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    Still photographer with interest in sound in every way.
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  1. To be able to set the STEREO OUT MODE you need to be in Advanced under System / Mode Then choose LTC or Audio.
  2. 8 tracks of 48/24 is 9Mbit/s and not 9MB/s but I guess you meant that. And to SDs defence the mixpre 6 first gen managed that bitrate. But it do not manage 8 tracks at 192/24 which equals 37Mbit/s. Anyway. I feel a bit curious and intrigued about the 32-bit float due to its forgiving qualities.
  3. Yes the dual bit-recording feature is really nice. I'm really hoping that Sound Devices can manage to solve the memory buffer errors. If Zoom can manage this - Sound Devices should do to.
  4. I believe zaxcom used two inputs and simply compared them to each other, picking the best one. Sound Devices uses “at least” two analog input stages where each analog input is converted into digital data. SDs implementation in the MixPre II is using three separate analog inputs, turn them into digital domain and can then sum two of them and discarding one it a corrupt data stream is found. This little Tentacle is really nice and I like their simple path to a quite powerful product. I can even see a niche market for a dual channel version as well.
  5. No risk of bouncing the RF around inside of the metal chassi and getting the signal further out from a crowded bag with many other RF receivers/emitters.
  6. Isn't this one heck of a small wonder. 😀
  7. Yes, that's one way to see it. But there is a small difference. Zoom lists 126 different SD cards 32GB or larger from 13-14 different manufacturers as compatible with F8/F8n. Sound devices lists one single 32GB card which is their own. I find this a bit skewed and discomforting. Have Zoom found a way to write 10 channels of 24bit 192KHz BWF which Sound Devices have not? Are Zoom simply listing what ever card they found as compatible without testing them? Could it be as simple as a firmware tweak to make sure the buffer errors do not occur? I was just hoping that we MixPre recordists would be given them same range of choices as the Zoom users. So if SD during development actually have tested a lot of cards which do work at highest bitrates and all channels I believe it would be very comforting for a lot of us to know which card we can trust because SD confirms they do work in their equipment!
  8. Thank you for asking Paul. While I read up of the posts, Neils managed to reply before me. The link to Tapers is a good one. It is a wide mix of Sandisk, Toshiba, Lexar, Kingston, Samsung and others with very decent specs that do not work with the confident needed. The UK based Integral is one of few that actually seems to work. Some cards manages a few hours before failing. Others fail with buffer error within minutes or only manage to record less then specified number of channels. It is an expensive and tedious way for us recordists buying and testing cards on our own, trying to find out which do nail a set or field recording with 100 percent confidence. Should work, could work or do work but with poorer quality or less channels are not a chance one should have to take. If there’s chance for this to be looked at - many of us would be beyond thankful and bow deep of appreciation. Regards.
  9. Yes indeed. Thats is a very nice feature! As the Gen1of the MixPres are showing such problems with Buffer Errors when recording all channels at 24bit and 192KHz. Unless Sound Devices have done a major change of the SD-card I/O hardware or firmware, they might have a bit of an uphill battle writing any more tracks to the cards.
  10. The Limiters in the MixPre II - according to SDs PDFs - only works during 16 and 24 bit recordings and the II-series do not support 32 bit fixed, only floating point. LIMITERS (16- and 24-bit operation only) Limiter at all gain stages, range > 40 dB First stage analog, subsequent stages digital Adjustable threshold, ratio, and release. RECORDING … 44.1 kHz, 47.952 kHz, 48 kHz, 48.048 kHz, 96 kHz, 192 kHz sampling frequencies 16, 24, 32 float bit depths Polyphonic WAV
  11. My fault entirely. Somehow my mind read Tentacle in your post. No idea why
  12. The USOne can do different levels on different outputs as well. 170mV or 2.7Vpp on the Sync output and 70mV (mic level), 600mV (low) or standard 3Vpp on the LTC output.
  13. Yes you could if you want to feed the same LTC to both units. But with USOne you can output either LTC, genlock or word clock on the first Sync output and then output LTC on the second (Input/output) connector output LTC to the second unit. So Genlock to the camera if it accepts that and LTC to the sound recorder.
  14. I use the UltraSync One as well and I love the RF Master/Slave sync feature as well as the two output from each unit. When I have done small compact rig film/audio recordings, I fed both Blackmagic and MixPre with a single USO. For a fitting angled cable, just search for something like cable RG179 DIN 1.0/2.3 Mini BNC right angle and many different ones will appear.
  15. As I understand the Zaxcom patent for two gain stage recording is that it they do it in a very rudimentary way. Pretty much do it at one level, then do it another level and depending on if one exceeds the other or not perform and switch between stages. The SD solution is to perform at least two and in their implementation three gain stages and ADC in parallel. Use all three by themselves, merge into two or scrap one if corrupt. And then do process their vectors to create a final stream in 32-bit float. I really would like to see how Zoom is doing it in the F6. Or if the sudden manufacturing problem is somehow related to someones patent.
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