Sound Devices MixPre-6 II (second generation)

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rick.lang

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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 3:58 pm

Rakesh, a strong endorsement for Sound Devices. But still complimentary to the Zoom F series. Most feedback I’ve received was also endorsing Sound Devices.

I was wondering, do you have any comment about the importance of balanced audio on the MixPre-10 versus unbalanced on the MixPre-6? At this time I’m not sure I would feed audio back to a camera and if I did then the MixPre would likely be no more than 10-12’ away from the camera. Would unbalanced work well at that distance?


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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 4:28 pm

rick.lang wrote:But he sure prefers it to the F6 even though the F6 has more inputs and some additional options. I think he’s being honest and trusts he will like the results from MixPre II.


Curtis Owns several Zoom & SD recorders, but he has generally always preferred SD recorders. If memory serves, his preferences is because the MixPre series has larger dials, and a touch interface.

Honestly, any recorder form the F or MixPre series, is going to produce excellent results for most people. I have an F4, and with the peaks hitting between -24 and -18, I have no clipping issues. In post my noise floor is still below -60 before NR. The only reason it isn't even lower is because I'm limited by my shooting environment and mics. If I ever got into a situation where I thought clipping might be an issue, I'd probably just use a safety track.
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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 4:50 pm

I capture on location audio with stereo pair of condenser mics plugged to oldest dual channel version MixPre and line-out to Edirol R-09HR line-in (96 db of dynamic range measured with RMAA test) and also use desktop Echo AudioFire sound card and use it as reference (111 db of dynamic range measured with RMAA test)
So i done a lot of tests and came to conclusion that when you record to 24bit even 96 db of dynamic range is enough to record 99.999% clean "underexposed" sound and be able to increase gain a lot in post without any additional audiable background noise. In the end, microphones and microphone preamp's self noise appears way more audiable than self noise of A/D converter inside recorder. And in real life room or street background noise usually 10 times louder than microphones self noise.
111 db A/D converter provides slightly less noise but i can notice difference only with extreme synthetic tests looking at spectrum and listening near absolute silence samples multiple times.
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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 5:15 pm

The issue with Resolve 32 bit support appears to be that only some applications, like Izotope rx, support 32 bit files recorded at levels above 0 dbfs. Other applications will truncate any data above 0. This happens in Resolve even when external processes, like Izotope, are used.
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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 5:36 pm

John Paines wrote:The issue with Resolve 32 bit support appears to be that only some applications, like Izotope rx, support 32 bit files recorded at levels above 0 dbfs. Other applications will truncate any data above 0. This happens in Resolve even when external processes, like Izotope, are used.


I'm sure that can be addressed in a future release if enough people inquire about it.
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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 7:50 pm

Rick, the advantage of the balanced line out is for longer runs, greater than 6-feet. Up t 6-feet in most situations yiu should be OK with unbalanced audio connection to the camera, especially if it is just a scratch track. I use my MicPreD Mk Ted to the ca era tripod, run balanced inputs and use the unbalanced 3-foot camera connection to feed a very clean audio to the camera. This worked well yesterday for the big local parade, featuring the Humboldt State Marching band, feeding the audio from two Sennheiser ME64 mics to the mixer and to the Nikon Z6. Going to test this on the Pocket 4K, which arrived today. :mrgreen:
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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 7:51 pm

Thanks, Dan. Using a safety track at say -10 dB or more is a very good option when recording 24bit audio. Often my levels are around -12 to -20 but lots of exceptions.


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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 8:05 pm

Dmitry, nearly all of my recording has been with the XLR mics plugged into the URSA Mini 4.6K. I don’t recall the performance of the camera pre-amps, but I know I pickup too much sound from sources other than the intended voices and instruments. And I do clip at times and cannot clearly hear low levels at times. I can get passable results with effort, but I’d rather just have better audio to begin with.

Do I spend money on another AVX to have my softest voiced actor audible or do I spend money on a recorder that will be able to cope with it? The MixPre-6 II and another Sennheiser AVX are about the same cost. Before the F6 and the MixPre II came along I was planning on a second AVX. I may not need it now.

I suppose giving the actor voice control lessons could work, but I’m not going there! Best I cope with what I have.


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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 8:25 pm

John, given the theatrical and festival work I record, it’s easy for me to approach and possibly exceed unity. I’m never in a sound booth being fed stage mics; I’m with the audience and the clapping and whistling from an enthusiastic audience beside my mics even while vocals and music continue might put me over the top. Not a controlled environment.

When I was given audio for the summer music festival, their sound board was near the audience but the mics were all on stage. My mics in camera recorded such a different sound greatly affected by the audience surrounding me. The sound board would barely pickup any applause at all and was so good on the vocals and musicians. Too bad it wasn’t perfect though and my XLR mics in camera filled in when the professional recordists had some failures.

Even in the festival sometimes when the performers are talking they move away from the mics and speak very quietly, it’s barely audible. Pumping up their levels of course gives me too much sound I don’t want. I try not to apply full gain with the URSA Mini 4.6K. Ideally High and 25-50% works with the camera 10-20m away.


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Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 8:41 pm

Denny, if the safe maximum for unbalanced is less than about 2m, then I need to consider having the MixPre-6 II close by. Or not feeding audio to the camera and only going to external audio on SDXC with backup on USB. Reluctant to be very close to the camera with any mic on the MixPre as it might also hear the camera. My overriding concern is trying to get the best possible audio I can with budget gear when shooting the feature film. Anything I can control like proximity to the camera is worth doing. But if not feeding audio into the camera, I need to have 100% trust in the audio gear.

Should I control the MixPre Start and Stop via HDMI from the BMPCC4K by running a 3m (10’) cable from the camera to the MixPre? I think I really need to have someone on headphones (the clapper operator?) connected to the MixPre to be sure audio is good (or boom mic operator?).

Thank goodness I have a terabyte of recording on both the URSA Mini 4.6K and the BMPCC4K so I can run both cameras (one static, one tracking) on most everything related to the feature. For other work, I’ll tend to use the BMPCC4K to gain shooting and post experience this year.

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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 9:03 pm

@rick

Given your working environment, I think it would be a good investment to get a time code generator. Jam it with the recorder, and then you are free to place the camera and recorder anywhere. The only set-up that would offer more flexibility, would be having all your mics feeding into the recorder wirelessly.
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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 9:48 pm

Dan, will do. Plan to add two Tentacles. Possibly another Sennheiser AVX and a better boom mic than my Sennheiser MKH416.


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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 10:07 pm

rick.lang wrote:Thanks, Dan. Using a safety track at say -10 dB or more is a very good option when recording 24bit audio. Often my levels are around -12 to -20 but lots of exceptions.


That's one of the reasons that I like using the ISO + mix combination.

I've used unbalanced cables to get audio from my MixPre-D6 to my camera, but it wasn't a long cable run -- around three feet. You can probably get away with 10-12 feet as long as you're using good shielded cables, but you do run the risk of picking up environmental radio noise that balanced cables would reject.
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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 10:12 pm

rick.lang wrote:Dan, will do. Plan to add two Tentacles. Possibly another Sennheiser AVX and a better boom mic than my Sennheiser MKH416.


For a feature film, that's definitely the way to go. You don't want to run audio to the camera on a film set -- it's a nightmare, and also an accident in waiting -- and it only gets worse if you're doing anything with camera movements or with actor movements where boom operator needs to move to follow the actors, etc.

Definitely get Tentacles... and take advantage of the fact that you can autosync by timecode in a second or two in Resolve.
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Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 10:29 pm

Okay, two more Tentacles and another AVX MKE2. One AVX to hide and pickup audio from the actors that don’t have any difficulty projecting their voice and one AVX for the quiet one. And a boom for insurance. Plus my MKH416 shotgun. That’s going to fill the MixPre-6 II XLR inputs but only the boom cable to trip over or restrict placement. No feed to my cameras unless I use the MKH416 as the insurance of last resort.


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Re: Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 10:57 pm

rick.lang wrote:Okay, two more Tentacles and another AVX MKE2. One AVX to hide and pickup audio from the actors that don’t have any difficulty projecting their voice and one AVX for the quiet one. And a boom for insurance. Plus my MKH416 shotgun. That’s going to fill the MixPre-6 II XLR inputs but only the boom cable to trip over or restrict placement. No feed to my cameras unless I use the MKH416 as the insurance of last resort.



Do you have a sound recordist working with you?

Ideally, the boom will be your primary audio, and hidden lavaliers your backup because the shotgun mics usually sound quite a bit better than lavs.

If you have wireless lavs, hide one on each actor.

Unless you're running multiple cameras, with the new MixPres you will only need one Tentacle. The original Tentacles are reliable, but the newer ones with Bluetooth setup are definitely more convenient. So you'd jam sync a Tentacle from the MixPre II connect that to the TC input on the camera, and Bob's your uncle.

(Bob has a LOT of newphews and nieces it would seem.)
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Sound Devices MixPre-6 II (second generation)

PostTue Sep 03, 2019 11:53 pm

I think I can find someone who is a very quick study and who has worked on the film that will be fine in the role as audio recordist.

I have one Tentacle E (Bluetooth and monitored via iPhone) but need another to support two cameras.

Thanks for the advice te boom mic.


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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 12:19 am

rick.lang wrote:That’s going to fill the MixPre-6 II XLR inputs but only the boom cable to trip over or restrict placement.


Even the boom mic can be made wireless if you have the will and the $$$.

https://www.bhphotovideo.com/explora/vi ... ess-system

https://www.bhphotovideo.com/c/product/ ... eless.html
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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 3:23 am

Dan Sherman wrote:
rick.lang wrote:That’s going to fill the MixPre-6 II XLR inputs but only the boom cable to trip over or restrict placement.


Even the boom mic can be made wireless if you have the will and the $$$.

https://www.bhphotovideo.com/explora/vi ... ess-system

https://www.bhphotovideo.com/c/product/ ... eless.html


Dan, thanks so much. I really like the EW 500. Both Sennheiser and Rode are doing very similar things. Nice that the Ride will also take a lavalier mic. And the Sennheiser comes with the MKE2 I already like with my AVX. Still the EW 500 requires some intervention versus the virtually auto levels if the AVX. I wonder if there is a boom mic use case for the AVX using an XLR mic with phantom power in addition to the MKE2 offering. If so that might be what I choose next.


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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 4:20 am

rick.lang wrote:Still the EW 500 requires some intervention versus the virtually auto levels if the AVX. I wonder if there is a boom mic use case for the AVX using an XLR mic with phantom power in addition to the MKE2 offering. If so that might be what I choose next.


You could do something like this.



Short of sticking a pre-amp between the mic and the AVX TX, I don't know how you would get phantom power though.
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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 4:36 am

The best solution, is a boom mic, with operator connected to aSD MixPre, so boom op has mixer with output of mixer to a EW500 transmitter to feed signal to camera. Beats the 30-50 foot cable runs I used to do to do the same thing.
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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 6:30 am

The cool thing about Sound Devices MixPre II that is supports both HDMI timecode/record trigger and 3.5mm jack timecode in/out

From BMMCC manual:

Trigger Record
Blackmagic Micro Cinema Camera automatically sends a signal via the HDMI output that will trigger recording when connected to equipment that supports the trigger record feature, such as Blackmagic Video Assist.
Recording 12 This means that when you press record on your Micro Cinema Camera, your external recorder will also start recording, then will stop recording when you stop recording on the camera. Blackmagic Micro Cinema Camera will also output timecode via HDMI, which means that the clips recorded on your external recorder will have the same timecode as the clips recorded in your camera.
You will need to set your recorder to enable HDMI trigger recording to make sure it responds to the trigger signal from your camera. If your external recorder supports trigger recording, it can usually be enabled via its settings menu.

Analog Audio In
The 3.5mm stereo audio connector accepts both microphone and line level audio, selectable in the camera menu. The microphone level audio is lower than the line level audio so if you are connecting a microphone to the camera and have the line level selected, you will find that the levels will be too low. You can also use the analog audio input for embedding timecode onto your video clip by sending an SMPTE compliant LTC timecode in the left audio channel and selecting the timecode option in the camera menu.
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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 7:07 am

With the first version of MixPre's Sound Devices did not support the Pocket Cinemas and did not really seem to care about that either.
SoundDevices do not shine in that department when it comes to reaching out for cooperations and have more then once just been sitting their hoping that someone else will do all work or put it on their customers to find out themselves.

Even though the MixPres are amazing recorders and the second generation of them even better then my first gen, verify they do actually support the BM rec trigger over HDMI before buying one for this specific use.
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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 1:42 pm

I’ll verify, but I’ve already read through their scant manual and I’m sure it does support Trigger Record from HDMI.


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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 1:52 pm

Denny Smith wrote:The best solution, is a boom mic, with operator connected to aSD MixPre, so boom op has mixer with output of mixer to a EW500 transmitter to feed signal to camera. Beats the 30-50 foot cable runs I used to do to do the same thing.
Cheers


Denny, that’s a creative solution, but over $1,000 CDN to replace a cable with the EW500? I’ll consider it though. I was only thinking about how to use a boom mic without a cable to the MixPre recorder. Having the MixPre audio out feeding the camera is seeming less important. But if I use Trigger Record, I’ll have a cable connection between the camera and recorder anyway with the two devices near each other.

I really need to figure this out and go with the MixPre close to the camera and connect by wire or having them separate and control the MixPre start and stop by an operator in the traditional manner.


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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 2:00 pm

rick.lang wrote:I really need to figure this out and go with the MixPre close to the camera and connect by wire or having them separate and control the MixPre start and stop by an operator in the traditional manner.


Note that you can also use Sound Device's free Wingman app to control the MixPre recorder (record-start, stop, etc.) remotely via bluetooth from a phone or tablet. This works with the original MixPres as well as the second-generation ones. Wingman is also great for entering metadata.
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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 2:08 pm

Good point, Brad. Definitely an easy step to add as I roll sound via Wingman just before camera rolling. Forget HDMI cable. Keep the MixPre close to the boom operator. I guess I could remotely monitor some levels via Wingman too, if not now, perhaps in a future update of the app and the MixPre firmware.


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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 2:25 pm

rick.lang wrote:I really need to figure this out and go with the MixPre close to the camera and connect by wire or having them separate and control the MixPre start and stop by an operator in the traditional manner.



If I did the math right, you could run all 8 tracks as 32 bit 192KHz (not sure this is a valid combo) for 24 hrs strait and only consume 530GB of storage space.

I'd Personally go with un-wired, and just let the recorder run, assuming power isn't an issue. The only thing the sound guy has to do is monitor levels and power.
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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 4:16 pm

Rick, I was referring to adding an original MixPre (the one before the PreMixD) to use as a preamp and phantom power to the boom mic, and let the boom operator run this mixer, then use a wireless transponder the mic output of the MixPre to deed the MixPreII connected to the camera, and running the other cameras. So $200-400 for a old MixPre or the single channel version, and a wireless transmitter/receiver setup. Still might run $1K Canadian money. :roll:
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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 5:34 pm

I could record 4 individual mono tracks plus stereo mix and up to 2 mono tracks for ReMix/ReRecord. So up to eight. 32bit is 4 bytes sound. 192KHz.

4 bytes x 8 channels x 192,000 x 3600 seconds = 22,118,400,000 bytes per hour not counting file system overhead or 530,841,600,000 or 531GB per day as mentioned above.

Realistically with start/stop recording I think I’ll be fine with 4-5 hours actual recording with my 128GB SDXC card.

I’m thinking 192KHz may not be required though for an indie narrative film so may record 96KHz. Appreciate any feedback on that rate since I don’t know what is typical for these things.



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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 5:36 pm

Denny, thanks for the clarification.


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Re: Sound Devices MixPre-6 II (second generation)

PostWed Sep 04, 2019 6:08 pm

Here’s an example of what can be done to get rid of wires with boom recording:





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Re: Sound Devices MixPre-6 II (second generation)

PostThu Sep 05, 2019 4:12 am

Dimitri - thank you for posting that comment from Mr. Satz. He knows far more than I do, but he concludes with the same thing I have been thinking about with this new generation of relatively low-cost recorders: "But it all comes down to the actual implementation." (and the pre-amps!)

But one thing I notice in his comment is that he is talking about "gain-ranging A/D converters" rather than the dual A/D converters that I think both Zoom (in the F6) and Sound Devices (in the Mixpre Mk II units) are putting out. I can see how an auto gain-ranging device would "pump" noise up and down with the overall signal - it's acting as what it is called and auto-gain device. But if I am understanding what Zoom and SD are releasing, they have dual A/D converters for each pre-amp/channel - so one handles the low volume and the other the high volume with some sort of digital cross over where they overlap.

Just like dual-native-ISO light sensors, the upper range A/D converter will add some of its own noise to the signal, but just like dual-native-ISO sensors, the end result should be much better overall noise performance. (Plus, the A/D converters contribute much less noise than the camera sensor in my comparison, or for that matter the mic, cable, or pre-amp.)

As Mr Satz wrote, it's all down to implementation. If I understand correctly, the dual range A/D converters will work better than the auto-ranging systems for noise, but all the other links' limits will come into play. The mic has a dynamic range limit (though this is likely to be the strongest link in the chain.) And the pre-amp has its own upper and lower limits. I suspect it will be down to the quality of the preamp - the lower range A/D converter will capture the pre-amp noise along with the faint signals, while the upper range A/D converter will capture the pre-amp clipping without it's own digital clipping (assuming the mic doesn't clip first.)

Zoom has made the more bold claim, if I recall correctly - that the system in their recorder will always exceed the dynamic range of essentially any mic. I'm skeptical given the range of mics out there. If we don't have any control over pre-amp gain at all, then that makes me suspect they're running it at pretty low gain, so that no one will ever claim the pre-amp clipped. That means a trade off at the low end, particularly for less sensitive mics.

But at this point, all I'm doing is speculating. I look forward to both companies releasing their products, explaining in more detail how they actually work, and most of all, testers who know a heck of a lot more than I do actually testing them and telling us what they think.
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Re: Sound Devices MixPre-6 II (second generation)

PostThu Sep 05, 2019 5:06 am

Be careful where you put your trust. No one has actually posted detailed reviews and he didn’t have any access or detailed awareness of what Sound Devices was actually doing. We need to wait before being confident one way or the other.


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Re: Sound Devices MixPre-6 II (second generation)

PostThu Sep 05, 2019 6:23 am

The Second gen is actually using three parallel preamp/ADC stages!
Where they do low, mid and high gain and there are lowest gain level could even attenuate the signal.
Each of the three ADCs are fed as vectors into a processor (DSP, ASIC or FPGA) for matrix processing to be combined into high res output.
The individual channels might use different gain settings for each stage and could also use a different number of stages.

The stages can be combined as first-second into the third or first into second-third. The low or high could simply excluded as well if corrupt. The system can be turned into a two stage process.

It's a pretty ingenious solution.
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Re: Sound Devices MixPre-6 II (second generation)

PostThu Sep 05, 2019 1:25 pm

And that’s not exactly how Zoom F6 will work so there is a difference between the two competitors as I understand it. It seems to make sense to me to go with the MixPre II and also enjoy those excellent preamps.


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Re: Sound Devices MixPre-6 II (second generation)

PostThu Sep 05, 2019 8:00 pm

rick.lang wrote:Realistically with start/stop recording I think I’ll be fine with 4-5 hours actual recording with my 128GB SDXC card.


I've yet to have space be an issue even with only a 32GB card in my recorder and that's even when we forgot to format the card before our 2nd day of shooting.

I’m thinking 192KHz may not be required though for an indie narrative film so may record 96KHz. Appreciate any feedback on that rate since I don’t know what is typical for these things.


192KHz is overkill for the most part. I favor 96KHz when in an environment where there's ambient noise that we can't control like an AC unit, because filters do work better with the additional data, but most of the time, 48KHz is actually enough.

I tried an experiment once using a 96KHz recording and a 48KHz recording where I had an AC that I couldn't control creating ambient noise, and found that with the 48KHz recording Reaper's noise reduction got rid of the noise with some nasty digital distortion, but with the 96KHz recording it got rid of the noise and the dialog still sounded good.
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Re: Sound Devices MixPre-6 II (second generation)

PostFri Sep 06, 2019 3:03 am

Does anyone know if you can sync time code between the mixpre 3 ll and the Blackmagic pocket 4K. Thanks.
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Re: Sound Devices MixPre-6 II (second generation)

PostFri Sep 06, 2019 3:26 pm

Yes, though the easiest way to sync timecode reliably is with a lockit box like a TentacleSync (which also happen to be among the least expensive lockits available).
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Re: Sound Devices MixPre-6 II (second generation)

PostFri Sep 06, 2019 5:08 pm

Rakesh, recording at 96KHz will likely be my default; thanks for providing the comment on your comparison of 48KHz and 96KHz. I’m glad the MixPre II can do 192KHz but I can reserve that for 24fps playback of video clips recorded off speed at 48fps which may then provide some interesting results when there’s no dialogue.


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Re: Sound Devices MixPre-6 II (second generation)

PostFri Sep 06, 2019 5:11 pm

Agreed, having 192KHz as an option can be useful. From what I understand FX folks like it for similar reasons to what I described, but for the most part I get the impression that 192 KHz is mostly for the likes of Chesky and Linn Records -- companies that make music recordings for audiophiles.
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Re: Sound Devices MixPre-6 II (second generation)

PostFri Sep 06, 2019 5:21 pm

And then there’s Neil Young!


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Re: Sound Devices MixPre-6 II (second generation)

PostSun Sep 08, 2019 10:28 am

A general Q..

Some 4 camera jobs ahead (G1, G2 and 2 P4K) and Zoom H6 gave up.

Decided to enter the TC-way for syncing audio and camera from now on and using just Resolve 16

Will the MixPre II sync up my cameras or do i need some other devices?

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Re: Sound Devices MixPre-6 II (second generation)

PostSun Sep 08, 2019 5:10 pm

The MixPre II will sync one camera, not three at the same time. ;)
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Re: Sound Devices MixPre-6 II (second generation)

PostSun Sep 08, 2019 5:31 pm

Denny Smith wrote:The MixPre II will sync one camera, not three at the same time. ;)

What if just use cable splitter to sync multiple cameras? Will it work like this?
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Re: Sound Devices MixPre-6 II (second generation)

PostSun Sep 08, 2019 5:55 pm

Denny Smith wrote:The MixPre II will sync one camera, not three at the same time. ;)


Jam sync both the UMP:s and Pockets from the Mix Pre could be an option...

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Re: Sound Devices MixPre-6 II (second generation)

PostSun Sep 08, 2019 6:24 pm

Jerry, not sure if you plan on purchasing the MixPre-6 II to use with external mics, but it might be ideal for your 4 camera XLR input if you want to use the superior features compared to the cameras.

You can sync a Tentacle to the MixPre (master) and then jam sync all cameras, perhaps leaving the Tentacle mounted to the camera with the weakest internal Timecode. You would need to test the different cameras to see which is the best candidate. You would likely need to resync the cameras every couple of hours, perhaps every four hours.

If money is no object, use four Tentacles for four cameras. For a two camera shoot, I think that play-it-safe approach is what I’m planning to use to keep the old URSA Mini 4.6K camera and the new BMPCC4K in sync with a MixPre-6 II.


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Re: Sound Devices MixPre-6 II (second generation)

PostSun Sep 08, 2019 6:30 pm

jerrygladh wrote:
Denny Smith wrote:The MixPre II will sync one camera, not three at the same time. ;)


Jam sync both the UMP:s and Pockets from the Mix Pre could be an option...

Jerry


That’s possible, but three different models of camera may drift differently. For a short shoot, not likely a problem. For a very busy long day, may be a problem. Do a test over a day would determine if that was sufficient. I haven’t done that test yet, but plan to get to it with a single Tentacle.


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Re: Sound Devices MixPre-6 II (second generation)

PostSun Sep 08, 2019 6:49 pm

rick.lang wrote:Jerry, not sure if you plan on purchasing the MixPre-6 II to use with external mics, but it might be ideal for your 4 camera XLR input if you want to use the superior features compared to the cameras.

You can sync a Tentacle to the MixPre (master) and then jam sync all cameras, perhaps leaving the Tentacle mounted to the camera with the weakest internal Timecode. You would need to test the different cameras to see which is the best candidate. You would likely need to resync the cameras every couple of hours, perhaps every four hours.

If money is no object, use four Tentacles for four cameras. For a two camera shoot, I think that play-it-safe approach is what I’m planning to use to keep the old URSA Mini 4.6K camera and the new BMPCC4K in sync with a MixPre-6 II.


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Well, as a novice I have to dive in to the TC-stuff :-)
Seems like the model (MixPre10II) I looked into have an advanced TC-generator.
Both BNC and 3.5 out.
I use AVX MKE2 Lavs and Röde NTG3 Boom mostly and want them recorded externally.
Thx for all info here, i will follow closely...

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Re: Sound Devices MixPre-6 II (second generation)

PostSun Sep 08, 2019 8:04 pm

I also use the AVX MKE2 system with Sennheiser MKH416 P48. I’m thinking of adding another AVX or Sennheiser offering that includes a good lav and a microphone that I could use as a boom mic.

As you may be aware, some wireless mics like the AVX have a 19msec delay which you will need to compensate for in the MixPre II recorder. The manual provides no details exactly what to do, but I have ideas what could be done.

The ideal goal is having multiple individual tracks and a mix track where the AVX audio is aligned to the correct video Timecode and the other wired mic audio. So simple if they have a way in the MixPre II to delay all other tracks in a buffer by 19msec and subtract the equivalent of 19msec Timecode on the AVX tracks dynamically before laying down the individual and mix tracks. Simple to describe, but not simple to execute the instructions when you could have audio recording at up tp 192KHz from up to 8/10 tracks in your case and 4/6 tracks for me.




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