DSMC2 + Mixpre 3 II

[Les Hillis]

Looks like you've got it sorted out anyway, but just wanted to mention you could still record audio into your camera from the MixPre II's stereo out if you use one of these little timecode generators for syncing -

http://tentaclesync.com/sync-e

http://www.timecodesystems.com/product/ultrasync-one/

 

[David Callahan]

Just received my MixPre3 II and noticed the TC input. Is there a cable that would take the the TC out of the DSMC II control port and send to the mixer? If so, I'd get the best of both worlds. Also, would be great if it would trigger recording on the unit as well.

 

[Nick Burridge]

Just received my MixPre3 II and noticed the TC input. Is there a cable that would take the the TC out of the DSMC II control port and send to the mixer? If so, I'd get the best of both worlds. Also, would be great if it would trigger recording on the unit as well.

As far as I know DSMC2 can't output internal timecode without a REDVOLT expander or some other module.

 

[David Peterson]

I'm ordering the MixPre-3 for an upcoming project. I'd like to run the power from my D-tap. Anyone know where I can purchase that cable? How about the TC cable from the MixPre to Red?
Thanks!

Get one of these:
https://www.bhphotovideo.com/c/product/1552856-REG/sound_devices_mx_hirose_hirose_dc_input_sled.html
https://www.bhphotovideo.com/c/product/1382308-REG/hawk_woods_sd_1_mixpwr_for_sound_devices.html
https://www.bhphotovideo.com/c/prod...mx_powersled_powersled_for_sound_devices.html

And this:
https://www.bhphotovideo.com/c/prod...ptaphir_anton_bauer_powertap_d_tap_p_tap.html

And this:
https://www.bhphotovideo.com/c/product/1327590-REG/tentacle_sync_c01_cable_tentacle_to.html

Make sure you buy the Gen2 version of the MixPre3!

 

[David Peterson]

We use the Mix Pre 10 V1 all the time, and it's worked great. The timecode and dual backup look the same as whats now on the Mix Pre 3 II.

Highly recommend.

We've never had timecode issues, btw - and what David says is exactly right, that's a video record issue (common in the industry).

Yup, unfortunately camera manufacturers don't seem to give two sh*ts about audio / syncing!

Like usual, the problem is with the camera department, not the audio department.

If you want a small state of the art preamp with 48v, limiter/compressor to connect derectly to your RED through minijack/XLR/AES I can't recomend enough the M2D2 from Sonosax.
It's 132db DR and the limiter makes it usuable in any situations where you can't have an eye on your levels all the time.
It can be powered directly form an internal battery, Hirose or USB-C connector.







Best mini preamp out there but it comes at a cost...

See you
Patrick

Yes, if ultimate quality in a camera mounted preamp is what matters, and cost doesn't matter, then get a Sonosax!

(although of course just hiring a Sound Mixer would be x10,000 better)

Does anyone know what timecode cable I would need to go from the Mix Pre 3 II to my DSMC 2 Helium body?
Thanks!

https://www.bhphotovideo.com/c/product/1327590-REG/tentacle_sync_c01_cable_tentacle_to.html

Thanks, Andrew and Les.

I now see that the Mix-Pre 3/6 II don't have a dedicated timecode-out port. If I have to use the stereo out port to send timecode to the Epic, that's a deal breaker, since I need that stereo out port to send scratch the the camera, to check playback w/ sound.

An easy work around is just buy a Tentacle Sync E for the RED.

https://www.bhphotovideo.com/c/product/1372225-REG/tentacle_sync_te1_sync_e_single_set.html

Alternatively, if you're going to get a new recorder, get one of the Zoom F series. (Zoom F8/F8n/F4/F6)

As the Zoom F series has much better I/O overall than the MixPre3/6

I'm guessing a work-around would be using the Mix-Pre's headphone out port to send scratch to the Epic mic input, at the expense of quality (?), and then monitor the sound directly through the Epic's headphone output.
If that works, it seems annoying, lol.

Don't do that.

 

[Toby Wilson]

I didn't realize the audio output and TC output were the same port. I may forgo that as I also had planned on feeding my audio into my Epic as scratch/backup if the recorder died or the files became corrupt.

This is actually incorrect. There are 3x 3.5mm ports.. "Stereo Out" "Headphone" and "AUX / Mic IN". The Aux / Mic in Port is the Timecode port.
So with this you can send a L&R guidetrack to camera, monitor recorder with headphones and TC Jam the recorder with a timecode device all at the same time.

 

[Patrick Tresch]

Yes, if ultimate quality in a camera mounted preamp is what matters, and cost doesn't matter, then get a Sonosax!
(although of course just hiring a Sound Mixer would be x10,000 better)

For sure, it's allways better with a sound mixer!

That's a little video I made about the M2D2 use in a DSLR configuration

 

[andrewhake]

I think something you guys looking at running TC directly from the MixPre3 II or 6 can do is get a single Tentacle Sync for your camera. If you jam the MixPre II to the tentacle it won’t drift any decernable amount of a shoot day.

I prefer to have the camera internal mics running and keep audio stuff separate from the camera rig in most cases where possible. Even when solo shooting. But really is just going to depend on each setup. I hate bolting things to the camera rig that don’t need to be there.

 

[Patrick Tresch]

The problem having no (good) sound on camera is you loose the sound of the POV of the camera. The boom isn’t the POV of the camera. Which is IMHO great to have when you shoot documentary.

 

[David Peterson]

I think something you guys looking at running TC directly from the MixPre3 II or 6 can do is get a single Tentacle Sync for your camera. If you jam the MixPre II to the tentacle it won’t drift any decernable amount of a shoot day.

So long as you remember that if you're got the original MixPre Gen1 then you must always keep a timecode box connected to the MixPre at all times! (unless it is the 10T)

 

[Alexander Sutton-Hough]

Just got one this week and playing around with it. Normally I don't do sound but with COVID been in situations were I had to be one man band and decided to upgrade.

The Mixpre 3 II is far superior quality than going into camera even with a Bechtel DXA-MICRO PRO or separate recoding with a Tascam DR-70D.

The build quality and the tactile feel of the buttons alone will make you feel wanting that build quality on all your gear.

Be really cool if Sound devices and Red got together and made this into a module. The REDCODE file already has 4 channel but two are dedicated to the scratch mics. But imagine if they built a solid module and used 4 channels of the REDCODE and maybe spit out a separate wave file for 32bit float. All nicely compact instead of two devices.

Then charge like $5000-7000 for this module. Where I would go ouch to much and stick to this setup instead. But it would be awesome to have a solid well rounded camera.

 

[Vicente Nogueira]

Are you guys happy with the Soundevices Mixpre-3 mk.II, or sometimes you would have preferred to have a Mixpre-6 mk.II?
The price of the Mixpre-6 is very similar, the size a bit bigger. So I am not sure which should I purchase for my Komodo-X. It will be used mostly for documentaries with one or two people interviews.