SD-552 Technical Question

[Alex C]

So I'm really banking on the "no stupid questions" slogan of this forum.

So the 552 is 5-channel. Which I get, five mics, 5 inputs for mics, so on. But I'll be linking straight to the RED via stereo 2 channel breakaway cable. So if I record my mix ON the 552 will my editor end up with 5 channels (or however many I use) in Final Cut? And will he only have 2 if using the audio that's linked to the R3D footage? If so, what determines which channels are mixed together? Just pans?

Thanks!

Alex C

[berniebeaudry]

So I'm really banking on the "no stupid questions" slogan of this forum.

So the 552 is 5-channel. Which I get, five mics, 5 inputs for mics, so on. But I'll be linking straight to the RED via stereo 2 channel breakaway cable. So if I record my mix ON the 552 will my editor end up with 5 channels (or however many I use) in Final Cut? And will he only have 2 if using the audio that's linked to the R3D footage? If so, what determines which channels are mixed together? Just pans?

Thanks!

Alex C

The 552 is a 5x2 mixer meaning five inputs two outputs.  The internal recorder is two channels only.  The only way you would get more than two channels out to anything is if you came out of the iso outputs to a multi track device that can record five channels or more.  Not sure what determines what is fed to the internal recorder but possibly you could record two isos to that.  Your internally recorded audio would need to be imported into Final Cut and synced up with the mix you recorded to camera for a possible four channels of audio.  A good read of the 552 manual would be helpful to you.  I don't use a 552 and am commenting on just what I know of the mixer in general.

Best,

Bernie

[OutstandingSound4Picture]

The 552's internal recorder basically makes a copy of the main bus mix going out of the box. If you need ISOs or any other mix of your inputs, you have to take direct outs and run them into multi-channel recorder and take it from there.

The internal recorder is useful when doing wireless hops so that there is a backup in case of radio interference or drop outs or when the DP or shooter wants to dispense with any connection between the camera and the mixer.

You can run the main bus mix to the Red and engage the recorder so you get better audio quality. The camera tracks would be for reference or scratch. Your editor would import your 552 files, line them up to picture using the Red's audio as a guide, then mute the camera tracks and mix production sound from there.

I would suggest you read the 552's manual and this article about audio with the Red from the SD website:

http://www.sounddevices.com/notes/cameras/red-one/

[Matt Mayer]

The 552's internal recorder basically makes a copy of the main bus mix going out of the box. If you need ISOs or any other mix of your inputs, you have to take direct outs and run them into multi-channel recorder and take it from there.

The record tracks are selectable to any of the following:

• Left, Right Program (-30)

• Inputs 1, 2 Pre-Fade (-24)

• Inputs 1, 2 Post-Fade (-22)

• Inputs 3, 4 Pre-Fade (-20)

• Inputs 3, 4 Post-Fade (-18)

• Input 5 Pre-Fade, Left Program (-16)

• Input 1 Pre-Fade, Left Program (-14)

• Input 1 Pre-Fade, Left/Right Mono Program (-12)

---Matt

[studiomprd]

" Not sure what determines what is fed to the internal recorder "

Sven determines!  RTFM

" The 552 is a 5x2 mixer meaning five inputs two outputs.  "

Plus ISO's,  RTFM

and check SD website for useful, helpful info / DAQ's...

[Petros Kolyvas]

Some people find it useful to think of the L & R programme as two mono busses instead of left and right.

In addition to what Matt (oops - not the SD forums!) mentioned about setting up AES-A and AES-B (main outs distribute AES-A when the mixer is spitting ou analog). remember you can also remove any channel from the main mix by pressing the headphone knob first (important) and then toggling the PFL switch.

In my case, for ISOs when doing bag work, I'm considering a Tascam DR-680 after reading about it here. It's cheap, can be fed the 5 tracks + audio timecode and the L+R program via AES all at once. It's no 788 by a long shot, but in the case something needs to be dug up and provided, it seems like a decent setup.

[OutstandingSound4Picture]

Yes, more precisely the recorder is going to track the AES A source. The 552's default is that AES A is the main bus mix or "program".

The TASCAM DR-680 is a pretty nifty piece of gear to have in the bag with the 552. I use it all the time for double system work with the 552's direct outs into the 680's analog inputs at line level.

I wrote the [second] review on the B&H website for it:

http://www.bhphotovideo.com/c/product/673541-REG/Tascam_DR_680_DR_680_8_Track_Portable_Field.html#reviews

Highly recommended low cost recording solution.

Not to be a party pooper on the 552, which is a very capable mixer and gets a fair amount of work when producers see it on the gear list, but the DR-680 has a very nice internal digital mixer itself and records a two track mix alongside the 6 ISO inputs. The mic pres are also very nice and very clean. This box was suggested to me by an audio engineer who professionally records classical music performances, so his standards are pretty high.

I am going to take the DR-680 out stag next double system gig I land and use it as a single box solution for ISO tracking and camera mixer. Most of my jobs over the past 6 or 8 months have required wireless hops to camera, so the fact that the DR-680 has unbalanced RCA phono outs is less of an issue.