Review: Corey Hague

Requiring apps to make technology work is the new norm, and Rode deserves praise for how it has approached the task of interfacing with the units. No sign-ups or logins or passwords or accounts or adverts or extra steps; simply connect and then make your selections. It’s a seamless affair that some other manufacturers should pay close attention to. Even using the app in extreme conditions would be painless, unlike other apps that require data coverage and logins just to make changes to a device.

Once you’re connected with the Rode Central app, you can peek under the bonnet and see what the PRO can really do. SMPTE timecode generation is a notable addition to this system that’s sure to please multicam shooters who rely on timecode to keep footage aligned across cameras. There are a few different timecode routing options which should cover most typical situations and cameras.

32-BIT FLOAT

Another big addition to the Wireless PRO is 32-bit float recording built into the units. Ask any run-and-gun videographer what the hardest part of filming is and most will tell you it’s recording good audio. Wireless lavalier kits are famous for somehow being both too loud and too quiet at exactly the same time, often resulting in frustrating edits and anxiety just trying to get usable interview audio. Without falling down a mathematical rabbit hole, it’s safe to say the 32-bit float format has quickly been embraced by the video crowd for its extremely forgiving nature when it comes to dynamics, specifically how it copes with clipping and noise floor.

So can we finally stop worrying about setting perfect levels thanks to 32-bit float recording on the Wireless PRO? Functionally, the answer is ‘yes’. In practice, you really can just relax and let the internal recording take care of capturing clean audio. There’s very little downside to the new format, and the Rode Central software wrangles the files quickly and easily so you can get them into your favourite editor. Once you start to work with the files, the benefit of 32-bit float recording is evident – you really can push the results further than standard 16-bit recordings. It feels similar to the difference between RAW photography and JPEG in terms of latitude in post production and the benefits far outweigh whatever workflow changes it requires.

Even when examining waveforms closely, spikes and pops that should have clipped aren’t actually square and crunchy, while, at the other end of the spectrum, quiet recordings are easily boosted to usable levels. This doesn’t mean that wind or handling noise is suddenly sonically pleasing or wanted, but it does represent a real leap in capturing audio and it’s likely to fast become the standard for any recorder designed for fieldwork.

SMART & NIMBLE

Using the Wireless PRO with both smartphones and cinema cameras was straightforward and delivered solid results. The buttons on the units allow you to quickly get your output levels right and the screen gives you all the useful info required. Being able to record audio separately with each transmitter opens up lots of flexibility to how you work; much fun can be had in treating one transmitter as a traditional interview mic with another acting as a location recorder. Thanks to the small size and its handy clip, you can even treat it as a kind of GoPro for audio, allowing you to get usable recordings in a variety of unique ways that would have previously been cumbersome. This will be particularly handy for shooting live performances, where you frequently have to blend different audio sources in an edit.

While the Wireless PRO is squarely focused on the video crowd, it makes a strong case for itself in other areas too – podcasters, field recordists and venues would all benefit from how speedy and adaptable it is, and that’s not taking into account the fact that the receiver can also act as an audio interface for computers. It’s an extremely capable and versatile piece of kit that, above just doing its job well, should also solve many of the typical problems that crop up on a shoot or event.

The wireless lavalier market is already crowded with worthy contenders, but Wireless PRO is the most evolved in the space and does more than others in the price bracket by a good margin. Wireless Pro will happily replace the ageing wireless lavs in my own kit. Not because it’s more ‘pro’, but rather because it’s more user friendly, more forgiving and more suited to capturing clean audio without the need for a dedicated sound operator. The Wireless PRO is another hit for Rode and represents the next era in wireless sound at a competitive price.

IN THE HAND

Let’s talk about expectations vs reality. I knew the Highway Series wasn’t going to project sound the way my Martin does. That didn’t keep me from holding a tiny hope that it would sound more like a ‘proper’ acoustic guitar than it does. What I’m saying is, even if you try to manage your expectations before strumming a first chord on a Highway Series guitar, you probably won’t be blown away by its natural acoustic voicing.

But I let the guitar sit in the living room for a few days where I knew I’d pick it up at random and hopefully bond with it. Slowly but surely, it grew on me. I began to appreciate the confident resonance and balanced tone radiating from the floating X-braced body which undoubtedly sounds bigger than it is. The bolt-on mahogany neck with a slim profile felt buttery smooth and eminently playable. Dynamically, the guitar responded with ease to being strummed vigorously with a hard plectrum, or gently fingerpicked at low volume. Of course it doesn’t have the luscious low end of a full-size dreadnought or jumbo, but I was increasingly convinced the Highway Series’ comfort and versatility gives it a place in a guitarist’s collection.

FISHMAN FLUENCE

Noodling on the sofa is one thing. Playing live is another. Fender assures us that Highway Series is right at home on stage. That’s largely thanks to the interesting black pickup that curves around the neck-end of the soundhole. Fishman Fluence is a family of pickups designed mostly for electric guitar, but Fender and Fishman worked together to custom-design the version in Highway Series, specifically for Highway Series. That’s right – you won’t find this pickup in any other guitar on the market.

Most notably, Fluence isn’t a piezo system. Piezo pickups are the traditional choice for acoustic guitars but Fender treads a different path here.

Like a piezo, Fluence is still powered by a 9V battery accessed at the back of the guitar body. The pickup has a warm tone with abundant low end thanks in part to its strategic placement. Being a smaller body, there’s a proclivity for the reduced resonance potential of Highway Series to result in a strident and harsh tone if the pickup sat near the bridge, closer to where a piezo system would be. This is offset quite effectively by situating it right at the base of the neck, delivering a much deeper and richer plugged-in sound. Through a nice PA, the Fishman Fluence sounds the business with a big, lush and enveloping richness. I noted how little nasal honk was present compared to the piezo pickups typically installed in acoustic guitars where I often carve out a big chunk around 1kHz. Fluence also sounds less ‘dry’ to my ears than a piezo system, and responds favourably to compression, reverb and delay.

Controls on the Highway Series are analogue, as opposed to Acoustasonic with its onboard DSP. There’s a simple Volume knob and a secondary Tone knob that sounds like a basic mid scoop. Extra tone sculpting control would be useful, and this is one area where Highway Series could be easily improved. A basic three-band EQ, for example, is fairly standard on a piezo pickup system and in the case of Highway Series would be of much value to a performing guitarist. The single tone knob means, if you desire to shape your tone with more nuance, you’d want to run the guitar through an EQ pedal. If anything, the plugged-in sound of a Highway Series guitar is at risk of being over-enthusiastic in the bass frequencies, especially in a sub-heavy PA environment. Again, nothing an EQ pedal can’t fix.

LIFE IS A HIGHWAY

At first glance, Highway Series is a peculiar product (as was Acoustasonic), and the only way to make head or tail of it is to live with it for a while. Having spent a few weeks with the instrument, my conclusion basically aligns with Fender’s proposition: acoustic guitarists who spend a lot of time on stage – Highway Series is for you. Unless you have a particular affection for the bulk of a full-size acoustic guitar, Highway Series is more ergonomic and comfortable to wear, hold, and play for long periods. The Fishman Fluence pickup means the physical downsize doesn’t result in a sonic downsize. Fluence excels in a live setting. I only wish there was more tonal control.

And, on the occasion where you find yourself jamming on the tour bus or in a motel room, it’s nice to know the Highway Series doesn’t sound like it’s made of cardboard but can actually project its voice commendably. Still, I wouldn’t expect many people will buy one of these guitars for their acoustic tone, and you probably won’t reach for one in a studio recording situation. Fender has reimagined the acoustic guitar for ergonomics and live sound performance, and if you’re missing either or both of those things, then you owe it to yourself to take a look.

ULTRA NEARFIELD

How’s the ultra nearfield experience? I have to be honest – it takes some getting used to. With typical studio monitors sitting horizontally at ear level, I am accustomed to the stereo image spreading out in front of me like a widescreen TV. Because the IN-UNF satellites sit at desk height angled up – much like a pair of Logitech computer speakers – listening to tunes with the expectation of a studio monitor experience was initially disorienting, and felt somewhere in between listening on headphones and being in a fishbowl. 

After telling myself to give the monitors a proper go, my ears began to settle into the IN-UNF experience. The full stereo spread is still very much present; all the precision of the bigger IN-Series siblings is evident in the IN-UNF and imaging is firm and articulate. It’s just lower. That may sound weird and obvious, but it took a few days before it felt natural. 

One thing’s for sure: tonally, the IN-UNF’s are excellent studio monitors. Music is presented with a flat, honest neutrality. High and low frequencies extend smoothly in either direction. Worth noting is how the sub (on its flat setting) beautifully lifts the low end without sacrificing accuracy, and the unit’s placement at desk height between the satellite speakers seems to help everything glue together. On a slap bass track, for example, both the metallic ‘snap’ of the strings and the thump of the bottom end emanate from the same physical point, resulting in a super tight, focused and broadband sound.

From jazz to funk to pop to metal, the IN-UNF faithfully served back whatever I gave it without playing favourites, thanks in no small part to a particularly smooth midrange that neither flatters nor ruins source material. Trebles felt mildly under-represented to me, perhaps because my daily monitors are comparatively toppy, so the 2dB high shelf boost worked a treat. The textile dome tweeters have a sweet sound that’s a far cry from the piercing counterparts of other studio monitors in this price range. And the sub is really just a joy to mix with. Never obtrusive or overstated, it’s perfectly voiced for a small space and amazingly manages to maintain clean and tight low end even while sitting flat on a desk. 

I also found the IN-UNF easy to monitor through for long periods. That may have something to do with the fact I didn’t feel a need to crank the speakers up in order to adequately hear a mix, and I’m sure the lower monitoring levels combined with the gentle trebles contribute to the lack of listening fatigue. 

FIELD GOAL

Being my first encounter with ultra nearfield monitoring, the Kali Audio IN-UNF has sold me on the concept. Placing a large pair of monitors at its optimal distance from the listening position might be impossible in a small room. The IN-UNF solves this problem, yet without making sonic compromises. The inclusion of the subwoofer is what allows the IN-UNF to compete with (or replace) a pair of traditional nearfields, letting you rest assured the full frequency spectrum is adequately covered, and it certainly sounds good enough to take seriously as a studio monitor.

If you’re in a situation where bigger studio monitors would be overkill for your mixing environment but you don’t want to switch exclusively to headphones, the IN-UNF could be the perfect choice. Just remember to allow for a brief adjustment period.