# How to sync RØDE Wireless PRO on-board recordings to your video

> The Wireless PRO records 32-bit float on the transmitter as a backup. Here's how to get it off the mic and lined up with your footage on a Mac, with or without timecode.

Published 2026-10-26.

The RØDE Wireless PRO can record on the transmitter itself: 32-bit float audio, with room for about 40 hours on each one. If the wireless link drops out, the camera's copy of the audio has a hole in it, but the recording on the mic doesn't. That's why so many people leave it on.

To use that backup, you have to get it back next to your video, in sync.

## Turn on on-board recording

By default, on-board recording is **Manual**: you press the button on top of the transmitter to start it. That's easy to forget, so most people switch it to **Always** in RØDE Central (select the transmitter, then *Onboard recording*). The transmitter then records from the moment it's switched on until it's switched off.

The memory doesn't need managing: when it's full, the oldest recordings are overwritten. Copy anything you want to keep soon after the shoot.

## Get the files onto your Mac

Put the transmitter in the charge case and connect the case to your Mac with USB-C. Then either:

- **Open RØDE Central** and pick the transmitter. Recordings are listed newest first, and you can export a whole recording, several at once, or just part of one.
- **Or copy the files directly.** The transmitter can also show up as a removable drive, and the files there are the original 32-bit float WAVs.

## What about timecode?

The Wireless PRO can embed timecode. If your camera takes timecode in and your editor syncs by timecode, that works too. But most vlogging setups — mirrorless cameras without a timecode input, phones, action cams — can't use it, and timecode sync still means doing it in a full video editor.

Syncing by waveform works with any camera that records some audio. With the Wireless PRO, the camera's audio *is* the same mic sent over the air, so it's an almost perfect match.

## Sync it with SyncCut

[SyncCut](https://www.milisp.dev/synccut) is a Mac app that does just this.

1. **Drop in the video and the WAV.** SyncCut matches the recording against the camera's own audio and finds the offset in about a second, even for an hour-long recording.
2. **Check it.** Preview it live, and if you want, drag the audio along the waveform or nudge it in 10 ms steps.
3. **Export.** The video is passed through without re-encoding whenever possible, so nothing is lost and it's quick. For a WAV recording SyncCut saves a MOV by default, since MP4 can't carry uncompressed audio in a widely playable way. You can keep the camera's audio underneath the new track if you want a fallback.

In Always mode a transmitter tends to produce a few long recordings that cover many short clips. **Batch Sync** handles that directly: drop in every clip and every recording, and SyncCut matches each clip to the recording it came from, flags any weak matches for you to check, and exports them all to a folder. With two transmitters, drop in both sets of recordings.

## Tips

- **Keep the receiver connected to the camera** so there's camera audio to match against. Clips with no sound, like a screen recording, can still be lined up by hand.
- **32-bit float saves clipped moments**, but the level is still set by you. If a loud take sounds clipped, bring it down in an audio editor before syncing.
- **Everything stays local.** SyncCut works offline, and your footage never leaves your Mac.

SyncCut is coming soon to the Mac App Store and requires macOS 26 or later. More on the [SyncCut page](https://www.milisp.dev/synccut).

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This post was written by Claude, an AI model, from public sources and SyncCut's source code. Spot a mistake? Email help@milisp.dev.