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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Sound Devices 442?

hey Matthew (why do I keep callin you Mac? oh that's right, your screen name, change it to Matthew Rogers!)

Anyhow, you can simply get two Mixpre and do them side by side for four channels of audio, together they'd equal the cost of one 302
 
All of this crazy stuff is ridiculously expensive. . .

If my first two or three movies don't get distribution, I'll never be able to afford to retire!

:-(

Stephen
 
Cinewalt said:
Really? It looks like the runt of the litter, but I guess looks can be deceiving. Just packing 2 MIXPRE's on top of each other would cost $1,300ish and would give 4 discreet ins and outs...
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It has fewer functions available (it was their first product) but sounds and specs just as good as anything they make.

Philip Perkins CAS
 
macville said:
Are there any field mixers which are "pro" for under $1k? The SD302 is $1,300 brand new:( If that's what the min is for quality equipment, then that's what I've got to pay (but I gotta find any shortcut I can, right?;))

Matthew
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Keep your eyes peeled on RAMPS, as well as the consignment sites of Trew Audio, Gotham Audio, Coffey Sound as well as ebay. A friend just got a great deal on a used 442 on ebay.

Philip Perkins CAS
 
philper said:
It has fewer functions available (it was their first product) but sounds and specs just as good as anything they make.
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Just grabbed a MIXPRE off eBAY. Between that and my ME-66/K6 w/ boom pole and a nice stereo Audio Technica, I'll have a full audio setup for the next couple months and nothing to use it for. If any Red owners need some simple audio gear like what I've got anytime soon, PM me and it's FREE to use.:biggrin:
 
If you want to record audio off-camera, can anyone recommend a decent digital field recorder to pair with the 442 aside from the SD 744t (which is outside my budget)?

I was looking at the Fostex FR2, even though it only records two tracks.
 
thinkbug said:
If you want to record audio off-camera, can anyone recommend a decent digital field recorder to pair with the 442 aside from the SD 744t (which is outside my budget)?

I was looking at the Fostex FR2, even though it only records two tracks.
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Edirol R4Pro. Audio is fine, although not good enough to warrant recording at any higher than 24/48. Controls etc and menus not as handy and overall construction is plastic, but it is 4 chan and has TC. Around $2k.

Tascam HDP2: I use one of these very often. Don't let the plastic construction put you off--mine has lasted very well thru 2 years of production, mostly bag and over the shoulder shoots. Will take all sorts of ext sync incl. TriLevel. Will clock itself to incoming TC. I usually use it with a transmitter on the camera transmitting TC to me. W/ record-run code the HDP2 will "autorecord", meaning it will start and stop w/ the camera while time-stamping its files w/ camera TC. 2 chan., good sound, not a Sound Devices recorder but well under $1k. I have an SD 702T as well ($2500, 2 tr), and for most video double system I end up using the HDP2 because it is so much easier to deal with when working alone.

Philip Perkins CAS
 
thinkbug said:
Thanks. The Tascam looks like a decent option for the price.
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See if you like its menu structure. I forgot to mention before that although the HDP2 has an internal TC generator, it isn't accurate enough to hold sync for shots longer than 20 min or so, and will drift off a jam sync about that fast. That's why I either use it with a TC feed from the video camera (so they drift together) or jam a Denecke SB2 to the camera and and use that to feed the HDP2. The Edirol has the same issue. Lockits would work well in this situation as well. I understand that the Fostex FR2 TC generator is pretty stable, and the 702T (the cheapest TC enabled Sound Devices machine) is as solid as any recorder available. But these machines are more than twice as expensive as the HDP2.

Philip Perkins CAS
 
As far as I remember 4mic from coresound is everybit as clean as sounddevices, and a lot cheaper... so you might want to check that out. Apart from that, I think that if you go with the PdAudio set up you might get a nice surprise somewhere down the lane, namely TC in and out. As far as I can recall, the reason TC could not be implemented in the mic2496 was because of it only had two channels. The 4mic should at some point be able to do two-channel TC. At the same time it can be plugged into a sounddevices making it a 6 channel recorder.
Gordon gidluck is writing software packages and he is making a program called movie2496 for movie recording


http://www.core-sound.com/4Mic/1.php

http://live2496.com/

http://live2496.com/phpBB/viewtopic.php?p=239&sid=4487c56955dd4708d1307eaebdcaf881
 
Eddie said:
As far as I remember 4mic from coresound is everybit as clean as sounddevices, and a lot cheaper... so you might want to check that out. Apart from that, I think that if you go with the PdAudio set up you might get a nice surprise somewhere down the lane, namely TC in and out. As far as I can recall, the reason TC could not be implemented in the mic2496 was because of it only had two channels. The 4mic should at some point be able to do two-channel TC. At the same time it can be plugged into a sounddevices making it a 6 channel recorder.
Gordon gidluck is writing software packages and he is making a program called movie2496 for movie recording


http://www.core-sound.com/4Mic/1.php

http://live2496.com/

http://live2496.com/phpBB/viewtopic.php?p=239&sid=4487c56955dd4708 d1307eaebdcaf881
Click to expand...

These devices might be able to generate TC, but the TC will not be locked to either an accurate crystal or to the video camera unless an external clocking feature is added. The lack of the TXCO clock is one reason why recorders like the Tascam and the Edirol (and Zoom and Marantz and M Audio etc) are so much cheaper than Sound Devices etc machines.

Philip Perkins CAS
 
Every input on the 442 has a limiter. This is seperate from the limiter you see on the meters. I avoid them as they work as a compressor and there are better compressors in post. If eng I will hit the limiters softly if those clients don't do real detailed audio post.

442 will allow you to do any 4 mic workflow you can think of. Also smaller than similar mixers. Clients also think it looks snazy so if you are a red owner you'd be naive to use something as small as a 302(mostly used on docs and anything with lots of travel). Of course nothing looks more pro than bringing in your own sound guy.

Sending audio through the 4 direct outs just bypasses the faders which are used for mixing a production mono/stereo mix. Remember movies were made with lots of mics and one track without the option to multitrack since the beginning of sync sound. Your sound mixer should have this skill as well.

www.giantsoundservices.com
 
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