Is Synco’s Wireless System the next big thing in the Pro Audio game?
Ease of use. That’s the thing that this system really has going for it. From unboxing to functioning at its best is a short trip. Open box, add batteries, plug into recorder, auto sync channels, dial in “volume” on the receiver, and go.
So how is it so user friendly? Why isn’t everything this easy? Who spilled these beans on my couch? Well I’ll tell you.
The features that are sacrificed to make this so easy to use are a little unbelievable. Features that we use every day, like the ability to adjust the gain on the transmitter, or separate outputs for each channel from the receiver to the recorder. You know, things we use to make the project sound good. We need control and quality, not effortlessness, from our wireless.
Oh and it was me. I spilled those beans.
So what’s the point?
I’m glad you asked but please stop yelling. Since the actual plans of the designers of this system are a mystery to me I’m left to make a guess as to where it would work best. Narrative? Nope, I wouldn’t trust the lack of control on the transmitters (can’t properly gain stage) or the range issues I had (less than 30 feet in a crowded space, unreliable around a corner). ENG? Again that’s gonna be a no because of the unreliability in crowded areas, which a lot of news can be. Corporate? No way. Too risky. Documentary? Doubtful, even in low stakes situations an audio issue can disrupt a shot or halt a conversation, and what if that happens to be in the most engaging moment of the interview? I’ll pass. Camera hop? Maybe if you stay within a few feet of camera, but if bodies start passing between you or if the camera goes around a corner- you’re out, and now that camera hop isn’t saving you any time.
It seems to me that outside of student productions or showroom floors that there aren’t going to be a lot of places that the Synco system will get used. After all, it’s $379 for two transmitters with lavs, a receiver and cables. In a world where pros are paying $7-8,000 on the high end for that same list of equipment it’s definitely going to land in that “too good to be true” sector.
My honest recommendation to anyone considering this purchase is to save themselves the frustration. Hire a professional to mix on your production. Or, for a few hundred more dollars there are setups for DSLR/solo shooters that will give you a whole lot more bang for your buck.
There you have it. While my wallet wishes it were true, it just isn’t something I see catching on in the world of professional sound mixers. Sorry, Synco, but you’ll have to make some pretty significant changes if you want to live in my bag.
Thanks for reading, see you on the next one 😉