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    #21
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    Thanks Alex. Ya, I'm not a big fan of 3.5mm connectors, but with good right-angle connectors and a bit of gaff tape, I can live with them. :-)

    And geez, compared to the DAT days (I missed the NAGRA era), the Zoom F series and the MixPre II series offers so much goodness for such a low price. I could see myself buying a MixPre-6 II...
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    Jim Feeley
    POV Media


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    #22
    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by IronFilm View Post
    Of course I'm not suggesting the 8 Series to a prospective MixPre3 buyer, that came about because of Run&Gun & I getting sidetracked talking about the 6 Series. And yes, I think if this is your life as a working professional, I'm going to say go for an 8 Series over a 6 Series as your main everyday recorder.

    And the 833 really isn't crazy expensive at all. Remember for a long time the 633 / Maxx (or 552 before that, etc...) was more or less the de facto "minimum professional standard" get into this field. And the 833 is mere the same price point as those of the past.
    Yeah, I think the 8 series are just the natural progression/evolution from the 6 series. Like how we went from the 442 to the 552 to the 664, then 688, then Scorpio (or 888).

    I would have loved to have had the multiple, assignable/create-able bus feature about 10 years ago.


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    #23
    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by puredrifting View Post
    The more I have worked in both production and post sound, the more I think that video and DP type people shouldn't be doing sound. It's just such a different animal than
    camera, grip and lighting. I pretty much am only doing sound for one or two person interviews these days as it's simple and having a pro is often good insurance for simple
    interviews, but clients won't usually pony up for a sound mixer unless it's a high profile interview.

    An exception might be if you are like R&G and own a lot of gear, it would make sense to own your own high end sound package as you can make the kit fee and rentals IF you work
    with pros who are okay using your gear? Or if you are a true multi-hypehnate and really know location sound and occasionally do it for others, then it make sense. I don't see
    the need for much beyond a Mix Pre 3 though for 95% of Video and DP people, the job is simply too involved to try to do it well while being a producer/DP/directopr/Cam Op
    and there are too many pros out there who are so talented like Alex. Just hire them.
    When I started, most of the camera guys owned the camera and audio package. Part of it was probably financial, because you got all the gear rental fee and part was convenience. You didn't have to get an audio guy that owned their own package. You were self-contained. This was especially important in the news world.

    On a side note, I actually like doing (basic) audio (not playing double duty being responsible for both). It's a nice change of pace, sometimes.


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    #24
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    Quote Originally Posted by puredrifting View Post
    The more I have worked in both production and post sound, the more I think that video and DP type people shouldn't be doing sound. It's just such a different animal than
    camera, grip and lighting. I pretty much am only doing sound for one or two person interviews these days as it's simple and having a pro is often good insurance for simple
    interviews, but clients won't usually pony up for a sound mixer unless it's a high profile interview.

    An exception might be if you are like R&G and own a lot of gear, it would make sense to own your own high end sound package as you can make the kit fee and rentals IF you work
    with pros who are okay using your gear?
    If they're sound mixers themselves, they'll already own their own sound package and won't want to use yours. Thus you won't be getting back that rental fee.

    Quote Originally Posted by puredrifting View Post
    Or if you are a true multi-hypehnate and really know location sound and occasionally do it for others, then it make sense. I don't see
    the need for much beyond a Mix Pre 3 though for 95% of Video and DP people, the job is simply too involved to try to do it well while being a producer/DP/directopr/Cam Op
    and there are too many pros out there who are so talented like Alex. Just hire them.
    Yup, the MixPre3 is perfect for videographers/cameramen, it is EXTREMELY compact, low priced, and if you're going above 3 channels of audio then you should probably be bringing in a professional anyway.

    Quote Originally Posted by docmoore View Post
    I would recommend the 10 over the MixPre 3 or 6 as it has BNC timecode in and out and a proper locking
    power port. The 8 XLR inputs are nice and it runs for hours on a NP-960 battery. Internal SD card
    and the ability to backup record to a USB thumb drive. It really is worth the differential
    from the MixPre 3 II and well below a 6xx or 8xx recorder.
    Yes, if someone wishes to specialize in sound then 100% get a MixPre10 (or Zoom F8n) over a MixPre 3 or 6.
    The MP10/F8n are vastly superior, but also overkill for the average videographer/cameraman, the MixPre3 is more compact and is sufficient.

    Quote Originally Posted by Jim Feeley View Post
    And don't all the MixPre II series can back up to thumb drives? Or does the 10 do so in realtime? https://www.sounddevices.com/mixpre-...parison-chart/
    Yes, they're backups, and not true simultaneous recordings. Thus any errors on the SD card will be there on the USB thumb drive too!

    If you don't want that, then you need to jump across to the Zoom F8n instead, or step up to the Sound Devices 8 Series.
    Am a Sound Recordist in New Zealand: http://ironfilm.co.nz/sound/
    Follow my vlog and adventures in sound: https://www.youtube.com/c/SoundSpeeding


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    #25
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    Quote Originally Posted by IronFilm View Post
    If they're sound mixers themselves, they'll already own their own sound package and won't want to use yours. Thus you won't be getting back that rental fee.
    Not 100% accurate.

    I have worked on several jobs where it was made clear that they were not paying for my kit, and that they were sending theirs. Some of those are production companies that have their own gear warehouses. Some of those are news stingers who still prefer to own their own camera/audio package as a one-stop-shop. I don’t like working on those shows because the sound kits are often much bigger than needed and much heavier than I prefer. There’s also the part where I’m not getting the kit fee for those. And I know my kit: I know how it is set up, I know how everything works together, and I know that it’s all in tip-top shape. Kits that come in with production are often beaten to hell and full of quirks and issues (I once got a bad batch of NP-1s with a provided kit... that was fun, changing batteries every 20 minutes). That stuff is aggravating to figure out on the run.

    One of the cable network shows I’m currently on, we have two mixers on the show running completely interchangeable kits. The other mixer brings up both kits with him. In that case, it’s because I’m the mixer and the other guy is the sound supervisor, and he has access to two identical bags.

    So even though my preference is always to use my own kit, there are times where my choice is either use the provided kit or not get the job.
    Knoxville-based location sound mixer.

    Instagram @sonolocus


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    #26
    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by IronFilm View Post
    If they're sound mixers themselves, they'll already own their own sound package and won't want to use yours. Thus you won't be getting back that rental fee.
    Not always/exactly true. I know some guys that will not work without their gear, but most everyone I work with will work with my gear, because we have existing relationships, I have great gear in great shape and I will hire them with theirs sometimes, too. Even one of my friends who mixes on national commercials and narrative will work with my gear(it may also help that what we are usually doing-while still important- is vastly simpler and with less pressure than his commercials and narrative work).


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    #27
    Senior Member ahalpert's Avatar
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    Quote Originally Posted by Alex H. View Post
    I have worked on several jobs where it was made clear that they were not paying for my kit, and that they were sending theirs. Some of those are production companies that have their own gear warehouses. Some of those are news stingers who still prefer to own their own camera/audio package as a one-stop-shop. I don’t like working on those shows because the sound kits are often much bigger than needed and much heavier than I prefer. There’s also the part where I’m not getting the kit fee for those. And I know my kit: I know how it is set up, I know how everything works together, and I know that it’s all in tip-top shape. Kits that come in with production are often beaten to hell and full of quirks and issues (I once got a bad batch of NP-1s with a provided kit... that was fun, changing batteries every 20 minutes). That stuff is aggravating to figure out on the run.
    I think there's a rule somewhere that the less you get paid, the more work you have to do


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    #28
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    Quote Originally Posted by Run&Gun View Post
    Not always/exactly true. I know some guys that will not work without their gear, but most everyone I work with will work with my gear, because we have existing relationships, I have great gear in great shape and I will hire them with theirs sometimes, too. Even one of my friends who mixes on national commercials and narrative will work with my gear(it may also help that what we are usually doing-while still important- is vastly simpler and with less pressure than his commercials and narrative work).
    I think you'll tend to find that is the exception, not the general rule.
    Am a Sound Recordist in New Zealand: http://ironfilm.co.nz/sound/
    Follow my vlog and adventures in sound: https://www.youtube.com/c/SoundSpeeding


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    #29
    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by IronFilm View Post
    I think you'll tend to find that is the exception, not the general rule.
    My two plus decades of doing this tells me that guys refusing to work without their audio gear is actually the exception. But there are lots of variables. 10 years ago I didn’t work without my gear. Things are different today...


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    #30
    Senior Member puredrifting's Avatar
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    Quote Originally Posted by Run&Gun View Post
    Not always/exactly true. I know some guys that will not work without their gear, but most everyone I work with will work with my gear, because we have existing relationships, I have great gear in great shape and I will hire them with theirs sometimes, too. Even one of my friends who mixes on national commercials and narrative will work with my gear(it may also help that what we are usually doing-while still important- is vastly simpler and with less pressure than his commercials and narrative work).
    Same here. It's 2020 and most of the sound mixers I work with, if the choice is staying home and watching the paint on the walls age, or going out and getting their day rate using someone else's gear, they'll work with someone else's gear as long as it's not too crappy. I certainly do that with
    cameras, I have a pile of cameras but I get hired all of the time with rented Arris, REDs, Sonys. I don't care, this is work, not making art, where I must have my own brushes, at least on these type of projects. I DP and directed a four camera live stream last night that, amazingly raised
    $4.5 millon dollars for a good cause. The studio we used had a pile of those cheap BMD studio cameras, the first gen ones. Other than I had to use a crap ton of light, (M43 sensors), the images looked decent for live TV. I turned off their grid and lit everything from the floor with my own lights
    and I just lit to these cheap, outdated cameras. I would have rather have used my cameras but no budget and the client needed to use the studio's cams.
    It's a business first and a creative outlet second.
    G.A.S. destroys lives. Stop buying gear that doesn't make you money.


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