Best cheap mixer/ preamp? Mixers 101 help and workflow?

Clint Nitkiewiz Hernandez

Clint Nitkiewiz Hernandez

Well-known member
I am looking to add a mixer to my setup, but I have not seen many topics posted about this.

Does anyone know if this would be a good mixer for the hvx200 camera, using a shotgun mic?

http://losangeles.craigslist.org/lac/msg/699835902.html

I see it has an xlr input for the mic.
The guy doesn't really know what he has so I pass this question on to you guys.

Will that mic input, be able to send it via xlr output back to the hvx?

What are some scenarios when one would tweak the settings in the mixer?

Boom guy and actors are set, everythings ready, does the sound guy ask the actors to speak as if they would read their lines, if the audio seems low on the meter on the mixer, he increases the gain, and vise versa if it is too high? Do this instead of asking the actors to speak louder?

What are some of the most common the situations that the knobs on the mixer for the mic and output would be used, for example getting rid of noise, etc.
 
Clint Nitkiewiz Hernandez said:
I am looking to add a mixer to my setup, but I have not seen many topics posted about this.
Click to expand...

Are you sea-real? :)



Will that mic input, be able to send it via xlr output back to the hvx?

Yes


What are some scenarios when one would tweak the settings in the mixer?

Except a mild high pass do not touch anything but the gain and faders


Boom guy and actors are set, everythings ready, does the sound guy ask the actors to speak as if they would read their lines, if the audio seems low on the meter on the mixer, he increases the gain, and vise versa if it is too high? Do this instead of asking the actors to speak louder?

Yes...most of time. "Let me check your levels" If you have a high and low speaker on a boom then you try and split the different with the mic; getting close to low talker and backing off slightly on loud talker.


What are some of the most common the situations that the knobs on the mixer for the mic and output would be used, for example getting rid of noise, etc.

Don't touch anything but gain. Your headphones are not accurate enough to be messing with the frequencies.

cheers
 
...however, this type of mixer is not a film-production-type mixer, and may or may not work for you. It requires AC power, and is not very mobile. You may want to check out "field mixers" or "production mixers", such as those by Sound Devices, Shure, PSC... I think anything cheaper than a Sound Devices production mixer won't get you much benefit over the FR2LE alone.

http://www.sounddevices.com
 
Ullanta, but syncing will be a real issue correct with the fr2, that is why I think I will just adjust to make sure everything is good before recording to the hvx200 what do you think? For the unexperienced guy who will be holding the boom pole and tweaking the gain meters, I think the fr2 and me having to sync everything in post will be a big pain, agree? I am recording to the p2 cards not tape, so I will be dumping and resetting timecode every 8 minutes, unfortunatley I think I may have to sell the fr2 to get a mixer, do you think that would be wise? And if so would you consider this one? http://losangeles.craigslist.org/wst/ele/694084740.html
 
That is a mono mixer and is not really baggable if that is what you are looking for (very heavy and controls in back). The Mackie is fine for film production work; aka cart mixer, as opposed to a bag mixer. You do need AC and will want a cart for convience. Proper audio carts start around $1000 but you can find some cheaper alternatives below $500.

If you got lights you should have AC and a cart mixer can be an excellent choice for movie work; very low cost per channel compared to bag mixers. I really think video peole trying to do features do a dis-service to themselves when not consider this option...IMHO. You will find it a huge sayings in batteries over the course of a feature too (9v in particular can run way over $100 for a movie).

HVX can't send or receive TC except from other HVX; TC not a really an issue in syncing there (there is a complicated solution but it's not cheap or for the lighthearted).

Cheers
 
Clint Nitkiewiz Hernandez said:
....
What are some scenarios when one would tweak the settings in the mixer?

Boom guy and actors are set, everythings ready, does the sound guy ask the actors to speak as if they would read their lines, if the audio seems low on the meter on the mixer, he increases the gain, and vise versa if it is too high? Do this instead of asking the actors to speak louder?

What are some of the most common the situations that the knobs on the mixer for the mic and output would be used, for example getting rid of noise, etc.
Click to expand...

"Tweaking the knobs" won't get rid of noise - a quiet location and tight on-set discipline does that. The mixer's low-cut filters can reduce the very low frequency rumbles that sometimes arise from handling the mic boom or from wind blowing over the mic outdoors. Levels are pre-set roughly during the on-set rehearsals and scene blocking. The whole crew has their role to play - camera, sound, and boom - their moves during the scene are just as choreographed as are those of the cast so the rehearsals are for them too. Never ever would the sound person say anything directly to the actors about their delivery, asking them to speak louder or softer - that's the director's job, not his. Any concerns he has about whether he's able to properly record a particular scene - an actor is mumbling, for example - are to be discussed with the director, not the talent, and it's the director who makes the final decision. The soundperson's job is to have the skill to know how to record properly whatever performance the director requests from the talent, whether it's loud, soft, stationary, moving, or whatever. Similarly, if something interferes with sound during a take, an airplane flies over or someone drops something off-camera or an actor is not picked up clearly (and THAT is why someone must always give their total attention to monitoring sound) the soundperson does not call 'cut' or call for a retake - after the scene is over he brings it to the director's attention and it's the director who decides whether to do another take.
 
Ullanta,

I need to address your post - this mixer is a fine mixer for film production work - I used this model for about a year with little or no problems. Yes, it requires AC power, and it needs something to put it on (can't easily be worn). Wabbit hit it on the head - many on this forum make the presumption that ENG-style mixers are the only way to go - I've been saying for a while now - this is not the case. You can purchase a very good sit-and-mix mixer for significantly less than the good baggable mixers.

Clint, if you have power on your set, this would be a great mixer for you to start with. And, you don't have to buy an expensive cart to put it on - one of my early carts was a wire shelf unit from Home Depot that cost all of $30. It was a great starter for me (my chinchilla cage now sits on it). :-) The Rock N Roller's with shelf kits are also a great option (what I'm using now).

Phil
 
ptalsky said:
Ullanta,

I need to address your post - this mixer is a fine mixer for film production work - I used this model for about a year with little or no problems. Yes, it requires AC power, and it needs something to put it on (can't easily be worn). Wabbit hit it on the head - many on this forum make the presumption that ENG-style mixers are the only way to go - I've been saying for a while now - this is not the case. You can purchase a very good sit-and-mix mixer for significantly less than the good baggable mixers.
Click to expand...


Thanks! In writing my post, I was intending to discuss the convenience vs. price issues (hence the "may or may not work for you") but I see that by the end it sounded like I was saying that at least a Sound Devices unit was necessary. Not what I meant! In fact, I've often in the past posted exactly your point (that a non-baggable mixer can often provide similar sound quality at a lower price). I've done a lot of work in production environments with a desktop mixer. However, once I acquired some decent baggable stuff, I did see many advantages (for 1-2 channel production, especially!).

However, my final point I think remains valid - specifically in the case of the Fostex unit, it would take a significant chunk 'o change to improve on convenience and sonic quality for 1-2 channel recording.
 
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