Just received mine (MixPre-3 ii). Plugged my NTG3 into it, turned it on, set it up for 32-bit float and man.... coming from a Zoom H6 that I spent the last 6 years using.... I... I can't believe how awesome this is. I set my gain down so I was peaking at - 30db and it was soooooo clean when I'd bring it back up in Premiere! This thing should last me, well, forever if the unit is built to last. I've got it sitting under my Epic-W (such an awesome setup for one-man-band interviews) and now wondering if all I need to send timecode to the cam is a 3.5mm to 4-Pin timecode cable. Game changer for my line of work!
Haha Ryan, could be my words :D First time I used the Mixpre I had exactly the same experience - game changer. And it certainly revived all my mics to the fullest.
As a solo op, the MixPre D (now discontinued) is simply amazing for me. The unit has made my life so much better. My audio has never been so good! So, you guys are spot on with the solo op discussion.
I'm so happy that I waited, this generation 2 sounds freaking amazing. I record and review a lot of electronic drum sets in very hurried situations by myself. Loud and soft sounds, so clipping is a real issue for me. At certain conventions I may not even have control of the gain from the module audio they're sending me. This sounds great for those situations
Great interview, Curtis. I can't wait to see when you get your hands on one of the new Mixpre II's and do some experiments. When Paul was talking about recording rain drops I was like "Wow... I never thought of that".
Thanks Curtis. Very informative info about the new MixPre ii! As a narrative sound mixer who grew into the industry using SD products, it's very interesting to watch Sound Devices evolve into this new company they are becoming. I think the future is bright for SD and I wish them all the best!
00:15 - Who is Paul Isaacs? 00:53 - Motivation behind releasing the second generation 3:57 - More about the R&D 5:30 - What is new in the second generation? 6:30 - Changes on the hardware 8:29 - You can now jam timecode 10:19 - Benefits of 32 bit float 19:00 - What is “bagdrop”? 20:52 - When (not) to use limiters? 21:45 - Will soundmixers lose their job? 25:18 - USB file copy 27:37 - +18dBu output on Mixpre-10 II 28:42 - Adjustible limiter 32:41 - Power options 36:49 - What happened to “M” models 39:00 - Remix with 32-bit float 43:48 - Editors supporting 32-bit float files 45:15 - Can you re-record a 32-bit float file as a 24 bit file using Remix?
I am seriously considering purchasing version II of the Mixpre based on this interview. Very informative and great discussion about timecode and the 32 bit float capability.
Well, after all this time and all these videos (and specific help and advice from Curtis) I've finally pulled the trigger on a Mixpre-6 II, an Orca-80 bag and a pair of Sony MDR-7506 headphones. Delivery tomorrow 😃🍺
It's so impressive how Paul pulls all the detailed info right out of his memory. Clearly passionate about his work and products. I watch other similar vids where the person will "I'll have to look into that" and "I'm not 100% on that" quite a lot. I'm so happy I delayed on my PreMix purchase as I'll now get the 6. That should even be overkill for interviews and corporate vids. But I'll have room for growth.
That was a good interview and full of excellent information and great questions with design and usage scenarios. Look forward to these types of intervies. Paul was a great interviewee. 👍
I was all in on the f6...,the girth was kinda odd but was blown away by the 32bit float, could overlook the girth. Several months later...no f6...mixpre ii’s announced..,my mixpre 6 ii arrives 9/25
@@curtisjudd Yeah, real crazy they just announced and hit market so quickly. I honestly had pre-ordered with the expectation that I would have time to see reviews - and then it shipped. Guess I should have paid attention. That said, super happy to have the thing now.
Great interview, Curtis! Always love deep dive content and you definitely deliver on that! Can't wait to see your review! Paul if you're reading this - great answers as well! Your depth of knowledge is amazing!
Does anyone know if there're any benefits of 32-bit float when using wireless lavalier transmitters? Is there a benefit of using analogue over digital transmitters or could there be in the future? I just noticed that Tentacle has released 32-bit float pocket-sized audio recorder. Would that be a better way to go if, for the large part, the user is only using lavalier mics? Thoughts ...
Good question. with pretty much any commercially available microphone, and especially lavalier microphones and wireless systems, it will be the microphone and wireless system which will impose the dynamic range bottleneck. My experience is that this is particularly true for wireless and lavaliers. Some of the best lavalier microphones have specs for max 110dB of dynamic range, and that's at the top of the pro-grade lavalier market. I suspect most wireless systems limit dynamic range even further, especially the consumer/prosumer systems.
Hi Curtis (live in UK) I'm considering purchasing a Mix Pre 3 II or Mix Pre 6 II and seeing the Ambisonics potential can I use my original Soundfield ST-250 Mic and get back a 'B' Format split to the 4 Channels for editing. I don't have the 'B' Format unit that was available when purchased in 1990 - the Mic is in exceptional condition and used rarely but mainly for SFX and Atmos Gathering. Much appreciate you advise and just to say - you really provide excellent reviews - I've listened to so many and find myself in between the in-between on what to do: at my age I'm unlikely (but not necessarily) to be working back with film crews, I also used to Interview and also the Audio as well as having a 30 plus year Atmos gathering library and am not blessed with having unlimited funds. Currently I still have my Tascam HD-P2 - Roland R-26 for location plus regular Studio audio units including my original HHB MD unit - the Location DAT and Tape Recorders now long gone to pastures untold. I do miss those days and how we coped but I also want to be able to put my Music to work so I also need to be able to multitrack on the unit. Look forward to hearing from you. Once again thanks for any help and your previous responses. Michael / OAK77uk /TouchwoodMusic.com - not sure if you're on Twitter but I do ReTweet your Video's hoping this may help please link if you are on Twitter/OAK77uk
Hi Michael, great to hear from you again! I'm not familiar with the ST-250 or ambisonics record just yet, but hope to give it a go before too much longer. I'd probably recommend you have a look at the FAQs and specs over on the Sound Devices site for the Ambisonics plugin: store.sounddevices.com/product/ambisonics-plugin/ and then also contact their support channel to make sure it is compatible. Best wishes and keep making great sound!
Thanks for this video, Curtis. Listening to Paul Isaacs is always interesting. By the way, I'm glad I got the MixPre 3M in time, since they don’t make it anymore. The non-M version with the additional music plugin was and is more expensive. And as a Zoom F8 owner I only need the MixPre for music.
@Paul Isaacs @Curtis Judd Great discussion & information, guys! I'm interested in the new MixPre 10T II. One Question: I have some analog outboard Mic Preamps that I'd occasionally want to use in conjunction with the MP10T-II (Millennia HV-3D-8 & AEA RPQ2). If I route my existing outboard mic preamps into the MP10T-II's analog line inputs via the balanced combi input jacks, do those analog Line Inputs *completely bypass* the built-in Kashmir mic preamp circuitry and feed *directly* into the ADC??? Or do the Line Inputs still route through the internal Kashmir mic preamp circuitry??? Thanks!
Hello Curtis, For some of us Indi operators please, how do we now choose btw say a new DS 833 and the new MixPre6 mk2 with what seems an awesome 32bit floating thingy going on seemingly making foolproof audio possible. Thank you in advance for your reply. Disregarding the cost difference. Regards Otto
Hi Otto, There are several pro level features on the 833 which aren't necessary for most indie operators, but each individual needs to choose for themselves. Here are the highlights: 1) Extremely flexible routing with buses. When on a film set with a larger crew, you often have to run multiple outputs to camera and IFBs. Some IFBs may need different mixes. 2) Automix - if you record panel discussions or podcasts and need to turn it around quickly or live broadcast, this feature can be very helpful. Not available on the MixPre 3) Digital AES in and out. Useful for recording audio from AES microphones and feeding already digitized audio to cameras which can receive it, thus bypassing the camera's preamp and AD converter altogether. 4) 3 band EQ (beyond just a high pass filter) 5) Ability to run external control surface and USB keyboard at the same time for cart mixing If none of these apply to your situation, the MixPre is a great choice. It also offers the wide dynamic range recording which is NOT on the 833.
When will SoundDevices improve their control-App for the MixPre3-mk2 to include gain control for each channel and improve the user Interface design (example: the app for Zoom F6) ?
Now that the Zoom F6 is coming at the same price as the Mix-Pre3 II and they both have 32-bit float, which of the two you would recommend for an indie filmmaker? Mostly doing sound on my own while filming small productions without budget for a sound guy. Thanks for your help!
@@curtisjudd Awesome, thanks a lot for answering! I'll wait for your review, no rush but I'm considering stepping up my game from my current Zoom H5 at some point
For the first time I'm glad I don't have enough money at the moment. I was going to save for the mixpre 3, which was a tough choice in regards to the Zoom F6 but now having 32bit recording, TC and other upgrades, I think mixpre 3 II is a definite choice.
is it the exact same thing like the zoom F6? ...look s like.. great interview, thanks. try to download the manual, need to know wether the 3 or 6 have balanced outputs to feed PA speakers for live applications
And I am glad that I don't have enough money for MixPre-10 II. I will have to stick to the Zoom F8, watch my gain and stop dreaming. Just remember that Zoom F6's competitor is not MixPre 3 but MixPre 6. Count the inputs.
@@curtisjudd I am a location sound recordist studied film in LA and based in Kerala India, and I watch your Vlogs regularly. Your reviews are some of the best👍💯
When would the extra 18db be used ? How often have you used the extra db that a recorder like the mixpre 10ii has over the mixpre 6ii? I will be also using the dpa 4017b in the future for outdoor work and dpa 6060
You can just record in 24-bit if you choose. I noticed that DaVinci Resolve 16 was able to use 32-bit files but treated them like 24 bit so if the amplification was driven too hard, they were clipped permanently, just like 24 bit. Audacity could be used to convert from 32 to 24 bit if needed.
Paul is the awesome guy! This is was very clear and simple explanation of using 32-bit audio. Of course I want what I need now and for what purpose. Now I need only choose the brand what I want. But with one point I am disagree with him. He told that 32 big audio is good for unpredictable environment (that is true - that is why we shoot in RAW), newbies in sound recording and for anything who not familiar with sound recording, like dp or another person. I am agree with him about environment and maybe about people who not familiar with sound recording or maybe not. But person who want to learn sound recording should also known for which situations 32 bit are good and when regular 24 bit is good enough. It is like photo or video - you can shoot only RAW and fix your work on post production, but in that case you will not be a good photographer or dp. You will be doing your job as well as you could and you also will hope that you can save your shoot on post. After that great interview (again thanks for your great job 👍) I decided that I need F6/MixPre-3 II for uncontrolled environment and ambient recording and F8n/MixPre-10 II for more controlled environment. With my skills, price of products and tons watched reviews I think for me, as a hobbyist, F6 and F8n will be enough for a long long time. But design, functionality and awesome creator of MixPre II series looks so good that I do not know what to do now. May be it is a good idea to spend more money for a little bit great product. I do not know. And nobody could not answer on this question except me. I started to have a lot of confidence in the owner 😄 Anyway good job again 👍
Thanks! I choose the MixPre and recording 99% of the time in 24-bit mode. I prefer the MixPre because of its analogue limiters and ergonomics which I prefer over the F6. The F8n is better ergonomically, but I don't care for its digital-hybrid limiters.
Thanks Curtis and Paul for this great interview. That remix of 32 bit file (pulling down gain) directly in mixpre is great, I was wondering about that. You forgot to ask about automix feature :) Is it even possible to add in 10ii because of its processing? Automix or not I'm buying it next month.
I can't wait to get my hand on my Mixpre-3 ii and do some real world test. Curtis, we look forward to a full review of the new series of the Mixpre on your channel ASAP.
All things equal, such as recording technique, gainstaging etc, would there be a difference in sound quality, for recording just voices in the context of voiceover, narrations, and room dialogue using the sound devices mixpre-3 II VS Prism Sound Lyra-1 2x2, using these 2 mics sennheiser mkh 416 and the neumann u87 ?
Hi Curtis! Thank you for your impact to the audio community. Can you please recommend small bag for mixpre6 ? I am looking on Orca or28, but seems like is doesn’t have bottom access to sd card slot (I don’t want to take out the mixer every time, when I need to change the card). thank you!
Hi Alexey, Thanks! I don't know of any with bottom access that would really work unless you're not using a battery sled? I use Orca bags, but I have to take the MixPre-3 out to change the card.
1. Do you actually need to use 32 bit float to get the "don't worry about initial gain setting" benefit of the internal signal/processing architecture? 2. If I understand the patent correctly (and I may not!), the illustrations show what appear to be not only multiple ADCs, but each ADC being fed off of its own preamp (so, 2 or 3 preamps.) The focus of the patent seems to be the processing of the digital signals after the various ADCs, but if there are multiple pre-amps (each handling a different gain/signal strength range) that seems very important! 2 or more preamps per channel would seem to be a massive advantage over a system with only 1 preamp then feeding multiple ADCs. Any word from Sound Devices if there is one or more than one preamp per channel? 3. Ah - glad to hear that it seems to be a problem with Resolve/Fairlight in handling the 32 bit float sample file, not just operator error! 4. It's great that SD added timecode generation in the 3/6 Series II, but it would have been nice to have just one more 3.5mm jack dedicated to TC in or out to avoid needing another box (e.g. Tentacle) in some situations or having to remember to swap cables around periodically jamming various equipment. Being able to feed a mono mix to one channel of the Aux out and TC to the other channel might help (use a splitter cable?) but the different signal levels (audio vs. TC) might make that impossible?
Hi Thomas, 1) Yes, but you also need a capable preamp (or multiple) and 2+ converters, plus effective technology to put it all together post ADC. It is a delicate process. 2) Not sure, Paul didn't specifically address that in our discussion. They generally don't want to give away all of the details. 3) Yes, but I hope they are able to add 32-bit support. I was hoping to move to Fairlight but ended up buying a license for Protools later this week. :-/ 4) Good point, interesting suggestion.
Not sure if this answers your question re TC, but the Stereo out can be switched between TC out & audio out and the Aux In can be switched between line in and TC in. You can switch to TC in, jam the MixPre-II, then switch back to audio for extra audio inputs whilst retaining accurate timecode internally which can be output via the stereo out switched to TC. If you want dedicated TC I/O without switching then the MixPre-10 II is the best bet.
@@KandMe1 I'm not sure where they make the MixPre Series. Their professional 600 series are made in the US. I suspect, but do not know, that the MixPre is made in Asia somewhere.
@@curtisjudd Thanks I settled on the Zoom H6 for the time being because of the price and it means I can get setup. Really though the fact it has extra mics attachments including shotgun and some others even one attachment has another two controllers on it and also the battery option, 1.2 volt rechargeable batteries can be used as stated on the Zoom H6 webpage. Can look around for something really good like the MixPre after I see what I can get out of the H6. Seems a good option to start off with give me something to compare others with. Using some Rode wireless Go's with it. Same gain option as the F6, can assign 2 channels to evade clipping if needed in the edit. Also it has Phantom power and is very light weight to carry. No touch screen, 4 inputs: 2 on each side, nice big control knobs. Comes standard with 2 different detachable mic heads in the kit box supplied. The fact that there is also a shotgun mic and another detachable head with two more inputs and a gain controller on it makes this really appealing to me.
Will the MixPre-3/6 ii be able to do timecode passthrough? If I have two GH5's and I am feeding timecode from GH5 #1 to the mixpre3-ii, could the timecode be passed through and be fed into the microphone in jack of GH5 #2? This kind of setup could permit multi-cam with timecode with no additional timecode generators. I don't have my Mixpre-3 yet to try this out (if it is even possible.)
That was very intuitive. On the strength of that interview (and your reviews) I've ordered the MixPre 3 ii and a Rode NTG4+ mic. Quite excited really. Syncing 2 cameras will have to be done the hard way for now coz I'm going to be eating beans on toast every night for the next month until I recover from the financial outlay.....lol. I feel like a martyr to the cause but hey... the results will be worth it....
Hey Curtis, from your perspective given a choice of F6 vs MixPre3 II, which one would you choose? From my point of view ergonomics is more important than channels (hardly ever use more than 2, never needed 4), and in my workflow I use "slate" functionality on my current DR-60 II extensively to mark good/bad takes/voice-notes to myself, as "marks" in BWF file seem not to appear in Fairlight. I always do continous recording, as it is easier to sync with video in post. Or maybe do you have other practice to add those marks to the recording?
Hi Kraka, Personal opinion: I would choose the MixPre-3 II for my work. I agree that ergonomics are critically important. I don't use markers extensively, but I thought Fairlight recognized the track names I applied to each input channel in my MixPre.
As far as I can tell from the patent, the multi-adc high dynamic range ADC system used by Sound Devices can use 2 or 3 or more 24 bit base ADCs. How many such 24 bit base ADCs do SD avtually use in the mixpre-6 and mixpre-10 mkII?
Can we jam mixpre II series timecode with the HDMI? For example if i can't keep it on camera because i have everything else fixed in place. Do we have any information on the next gen date? :)
The F6 can suck it! (jk); the series ii looks even more amazing! I'm glad they added all the features and combined the M models into one. I actually can't imagine what a series iii will have in store, except the suggestion you made. I'm still not used to upgrading audio recorders every few years; it's interesting that the technology available to manufacturers is what's driving the new models, more so than demand. 32bit will definitely become popular, I can think of at least 100 reasons this year alone, where it would have helped me. I still can't fathom the dynamic range of the series ii. Thanks for this great, in-depth interview!
@Bubz of Steel Interesting. You are absolutely right about the wide dynamic range feature only being possible with the multiple A/D converters plus 32-bit float plus processing to effectively combine the output from the multi ADCs. My recollection is that at one point he very clearly articulated that and also referred to the feature multiple times as "wide dynamic range and 32-bit float" rather than just "32-bit". e.g. 4:45
@Bubz of Steel I share the concern re: people making assumptions about this wide dynamic range feature. I'll try to hit this clarification harder in future videos. Sorry. No misleading intended.
awesome video! Thanks so much for taking the time! I have been looking if the MixPre 6ii had any auto mixing feature like the Zoom F6? I am much more leaning towards the MixPre6 but just wanted to know if this was something already in the mixer, future update or reserved for higher models. Thanks
Hi Carlos, no, the MixPre Series does not have an auto mix feature, however, it does have a remix feature which allows you to create a new mix after the recording is completed. As of right now, only the 633, 833, 688, and Scorpio from Sound Devices have an auto mix feature. The Zoom F4, F8, and F8n have an auto mix implementation and the F6 will as well once it starts shipping. The Zoom version of auto mix attenuates non-active mics by just a few dB in my experience. It helps, but it isn't nearly as effective as the Dugan auto mix in the higher end SD recorders. Best wishes!
I am thinking of purchasing the new mixpre 10t II but I have always been a fader kinda guy so I was just wondering if any controller could allow me to actually control the levels that is actually recorded in the iso tracks not just the stereo mix tracks
Faders are traditionally for controlling how much of channel’s signal is sent to the stereo mix. I don’t know if any where the fader controls the iso recording level. But you can put the MixPre into basic or custom modes where the channel knob controls gain trim and DOES affect the iso level.
Hi Rafick, you'll need a stereo mini jack cable. On the MixPre, you set the aux output to timecode. You also need to set the framerate you're shooting on your camera in the MixPre's timecode menu. Those are the basics. Best wishes!
Clarification: In the output menu, change the Stereo Out Mode to timecode. I posted an Series II New Features overview video at th-cam.com/video/tf1g-daRfu4/w-d-xo.html
Great interview. This coupled with you video about the recording gear you use was remarkably useful. Could you recommend a place to deeply learn about microphones and recording techniques? We host classical music concerts and we're looking for information to up the quality of the recordings we make. It's quite hard to get information about the particular mics we should get
Hi Sr. Conejo Lunar, I have a production sound fundamentals course over at School.LearnLightAndSound.com but it focuses more on sound recording for film - mainly dialogue. I just started recording with a set of microphones made for recording acoustic, and classical/western art music in particular, called the RODE TF-5. I had a chance to record a harp recently and hope to post that episode soon. Best wishes!
@Sr. Conejo Lunar Look into Microphones by Schoeps, Earthworks QTC30 & others, DPA 4011 & 4006, Josephson C617SET with Gefell MK221 capsules, Mesanovic Model 2A and AEA KU4 & Nuovo N8 ribbon microphones, & the Joe Grado HMP-1 Microphone System to start. everythingaudionetwork.blogspot.com/2010/05/recording-review-grado-hmp-1-recording.html schoeps.de/en/products/stereo/sets/decca-tree-set.html Most classical recording engineers use Microphone Preamps such as the Millennia HV-3D series, Earthworks 1024, and AEA RPQ2. Many are recorded in DSD. Google and Research the "Decca Tree" microphone technique, and Classical Recording Engineers such as Reference Recording's, Keith O. Johnson (check out th-cam.com/video/5Oyt6wRnWGc/w-d-xo.html ). www.channelclassics.com/general-info/equipment/ www.emusician.com/how-to/how-to-master-class-classical-recording-with-michael-bishop www.dpamicrophones.com/mic-university/multimiking-a-classical-orchestra
I'll watch this video tonight. I hope it helps answers the question as to whether a MixPre Gen 1 owner should upgrade to the Gen 2, and whether the Zoom F6 with its 32-bit float recording AND dual AD converters may be a better bet. I reached out to Sound Devices about whether an upgrade program/option would be available to current MixPre Gen 1 owners and the answer was no. That's a shame given I spent near $1K on a MixPre 6 only 12 months or so ago, and then a new gen is launched very shortly after... Curtis: I ordered your sound prod course, steadily going through it - it's excellent.
Hi Paul, thanks! I think you will find it answers most of your questions, in some cases indirectly. We don’t talk specifically about the Zoom F6 here, but the MixPre Series II also uses multiple converters per channel with its 32-bit float recording.
@@curtisjudd Interesting. Just watched the video, very comprehensive as always. I'll wait for your review, but it looks like we'll upgrade to the II series. We shoot indie films with micro crews and we often have to do the sound ourselves (we're not sound pros) so the 32-bit float could really help us if we get the levels wrong etc. Hope Sennheiser bring this tech to their next gen lav series because I don't think the 32-bit float on the MixPre will help us if our Sennheiser G3s or G4s hit 0db and feed the MixPre an already peaked signal, it'll only help when we boom. The latter will be very helpful but having lavs that use that tech too, wow, that would be great.
Hi Paul, it can help to some degree if you leave a bit more headroom on the feed from the receiver to the MixPre. But yes, I agree, the upstream signal chain needs to support wide dynamic range as well. And wireless will generally struggle with this more than most wired mics with balanced outputs.
I wouldn't sweat it. It seems the series 2 is only audibly better at extreme dynamic levels. If you're an experienced engineer, it becomes a moot point. Experience will always win over gear!
nice！Curtis，but I'd like to know whether the shell of mixtre II is made of metal or plastic, because after testing, I found that my deity connect wireless system would interfere with the equipment of plastic shell 报错双语对照
@@curtisjudd Thank you very much.By the way, I think it's necessary to tell you why I want to ask this. You know, the deity hd-tx wireless recording system. I bought this system and used it with the zoom h6 recorder with plastic shell. I found that when the deity wireless receiving device is close to the H6 recorder, it will produce strong electromagnetic interference to the recording. After testing, I found that it will also interfere with zoom H4n tape recorder with plastic shell. I hope that the equipment with metal shell can solve this problem. Or if you are interested in this issue, I would like to discuss it with you. I am engaged in film and television production in mainland China. My email is betseywootent@gmail.com
I have mixpre 3 first gen, and Iwant to get a mixpre 10 II, but I need to be sure about the power options. There is Sony batteries, alkaline, what else? (power product links please 🙏🏻 ). Awesome interview!
I like that! Constantly striving! Can you integrate a portable time machine into the MixPre III, so I can go back and record the big bang with 32Bit float?
I see that the mixpre II has its timecode triggered by HDMI. Apart from using a cable, can you use an HDMI transmitter on your camera rig to trigger the timecode?
Hi Hayden, I haven't tried it but I suspect it depends on whether the HDMI transmitter strips the HDMI start/stop flags in the HDMI stream. I'm doubtful that most pass that on. But I could be wrong.
Great coverage! Thanks, Curtis. I wonder if the music plugin is "on top" of the functionality, or does some recording functionality changes/is removed?
Thanks! Yes, it is "on top of" the field recorder functionality. You essentially create a new music project and then it switches to music/overdub mode. You switch back by creating a standard project. You can switch between them at any time.
Is there any reason, the MixPre or MixPre II series recorders, could not get either an update or a plugin, to add to their feature set some similar dynamics processing to that of the rodecaster pro? Hardware limitation? The original MixPre series is a portable studio basically, I am just wanting some extra features. Podcasters Plugin maybe?
@@curtisjudd noise gate,de esser compressor, commonly used effects for live sound and podcasting. Would be nice features in a portable package that small.
Trying really hard to not be upset about this roll-out. Don't get me wrong-- I love my mix pre10T, but dismayed that I paid full price only back in April. I guess I just need to work extra days to get this mixer and sell my old one? Either way, I love your information Curtis, and your host is such a great guy. Another awesome show!
great human conversation. shame that no question was asked about automix feature for mixpre. Yes I now Dugan is licensed but 6t33-688 you can choose their Soundevices version Automix, like Studer Vistamix or Lawo Automix on broadcast consoles. They don’t need pay for the licenses.... Q2: new Mixpre 10T II does have really strong analog Outputs on miniXLR for sending audio to Pro cameras (Line In level mode) Thanks 😀
Clearly the MixPre II series is very impressive. But I have to take issue with the statement by Mr. Isaacs at 7:51, where he says "We're never going to stop developing ... if we release a product, we're not going to stop there." Yeah, well, unless it's a Video Devices product, in which case they definitely will stop there.
hi, Curtis. There's an hirose or d-tap adapter for the mixpre 6? The lack of a decent power port is not understandable by me. What are the expected recording time in a 4ch+48v configuration with 4 AAs (Ni-MH)?
Hi toxic mela, there's a USB-C input for the MixPre-3 and 6 which you can use to power the unit with a USB-C PD power bank. The MixPre-10 has a hirose input. With 4 new Ni-MH AAs, I'd expect somewhere around 2 hours of powering time. Hawk-Woods makes an alternate battery sled with a hirose input if you're not comfortable with USB-C as the power input. Bit of an expense but then you're only limited by the capacity of your cine or smart batteries.
Wow. I would love to do a scene with the beauty of soft raindrops and then the clap of thunder. Brilliant example of wide dynamic range! I learned adjusting gain is like adjusting ISO on a camera sensor right?
A use case which I don’t think I heard mentioned is solo operator ENG. Sometime I document raucous outdoor demonstrations in NYC, which already has wide dynamic range even before you introduce chanting, radical brass bands, sirens and NYPD’s military sound cannon. Somehow I make this work with by BlackMagic UMP’s built in audio, but I’d rather just stop worrying about audio levels so I can concentrate on getting the images. (Too bad Resolve doesn’t handle 32 bit audio - hopefully that will change.) Quick question - is there a method of triggering audio record/stop from a camera?
Turns out the answer is on page 25 of the MixPre II manual (available on the SoundDesign website). Recording can be triggered via HDMI or (on the 10 model) via timecode. However, preroll is disabled when in trigger recording mode. (Actually, the manual is not clear on whether or not timecode triggering is available on the 3 or 6 model via the AUX input.)
@@Dustbrigade Well, there is also price and wide dynamic range and better headphone amp on the MixPre and XLR outs with more output on the MixPre and a few others. But Zoom definitely has the edge in the Automix world which can be important if you record a lot of panel discussions or interviews and need a quick turn-around without a lot of post work. 😀
Question. Does the Mixpre 3 need to be continuously tethered to the Nikon Z6 for timecode to function on the camera or can it be synced then both the camera and recorder can be untethered?
Hi yes and no depending. There are two main options since the Z6 does NOT have a dedicated timecode input or internal timecode clock. 1) Tethered throughout shoot from MixPre 3.5mm output to Z6 microphone input. 2) Purchase an external timecode generator. Jam sync the timecode generator to the MixPre-3 then disconnect and attach the timecode generator to the Z6 for the duration of the shoot. In post, because the Z6 only has a microphone input, all of the video clips must have their audio converted to metadata timecode using an app like Tentacle Sync Studio. In theory, DaVinci Resolve can do the conversion but I have found that conversion to be unreliable with Z6 footage. Tentacle Sync Studio was able to reliably convert and sync Z6 footage to MixPre audio clips.
Geee!! Outstanding interview!!!!!!! Curtis, you owned both Zoom F8n & Mixpre II. Did you compare it`s mic preamps with same mic? I`m interesting noise lavels, Datashit reads they`re the same. Are they the same, or Zoom F8 is more noisier? Thank you!
@@curtisjudd it`s Neumann KMR 82 or AT 4053b. When I push preamps to +55dB of amplification or more, I can hear self noise. Can You tell if your SoundDevices 633 preamps make self noise when You drive them +55dB or more, please? Or they`re much quiter than Mixpre II series?
@@ili6065 Are you sure it is self-noise you're hearing and not actual sound from the space where you're recording? I don't have the 633 anymore, I've moved to the 888. I usually find when pushing beyond +55dB of gain on most condenser microphones, I'm picking up just about every sound in the room.
Thanks, Curtis and Paul. As usual fantastic talk. What's quite clear from this discussion is that we can rule out firmware updates to the original series to say enable USB rec on the MixPre6. Here's a question to both Curtis or Paul. I wonder how the metering is reflected during a 32bit float REC as opposed to a 24bit one. Will we see any change? @Paul Also, the fact that you have some sort of patent on the 32bit float+WDR mic pre, is that what's holding up the Zoom F6? ;)
Regarding metering, you will not see any change. 0dBFS reflects 0dBFS for 24-bit. I've no idea about anything to do with Zoom F6. Please direct your question to them.
@@paulisaacs5980 So, if I have this right, in 32bit float the metering will behave exactly as 24bit and show clipping, when in reality it can be recovered. Ok, Thanks a bunch.
Do you think the mixpre 6ii is ok for the red Komodo ,c70 and Panasonic s5ii and the deity Theos ,dpa 6060 , Schoeps cmc1 mk41 with cut 30 capsule or will the 18db in the mixpre10ii be needed ? Does the mixpre10ii produce less noise than the mixpre6ii?
The MixPre-6II should be good, yes. The preamps and converters are the same in the 10 from what I can tell. The main advantages of the 10 are more inputs and balanced outputs.
@@LearnLightAndSoundSessions so for c70 and red Komodo when will I need to do balanced outputs with mixpre 6ii for corporate video work ? I like size of mixpre6ii but I’m concerned about if it’s unbalanced output will be an issue and effect the quality of sound .
@@creativegreatsvisuals Balanced audio is simply more immune to picking up interference in your audio. It doesn't sound better than unbalance audio, necessarily, just more immune to picking up RF and EMF (hums, buzz, clicking, etc.)
Definitely bummed the 3 doesn't have TRS connectors. As a videographer having that in the Zoom H5 really helps minimize the cables and adapters I have to carry around.
You can power from USB-A but you might be limited to features only allowed in MixPre Low Power mode unless you use the dual USB-A to USB-C cable. User Guide explains all!
@@paulisaacs5980 I don't see these dual USB-A cables readily available on Amazon.. Can I get one from Sound Devices, since they no longer ship with the unit..? Thanks Paul.
![⭐ฮิตในTikTok!! ( หมูเด้ง MooDeng ) Ver. แดนซ์โจ๊ะๆ ReMix BY [ ดีเจกิต รีมิกซ์ ]](http://i.ytimg.com/vi/3krsyfWUeHU/mqdefault.jpg)
![MV วิถีชีวิตใต้ - ผา อัยย๊ะ [Official MV HD]](http://i.ytimg.com/vi/nODlkOUu9B0/mqdefault.jpg)
Just received mine (MixPre-3 ii). Plugged my NTG3 into it, turned it on, set it up for 32-bit float and man.... coming from a Zoom H6 that I spent the last 6 years using.... I... I can't believe how awesome this is. I set my gain down so I was peaking at - 30db and it was soooooo clean when I'd bring it back up in Premiere! This thing should last me, well, forever if the unit is built to last. I've got it sitting under my Epic-W (such an awesome setup for one-man-band interviews) and now wondering if all I need to send timecode to the cam is a 3.5mm to 4-Pin timecode cable. Game changer for my line of work!
👍
Haha Ryan, could be my words :D First time I used the Mixpre I had exactly the same experience - game changer. And it certainly revived all my mics to the fullest.
Very nice coverage as usual. I have two of the MixPre-3s and am very happy with them. 👍
Thanks Kevin. Those MixPre-3s are solid in just about every way.
As a solo op, the MixPre D (now discontinued) is simply amazing for me. The unit has made my life so much better. My audio has never been so good! So, you guys are spot on with the solo op discussion.
👍
Curtis I got my hands on a mixpre 10 ii, used it on a job yesterday. Very impressive recorder, the float 32 but is brilliant.
Hey Jared, good to hear!
What bag did you use ?
@@BaldurManuelthe ball bag.
I'm so happy that I waited, this generation 2 sounds freaking amazing. I record and review a lot of electronic drum sets in very hurried situations by myself. Loud and soft sounds, so clipping is a real issue for me. At certain conventions I may not even have control of the gain from the module audio they're sending me. This sounds great for those situations
Great use case for the wide DR!
Great interview, Curtis. I can't wait to see when you get your hands on one of the new Mixpre II's and do some experiments. When Paul was talking about recording rain drops I was like "Wow... I never thought of that".
Thanks, looking forward to it!
Thanks Curtis. Very informative info about the new MixPre ii! As a narrative sound mixer who grew into the industry using SD products, it's very interesting to watch Sound Devices evolve into this new company they are becoming. I think the future is bright for SD and I wish them all the best!
Hi Michael, good to hear from you!
Excellent initiative ! Having Paul Isaacs on your channel is great.
👍
00:15 - Who is Paul Isaacs?
00:53 - Motivation behind releasing the second generation
3:57 - More about the R&D
5:30 - What is new in the second generation?
6:30 - Changes on the hardware
8:29 - You can now jam timecode
10:19 - Benefits of 32 bit float
19:00 - What is “bagdrop”?
20:52 - When (not) to use limiters?
21:45 - Will soundmixers lose their job?
25:18 - USB file copy
27:37 - +18dBu output on Mixpre-10 II
28:42 - Adjustible limiter
32:41 - Power options
36:49 - What happened to “M” models
39:00 - Remix with 32-bit float
43:48 - Editors supporting 32-bit float files
45:15 - Can you re-record a 32-bit float file as a 24 bit file using Remix?
Thank you Elnur.
@@curtisjudd You are welcome!
I love his passion behind Sound Devices' vision.
Me too!
I am seriously considering purchasing version II of the Mixpre based on this interview. Very informative and great discussion about timecode and the 32 bit float capability.
Thanks and happy recording exmun!
Great interview!
Thanks!
such a great interview with insights into finer details of sound work
🙏
Well, after all this time and all these videos (and specific help and advice from Curtis) I've finally pulled the trigger on a Mixpre-6 II, an Orca-80 bag and a pair of Sony MDR-7506 headphones. Delivery tomorrow 😃🍺
Cheers! And happy recording!
It's so impressive how Paul pulls all the detailed info right out of his memory. Clearly passionate about his work and products. I watch other similar vids where the person will "I'll have to look into that" and "I'm not 100% on that" quite a lot. I'm so happy I delayed on my PreMix purchase as I'll now get the 6. That should even be overkill for interviews and corporate vids. But I'll have room for growth.
Bit of a bummer that Davinci Resolve doesn't handle 32bit float...as he said.
Agreed, always great to talk with Paul.
That was a good interview and full of excellent information and great questions with design and usage scenarios. Look forward to these types of intervies. Paul was a great interviewee. 👍
🙏
Very useful. It makes those Items even more likable when you know some people behind it.
👍
Great interview with all topics covered in 46 minutes. Good job and thank you !
👍 thanks
If like to see how the mix 6ii stacks up against the new zoom f6 once that's released. Can't wait for that comparison!
Me neither. Had no idea I'd have a MixPre II in my hands before the F6. Will definitely do a comparison.
I was all in on the f6...,the girth was kinda odd but was blown away by the 32bit float, could overlook the girth. Several months later...no f6...mixpre ii’s announced..,my mixpre 6 ii arrives 9/25
@@DavidKfilmmaker Yay! Happy recording!
@@curtisjudd Yeah, real crazy they just announced and hit market so quickly. I honestly had pre-ordered with the expectation that I would have time to see reviews - and then it shipped. Guess I should have paid attention. That said, super happy to have the thing now.
@@kyleolson8977 👍
mind opening! the 32bit float tech was really a new subject for me, now I can say I'm starting to get my head around it. thanks !
👍
Great interview, Curtis! Always love deep dive content and you definitely deliver on that! Can't wait to see your review! Paul if you're reading this - great answers as well! Your depth of knowledge is amazing!
Thanks Casey! Good to hear from you!
Many thanks Casey.
Great interview. Great product. Definitely in my future. Thanks Curtis and Paul!
Thanks Zach!
I love my Mixpre-3 and use it weekly
But I really want a Sound Devices 633
Someday
Thanks for this video
Regards, Rick
Totally understand. The MixPre is great and the 633 has some things that make production mixing even easier.
Looks like you might want a Sound Devices 833 as of earlier today. ;-)
@@curtisjudd Oh My
Sweet
Thanks for the heads up Curtis
Best regards, Rick
Does anyone know if there're any benefits of 32-bit float when using wireless lavalier transmitters? Is there a benefit of using analogue over digital transmitters or could there be in the future?
I just noticed that Tentacle has released 32-bit float pocket-sized audio recorder. Would that be a better way to go if, for the large part, the user is only using lavalier mics?
Thoughts ...
Good question. with pretty much any commercially available microphone, and especially lavalier microphones and wireless systems, it will be the microphone and wireless system which will impose the dynamic range bottleneck. My experience is that this is particularly true for wireless and lavaliers. Some of the best lavalier microphones have specs for max 110dB of dynamic range, and that's at the top of the pro-grade lavalier market. I suspect most wireless systems limit dynamic range even further, especially the consumer/prosumer systems.
Hi Curtis (live in UK) I'm considering purchasing a Mix Pre 3 II or Mix Pre 6 II and seeing the Ambisonics potential can I use my original Soundfield ST-250 Mic and get back a 'B' Format split to the 4 Channels for editing. I don't have the 'B' Format unit that was available when purchased in 1990 - the Mic is in exceptional condition and used rarely but mainly for SFX and Atmos Gathering. Much appreciate you advise and just to say - you really provide excellent reviews - I've listened to so many and find myself in between the in-between on what to do: at my age I'm unlikely (but not necessarily) to be working back with film crews, I also used to Interview and also the Audio as well as having a 30 plus year Atmos gathering library and am not blessed with having unlimited funds. Currently I still have my Tascam HD-P2 - Roland R-26 for location plus regular Studio audio units including my original HHB MD unit - the Location DAT and Tape Recorders now long gone to pastures untold. I do miss those days and how we coped but I also want to be able to put my Music to work so I also need to be able to multitrack on the unit. Look forward to hearing from you. Once again thanks for any help and your previous responses. Michael / OAK77uk /TouchwoodMusic.com - not sure if you're on Twitter but I do ReTweet your Video's hoping this may help please link if you are on Twitter/OAK77uk
Hi Michael, great to hear from you again! I'm not familiar with the ST-250 or ambisonics record just yet, but hope to give it a go before too much longer. I'd probably recommend you have a look at the FAQs and specs over on the Sound Devices site for the Ambisonics plugin: store.sounddevices.com/product/ambisonics-plugin/ and then also contact their support channel to make sure it is compatible. Best wishes and keep making great sound!
So open! Thank you very much! Pleased to watch!
👍
Wow this looks fab, great interview & perfect timing as my Zoom f8 just died, problem now solved, I can make do until shipping starts in uk.
Good timing, indeed!
Already shipping in the UK!!
How your F8 died?
Zoom f8 just locked up refused to boot, permanent white screen, I should have my Mix Pre 6 2 in a few days :)
Thanks for this video, Curtis. Listening to Paul Isaacs is always interesting. By the way, I'm glad I got the MixPre 3M in time, since they don’t make it anymore. The non-M version with the additional music plugin was and is more expensive. And as a Zoom F8 owner I only need the MixPre for music.
👍
@Paul Isaacs
@Curtis Judd
Great discussion & information, guys!
I'm interested in the new MixPre 10T II. One Question: I have some analog outboard Mic Preamps that I'd occasionally want to use in conjunction with the MP10T-II (Millennia HV-3D-8 & AEA RPQ2).
If I route my existing outboard mic preamps into the MP10T-II's analog line inputs via the balanced combi input jacks, do those analog Line Inputs *completely bypass* the built-in Kashmir mic preamp circuitry and feed *directly* into the ADC???
Or do the Line Inputs still route through the internal Kashmir mic preamp circuitry???
Thanks!
My understanding is that it does NOT use the preamps when you set it to line level, but I'm not positive on that.
Hello Curtis, For some of us Indi operators please, how do we now choose btw say a new DS 833 and the new MixPre6 mk2 with what seems an awesome 32bit floating thingy going on seemingly making foolproof audio possible. Thank you in advance for your reply. Disregarding the cost difference. Regards Otto
Hi Otto, There are several pro level features on the 833 which aren't necessary for most indie operators, but each individual needs to choose for themselves. Here are the highlights:
1) Extremely flexible routing with buses. When on a film set with a larger crew, you often have to run multiple outputs to camera and IFBs. Some IFBs may need different mixes.
2) Automix - if you record panel discussions or podcasts and need to turn it around quickly or live broadcast, this feature can be very helpful. Not available on the MixPre
3) Digital AES in and out. Useful for recording audio from AES microphones and feeding already digitized audio to cameras which can receive it, thus bypassing the camera's preamp and AD converter altogether.
4) 3 band EQ (beyond just a high pass filter)
5) Ability to run external control surface and USB keyboard at the same time for cart mixing
If none of these apply to your situation, the MixPre is a great choice. It also offers the wide dynamic range recording which is NOT on the 833.
@@curtisjudd Mate thank you for your solid and clear reply.
Thank you!!! :) It was fantastic to listen to you :)
You are welcome!
When will SoundDevices improve their control-App for the MixPre3-mk2 to include gain control for each channel and improve the user Interface design (example: the app for Zoom F6) ?
I don't know. Best to request that from them via SD support.
Excellent interview. Paul was very informative about the product.
Thanks exmun.
Now that the Zoom F6 is coming at the same price as the Mix-Pre3 II and they both have 32-bit float, which of the two you would recommend for an indie filmmaker? Mostly doing sound on my own while filming small productions without budget for a sound guy. Thanks for your help!
My preference is for the MixPre. I'll talk more about that when the MixPre arrives and I put together that review.
@@curtisjudd Awesome, thanks a lot for answering! I'll wait for your review, no rush but I'm considering stepping up my game from my current Zoom H5 at some point
For the first time I'm glad I don't have enough money at the moment. I was going to save for the mixpre 3, which was a tough choice in regards to the Zoom F6 but now having 32bit recording, TC and other upgrades, I think mixpre 3 II is a definite choice.
👍
is it the exact same thing like the zoom F6? ...look s like.. great interview, thanks. try to download the manual, need to know wether the 3 or 6 have balanced outputs to feed PA speakers for live applications
And I am glad that I don't have enough money for MixPre-10 II. I will have to stick to the Zoom F8, watch my gain and stop dreaming. Just remember that Zoom F6's competitor is not MixPre 3 but MixPre 6. Count the inputs.
true regarding inputs, i meant to ask regarding this 32 bit float technology, wether this is the same like the ZoomF6...
@@rokr9710 But if we are talking about money we have to compare similar devices
Very useful conversation. Thanx Curtis.
Thanks
What a fantastic interview !!
😉
@@curtisjudd I am a location sound recordist studied film in LA and based in Kerala India, and I watch your Vlogs regularly. Your reviews are some of the best👍💯
Thanks@@Thomas-eu6fj Keep making great sound!
When would the extra 18db be used ? How often have you used the extra db that a recorder like the mixpre 10ii has over the mixpre 6ii? I will be also using the dpa 4017b in the future for outdoor work and dpa 6060
I think you’re referring to the addition gain from the fader? Only when needed to boost the levels of a channel in a mix. I haven’t needed that often.
@@curtisjudd when did u need it ?
Great interview. What is the replacement for SD702 ?
In 2022 it is the 833.
Thanks for both of you, how about converting 32bit to 24bit, is it possible for older (Logic...) DAW?
You can just record in 24-bit if you choose. I noticed that DaVinci Resolve 16 was able to use 32-bit files but treated them like 24 bit so if the amplification was driven too hard, they were clipped permanently, just like 24 bit.
Audacity could be used to convert from 32 to 24 bit if needed.
Curtis, you've outdone yourself again! Great job!
Thank you Prince Charles!
Paul is the awesome guy! This is was very clear and simple explanation of using 32-bit audio. Of course I want what I need now and for what purpose. Now I need only choose the brand what I want. But with one point I am disagree with him. He told that 32 big audio is good for unpredictable environment (that is true - that is why we shoot in RAW), newbies in sound recording and for anything who not familiar with sound recording, like dp or another person. I am agree with him about environment and maybe about people who not familiar with sound recording or maybe not. But person who want to learn sound recording should also known for which situations 32 bit are good and when regular 24 bit is good enough. It is like photo or video - you can shoot only RAW and fix your work on post production, but in that case you will not be a good photographer or dp. You will be doing your job as well as you could and you also will hope that you can save your shoot on post.
After that great interview (again thanks for your great job 👍) I decided that I need F6/MixPre-3 II for uncontrolled environment and ambient recording and F8n/MixPre-10 II for more controlled environment. With my skills, price of products and tons watched reviews I think for me, as a hobbyist, F6 and F8n will be enough for a long long time. But design, functionality and awesome creator of MixPre II series looks so good that I do not know what to do now. May be it is a good idea to spend more money for a little bit great product. I do not know. And nobody could not answer on this question except me. I started to have a lot of confidence in the owner 😄
Anyway good job again 👍
Thanks! I choose the MixPre and recording 99% of the time in 24-bit mode. I prefer the MixPre because of its analogue limiters and ergonomics which I prefer over the F6. The F8n is better ergonomically, but I don't care for its digital-hybrid limiters.
Thanks Curtis and Paul for this great interview. That remix of 32 bit file (pulling down gain) directly in mixpre is great, I was wondering about that. You forgot to ask about automix feature :) Is it even possible to add in 10ii because of its processing? Automix or not I'm buying it next month.
Thanks. I didn’t forget to ask about automix. That was a topic SD asked not to comment on.
@@curtisjudd Gotcha, thanks 👍
Curtis Judd Most interesting...
I can't wait to get my hand on my Mixpre-3 ii and do some real world test. Curtis, we look forward to a full review of the new series of the Mixpre on your channel ASAP.
Plan on it!
Very interesting, looking forward to try the new mixpre 10
👍 Happy recording!
Curtis, will anyone of these Mix Pre units be substantial for my feature film I’m presenting to Netflix?
Substantial? The MixPre will certainly get the job done nicely.
All things equal, such as recording technique, gainstaging etc, would there be a difference in sound quality, for recording just voices in the context of voiceover, narrations, and room dialogue using the sound devices mixpre-3 II VS Prism Sound Lyra-1 2x2, using these 2 mics sennheiser mkh 416 and the neumann u87 ?
I haven’t used the Prism Sound Lyra but I’d be surprised if anyone in any audience would notice a difference with spoken word recordings.
@@curtisjudd what about audiophiles 🤓
@@shingAMarie I bet with a blind test, few audiophiles would be able to tell, but a few might.
Hi Curtis! Thank you for your impact to the audio community. Can you please recommend small bag for mixpre6 ? I am looking on Orca or28, but seems like is doesn’t have bottom access to sd card slot (I don’t want to take out the mixer every time, when I need to change the card). thank you!
Hi Alexey, Thanks! I don't know of any with bottom access that would really work unless you're not using a battery sled? I use Orca bags, but I have to take the MixPre-3 out to change the card.
1. Do you actually need to use 32 bit float to get the "don't worry about initial gain setting" benefit of the internal signal/processing architecture? 2. If I understand the patent correctly (and I may not!), the illustrations show what appear to be not only multiple ADCs, but each ADC being fed off of its own preamp (so, 2 or 3 preamps.) The focus of the patent seems to be the processing of the digital signals after the various ADCs, but if there are multiple pre-amps (each handling a different gain/signal strength range) that seems very important! 2 or more preamps per channel would seem to be a massive advantage over a system with only 1 preamp then feeding multiple ADCs. Any word from Sound Devices if there is one or more than one preamp per channel? 3. Ah - glad to hear that it seems to be a problem with Resolve/Fairlight in handling the 32 bit float sample file, not just operator error! 4. It's great that SD added timecode generation in the 3/6 Series II, but it would have been nice to have just one more 3.5mm jack dedicated to TC in or out to avoid needing another box (e.g. Tentacle) in some situations or having to remember to swap cables around periodically jamming various equipment. Being able to feed a mono mix to one channel of the Aux out and TC to the other channel might help (use a splitter cable?) but the different signal levels (audio vs. TC) might make that impossible?
Hi Thomas, 1) Yes, but you also need a capable preamp (or multiple) and 2+ converters, plus effective technology to put it all together post ADC. It is a delicate process. 2) Not sure, Paul didn't specifically address that in our discussion. They generally don't want to give away all of the details. 3) Yes, but I hope they are able to add 32-bit support. I was hoping to move to Fairlight but ended up buying a license for Protools later this week. :-/ 4) Good point, interesting suggestion.
Not sure if this answers your question re TC, but the Stereo out can be switched between TC out & audio out and the Aux In can be switched between line in and TC in. You can switch to TC in, jam the MixPre-II, then switch back to audio for extra audio inputs whilst retaining accurate timecode internally which can be output via the stereo out switched to TC. If you want dedicated TC I/O without switching then the MixPre-10 II is the best bet.
@Paul Isaacs
On a tangent.....Can the battery telemetry feature of the Scorpio (with Smart Batteries) ever make it to USB battery packs on the MixPre?
No!
This is such good information thank you for the presentation can't thank you enough. A MixPre II exactly what I need
Thanks Gregory.
@@curtisjudd Are these made in Australia?
@@KandMe1 I'm not sure where they make the MixPre Series. Their professional 600 series are made in the US. I suspect, but do not know, that the MixPre is made in Asia somewhere.
@@curtisjudd Thanks I settled on the Zoom H6 for the time being because of the price and it means I can get setup. Really though the fact it has extra mics attachments including shotgun and some others even one attachment has another two controllers on it and also the battery option, 1.2 volt rechargeable batteries can be used as stated on the Zoom H6 webpage. Can look around for something really good like the MixPre after I see what I can get out of the H6. Seems a good option to start off with give me something to compare others with. Using some Rode wireless Go's with it. Same gain option as the F6, can assign 2 channels to evade clipping if needed in the edit. Also it has Phantom power and is very light weight to carry. No touch screen, 4 inputs: 2 on each side, nice big control knobs. Comes standard with 2 different detachable mic heads in the kit box supplied. The fact that there is also a shotgun mic and another detachable head with two more inputs and a gain controller on it makes this really appealing to me.
@@KandMe1 Very good. Happy recording!
Will the MixPre-3/6 ii be able to do timecode passthrough? If I have two GH5's and I am feeding timecode from GH5 #1 to the mixpre3-ii, could the timecode be passed through and be fed into the microphone in jack of GH5 #2? This kind of setup could permit multi-cam with timecode with no additional timecode generators. I don't have my Mixpre-3 yet to try this out (if it is even possible.)
Hi Trevor, I’m not sure, mine hasn’t arrived yet.
At this time, that is not possible to loop through HDMI TC. You can loop through SMPTE LTC though.
25:18
Do i need to change anything in Menu to get the backup recording on SD and USB both? i cant find any Settings for this. Thanks
You cannot backup to SD card, just USB.
That was very intuitive. On the strength of that interview (and your reviews) I've ordered the MixPre 3 ii and a Rode NTG4+ mic. Quite excited really. Syncing 2 cameras will have to be done the hard way for now coz I'm going to be eating beans on toast every night for the next month until I recover from the financial outlay.....lol. I feel like a martyr to the cause but hey... the results will be worth it....
Congrats on the new recording kit and happy recording! Beans and toast have never tasted so good, I'm sure. 😉
@@curtisjudd Thanks so much. Beans on toast is small sacrifice for what's to come..........lol
Hey Curtis, from your perspective given a choice of F6 vs MixPre3 II, which one would you choose? From my point of view ergonomics is more important than channels (hardly ever use more than 2, never needed 4), and in my workflow I use "slate" functionality on my current DR-60 II extensively to mark good/bad takes/voice-notes to myself, as "marks" in BWF file seem not to appear in Fairlight. I always do continous recording, as it is easier to sync with video in post. Or maybe do you have other practice to add those marks to the recording?
Hi Kraka, Personal opinion: I would choose the MixPre-3 II for my work. I agree that ergonomics are critically important. I don't use markers extensively, but I thought Fairlight recognized the track names I applied to each input channel in my MixPre.
As far as I can tell from the patent, the multi-adc high dynamic range ADC system used by Sound Devices can use 2 or 3 or more 24 bit base ADCs.
How many such 24 bit base ADCs do SD avtually use in the mixpre-6 and mixpre-10 mkII?
Not sure. My experience has been that they generally do not share those details, considering it proprietary, competitive advantage information.
Can we jam mixpre II series timecode with the HDMI? For example if i can't keep it on camera because i have everything else fixed in place.
Do we have any information on the next gen date? :)
Jamming via HDMI is not supported. I have no idea when/if a gen 3 is in the works.
Curtis, which model/ohm Beyerdynamic cans are you sporting? What do you like about them?
I use the DT770s 80 ohm model. They're comfortable and reasonably well balance in terms of their frequency response.
The F6 can suck it! (jk); the series ii looks even more amazing! I'm glad they added all the features and combined the M models into one. I actually can't imagine what a series iii will have in store, except the suggestion you made. I'm still not used to upgrading audio recorders every few years; it's interesting that the technology available to manufacturers is what's driving the new models, more so than demand. 32bit will definitely become popular, I can think of at least 100 reasons this year alone, where it would have helped me. I still can't fathom the dynamic range of the series ii.
Thanks for this great, in-depth interview!
Thanks Photographic elements!
@Bubz of Steel Interesting. You are absolutely right about the wide dynamic range feature only being possible with the multiple A/D converters plus 32-bit float plus processing to effectively combine the output from the multi ADCs. My recollection is that at one point he very clearly articulated that and also referred to the feature multiple times as "wide dynamic range and 32-bit float" rather than just "32-bit". e.g. 4:45
@Bubz of Steel I share the concern re: people making assumptions about this wide dynamic range feature. I'll try to hit this clarification harder in future videos. Sorry. No misleading intended.
I need some MixPre 3 II in my life.
Me too!
Great talk/interview
Thanks Basil.
awesome video! Thanks so much for taking the time! I have been looking if the MixPre 6ii had any auto mixing feature like the Zoom F6? I am much more leaning towards the MixPre6 but just wanted to know if this was something already in the mixer, future update or reserved for higher models. Thanks
Hi Carlos, no, the MixPre Series does not have an auto mix feature, however, it does have a remix feature which allows you to create a new mix after the recording is completed. As of right now, only the 633, 833, 688, and Scorpio from Sound Devices have an auto mix feature.
The Zoom F4, F8, and F8n have an auto mix implementation and the F6 will as well once it starts shipping. The Zoom version of auto mix attenuates non-active mics by just a few dB in my experience. It helps, but it isn't nearly as effective as the Dugan auto mix in the higher end SD recorders. Best wishes!
I am thinking of purchasing the new mixpre 10t II but I have always been a fader kinda guy so I was just wondering if any controller could allow me to actually control the levels that is actually recorded in the iso tracks not just the stereo mix tracks
Faders are traditionally for controlling how much of channel’s signal is sent to the stereo mix. I don’t know if any where the fader controls the iso recording level. But you can put the MixPre into basic or custom modes where the channel knob controls gain trim and DOES affect the iso level.
I have the mix pre 6 ii, this is f****** amazing sound
👍
hey curtis i got the mix pre 3 ii what do i have to to sync timecode with the bmpcc4k im very new with this can you help me out?
Hi Rafick, you'll need a stereo mini jack cable. On the MixPre, you set the aux output to timecode. You also need to set the framerate you're shooting on your camera in the MixPre's timecode menu. Those are the basics. Best wishes!
Clarification: In the output menu, change the Stereo Out Mode to timecode. I posted an Series II New Features overview video at th-cam.com/video/tf1g-daRfu4/w-d-xo.html
Great interview. This coupled with you video about the recording gear you use was remarkably useful. Could you recommend a place to deeply learn about microphones and recording techniques? We host classical music concerts and we're looking for information to up the quality of the recordings we make. It's quite hard to get information about the particular mics we should get
Hi Sr. Conejo Lunar, I have a production sound fundamentals course over at School.LearnLightAndSound.com but it focuses more on sound recording for film - mainly dialogue. I just started recording with a set of microphones made for recording acoustic, and classical/western art music in particular, called the RODE TF-5. I had a chance to record a harp recently and hope to post that episode soon. Best wishes!
@@curtisjudd thank you for your reply, I'll gladly wait for your content and consider the course
@Sr. Conejo Lunar
Look into Microphones by Schoeps, Earthworks QTC30 & others, DPA 4011 & 4006, Josephson C617SET with Gefell MK221 capsules, Mesanovic Model 2A and AEA KU4 & Nuovo N8 ribbon microphones, & the Joe Grado HMP-1 Microphone System to start.
everythingaudionetwork.blogspot.com/2010/05/recording-review-grado-hmp-1-recording.html
schoeps.de/en/products/stereo/sets/decca-tree-set.html
Most classical recording engineers use Microphone Preamps such as the Millennia HV-3D series, Earthworks 1024, and AEA RPQ2. Many are recorded in DSD.
Google and Research the "Decca Tree" microphone technique, and Classical Recording Engineers such as Reference Recording's, Keith O. Johnson (check out th-cam.com/video/5Oyt6wRnWGc/w-d-xo.html ).
www.channelclassics.com/general-info/equipment/
www.emusician.com/how-to/how-to-master-class-classical-recording-with-michael-bishop
www.dpamicrophones.com/mic-university/multimiking-a-classical-orchestra
I'll watch this video tonight. I hope it helps answers the question as to whether a MixPre Gen 1 owner should upgrade to the Gen 2, and whether the Zoom F6 with its 32-bit float recording AND dual AD converters may be a better bet. I reached out to Sound Devices about whether an upgrade program/option would be available to current MixPre Gen 1 owners and the answer was no. That's a shame given I spent near $1K on a MixPre 6 only 12 months or so ago, and then a new gen is launched very shortly after... Curtis: I ordered your sound prod course, steadily going through it - it's excellent.
Hi Paul, thanks! I think you will find it answers most of your questions, in some cases indirectly. We don’t talk specifically about the Zoom F6 here, but the MixPre Series II also uses multiple converters per channel with its 32-bit float recording.
@@curtisjudd Interesting. Just watched the video, very comprehensive as always. I'll wait for your review, but it looks like we'll upgrade to the II series. We shoot indie films with micro crews and we often have to do the sound ourselves (we're not sound pros) so the 32-bit float could really help us if we get the levels wrong etc. Hope Sennheiser bring this tech to their next gen lav series because I don't think the 32-bit float on the MixPre will help us if our Sennheiser G3s or G4s hit 0db and feed the MixPre an already peaked signal, it'll only help when we boom. The latter will be very helpful but having lavs that use that tech too, wow, that would be great.
Hi Paul, it can help to some degree if you leave a bit more headroom on the feed from the receiver to the MixPre. But yes, I agree, the upstream signal chain needs to support wide dynamic range as well. And wireless will generally struggle with this more than most wired mics with balanced outputs.
I wouldn't sweat it. It seems the series 2 is only audibly better at extreme dynamic levels. If you're an experienced engineer, it becomes a moot point. Experience will always win over gear!
nice！Curtis，but I'd like to know whether the shell of mixtre II is made of metal or plastic, because after testing, I found that my deity connect wireless system would interfere with the equipment of plastic shell
报错双语对照
Hi Hamlin Tian, the case is die cast aluminum.
@@curtisjudd Thank you very much.By the way, I think it's necessary to tell you why I want to ask this. You know, the deity hd-tx wireless recording system. I bought this system and used it with the zoom h6 recorder with plastic shell. I found that when the deity wireless receiving device is close to the H6 recorder, it will produce strong electromagnetic interference to the recording. After testing, I found that it will also interfere with zoom H4n tape recorder with plastic shell. I hope that the equipment with metal shell can solve this problem. Or if you are interested in this issue, I would like to discuss it with you. I am engaged in film and television production in mainland China. My email is betseywootent@gmail.com
I have not run into interference issues with my MixPre-3 II, MixPre-6, MixPre-10T, or MixPre-10 II. I hope that helps!
I have mixpre 3 first gen, and Iwant to get a mixpre 10 II, but I need to be sure about the power options. There is Sony batteries, alkaline, what else? (power product links please 🙏🏻 ). Awesome interview!
We gotcha. Here's a video where we covered the power options for the 10T. Same applies to the 10 II: th-cam.com/video/4a_AP9JbgJg/w-d-xo.html
Is there a way to send more than one IFB feed from the X1/X2 output? Would a splitter cable work for 2 transmitters?
A splitter cable should work, yes.
I like that! Constantly striving! Can you integrate a portable time machine into the MixPre III, so I can go back and record the big bang with 32Bit float?
Hahaha!
I see that the mixpre II has its timecode triggered by HDMI. Apart from using a cable, can you use an HDMI transmitter on your camera rig to trigger the timecode?
Hi Hayden, I haven't tried it but I suspect it depends on whether the HDMI transmitter strips the HDMI start/stop flags in the HDMI stream. I'm doubtful that most pass that on. But I could be wrong.
Great coverage! Thanks, Curtis.
I wonder if the music plugin is "on top" of the functionality, or does some recording functionality changes/is removed?
Thanks! Yes, it is "on top of" the field recorder functionality. You essentially create a new music project and then it switches to music/overdub mode. You switch back by creating a standard project. You can switch between them at any time.
Is there any reason, the MixPre or MixPre II series recorders, could not get either an update or a plugin, to add to their feature set some similar dynamics processing to that of the rodecaster pro? Hardware limitation? The original MixPre series is a portable studio basically, I am just wanting some extra features. Podcasters Plugin maybe?
I assume you're asking for things like the noise gate and big bottom?
@@curtisjudd noise gate,de esser compressor, commonly used effects for live sound and podcasting. Would be nice features in a portable package that small.
@@NiccKennedy Makes sense.
Trying really hard to not be upset about this roll-out. Don't get me wrong-- I love my mix pre10T, but dismayed that I paid full price only back in April. I guess I just need to work extra days to get this mixer and sell my old one?
Either way, I love your information Curtis, and your host is such a great guy. Another awesome show!
I understand. I'm pretty heavily invested, too. Thanks!
great human conversation. shame that no question was asked about automix feature for mixpre. Yes I now Dugan is licensed but 6t33-688 you can choose their Soundevices version Automix, like Studer Vistamix or Lawo Automix on broadcast consoles. They don’t need pay for the licenses.... Q2: new Mixpre 10T II does have really strong analog Outputs on miniXLR for sending audio to Pro cameras (Line In level mode) Thanks 😀
It was asked. Response was no comment.
Covered the outputs on the 10 II. +18dB.
Clearly the MixPre II series is very impressive. But I have to take issue with the statement by Mr. Isaacs at 7:51, where he says "We're never going to stop developing ... if we release a product, we're not going to stop there." Yeah, well, unless it's a Video Devices product, in which case they definitely will stop there.
Fair point, Scott.
Yep got burnt myself! I'll be going with zoom on principle!
Excellent! Buying this today!
👍 Happy recording!
Is the mark 3 coming out soon? Don’t know if I should buy a used mixpre 3 ii for $650
No idea.
hi, Curtis.
There's an hirose or d-tap adapter for the mixpre 6? The lack of a decent power port is not understandable by me.
What are the expected recording time in a 4ch+48v configuration with 4 AAs (Ni-MH)?
Hi toxic mela, there's a USB-C input for the MixPre-3 and 6 which you can use to power the unit with a USB-C PD power bank. The MixPre-10 has a hirose input. With 4 new Ni-MH AAs, I'd expect somewhere around 2 hours of powering time. Hawk-Woods makes an alternate battery sled with a hirose input if you're not comfortable with USB-C as the power input. Bit of an expense but then you're only limited by the capacity of your cine or smart batteries.
@@curtisjudd oh thankyou! That's exactly what i'm looking for!
Wow. I would love to do a scene with the beauty of soft raindrops and then the clap of thunder. Brilliant example of wide dynamic range! I learned adjusting gain is like adjusting ISO on a camera sensor right?
👍
A use case which I don’t think I heard mentioned is solo operator ENG. Sometime I document raucous outdoor demonstrations in NYC, which already has wide dynamic range even before you introduce chanting, radical brass bands, sirens and NYPD’s military sound cannon. Somehow I make this work with by BlackMagic UMP’s built in audio, but I’d rather just stop worrying about audio levels so I can concentrate on getting the images. (Too bad Resolve doesn’t handle 32 bit audio - hopefully that will change.) Quick question - is there a method of triggering audio record/stop from a camera?
The original MixPre could be triggered via HDMI from select cameras.
Turns out the answer is on page 25 of the MixPre II manual (available on the SoundDesign website). Recording can be triggered via HDMI or (on the 10 model) via timecode. However, preroll is disabled when in trigger recording mode. (Actually, the manual is not clear on whether or not timecode triggering is available on the 3 or 6 model via the AUX input.)
@@OwenCrowley I believe the triggering on the 3 and 6 works via the HDMI micro input.
Sound Devices equipment is stunning.
👍
That hardware is waaay outside my league, but it's good to know what's available.
👍
What about the M models? Does the software plugin create a mark II "M"?
Yes, but you still get the filmmaking mode as well.
Curtis, now we need a MixPre-10 II vs Zoom F8n video! Help!
No we don't ;) There's absolutely no reason why anyone would choose Zoom instead of SD
Will cover that once I've had some time with the MixPre 10 II.
Karol Walkowski Only one reason. Automix ;)
@@Dustbrigade Well, there is also price and wide dynamic range and better headphone amp on the MixPre and XLR outs with more output on the MixPre and a few others. But Zoom definitely has the edge in the Automix world which can be important if you record a lot of panel discussions or interviews and need a quick turn-around without a lot of post work. 😀
@@curtisjudd For sure! I think that Mixpre has the edge with everything apart from the automix
Awesome video Curtis. I can understand why but....it seems like the Zoom F6 should have been mentioned by you. That would have been interesting.
That comes in a separate video.
Hey Curtis, what are those cables called you use to connect the MixPre10 II to a camera with standart XLR inputs? Thanks a lot!
Hi bas, just XLR patch cables. In the case of the 10 II, you need TA3F to XLRM cables like this: bhpho.to/2hCXkLL
Question. Does the Mixpre 3 need to be continuously tethered to the Nikon Z6 for timecode to function on the camera or can it be synced then both the camera and recorder can be untethered?
Hi yes and no depending. There are two main options since the Z6 does NOT have a dedicated timecode input or internal timecode clock. 1) Tethered throughout shoot from MixPre 3.5mm output to Z6 microphone input. 2) Purchase an external timecode generator. Jam sync the timecode generator to the MixPre-3 then disconnect and attach the timecode generator to the Z6 for the duration of the shoot. In post, because the Z6 only has a microphone input, all of the video clips must have their audio converted to metadata timecode using an app like Tentacle Sync Studio. In theory, DaVinci Resolve can do the conversion but I have found that conversion to be unreliable with Z6 footage. Tentacle Sync Studio was able to reliably convert and sync Z6 footage to MixPre audio clips.
Geee!! Outstanding interview!!!!!!!
Curtis, you owned both Zoom F8n & Mixpre II. Did you compare it`s mic preamps with same mic? I`m interesting noise lavels, Datashit reads they`re the same. Are they the same, or Zoom F8 is more noisier?
Thank you!
They’re both quite clean. The bigger question is which mic you use and it’s self-noise.
@@curtisjudd it`s Neumann KMR 82 or AT 4053b. When I push preamps to +55dB of amplification or more, I can hear self noise. Can You tell if your SoundDevices 633 preamps make self noise when You drive them +55dB or more, please? Or they`re much quiter than Mixpre II series?
@@ili6065 Are you sure it is self-noise you're hearing and not actual sound from the space where you're recording? I don't have the 633 anymore, I've moved to the 888. I usually find when pushing beyond +55dB of gain on most condenser microphones, I'm picking up just about every sound in the room.
@@curtisjudd very appreciate your answer.
Thanks, Curtis and Paul. As usual fantastic talk.
What's quite clear from this discussion is that we can rule out firmware updates to the original series to say enable USB rec on the MixPre6.
Here's a question to both Curtis or Paul.
I wonder how the metering is reflected during a 32bit float REC as opposed to a 24bit one. Will we see any change?
@Paul Also, the fact that you have some sort of patent on the 32bit float+WDR mic pre, is that what's holding up the Zoom F6? ;)
Good question regarding metering. I'll need to answer when I get mine, hopefully in the next 7 days.
Regarding metering, you will not see any change. 0dBFS reflects 0dBFS for 24-bit. I've no idea about anything to do with Zoom F6. Please direct your question to them.
@@paulisaacs5980 So, if I have this right, in 32bit float the metering will behave exactly as 24bit and show clipping, when in reality it can be recovered. Ok, Thanks a bunch.
@@madsmix Exactly!
Do you think the mixpre 6ii is ok for the red Komodo ,c70 and Panasonic s5ii and the deity Theos ,dpa 6060 , Schoeps cmc1 mk41 with cut 30 capsule or will the 18db in the mixpre10ii be needed ? Does the mixpre10ii produce less noise than the mixpre6ii?
The MixPre-6II should be good, yes. The preamps and converters are the same in the 10 from what I can tell. The main advantages of the 10 are more inputs and balanced outputs.
@@curtisjudd the mixpre6ii does not have balanced outputs ? What kinda things are balanced outputs used for ?
@@creativegreatsvisuals For cameras or mixers or other downstream devices with balanced inputs.
@@LearnLightAndSoundSessions so for c70 and red Komodo when will I need to do balanced outputs with mixpre 6ii for corporate video work ? I like size of mixpre6ii but I’m concerned about if it’s unbalanced output will be an issue and effect the quality of sound .
@@creativegreatsvisuals Balanced audio is simply more immune to picking up interference in your audio. It doesn't sound better than unbalance audio, necessarily, just more immune to picking up RF and EMF (hums, buzz, clicking, etc.)
Thanks! Very informative.
Thank you!
this is great and really useful, thanks
Thanks Karl.
Definitely bummed the 3 doesn't have TRS connectors. As a videographer having that in the Zoom H5 really helps minimize the cables and adapters I have to carry around.
The combo jacks take considerably more internal space so I suspect there just was not room unless they made the overall unit larger.
Which microphones would you recommend for mix pre 6 mk2? Mostly for foley sound recording?
The Sennheiser MKH416 is a classic.
@@curtisjudd Thank you Curtis! Your videos are amazing!
nice interview...very informative
Thanks Rusty
I think they are still working on the mark III !
Could be!
Is there any way to get digital audio into a mixpre II? Like thru an AES or s/pdif signal?
Not directly, no.
Ugh. So if I use a PC Laptop without a USB-C port, I cannot power a Mixpre3 II to use it as an interface? Thanks for the useful video btw.
You can power from USB-A but you might be limited to features only allowed in MixPre Low Power mode unless you use the dual USB-A to USB-C cable. User Guide explains all!
@@paulisaacs5980 I don't see these dual USB-A cables readily available on Amazon.. Can I get one from Sound Devices, since they no longer ship with the unit..? Thanks Paul.
@@kirkr.7464 www.bhphotovideo.com/c/product/1333784-REG/sound_devices_mx_usby_y_cable_usb_c_to_2x.html