Audio Developments AD-261 Outputs

[sonicparticle]

I have been struggling to find the manual of this unit. Would anyone have a pdf lying around or could pinpoint to me the right web location?

 

What I am trying to find out is the amount of outputs from the umbilical.

 

I need 4 outs coming out of a mixer and I am trying to find out whether the 261 might be doing that.

 

In case anyone would know:

 

Ideally, I'd like a 4 input mixer (not strictly, but minimum) that can output 4 outs to my recorder and that has returns that I can monitor the recorder's mix, and send to a camera via the mixer.

 

As my recorder does not downmix to mono, it would be also fantastic if the mixer would mono downmix all its inputs to feed that to the recorder, when I am using 3 mics or less.

 

I believe the 442 does that, but the outs are pre-fader (but I don't really expect to find a mixer that sends post fader but I thought I'd check out here before I conclude).

 

Thanks all and my apologies if that subject has been covered in the past.

 

[Richard Thomas]

552 can send outs post-fader (also has a mono out, but only at mic level), so can Fostex FM4 (although has a separate return jack rather than on the hirose).

 

I also think the Filmtech LSP4 does post-fade too

[Ray Collins]

My guess is 2 channels only. http://gothamsound.com/print.shtml?printable=YES&page=catalog&scmd=DISP&itemid=SAUDDEVAD261

You could contact Audio Developments and ask if it can be modified. I know the SQN 4s is modified by SQN to 4 unbalanced outs plus the usual stock outs.

[TJW]

Call / email AD. They are really helpful. Iso outs are not standard - this mixer whilst head and shoulders ahead of the competition when it first appeared was designed way before the multitrack revolution. I still have an old 261. Must be over 17 years old and has done well - although it has barely seen the light of day for 5 years since I have had the Cantars. When I used to use a pair of Portadats for Imax 4 track work, AD did some mods so that my 261 had direct unbalanced outs on a single 6 pin Hirose. You could have it done but with the SD 442 - a much later and more capable piece of equipment - available used for so little, I would be inclined to shed the 261 and get a piece of equipment designed to do what you require.

 

Tim

[rofin]

Ideally, I'd like a 4 input mixer (not strictly, but minimum) that can output 4 outs to my recorder and that has returns that I can monitor the recorder's mix, and send to a camera via the mixer.

 

As my recorder does not downmix to mono, it would be also fantastic if the mixer would mono downmix all its inputs to feed that to the recorder, when I am using 3 mics or less.

 

The SQN5 has 5 iso outs (selectable as either pre or post fader), unbalanced L/R outs which can be mono'd plus 2 stereo balanced outs each switchable to mic or line level.  Additionally, inputs 3/4/5 can be removed from the mix but remain at the iso out.

Monitoring ... 2 x switch selectable auxilliary stereo pairs (individual level control) and internal stereo.

 

Rob

[sonicparticle]

Cheers for the feedback everybody

 

Somebody told me that the umbilical on the 261 can do four ISOs but you're right. I'll message AD and see what they say. 

 

I'll go second-hand search. The Filmtech looks like a good choice on a budget. 

 

I wonder if anyone here has anyone here use the Fostex FM4. I never thought to check Fostex!

[TJW]

I forgot the Filmtech. When I said in a previous post that the AD261 was head and shoulders ahead of the competition when it came out, that should have read head and shoulders ahead of the competition except the Filmtech LS4 which already had iso outputs. Be aware that these mixers are big by modern standards and also quite old now so component failure could be an issue - particularly capacitors. I also have an old 4:1 Filmtech mono mixer (no meter, made to use with a Nagra 4.2) but is unusable due to popped capacitors. Before buying it could be worth dropping an email to Martyn Richards who designed and built Filmtech. He now runs soundkit.co.uk, a pro audio supplier in Wales. martyn@soundkit.co.uk. I still reckon that the SD442, plenty available and inexpensive, are worth considering. 

 

Tim

[Richard Thomas]

I've never used the fostex mixers in the field, but I A/B ed them against sound devices, sqn and sonosax and they sounded good and had decent routing options. Only drawback I found was the OLED meters are a bit weird.

Another thing to note is the FM4 only has post fade isos. It's also got 3 band eq which is a bit odd for a bag mixer

[sonicparticle]

I've never used the fostex mixers in the field, but I A/B ed them against sound devices, sqn and sonosax and they sounded good and had decent routing options. Only drawback I found was the OLED meters are a bit weird.

Another thing to note is the FM4 only has post fade isos. It's also got 3 band eq which is a bit odd for a bag mixer

 

Yup, funny as it is the OLED are putting me off as well.

 

I don't mind the 3 band EQ so much to be honest. I can see some situations were they could be handy. Although, it would be a meditational exercise to have them there and not to use them : p

 

I forgot the Filmtech. When I said in a previous post that the AD261 was head and shoulders ahead of the competition when it came out, that should have read head and shoulders ahead of the competition except the Filmtech LS4 which already had iso outputs. Be aware that these mixers are big by modern standards and also quite old now so component failure could be an issue - particularly capacitors. I also have an old 4:1 Filmtech mono mixer (no meter, made to use with a Nagra 4.2) but is unusable due to popped capacitors. Before buying it could be worth dropping an email to Martyn Richards who designed and built Filmtech. He now runs soundkit.co.uk, a pro audio supplier in Wales. martyn@soundkit.co.uk. I still reckon that the SD442, plenty available and inexpensive, are worth considering. 

 

Tim

 

I can see the point about the Filmtech Tim, and I was tempted to get on from BBList for £950 and the age made me thing twice and postpone any decision. (I have seen 442s ranging anywhere from £850 to £1250)

 

I am getting in a catch 22 with this purchase: "if I get the 442 the iso outs are pre fader....but if I save a bit more I might get the 552 which can record (as a stereo back up - haaandy) and are pre fader....but if I can splash the cash for the 552 shouldn't I just give this as a deposit and/ or sell my current recorder and/ or add the remaining balance to a credit card, get a 664 and carry on living my life? Or a 788T with the CL8? Or perhaps a Zaxcom Nomad 10???         

 

I swear, the hardest thing about freelancing is this internal battle between wearing the obligatory CFO hat and the strife for better sound. 

 

Where does one draw the line? ?

[TomBoisseau]

I owned a FilmTek LSP4 for nearly 15 years. It was very reliable and a great unit, HOWEVER, the pots did get noisy after awhile.

Tom

[nhaudio]

pm me your email, I'll send you the manual. From the schematics, it seems fairly easy to get 4 unbalanced iso out just before the summing buss. But monitoring them is quite another story I think.