Display Name

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.

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.

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.

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.

Isn't this one heck of a small wonder. 😀

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!

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.

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.

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

My fault entirely. Somehow my mind read Tentacle in your post. No idea why

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.

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.

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.

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.

Hi Jeff Here is the patent and all the stages explained. https://patentimages.storage.googleapis.com/a7/6b/f5/77e31e68cca8b7/US9654134.pdf

The MixPre3 II is the gem in the new series. For that price it really offers a lot in every way and packed in a compact case. If I still had mine, I would upgrade immediately, but I replaced it with a mixpre 6 early. The new 10 II shines with its price drop. If you looked at it but never bought one before, now is the time. And the MixPre 6 II, I feel is a bit left behind in value compared to the others. Sure you get 32-bit float, not one but two* more channel if using the built in TC etc. But depending on your use and supporting equipment I’m not sure it renders the same “upgrade” value as the others. Although I would buy it in a second if I did not own the first one already. * correction you gain two more channels

SD posted a detailed explanation on how the 32-bit implementation works and some 32- and 24-bit test samples. Paul Isacs have admitted converted into being a 32-bit floating believer. :) https://www.sounddevices.com/32-bit-float-files-explained/ https://www.sounddevices.com/sample-32-bit-float-and-24-bit-fixed-wav-files/

The MP II series seems to be a very nice recorder. Many but not all of the quirks and annoyances from the first are gone. I feel a bit sad for Zoom and their delayed F6. It must hurt.

Floating point, TC, variable limiters, copy to usb drive. And lower price. https://www.sounddevices.com/mixpre/

RRS / Really Right Stuff as a carbon fiber camera tripod manufacturer are top notch. RRS and Gitzo are perhaps two of the best tripod manufacturers out there so I see it's natural for RRS to extend their range to boom poles as well - although I do not know how their poles are / will be. But they sure do know carbon fiber tube manufacturing and assembly.

I've tried all different levels - 70mV, 600mV and 3V on LTC input for me Mixpre6 and it synced perfectly on all of them.

Yes. I noticed the CM4 after I posted! And a bit more pronounced cardio then the CM3. I placed an order for a pair as soon as I saw them. I have not yet received a confirmation on them though.

Looks interesting. I guess we soon will see these compared with a pair of cheap, tiny but well renowned CM-3.

I asked SD about the LTC input level on the mixpre 6 the other day in relation to the signal level feeds from my Ultrasync One. Dennis at SD told me that they did not have any specs on the matter but he measured the LTC Lemo output from the 688 - which always had worked great for them - and it was about 112mV. He recommended me to begin with then Mic level output on the USO which is 70mV and see if the Mixpre 6 was happy with that. The Low setting from the USO is 600mV. Unfortunately I’ve not been able to set it up yet as I have been away on travel.

I had some cable problems on several of my DPA 4066 close to the microdot connector and asked the leading supplier if I could order the microdot repair kit. But was told it was quite a challenge to do it myself and was asked to send them in instead for them to look at as they had all needed equipment and skills. A few days later all three 4066 was returned to me with refitted microdot connectors. I asked for the invoice which was not included in the shipment and was simply told it’s in the mail. Two days later I got it and it read something like: 3x Microdot repair and replacement, 0,- They had repaired them all, free of charge. DPA might appear expensive but they certainly are affordable in the long run. From now on I make sure the cables are looped and zipped to the strain relief itself to avoid any unnecessary stress to them. It have worked very well.