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Hey there-if you are worried about that, then there are custom cable solutions that allow you to connect the MixPre's 1/8" ins and outs with a 10-pin ENG cable. For example: www.gothamsound.com/product/mixpre-eng-camera-breakaway-adapter-cable

Thanks, Marky!

New it would be well over $5K, but the key is finding the expensive things used. It's been a while now, but I was able to get the wireless channels used as a package (receiver and transmitter), which saved a TON off of the Lectrosonics retail price. (I think I bought one channel then saved up for the other one while still using a Sennheiser channel). Likewise, you can often find Sennheiser 416s for $600 or $700, not the $1K retail cost.

The battery is the Anker PowerCore+ 20100, which I think is sold out or discontinued now. The connection from the battery to the MixPre is over USB-C, which Anker lists as being 6v.

Ktek Stingray MixPro: ktekpro.com/product/kstgmix-stingray-mixpro/

Glad it was helpful!

Sony makes a 2-channel package, so you could get 2 of these for 4 total channels: www.bhphotovideo.com/c/product/1699869-REG/sony_uwpd27_14_uwp_d27_dual_channel_camera_mount_wireless.html

The answer is yes and no. Running wireless in that direction will be one channel and probably require a special cable-this is often called a "camera hop." However, camera hops do NOT provide production level audio, so you have to be sure that your production company is gonna pull the audio off your SD card in post and then sync it. One of the reasons you buy an expensive cable to send sound to the camera is that it then mirrors the SD card exactly, so your production company can save a step and have the sync'ed audio already on their video files. Hope that helps clarify! Sorry for the long delay!

So these are called 10-bin breakaway cables. Gotham Sound now makes a custom cable for MixPres: www.gothamsound.com/product/mixpre-eng-camera-breakaway-adapter-cable Then you could connect it to something like this for the camera end: www.bhphotovideo.com/c/product/577478-REG/PSC_FPSC1093_Breakaway_Snake_Camera_End.html

Here is what the SoundDevices website says: - USB-C power source that is compliant with the USB powering specification and is able to output 7.5W - USB-C cable that incorporates the correct pull-up resistors to identify itself as able to provide 7.5W Now, I think this is for the MixPre mark II, since the battery I use I think only outputs 6V thru the USB-C port. So I would just search around for those specs. If you can find a battery that does it, chances are the cable that comes in the box would push the correct voltage.

I’ve never had a problem with it!

But for security you could tinker with right angle cables that might be less prone to being jostled, but I keep that side of my bag zipped up and it feels rock solid to me.

Hey Charles - if you look around 2:25 of the video, you can see me connecting XLR cables to the Lectro 411 receivers and then connecting those to the XLR inputs of the MixPre. The transmitters are Lectrosonics SMQV.

Thanks!

You can throw the files into Twisted Wave and normalize to -24db LUFS (or your preferred working level).

Exactly. I use the presets to save settings, but also in the more recent firmware versions I find that almost everything I need can be accessed from the touch screen display.

That said, since it’s on the headphone side I usually have that side of the bag open a little anyway, but truly I almost never need to get at it.

You can power it from USB-C with the sled in. I think it smartly chooses its power source.

Yeah, a NiCd rechargeable battery. But I'm pretty sure it's not an LED light, much more likely it's a miniature incandescent bulb used for the illumination. Early LEDs from 1972 era, I don't think would have been bright enough, and were only really suitable for indicators rather than illumination. Bright white LEDs wasn't a thing until the 1990s.

@@michaelturner4457 Could have been small incandescent, or I also remember dad working with some pretty small and higher voltage xenon bulbs. For fun we built a jacobs ladder out of a flyback transformer from an old TV, which interfered with the neighbors reception.

I do not have a backup for everything Shane, save for batteries and SD cards. If something bigger than that blows, I'm in trouble. One thing about the MixPre (version 1) compared to the more expenseive SoundDevices mixers is that it doesn't have any writable backup options, so I have been known to run my mix into an old iPhone and record a backup of my entire day in there. Recovery would be a pain, but it would be there if you need it.

@@FieldNoiseWorkflow noted. that amount of redundancy makes sense since you could ask to reshoot something if absolutely necessary. I work in the remote recording world of concerts and televised musical events, so asking for a reshoot is impossible.... so redundancy is a must.

My pleasure!

Thank you! Cheers!

No need to apologize! The transmitters (the part on the talent / interview) are Lectrosonics SMQV. The receivers (the things in my sound bag) are Lectrosonics 411a. The mic attached to the transmitters is the Sanken COS-11d.

Many people start out with Sennheiser G3 / G4 systems, which can be fine for a lot of circumstances. But even with those I would STRONGLY suggest upgrading the mic to the Sanken one. It’s an industry standard for a reason.

@@FieldNoiseWorkflow thanks a bunch! 👍🏼

Boom audio sounds different than body mounted mics for wireless. Not typically, post production audio is done by someone specializing in that, but anything goes for you tubers.

Hey FB - As for your first question, I like to think of boom and wireless as redundant backups for each other. A properly mounted lav can do great on a windy day or in a noisy environment; I think booms tend to sound more natural in well-controlled environments-and mixers will have their own opinions. As for the question about "mixing," there are two things here. Often the person holding the sound equipment on the set is called the "location sound mixer," because the expectation is that you are delivering production-ready audio as you are recording it. There are production companies-from quick-turnaround commercials to reality tv shows-we're for a variety of reasons they are going to take what you give them, sync it to picture, and call it a day. More complex and bigger budget projects will edit your audio after the fact, with a different person than you. My sense is that the industry standard for this is still Pro Tools.

Well, all of the MixPre mkII models can generate their own timecode. My guess is this means you don’t need to keep the Tentacle attached and can monitor cam return from the aux in jack!

Amazon sells a less expensive A/B switch and my Porta Brace case for a 302 mixer fits the mix-pre 6 and is very light. The receiver bag that fits onto it is a little large but could be modified to make them fit tighter and can fit 4 receivers easily. The Anker fits underneath the Mix-Pre. Having said that, I changed to an Orca bag designed for this use.

Will you tell me what brand of lav mics he’s using in this video?

He says in the video that they are Sanken. The transmitters are made by Lectrosonics@@iwritelife3635

Great to hear!

The six! It’s a more robust machine for not a major increase in price. You’ll be happy you did!

Hey, thanks!

You cable up for when the camera(s) are on tripods and are focused, typically, one someone they are interviewing. Otherwise, put a sync box on the camera or send them wireless to the camera for scratch audio.

Hey Tajs-just for a follow-up here, you probably wouldn't tether in fast moving / run-and-gun situation, as Larry mentioned below. This is almost always for fixed shots. For other uses, yeah, use a Tentacle to sync timecode and then have the editor sync in post.

Most of the time I’m working with video cameras that have XLR inputs or shooters who have purchased audio boxes that integrate. For example, Sony makes one that many people use that adds XLR inputs to the a7 line. If you need to go back to 1/8”, you should be able to use any dual female XLR to 1/8” stereo adapter.

@@FieldNoiseWorkflow awesome thanks for the response. I wasn't sure whose responsibility it would be on set to have those connectors, but I'll definitely be prepared with the 1/8th to dual xlr. really appreciate your video! My kits almost built out and it helped a ton.

It’s ALWAYS good to be prepared, but let me say that I have never had to go in to an 1/8 jack. That said, you can and should ask clients / producers what can will be used, what the expectation is for timecode, etc. RED cams need a different timecode cable from other cameras, etc etc. I have had people tell me to get familiar with camera menus so you can help the shooter adjust settings if necessary-and sometimes, trust me, that is necessary!