28Mar Juicedlink Riggy RM333 – First Impressions
I’ve used all kinds of XLR adapter boxes over the years both on video cameras like the now antique Canon GL1 to modern day DSLR like the 5d mark III. There hasn’t been much innovation with these devices and companies like Beachtek, Studio 1 productions, and Juicedlink still make audio devices almost identical to devices they’ve sold in the past with few improvements. The only interesting leap forward in this type of device can be found in the Fostex DC-R302, but with a price tag of almost $1000 it’s out of the price range of many.
Juicedlink has managed to make a few more improvements then some of it’s competitors in this price range. They were one of the first to add a pre-amp to their adapters and managed to offer up a few more audio routing options then some of the competition. However the Riggy RM333 isn’t a major step forward from Juicedlink’s much earlier CX431 model. Basically they’ve removed an XLR input, and a bunch of LED indicators, while adding a little more gain and the overload protection (you can find out how to do that with any audio adapter here). All this adds up to a price drop of about $70 and a small over package.
Juicedlink still insists on using these tiny little switches for all of their settings. It’s nice to have all of these options but its a pain trying to find something small enough to make a change to settings. If you you’ve owned any Juciedlink products in the past you’ll know that these switches can be broken pretty easily so be careful when setting them (i.e. try not to use your car keys).
The Riggy RM333 still requires a tool in order to attach it to your camera, unlike the much nicer thumb wheel used on beachtek adapters. If you don’t have something secured to the 1/4 20 stud on the other side, the unit will rattle while mounted to a rig. Juicedlink has a added a few more cold shoe mounting options, but they’ll over charge you $25 a peace for each of these little C shaped brackets.
The XLR inputs are all pretty standard and you can see that the case is just big enough to support them. It would have been nice to see combo jacks, but again you see that lack of innovation. Also the RM333 is still using those minuscule volume knobs for all 3 of these inputs. On most audio devices you can keep a hand on the fader to adjust for volume spikes, but the tiny little knobs on Juicedlink devices make that pretty hard to do.
Of course for a price of $399 you would normally expect to see a manual with your device, but as usual Juicedlink gives you a crappy little business card that instructs you to visit their website in order to find a PDF file. They may still have one of the best audio amplifiers in this price range, but as usual the rest of the package is lack luster at best.
Don’t get me wrong I still use 3 juicedlink units on a regular bases and the audio quality is great. It’s just that these problems have been around since their very first release and they still haven’t addressed them after 6 years. Beachtek might not spend as much time as they should on their audio circuits but at least they’ve spent a little bit of time thinking about ergonomics.
I still think the RM333 is a decent buy if you need more then two XLR inputs, but if you already own an earlier Juicedlink model I don’t see much reason to upgrade. It’s a little more compact but other then that, it’s business as usual. I’ll post a full review once I’ve get a chance to take it out on a few more shoots.
March 28th, 2013 at 11:10 am
I got this and a Sennheiser SKP-300 G3-A to wireless transmit from a boom mic direct to cam. I figure two lavs and a boom mic is the most I would ever do so the RM333 fits the bill.
March 28th, 2013 at 5:04 pm
I use that same model. It’s handy having a wireless boom back to the camera. You might want to check out the Studio 1 Productions AM-300. It allows you to use monitor the audio at the boom while passing audio back to the wireless transmitter at the same time. It makes it a lot easier to gauge your boom mic placement.
March 28th, 2013 at 11:15 am
DSLRFilmNoob,
Thank you for taking the time to check out the Riggy-Micro!
I see that you have used the old CX431. The CX line of pre amplifiers were designed for camcorders, like the HV30. The new line of Riggy pre amplifiers have been designed to also better accommodate DSLR cameras, which require higher gain from the preamplifier.
As you have mentioned, some of other new features in the Riggy (compared to the CX) include audio bracketing (for camera overload protection), selective power down (to extend battery life), and “Riggy” features to give you more flexibility and mounting, and also taking advantage of the valuable real estate next year camera for mounting other accessories like microphones and wireless receivers, etc. It has a little bit different ground configuration (to accommodate the new various mounting options), so you will need to make sure the ENC GND switch is properly set (which also provides the ground reference for phantom power). Typically, just leave it on NORM, and if you think your earring some ground noise, try the LIFT.
Anyhow, allow me to address some of your other comments.
These are designed for camera operators, not ENG audio guys. So, you don’t need large potentiometers for “riding the gain” like a dedicated audio guy would. The camera operator just wants a quick and convenient way to adjust the signal level. Considering the only camera I ever owned which actually had potentiometers for adjusting the signal level where the tiny thumb wheels on the Canon GL2, most camera operators find these potentiometers more than sufficient. It’s also a lot faster/easier than hitting the gain rocker button a million times on something like the H4n (plus, you won’t need to sync in post).
Also, keeping in line with the idea of being “Micro” there’s just not room for putting giant potentiometers or giant switches. I’m happy with the tradeoff of giving customers a really small and lightweight solution.
I prefer to ship the unit in a form fitting packaging box (instead of a giant oversized box), which wouldn’t fit a paper user manual. Then, customers will actually keep the box and use it to store their gear for travel (or whatever). People are pretty accustom to going online for info and help, so I didn’t feel this was a big issue.
Since you’re using the Riggy-Micro, I assume you’re using a camera which has headphones and meters (like the 5DMKIII or D800/D600). For mission critical work, I believe that is definitely the way to go. I wish all cameras had those features, and then there wouldn’t even be a need for the Riggy-Assist lineup.
Anyhow, thank you again for taking the time to check out the unit. There are a lot of tradeoffs that go into each design choice. I just wanted to let you know that I hear you, when it comes to your complaints about aspects of the unit. I understand where you are coming from. But still, I’m happy with the tradeoffs that I’ve made.
If you have any questions while you’re evaluating the unit, please don’t hesitate to contact me at jl_info@juicedLink.com.
Best regards,
Robert from juicedLink
March 28th, 2013 at 12:58 pm
How would you compare it to the Irig pre?
March 29th, 2013 at 6:56 pm
I recently purchased the RA333 for work, I do videos for a large corporation. So far, I have been plain aggravated with the JL. Almost immediately after receiving it, I had two full days of shoots and started off the first morning with audio problems.
Unusually distorted audio and loud squelches was all I could get from the preamp. Luckily I caught the issue during lunch and broke out my personal H4N when we started back up. Had I not decided to dump my cards then, to check the audio since I didn’t have time to test it, I would have wasted a lot of peoples time and money. I took the unit home to do tests and can’t seem to figure it out, I think I just got a lemon.
And no manual was irritating as well.
I would return it, but the problem with working for a larger company is all of the hoops you have to jump through to do anything. I’m just sucking it up and absorbing the cost in my departments budget and using my Zoom for now on.
March 29th, 2013 at 10:26 pm
I’ve been using JL for years now, love em. I do video for dallasnews.com. The Dallas Morning News website. great for ENG. From shotgun mics, to wireless lavs and multboxes. no issues
@ Jordan, what camera and mic combo are you using?
March 30th, 2013 at 8:28 am
I’ve never had any audio problems (that weren’t self inflicted) with juicedlink devices. It’s just the crappy knobs and easily broken switches that bother me. I’ve had to solder in replacements on more than one occasion. I’m might be making the switch to the new Tascam DR-60D when it’s released, many more features, and $50 cheaper than the RM333.
April 1st, 2013 at 7:36 am
@Ron, Canon 60D and Senn G3 lavs and Senn ME66. If this is self inflicted, @deejay then I have no idea how I’ve gotten work over the years. I took it home and to a friend who does audio for a living, couldn’t figure out anything than just a bad unit.
April 1st, 2013 at 1:47 pm
Sorry Jordan, didn’t mean any offence.
April 1st, 2013 at 2:12 pm
No no no no, I didn’t take it that way! My comment wasn’t supposed to sound so doughy, my bad.
April 1st, 2013 at 2:16 pm
Douchy*
April 1st, 2013 at 5:20 pm
No problem. If you’re handy with electronics, they’re pretty easy to trouble shoot. You just need a test tone (usually 1khz) and an O scope. Check for the signal along the audio path until it disappears or distorts and you’ve found your problem.
March 30th, 2013 at 7:37 am
I agree with you on your comments regarding mounting. I printed the following to hold my Juiced Link.
http://sphotos-d.ak.fbcdn.net/hphotos-ak-ash3/19696_10151212630076116_1211244999_n.jpg
http://sphotos-a.ak.fbcdn.net/hphotos-ak-prn1/602132_10151212630136116_1611389695_n.jpg
March 5th, 2015 at 6:50 am
[…] of gain is a little more than Beachtek’s DXA-SLR and a bit less than the gain provided by the Riggy RM333. It’s interesting that they’ve included an isolation transformer into the design and of course […]