Thread: Wich preamp/recorder are you're favorite and why?

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  1. #1 Wich preamp/recorder are you're favorite and why? 
    Senior Member Joel Arvidsson's Avatar
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    So I have finally decided to go with Vlock I/o expander. Now I need to decide wich preamp/recoder to go with, and for me there is three contenders. Please give me you're thoughts on those options once fore all so I can get going with again! If you rig on your camera, than please tell or post a pic on how you mount it. Thanks all that chimes in.

    Beachtek dxa-alexa
    https://beachtek.com/product/dxa-alexa/
    This seams to be the easiest most straight forward way to get high quality audio into the camera. And I already have two solid recommendations on this. The down side is its has no recorder. But if its sounds great, its still a good option. Also it has no meters, but at the same time I dont have time to watch meters on to devices that often.

    Sound Devices mixpre-6
    https://www.sounddevices.com/product...rders/mixpre-6
    Great analog preamp, recorder for dual sound. A huge plus for the mounting below the camera as an option, feels less bulky. Good inputs but no xlr outputs. Not sure if this does even matter that much if you want to go in to the vlock expander with an short cable. A downside hear is that its no timecode generator built in.

    Zoom f8n
    https://www.zoom.co.jp/products/fiel...field-recorder
    Seams to be packed with all thing you ever need. Great in and out connectivity. Even an built in timecode generator! Downsides are that you cant mount it under the camera as with mixpre.
    So I would likely have to get a bottom plate with rails on to mount it on. Digital limiters... But instead "Advanced Look-Ahead Hybrid Limiters".



    Edit: it seams to be possible to mount zoom f8n under the camera.





    A side note.
    Im trying out the "pull" feature but I se not pull. Perhaps some one else needs to put in there vote for it to show up.
    I did checkbox and filled in three alternative.
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  2. #2  
    Senior Member Michael Lindsay's Avatar
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    Hi.. Most of the tine I shoot MOS and my partner is always in Dual system setups... but for occasional direct audio jobs we we have looked for sonething that is:

    Cheap and reliable for the odd occasion we just want to go into the camera
    offers good preamps
    Dual channel
    48v phantom if needed..
    Good limiters
    outputs non balanced output for Red DMC2
    Light weight so it can be strapped to the camera easily

    and importantly for us we can eaily pull it off for 90% of our stuff..

    we found this

    http://www.filmtontechnik.de/en/prod...ch/dslr-mixer/

    IMPORTANT NOTE....and they also made us a tiny 3.5mm to 3.5mm 40euro ground isolator....to make sure you don't get nasty nosie when powering any audio device from the same battery as the camera..

    So if you want it for dmc2 make sure you get that cable



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  3. #3  
    Mix Pre 6
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  4. #4  
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    Quote Originally Posted by Michael Lindsay View Post
    Hi.. Most of the tine I shoot MOS and my partner is always in Dual system setups... but for occasional direct audio jobs we we have looked for sonething that is:

    Cheap and reliable for the odd occasion we just want to go into the camera
    offers good preamps
    Dual channel
    48v phantom if needed..
    Good limiters
    outputs non balanced output for Red DMC2
    Light weight so it can be strapped to the camera easily

    and importantly for us we can eaily pull it off for 90% of our stuff..

    we found this

    http://www.filmtontechnik.de/en/prod...ch/dslr-mixer/

    IMPORTANT NOTE....and they also made us a tiny 3.5mm to 3.5mm 40euro ground isolator....to make sure you don't get nasty nosie when powering any audio device from the same battery as the camera..

    So if you want it for dmc2 make sure you get that cable
    Your product link doesn't work. I'm interested in finding out more about that? What's it called?
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    Hi Joel,
    I feel you should look at the A10 Digital Wireless System too.
    http://audioltd.com/a10/
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  6. #6  
    Senior Member Bob Gundu's Avatar
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    Quote Originally Posted by Michael Wahba View Post
    Your product link doesn't work. I'm interested in finding out more about that? What's it called?
    http://www.filmtontechnik.de/en/prod...ch/dslr-mixer/
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  7. #7  
    Senior Member Joel Arvidsson's Avatar
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    Please fill in your opinions. A few more and I can put in an order on one of those.

    It got to be alot of Redusers here with experience with those preamp/recorders.

    Thanks all that have shared there opinion in this thread yet!
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  8. #8  
    Senior Member Michael Lindsay's Avatar
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    Quote Originally Posted by Michael Wahba View Post
    Your product link doesn't work. I'm interested in finding out more about that? What's it called?
    http://www.filmtontechnik.de/en/prod...ch/dslr-mixer/

    sorry not sure what happened... PS you must mention it is for a Red DMC2 camera and will be powered from the same battery and they create a special cable.


    PPS sorry Bob just noticed you already posted link... thanks
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  9. #9  
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    Go for Zoom F8n!

    By the way, I am usually always talking from a perspective of a production sound recordist. (and a low to mid budget one at that too, not a high end guy.... no Aaton Cantar X3 recorders for me! None the less, many people might think of me as "high end" just because I own tens of thousand of dollars of sound gear. But really, the proper high end guys would put my sound kit to shame!)

    Thus my posts are leaning from that perspective. And from that angle, the Zoom F8n is just an insanely tremendously over the top ultra good value deal! Just, wow.

    If a person absolutely must skimp some more on their already tiny budget, then a Zoom F4 is still a way beyond amazing deal! Like the F8n, just with an adjective or two less.

    Of course, if a person has the budget/work/clients, then just get a Maxx/Nomad/633/664/688/SX-R4+ instead. And I was very seriously considering that for a while earlier this year that I'd buy one of those, but when the F8n got (pre)announced then I felt that was the right move for me. At least for the next couple of years, while I wait for a 664 mk2 or "something" like that to happen?!

    Now as for the MixPre series, for someone who is an aspiring / up and coming PSM (like myself) then they make utterly no sense whatsoever when compared next to the Zoom F series. (not even the MixPre10T, but especially the MixPre3/6!! Hell no)

    As the MixPre series are not really primarily targeted at sound recordists, more for YouTubers/videographers/musicians/etc instead. Thus when you really dig into it the MixPre series just has too many gaps in their capabilities/designs for what we need. Thus this is why Sound Devices has their 6 series instead for you to buy.

    Meanwhile, Zoom has thrown the kitchen sink at their F series, which is what makes the F4 and now the F8n the best fit for my needs currently.

    But I'd never say NEVER, there are I suppose still some limited cases where a MixPre instead might make sense as the "best" choice. Like the example of someone who wants to rig it to their camera, and wants the most extreme minimal configuration then the MixPre3 is freaky small! Perfect.

    And their HDMI TC trigger function is a unique capability nothing else except the Tascam DR701D has. So handy for cameras which lack a TC output, but can speak to the MixPre (if they support it).

    http://www.red.com/store/products/ds...vlock-expander

    Now it sounds like what you purchased can't do TC out? BUMMER!

    So you can't auto stop/start your recorder (such as an F series).

    This might give the edge to the MixPre series with their HDMI trigger option, except.... they don't support RED! Oh well.

    Thus your best choice is to buy a Zoom F8n, you can keep it jammed to the RED at all time for accurate TC, and you can feed to the RED with automix two tracks into the RED. With ISOs kept in the F8n should you need to tidy up the audio quality to the next level in post.

    However, do compare the F8n vs MixPre6 vs MixPre3 in person, you might maybe prefer the small size. But personally, the sheer extra power and awesomeness of the F8n should take the cake instead.

    As for the Beachtek? Don't even bother wasting another second of brain power on it. Not worth it.
    Not when it is US$800! Maybe maybe maybe if it was like less than a couple of hundred bucks, and you had creditors pounding on your door, so you couldn't spend even an extra penny more on audio. Then maybe it makes sense. Maybe. Maybe. Maybe.
    (I'd take a MixPre3 before I'd choose that Beachtek)
    If for some reason a person really wanted to avoid the recorder path, and just wanted a very compact pre amp in front to send line level into the camera, then I might suggest one of these two instead: https://www.mozegear.com/p10 https://www.mozegear.com/mini-papi

    Personally, I use a Sound Devices MM1 a lot, but that is for my boom op to wear, so the extra bulk doesn't matter. Although, I am using from tomorrow for a film a Sound Devices MP1 on an Arri Alexa Mini to feed it line level for a scratch mic. But that is because I don't have anything smaller like a Mozegear pre-amp.
    Last edited by David Peterson; 08-10-2018 at 05:34 AM.
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  10. #10  
    Senior Member Rakesh Malik's Avatar
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    I went with a Sound Devices MixPre-6. Since I'm not a sound recordist, I don't need more than four channels. The MixPre series is operationally very similar to the 6xx series which I used to use (633) but for me was overkill -- again, cinematographer, not a sound recordist. I'll get more value from using the device as a USB audio I/O than as a full-fledged mixer, which is why I don't miss the XLR output part.

    I debated going with a MixPre-3, but decided that the extra XLR/TRS input would be worth it... I have a Facebook gig coming up next week where I'll need to mic four people, and also when doing 360/VR I'll need an option for Ambisonics, which requires four channels for first order... and once again if I go beyond that, hopefully it's a project where we can afford a dedicated sound recordist.

    I've worked on a few films where the sound recordist had a Zoom f4, and the results were fine. I like being able to record ISO + mix tracks, and sonically Sound Devices is hard to beat, and also very reliable.

    Plus, the MixPre6 is very compact.

    Timecode... I have a pair of Tentacle Syncs, so not having a timecode source in the recorder is a minor thing for me. I'm covered.

    I tried running audio from my 633 before I sold it into my Epic-W using a Tilta Advanced I/O module, and the results were not satisfactory.

    I'm awaiting an OMOD POE (due to arrive today) and I'll test it out probably next week (doing a production this weekend with a dedicated sound recordist, so I probably won't have time or need until Monday). I'm hoping to get at least clean audio into the camera via the 1/8th inch jack on the OMOD POE. Plus it's more compact than the Tilta bigass I/O module... and being on sale for $2K means that while I have to add a v-mount plate (that I already have), it basically provides the same set of I/O options as Red's v-mount expander, but with the addition of FIZ.
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