I’ve looked at quite a few times in AMI over the years). It’s easy to use but claims to offer excellent results, so is it professional or consumer? And does it matter anyway?

The kit comes in a neatly packaged box, akin to a new phone. Slide it open and you get the small receiver, the combined mic/TX, an audio lead and two USB C charge cables. There is also a pair of small, clip-on windshields for the microphone (one to wear and one for spare).

The initial instructions are minimal: there is an illustrated quick guide on the box, but further information can be downloaded from RØDE. You turn each of the units on by pressing a soft-touch button. The TX has two blue lights that show that the battery is charged and that it’s connected to the receiver. It also has a socket to plug in an optional lavalier mic (on a 3.5mm TRS minijack). Of course, there’s also the built in omni-directional condenser microphone, which I assume most users will go for.

On the identically sized receiver is a small, colour LED screen which shows the amount of charge in the batteries of both units, the signal strength between the two (the 2.4gHz transmission system claims a range of 70m, line of sight) and the audio output level to the camera or recorder. This is adjusted via a three-stage control on the bottom of the receiver.

The built-in mic has a maximum SPL of 100dB and a frequency range from 50Hz to 20kHz. It’s designed to be clipped onto clothing like a conventional personal mic, except it’s a small square slab, rather than a microphone. But there is, of course, no wiring leading anywhere. It may well be visible to the camera/viewer but it’s small and neat enough to be barely noticeable.

On test, I opted to use it with an audio recorder rather than a camera, as I wanted to be better able to monitor the sound and also wanted the recording quality to be as strong as possible (my SLR is competent with sound but not much better). I used my Roland R26 which has, amongst other things, a minijack input. 

With everything hooked up, the first thing I noticed was the strength of the audio signal coming through to the Roland – a promising sign. I set the recorder going, pulled off my headphones and went for a wander with the mic unit clipped to my shirt, just below my chin. I left the room and chatted as I walked about.

The recording was excellent. The mic has a very strong sound to it and didn’t show any signs of picking up rattle as I moved around. Even when I was in another room, there was no drop-out and the level and quality were consistently good. Given this is running on a wireless system, I might have expected some deficiencies but there weren’t any.

The Wireless Go is not aimed at sound recordists working on big budget productions in film or TV. Its target users are vloggers, YouTubers, onstage presenters and the like, and for them it offers a one-box solution to better audio. Given the number of YouTube videos my kids have made me endure where the mic is clearly camera mounted and several feet from the presenter, I’d say it would instantly improve most recorders by several hundred per cent. It’s a novel approach, putting the mic and transmitter together, and for those target users it should be a great addition to their arsenal of kit. It’s more visible than a small personal mic but I don’t think that would be an issue to the final audience in these circumstances. Plus there is always the option of using a separate lavalier.

RØDE have done it again. They seem to have single-handedly colonised the world of prosumer audio kit with more and more products that offer quality sound without the cost, faff and intimidating complexity of higher end gear. I can think of a number of uses for the Wireless Go beyond those I’ve already listed and certainly away from just video sound. If you need a small wireless mic solution that’s literally press-and-go, it’s worth a look.

Key Features

> Ultra-compact form factor

> Digital 2.4GHz transmission

> 70m line-of-sight range

> Dual-purpose clip-mount

RRP: £199

www.rode.com

The Reviewer

Jerry Ibbotson has worked in pro-audio for more than 20 years, first as a BBC radio journalist and then as a sound designer in the games industry. He’s now a freelance audio producer and writer.

The post Review: RØDE Wireless Go appeared first on Audio Media International.

The September edition of Audio Media International is now available to read online.

In this issue, Andy Coules talks us through Madness’ anniversary gig at London’s Kenwood House, and Colby Ramsey speaks to sound designer Chiara Luzzana about her THE SOUND OF CITY project.

In our Installation Profile, we find out how Amnesia Ibiza has been celebrating this summer with its new KV2 Audio system, while Silent Disco King’s Paul Gillies reveals how the wireless solution specialist pulled off an impressive collaboration with Cineramageddon and Fatboy Slim at Glastonbury.

Meanwhile, Avid’s Tim Claman discusses the importance of using cloud storage to protect original music recordings, and GCRS’ Ivor Taylor offers his thoughts on the ‘Science of Sound’.

This month’s product review section includes Pro Tools 2019, Stealth Sonics’ C9 IEMs, SSL’s Fusion outboard processor, and RODE’s Wireless Go system. And don’t forget to check out previews of two big trade shows taking place this month; IBC and PLASA.

Read all this in the September issue of AMI here.

The post Read the September issue of AMI online now appeared first on Audio Media International.

Jerry Ibbotson tests out this dedicated podcasting combo from Australian manufacturer RØDE…

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It’s a sad life I lead but occasionally I like to play a game where I list as many bits of hardware or software that were once cutting-edge but are now defunct. Remember the Netscape browser? Or AOL Mail with Joanna Lumley’s voice? Or how about the search engine Dogpile? Now you’re feeling old…

Until fairly recently, I’d have put podcasts in this category. When the first iPods hit the market in 2001, they were all the rage but with the emergence of better and faster streaming video, it looked like they’d had their day. But consider these facts from the UK’s regulator for the communications industry, Ofcom: the number of weekly podcast listeners has almost doubled in five years – from 3.2 million in 2013 to 5.9m in 2018. And the steepest growth is now among young adults aged 15 to 24, where one in five listens to a podcast every week.

No surprise then, that audio gear manufacturers are developing products aimed squarely at podcast producers. Leading the charge are RØDE, the Australian firm that has carved out quite a niche for itself among semi-pro audio and video types. Take their Rodecaster Pro: this is a combined mixer, playback unit and stereo recorder – hybrid of a small radio-type desk with an audio interface.

It has four mic channels, each with its own fader and XLR input, a pair of monitor outs and four headphone outs for contributors. It can also connect to a laptop and a mobile phone via cable connection or Bluetooth, allowing you to record phone or Skype interviews (when using a TRRS cable with the phone) or play in external audio. There’s a small raft of onboard effects for each channel, including a compressor and Aphex Aural Exciter. The unit has a colour LCD panel that displays settings for each mic channel, as well as level meters. The effects can be controlled here, even as you record.

If you want to use it as an all-in-one box, you can record to a micro SD card. Earlier this year RØDE updated the Rodecaster Pro software to allow multitrack recording in this mode, which adds an extra layer of flexibility. Alternatively, you can record externally to a laptop.

The Rodecaster Pro has another trick up its sleeve: the ability to play in audio clips or music via eight large buttons – like a playout system in a radio station. These come preset with comedy sound effects but you can load your own audio via a laptop. You could add music tracks or, thinking as a former radio newshound – even premixed packages. Just stab the rubbery coloured button and away it goes into the mix. You can change the playback mode of the pads via the RØDECaster companion app, or if you’ve downloaded the new 2.0 firmware, you can do this on-board. The new firmware also adds a handy new feature to the home screen – an icon that indicates how long the sound pads have until they stop.

In use, it will feel familiar to anyone with any previous radio experience but still easy enough to adapt to for those without. The whole unit has a really solid feel to it, which is the norm for RØDE gear, and it earns the Pro tag.

RØDE are keen to market the Rodecaster alongside their PodMic – a dynamic studio mic with a cardioid pattern. The two are tailored to the point where the Rodecaster has a specific setting for the PodMic which, when selected, optimises the little console for the microphone.

It’s a hefty little beast, with an all metal construction, built-in swivelling bracket and built-in pop shield. I do think the designers have styled it to look like a “traditional” radio mic – in the sense of it’s what podcasters might expect to find in a radio studio. Think Hollywood depictions of talk show hosts and you’ll know what I mean. That’s not a problem because it looks good, performs just as well and the build quality is extremely high.

It is designed for one clear purpose (much like a radio studio mic) but that is also fine. The sound is deep and rich and well matched for the end use. It certainly suited my voice, but then I started in radio when we all carried razor blades in our pockets. I think anyone stepping up from a cheaper budget microphone will notice the difference immediately. 

So, do the two items together work well and are they a good way to get set up for podcast production? I’d say that if you are a pure audio geek, there’s no need to switch from using your existing IO device and software. But if you want something that can do it all in one box, it’s certainly worth looking at. Obviously, cost is a factor but being able to play-in audio or jingles at the press of a button might be a real killer feature for some. I’d say it depends on the nature of the podcast – it definitely leans towards the “as-live” type of production. Either way, it’s got the usual RØDE quality and smart design, and could be just what people need to kickstart a successful podcast career.

Key Features

Rodecaster Pro:

– Class A Servo-biased preamps

– Aphex audio processors

– Multiple recording options

RRP: $599

PodMic:

– Designed as the ‘ultimate’ podcasting mic

– Matches with the RØDE PSA1 boom arm

RRP: $99

www.rode.com

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The Reviewer

Jerry Ibbotson has worked in pro-audio for more than 20 years, first as a BBC radio journalist and then as a sound designer in the games industry. He’s now a freelance audio producer and writer.

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