![]() ![]() Still rough around the edgesĭuring my tests, Rode rolled out numerous updates. Microphones can be configured more individually. The old Rodecaster Pro doesn’t know this trick. This effect accesses all tracks and ensures that sound doesn’t roll over. You need to adjust them yourself, for example, in the case of recordings where everyone is constantly interrupting each other. For such standard situations, you shouldn’t expect miracles from the presets with new effects. However, my tests were also recorded in a quiet environment with me speaking at a normal volume. In a direct comparison with the default settings, the same microphones and headphones, I hear no difference between the Rodecaster Pro I and II. This controls tools such as the High Pass Filter, Compressor, etc. This should be sufficient even for particularly hungry microphones such as the Shure SM7B.īesides the preamps, the integrated audio processor is responsible for sound quality. Rode has revised theirs, now delivering up to 76 dB of gain compared to the previous 55 dB. For a microphone to be loud enough without noise, good preamplifiers are a must. As with the Rodecaster Pro I, there are corresponding presets for this. I use the Rodecaster with Rode Procaster microphones. The second USB-C port opens up many new application possibilities. This should be possible with fewer clicks. Currently you need to export a show so that it’s saved, and then import an existing one. The only thing that could be easier is switching between shows. Any settings can be saved as a separate show. For each source, one of three presets with predefined effects is selected, or you can create your own. Things like the high-pass filter, noise gate or compressor can be adjusted manually. Especially in the effects processing for different sources, there are significantly more options. With Version II, Rode takes it up another notch. The first Rodecaster can be configured in many different ways. If I don’t hit them accurately, they may not trigger. I do think that the pads aren’t as reliable as those on the Rodecaster Pro I. Talkback among guests is also possible, as is censoring everything that’s being said with a «Bleep». You can use it to talk to guests connected via microphone, USB-C or Bluetooth at the touch of a button without it being recorded. ![]() The pads can do more than just play a funny «badum tsss» when your podcast mates have cracked another groan-worthy joke. Switching between different Smart pad assignments has become much easier. As a result, the new device is much easier to operate when it comes to adding appropriate or inappropriate sound effects during a live recording. ![]() The predecessor can only display the pads or the mixer, but not both at the same time. The display shows which scene is currently selected. Two physical buttons allow me to switch between scenes. The Smart pads can be assigned multiple times. Thanks to the four gigabytes of internal memory, jingles or other audio samples can be stored and triggered at the touch of a button. This way you can see at a glance which fader is responsible for which mic.Īnother innovation concerns the Smart pads. You can customise the colours for the fader buttons and those of the headphone controls. All sources that aren’t bound to physical faders can be controlled via the display or a new knob, whose function changes depending on the menu. Thanks to two USB-C inputs, the Rodecaster can use one more source than the Rodecaster Pro I. With a few pushes of the touch display, I can use the fourth fader to control the Bluetooth input instead of microphone 4. In return, you can freely choose which source to control using them. This is made possible, among other things, by the omission of one physical fader there are only six of them on this model. The Rodecaster Pro II (right) offers more in a smaller footprint.Ĭompared to the first Rodecaster, the device has shrunk. ![]()
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