MixPre II New Features Sound for Video Session
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- čas přidán 15. 07. 2024
- In this week’s Sound for Video Session, we show how to configure the new features on the Sound Devices MixPre II series of recorders. This includes the wide dynamic range (32 bit float recording), timecode, 192kHz sample rate, adjustable limiters, auto-copy to USB Drive, and pre-roll.
#SoundDevices #MixPre #IISeries
Audio DAW and video editing app 32 bit compatibility list: www.sounddevices.com/mixpre-i...
Please consider my sound for video classes available over at school.learnlightandsound.com
Gear discussed and used to record this episode:
Sound Devices MixPre II Series recorders - B&H bhpho.to/30IzGP4
Sound Devices 833 Mixer/Recorder - used to record my dialogue for this session - B&H bhpho.to/2olcZSH
RODE Reporter Microphone - B&H bhpho.to/2yH91rf
Blackmagic Design Pocket Cinema Camera 6K - B&H bhpho.to/2oeIXA1
Sigma ART 24-70 f/2.8 EF Mount Lens - B&H bhpho.to/2kjsI2x Amazon geni.us/bhOWVlW
Copyright 2019 by Curtis Judd
Ethics statement: Some of the links above are Amazon.com, B&H Photo, or other affiliate links.
Just a note: This is not a review, but an overview of the features new to the II Series MixPre recorders.
2 videos, same day!? What!? What have we done to deserve this.
Hahaha! This is the "Sound for Video Session" associated with my online school at School.LearnLightAndSound.com. The sessions are usually less formal, less produced, often longer, and usually posted on Sunday evenings.
Thank Curtis for another great video, now make want to buy one.
Great Video ! You have answered everything I wanted to know about the settings
Thanks man, very helpful 👍💯🌟🙏🏽
Love the tyre!
👍
Nice Thank you. Certainly interested in combining with pocket 4k. Awesome combo.
Good combo, indeed! Also combines nicely with the Pocket 6K like here. 😀
Well done, as always. Until your video the other day covering the Zoom F6, I never heard of 32 bit float. Now I'm obsessed with the idea. Now it's just a matter of Zoom F6 vs MixPre II (3 or 6).
Hi Joe. One note; I recently learned that the F6 produces a very noisy audio signal via its line output, so if you plan to feed audio to your camera and you have a mic level only input on your camera, you’ll want to avoid the F6. MixPre doesn’t seem to have this issue. Best wishes!
@@LearnLightAndSoundSessions Thanks again... Somehow I was hoping you'd say that to give me an excuse to get out of my comfort zone (I've owned 3 Zooms) and try something new... plus maybe I'll get the 6 channel for a few bucks more. I have 6 XLRs on my H6, but I rarely need the other 2 (not to mention they're not phantom powered). Another thing that concerned me was the tiny screen for monitoring levels... but then again, I won't be as concerned with clipping.
Bought a 3 for compact awesomeness and love it. I should have bought a 6! Reading the manual and watching your videos made my transition from my old Zoom H6 a snap. I feel really comfortable with this unit now, thanks Curtis!
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Hi, how do i erase a track i just recorded? I see something that says "trash" - but it still is there once i press it. Thanks Mixpre-3 ii
Is the sound better moving from H6 to premix?
I read the other day that during nuke tests in the 60's sounds levels of the explosions were recorded from 3 miles and 6 mile distances.
At 3 miles levels of 132dB were measured and at 6 miles 118dB ... These were 20 megaton blasts.
When it comes to dynamics and 32bit float recording you could literally capture (with an appropriate mic) the full dynamics of a nuke blast ... Hmmm, don't think I'll be doing that soon 😂
Just one of those silly thoughts that pass through your mind 😁
Ha! There's a use case!
Hi Curtis, that was a great video, I was wondering if you had another video showing how you set up the Recorder for a Short Film, movie or series situation
Thanks for including the compatibility link in the description. I see they still don't support 32 bit float in Final Cut Pro X or Logic Pro, so I may need to wait a bit or use Reaper to normalize tracks before editing.
You can import 32-bit float files into FCPX - see the chart farther down the page. You can do the normalizing in FCPX before edit.
Good to see you can change the limiter settings. It would be very useful to also have the attack setting.
Yes. Then it would be more of a compressor rather than a limiter - especially with more ratio options.
@@curtisjudd Indeed. Would be nice giving the user some more options.
How can I set the output of the Mixpre to be mono, e.g. if I have 1 mic and am using it as an interface. It's outputting normal L/R with an empty right channel. I can do this in OBS, but prefer to get it already in the mixpre. Thank you for your amazing videos!
Just a question so the mix pre 6 and the mix pre 10 doesn't have internal timecode as the mix pre 3 does. because on the mix pre 3 i don't have to stay connected to receive timecode as long as i don't turn off the BMPCC4K for to long.
Hi We Shoot Films. All of the MixPre II series have internal timecode generators. Of the first generation MixPres, only the MixPre-10T had an internal timecode generator. You can jam the MixPre-3 II to the P4K but the P4K will drive pretty quickly. On my P4K, I had to rejam about every 20 to 30 minutes to keep the camera in sync.
@@curtisjudd yeah I have the mic pre 3 and I jam timecode to the P4k and it stays in sync as long as I don’t turn it off. But once I sync it it would stay connected for hours with no problem. I was thinking about getting the mix pre 6 just wanted to make sure I still can use the timecode like I do the mix pre 3.
One example where I think wide dynamic range would have come in handy was recently when I was shooting some helicopter rescue training in the field. Of course the helicopter is super-loud when it arrives, but when it flies away and the ground crew's discussing what they've learned, what to correct, it would have been nice to capture that much quieter sound of what they're saying without having to adjust audio levels, especially since you never know *exactly* when the helicopter's going to come back for another round. As it was, I didn't even have a separate sound person in the field, just my camcorder, without 32-bit float/wide dynamic range, and I just set the camera's shotgun to auto with the limiter on. Thankfully, the helicopter sound didn't clip, but the ground crew's quiet talk came out a bit too quiet unless I went right up to them on occasion.
Yes, that would push the work of adjusting the levels to post where you could do that effectively.
Great video! Can you talk about noise floor with 32 bit float/wide dynamic range? I’m curious if boosting signals that are super quiet also brings lots of noise with it.
Will have a video demonstrating that this weekend.
Hi Curtis and thanks once more. I come to your videos time after time since I don't use my mixpre that often. Now it serves as a soundcard cause I sold my old from my studio setup and am waiting for a new to come. One thing though broke my ears again and it was this timecode generator switch on "outputs"-> 3,5 mm aux output. Well quess did I remember what it was, and by intuition switched the output on timecode -> result: that crashing FXXX-noise comes out of my studio monitors a bit loud... Wonder if the guys in SDevices did something to the menu to put a warning step after you choose the timecode? That would save ears and trouble from many of us I assume!
I guess so. The primary use cases for the MixPre are as field recorders rather than sound cards, but I see your point.
Hey Curtis! Awesome channel and content. Thank you for your generosity. Question: since we have this awesome external audio recorder, why would we send the stereo mix to the camera? Just for reference? Sync? Thanks.
Quick turn-around - that is, delivering the final video quickly. If you get a good mix in the recorder and send that to camera, that's a lot less work in post and for many productions, that's good enough.
Hi, Curtis. Love the channel. This coverage of the MixPre II series is so appreciated. Very excited.
Non sequitur, then: Do you have any experience or feelings re: Sanken CS-M1?
Would appreciate your thoughts.
Thanks,
Leo
The Sanken mics I’ve used have been great but I haven’t had a chance to use the CS-M1. It’s a little outside the budget at the moment but is on my list.
Curtis Judd Audio Thank you. Its performance in noisy situations appears to be stellar. Look forward to any coverage of it or the line in the future.
If possible could you do a Zoom F6 vs Mix pre 2 comparison. How they handle the 32 bit upgrade. The fight between them continues.
Yes, will do once I receive the F6. Need to get the MixPre II and 833 videos out first. :)
10 sec preroll is held in a buffer which will consume battery energy.
I have watched all your MixPre videos (thank you) and am ready to purchase the MixPre 6. I could "get by" with the 3, and prefer the smaller size but as of today, November 17, 2021, there are none available!
Sadly, that seems to be the case for a lot of recording equipment.
Great video as always ... which one would you choose: Sound Devices 663 bought second hand or Sound Devices MixPre II purchased new? Mainly oriented to the cinema. I have that big question right now. Thank you!
Hi Borja, I think it depends on what types of productions you'll be working on. Will you need to support camera hops and multiple comtek mixes? If so, 664. If not, the MixPre II might be a better fit.
Thanks for this video, Curtis. Question: at 11:42, you have a title come up that says you need to keep the cable between the mixpre and camera connected the entire time, but last summer we shot on a Pocket Cinema Camera 4k and I jam synched it... didn't need a cable connected the entire time. We were sending time code from a Zaxxcom, but any reason why it would be diffferent to jam synch from the mixpre?
Yes, the camera will drift out of sync quite quickly. It'll keep time well enough to get audio and video "in the ballpark" but you'll have to manually nudge the audio clips to get them in perfect sync if you just jam sync the camera vs. leaving the timecode generator connected.
On the screen I can see the big Q letter. What is that? Something like quick menu?
That is to place a marker in the recording. Q is evidently shorthand for cue marker.
Curtis, I just wanted to add that increased dyn range is only half the story; potentially the lesser half. I'll be short: floating point as opposed to linear bit distribution means that if the bits normally "stationed" towards the top-end of the "meter" (as in linear) well, float! This means that for low-level signal: winds, whispering and so on, instead of getting an 8-bit digital word (linear; the equivalent of the '70s video game "Pong") we get a full-length word *regardless* of level and hence much, much greater detail. More graphic? OK; in linear the last 6dB on the meter uses ~50% of the data stream; if you don't hit that mark, too bad. Not so with FP. I'm wording this as simply as possible for those who may not be as geeky as we are.
Good way to explain another benefit of 33 bit float. Thanks Peter!
Hi, what do you think about the lack of balanced outputs on the mixpre-3 II and Zoom F6 recorders? 3,5mm stereo out only :(
Good point. That's where an F4 or F8 or 10 II makes more sense. I think that SD are aiming the 3 and 6 at indie filmmakers and podcasters who generally don't need balanced outputs.
Hey Curtis, we just picked up a couple MixPre3 iis. We attached them to the back of our Ikonoskop Dii rigs and then wired them to Senneheiser MK 416s mounted to the top of the rigs. This is our two-camera setup that we are going to be running and gunning with for an upcoming Olympic film. The idea of course is to be working without a sound guy. Essentially we have two cinema camera rigs that we are trying to make into fancy "video cameras", haha. The basic question is, with this setup, whether it would be wiser to go 24/96 with a limiter or 32-bit float-in order to capture everything and have the ability to turn lower level (of the shotgun axis) audio up if need be without added distortion or much extra noise? NOTE: At times we will definitely be using lav mics as well. Another possibility I figured is to add some sort of onboard omni mic to our rig to capture off axis things... Would be really curious to have your opinion on this. Thanks so much! -Alec
Hi Alec, 32-bit float will give you more options in post if you are doing a dual sound workflow. That is to say, if you go to 32-bit float mode on the MixPre and feed audio from the MixPre output to camera, the camera audio can still clip. If you're ok with that approach, that would be the safest way to record the audio since you'll be busy with operating the camera. I would still set the gain so that it is at a reasonable level and NOT clipping the camera's inputs, but at least you'll have options if things get much louder than expected.
On the other hand, if it is critical to turn things around quickly and avoid a dual system workflow, then I'd drop to 24-bit mode so that you don't run the risk of overloading the camera inputs and you'll rely on the MixPre's limiters instead.
Good luck on your film project!
@@curtisjudd Hey Curtis, thanks for getting back. Sorry I didn't make this clear...we are tracking ALL audio using the MixPre3s that are just attached to our camera should rigs. We have no audio going into the camera whatsoever. Only timecode from a Ultrasync One (jamming both the MixPre3 and the Ikonoskop Dii camera)...
I guess what I am asking is is 32bit worth it for bring up low level, off axis audio in post (in Resolve), any more than 24bit, or is the main advantage of 32bit, just not having to use a limiter (aka a disadvantage in post, since you may have to adjust things)?
@@AlecEagon Ah, got it. There are benefits - the multiple AD converters should allow you to boost in post and keep that noise floor at reasonable levels. Best wishes!
@@curtisjudd Perfect. Thanks so much!
That headphone knob.... I still cant believe they cant get that right.
If I had to guess, they didn't want to impose the cost of re-designing the physical aspects of the MixPre at this point. I'm hopeful they'll still do it in the future when they do a major revamp of the line.
Hi Curtis,
Just one simple question:
I mainly record interviews and live concert with a Tascam DR44WL. I bought it for its wifi remote control possibility and its big screen and I'm pretty happy with it.
In the future I'd like to have a recorder with more inputs (4 being a minimum)
Now my question is: is that possible on a MixPre 6 or 10 to individually set each XLR inputs on Line OR mic/mic+phantom
On the Tascam you can't do this. The selector is for both inputs.
Thank you for those excellent videos!
Alain
Hi Alain, yes, on the MixPres you can select mic/line level for each individual input. You can also select whether to apply phantom power for each input independently.
Hi Curtis, thanks for another great video! Is it possible to jam the time code from tentacle sync to mix pre 3 ii through Aux/mic in?
Hi Sujan, I need to check that. I know that you can jam the Sync E to the MixPre but not sure about the other way around. I'll check. It looks like I need to get a MixPre 3 II in to make sure since the 10 II doesn't seem to support timecode out the 3.5mm output.
Yes!
@@paulisaacs5980 Thanks Paul. Will the 10 II also be able to send timecode out the X1/X2 output? Didn't see a way to make that work with the current firmware (4.01). Thanks!
@@paulisaacs5980 Thank you!
@@LearnLightAndSoundSessions Thank you!
I'm just trying to wrap my head around producing good audio, and am trying to place the importance of this wide dynamic range 32 bit option. At first I was thinking, well why wouldn't you just keep it in that mode all the time? Is the answer to this a bit like with shooting RAW on your camera and fixing in post? Sure, with a good raw file, technical profeciency, and Photoshop you can make that image look any way you want. But, there is a whole school of thought about "getting it right in camera" rather than in post. Is that a fair analogy between setting the recording up appropriately in 24bit recording vs. any setting at 32bit?
My take is yes, it is a lot like getting it right in camera. Also, RAW still requires proper exposure so it isn't a "get out of jail free" kind of situation. It just gives you a bit more latitude.
Hi, how do i erase a track i just recorded? I see something that says "trash" - but it still is there once i press it. Thanks Mixpre-3 ii
What a great way to record things like Drag Races, Air shows, concerts that are too loud. Looks like Zoom started an item with 32 bit. Cameras are laughable on their preamps with a few exceptions. This one has me interested in very demanding venues. Glad I waited.
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Hey Curtis, what's a good level to set the channel gain at when recording 32bit float?
Hi Alec, I generally increase the gain until the peaks top out at around -18dB.
@@curtisjudd Thanks so much. We'll give that a shot. Really appreciate it!
@@curtisjudd Fantastic. Thanks! We'll start there.
So Curtis, I did not follow precisely how to utilize the TimeCode feature for the MixPre-6(and 3) since you cannot record both audio and TC to camera. I did not understand what you were saying at that point, the explanation moved a little fast for me. Also, I am new to all of this. I have been shooting a feature film for about a year and a half on a sony a7sii and just now invested in the MixPre-6 ii and two sennheiser wireless avx me-2's. I am excited to start working with this system in the field but I still don't really understand why TimeCode is even that important if I am just connecting my audio straight to my video. Aren't they going to be bundled as one unit? I think I need to join your school. :) I have really been getting a lot out of your videos on here. Thank you for your service!
Hi! If you’re sending audio out of the MixPre to your camera, you probably don’t need timecode. Keep enjoying the straightforward workflow!
Hey, Curtis. Regarding timecode with the MixPre II 3 and 6, how might one go about jamming a Tentacle Sync (with the 3.5 mm jack)? Do you think that a straight-through TRS 3.5mm to 3.5mm cable would work?
Great empirical question which I plan to test. But alas, I just learned that the MixPre 10 II, which is the one I have on hand, doesn't yet support timecode output via the 3.5mm X1/X2 output even though the documentation hints at it in one place. I'm pretty sure the answer is yes because the Tentacle Sync E 3.5mm cables are standard stereo minijack from what I can tell and those work fine.
@@LearnLightAndSoundSessions Hey, Curtis. So I have an answer to my own question. Tentacle Sync devices will take a jam just fine from Mix Pre6 (Series II), and presumably the MixPre3 (II) as well, provided you do the following: 1. Set MixPre in Advanced Mode. 2. Enter Outputs menu. 3. Select Stereo Out Mode. 4. Select LTC option. 5. Connect Tentacle Sync (in Red mode) to Stereo Out jack using 3.5mm TRS cable supplied with Tentacle devices. 6. Voila. Tentacle is jammed.
And please don't ask me how I know this for sure, lest I be compelled to plead the 5th Amendment. I made a promise not to buy any more gear this year. :-)
@@scottvanderbilt1279 Your secret is safe with me. I'm sure you just spent the afternoon at Trew Audio working out this puzzle with their gear. 😀
thanks so much for the info! I have a question. when i shoot weddings and connect my dr-05 and my zoom h1 to the dj/sound board my audio gets distortioned/clipped/peaked. Would the same thing happen with the mixpre 3 ii if i set it up to a sound board/DJ using its 32 bit mode?
Hi Sergio, yes, that will help, but the biggest thing that will help is that you can switch the MixPre-3 II to line level input which is what the sound board delivers. This is a much more powerful signal and why the H1 and DR-05 clip - they expect a microphone level signal.
Curtis Judd Thank you so much! Your channel is really helpful!
Nice!! Really, the “cons” of these units are so minimal compared to their value in my opinion.
Agreed!
I love how my MixPre 10-2 sounds. However Ive had to reset it a few times as my sample rate seems to lock in at 44.1 for some reason. I admit to being periodically dense (well maybe more then periodically) but is there a setting that Im missing?
Hey Curtis we spoke a while back now seeing this Series 2 of mix pre devices.
I doubt you will remember our last conversation. Where i was debating the Zoom F6 device, Would you say that the new mix pre 3 Series II at $650 would be a better quality choice sound wise noise floor operation etc both 32 bit float. The Sound Devices mix pre does seem to have an extra 10 db headroom dynamic range aswell maxing out at 142 dB dynamic range and im guessing cleaner sounding?
vs six channel Zoom F6 @ $650
Have received an email from zoom rep that shipping has begun. Although i am now finding out about the new sound devices release. Would be glad to hear your update on the topic
Hi Cheyen, I don't know all the particulars of what you're recording, but for me, I generally prefer the Sound Devices MixPre II over the Zoom F6. The only thing I wish the MixPre had that the Zoom F6 has is Automix for panel discussions and interviews. Neither of them are perfect for every person in every way, but overall, if I could only buy one, I'd go for the MixPre II.
@@LearnLightAndSoundSessions It's surely worth the $850 for the mix pre 6 2nd gen to match input wise the zoom f6 for $650. I guess i'm just debating price at this point, and seeing that they both use the same pre amps from their previous models respectively i'm guessing noise floors would remain around the same. Basically better pres on the sound devices still. Thanks for the reply i believe it can also activate through hdmi signal where as i dont think the zoom f6 has that ability, my camera did not seem to have a time code function compatible with zoom f6. Sony rx10 iv
Seems like it may, afterall be more compatible with the mix pre. Thanks for the quick reply
@@BushMasterThermal I'm not sure about the HDMI triggering and Sony cameras. I haven't found that to be a particularly reliable feature. Not a fan of the micro HDMI input which is fairly unreliable from a physical connection standpoint.
@@LearnLightAndSoundSessions Yes quality over quantity, Other than Automix feature on Zoom F6.
What would be the advantages or reasons to get Zoom F6 instead?
This will be my first Field Recorder purchase and i do like the 6 XLR inputs and a total of 14 tracks recording ability. I will be testing a few pairs of binaural mics to start with. Zoom F6 gives me the ability to have 3 L/R stereo inputs. Where as SD mix pre 3 only has 3 XLR inputs so just one L/R Stereo input capability here, Mix Pre 6 has 4 XLR/TRS inputs and an Aux 3.5mm input. and costs $850 USD.
Other than the slightly higher noise floor of 2 dBu difference, Is the actual recorded audio quality also going to be audibly worse?
@@BushMasterThermal The only other advantages I see on the F6 side are the NP-F battery sled for powering the unit - great idea - and the fact that there are 6 inputs for such a reasonable price. Ergonomics wise I do not like the F6 as much as the MixPre. The problem with the MixPre is that it is a fair bit more expensive per XLR input and it has one ergonomic issue - the headphone knob on the side of the unit which can be problematic when using the recorder in a bag.
Audio quality wise, the F6 and MixPre are very similar with the MixPre sounding a tiny bit warmer, having a touch more bass. They both use the same preamps as their previous generation which we compared here: czcams.com/video/Hnvq-6M1adE/video.html
PreMix 6 ii capture sound better than plugging mic directly into Panasonic AU EVA1? How do the preamps compare.
Yes, in a few different ways. The MixPre II series have wide dynamic range recording with 32-bit float files and if you're not recording in that format, they have analogue limiters. These are things that no cameras support.
Can you feed timecode IN to the recorder, with Ultrasync One?
Yes.
Question for you Chris. Can you articulate the best you can the difference in tone ( if any ) between the 8 series and MixPre II mic preamps. Thanks
The 8 series preamps are a little warmer (a touch more bass).
@@curtisjudd thank Chris. Have you done a video comparing the two? I can't seem to find anything out there.
@@ILBDC I don't have a dedicated video on that, no, but the video which will be released this coming Sunday will have clips with the Sennheiser MKH50 recorded with the MixPre-3 II and 888 so you can at least hear. The difference is not large.
BTW, am I right in assuming the TC generator is also from Ambient like the 6 series?
Not sure, I haven't seem them say that specifically. However, in my tests, it certainly performs as well as my 633.
@@curtisjudd Good to hear.
Dear Curtis!
Brand new MixPre 10 II (2000 € all in) or a two year old Sound Devces 633 thats rarely used (2400 € all in) both with NPF batteries included. I will use it for shooting corporate video / TV commercials / TV shows. I think i am going to choose the 633 but i would really like to hear your opinion about that. Thanks a lot in advance.
For larger budget productions, I would go for the 633. That's where the routing capabilities become much more important and the 633 can deliver there - at least more than a MixPre.
@@LearnLightAndSoundSessions thank you! but the preamps and the limiters sound and work the same in both devices, right?
@@TheBasCast No, the SD 633 preamps sound better to my ear and has a different gain range. They are definitely a different design. The limiters are fixed in the 633 but they always work well for dialogue recordings in my experience.
How can we increment scene & shot number in mixpre 10ii without having to rename before and after each take? Can you please help me out regarding this query.
I don't know that this is possible on the MixPre series recorders. Probably best to contact Sound Devices support to confirm.
This should be on the main channel.
Thanks Shaheed. Why do you say that? I generally prefer to keep longer-form tutorials like this on the Sound channel.
@@LearnLightAndSoundSessions, due to the followers. I didn't know about this particular channel until a month ago but knew about the main one for years.
@@mrshaheedmalik I see. Unfortunately, the larger audience is generally intolerant of longer form, less produced videos like this so I had to move them here.
They should really just make a new knob already instead of the NEW Tire feature on the original knob, I think its a bit crazy. But all the other changes seem quite good. I heard that with the 1st version of the MixPre 6 most said the limiters were not very good when recording gunshot SFX, what setting do you feel would mimic the limiters on say a 702 which is good at recording such SFX ...
I think they're trying to avoid the cost of re-designing and re-tooling for a new physical design. That would make them a fair bit more expensive while they try to recoup all those costs. It was probably a price to benefit analysis at some point. I've never recorded gunshots so I'm not sure, but Watson Wu should have something to say on that. I assumed that one would NOT want to use limiters when doing gunshots but I don't know.
@@LearnLightAndSoundSessions I understand about redesigning but they could def just make a new improved knob. As for limiters actually you do want to use them, the really good SD limiters allow you to record a better sound, and yes Watson Wu uses limiters for that to get that powerful sound, he has spoke about that. But not sure if hes tried the new MixPre v2 yet as it seems he has been busy testing his Zoom F6 on some projects. Thanks for the reply.
Thanks. One could also record in 32 bit mode and apply the compression/limiting in post for the same effect, then, I would assume.
Hi Curtis! As usual fantastic, very informative review. And I have two technical questions:
1. Is it likely that SD include post roll feature in MixPre II series if they recieve such a feedback? Would it be just a software upgrade?
2. Output via balanced mini-XLR or unbalanced 3,5mm jack seems to be analogue. Is recording with 32-bit float any obstacle in using output? Cause I did not get something. I guess, with 32-bit float recording you can still mix individual tracks and feed that mix as analogue signal to the camera that make its own encoding, regardless of what is the bit depth of digital recording of the mix in the SD MixPre. Or am I wrong? Can this mix be as well prepared as it would be with 24-bit?
Hi Pawel, 1) no, I suspect this is a hardware feature which requires more high speed buffer memory. 2) I need to test this. I do not know what happens to the output when the gain trim is set so that you would normally clip in 24-bit, even when you are recording in 32 bit. I suspect the output will be clipped or at least severely limited but I need to check. More to come on that.
You can certainly send an analogue feed from the MixPre II, I just suspect you'll still need to gain stage carefully so that the output is not clipped or heavily limited.
So why do you need to keep the bmpcc4k connected for the entire shoot if it jams the time code? I am thinking about switching from the zoom f4 to this but that seems like a downgrade on that aspect. Not a lot of others.
Hi Chris, because despite what Blackmagic says, the Pocket cameras do NOT have a temperature compensate crystal oscillator timecode clock inside. While you can jam the P4K or P6K and remove the external generator, the camera will drift quite quickly. You'd need to re-jam about every 15-30 minutes if you expect close to frame accurate sync. If you just need to get in the ballpark and then fine-tune the sync in post, then you can pull the TC generator and not leave it attached to the camera. But if you need frame accurate sync in post and don't want to have to re-sync by nudging several sub-frames in post, then leave it attached to the camera throughout the duration of the shoot. Also, this is true even of high end cinema cameras. The Pocket cameras are not unique in this regard.
Curtis Judd thank you for that clarification.
hi , this is khhalid from kuwait , Im facing a problem with my mixpre 6 II , it seems that you can't jam sync it with tentacle sync time code while your mixpre is in 32bit mode , 24bit is working fine
Thanks Khhalid for the info. Have you already contacted Sound Devices support? Sounds like an issue which needs to be fixed.
No, if you can please inform them with this issue, I hope they fix it in firmware update, and I'm wondering about something else, does it swipe power source automatically like zoom f8n, like if I take off the USB C power source with my battery pack in will it swipe the source without shutting down and I was really disappointed when I found out when you connect it as an interface you have only 2 inputs!! 1&2 shown in my audition system input, thanks a lot for every thing, I never miss any of your informative videos
@@kstudio9644 You can use all of the inputs while connected as an Audio Interface. If you are on windows, you will need to install the ASIO driver from the SD website to make that happen. I don't talk to SD directly much, but I'll mention the jam issue. May be best if you will contact them because they'll want more details. I have the MixPre-10 II which works a little differently because it has dedicated BNC timecode inputs and outputs.
Yes, it will continue to power when you pull one battery source.
Curtis Judd, thanks a lot, I'll make sure to contact SD about the sync problem, I use mac OS only and I tried this on my mackbook pro and my Imac pro using adobe audition in my input source still I get 2 inputs only, I really appreciate you answering my questions, thanks a lot
@@kstudio9644 Good call. They should be able to help get you past 2 channels of input via USB as well. That looks like a configuration issue.
Does 32bit Recording reduce the preamp noise?
Will have a video demonstrating that this coming weekend.
how does the wide dynamic range compare to the zoom f6? did you do a similar test with the mix pre ii series that you did here:
czcams.com/video/y4oNd1RgGL0/video.html
@1:55, 32bit float = ~1.6kdb+ not 142db
Yes, a 32-bit float file can handle 1.6kdB but the MixPre II series are spec'd at 142dB of dynamic range based on limitations in the signal path, likely at the analogue pre-amp stage.
Note you are paying $99 to disable the timecode features with the musicians plugin. so the musicians plugin is basically cripple ware.
Hi Russel. I didn't find that to be the case on my MixPre. Is that what happened on yours?
@@curtisjudd czcams.com/video/SIBPcjKsSZM/video.html
Russell Medley ah, right, timecode doesn’t work in music projects but still works in non-music projects. The maker of that video was trying to use the MixPre in musician's mode for playback while recording a music video. The Musician's plugin is not made for that. It is made for multitrack overdub recording - basically a DAW for multitrack song recording without a computer. I think that was just a misunderstanding of the purpose of the Musician's plugin. It isn't crippleware, it is meant for something totally different.
I guess it still makes sense to use a gentle limiting compressor even when using the 32-bit mode? Thanks,
I just read from the manual that limiters are not even enabled in the 32-bit mode :D
@@harrij.9542 Correct, but in post, one will often have to apply a bit of compression to hit a loudness target, at least for web audiences.
at least the outputstage will not clip digitally if your mix is too loud-----with 32 bit
Need to test that.
@@LearnLightAndSoundSessions yea pls let me know, i have no mixpre II to test it, but in theory :)
@@Rotationproject Tested: Unfortunately, when you hit 0dBFS or higher, even when in 32-bit mode, the outputs limiters kick in and chop off the waveforms so it is essentially the same as clipping.
@@curtisjudd :(
Wondering about an HDMI TC hack for the Mixpre 3 & 6 V1 or V2. The only thing that we really need is a 3.5 mini to Micro-HDMI type-D cable.
my one worry is that the TC would be getting stripped out at the convertor.
So it would be connected as follows
Tentacle Sync E > Black Magic SDI to HDMI > HDMI Cable > Sound Devices Mixpre 3 or 6 V1 or V2
Parts
Black Magic HDMI to SDI converter
www.bhphotovideo.com/c/product/1607021-REG/blackmagic_design_convcmic_sh03g_wpsu_micro_converter_sdi_to.html
SDI to 3.5 mini cable
www.bhphotovideo.com/c/product/1327596-REG/tentacle_sync_c08_cable_tentacle_to.html
Tentacle Sync E
www.bhphotovideo.com/c/product/1372226-REG/tentacle_sync_te2_sync_e_standard_set.html
HDMI to Micro-HDMI type-D
www.bhphotovideo.com/c/product/1223786-REG/freefly_910_00187_lightweight_right_angle_micro.html
Total price for a 2 camera shoot $645.00 the biggest expense is the Tentacle Sync E's
Interesting idea. Let us know what you find.
My biggest downside criticism with this series is the stonking NP-F battery sticking out at right angles at the back. To me this is a design fault and I so much prefer the form factor of the 633 (which I own) where the battery is on-axis to the body of the recorder. Shame you have to pay $1000s more NOT to have this clunky and inconvenient battery implementation. Just my opinion.
Understood. There are some 3rd party Hawk Woods solutions to consider.