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Old September 12th, 2007, 01:16 PM   #16
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I was referring to the ProMix 3's ability to have switchable levels on both its inputs and its outputs.

To hear the tape return on both mixers, it's a switch. Pulling out the knob is used on some Shure mixers.

I mentioned using a separate headphone amp because when the XL1 is recording using the RCA connectors, the only audio output from the camera is the headphone out. This output is very weak and if you also want the camera op to wear headphones, then a separate headphone amp is needed to give multiple outs and to raise the signal before sending it to the camera-return-input on either mixer.
This would be helpful for both mixers; the ProMix 3 because its headphone amp isn't as clean as the MixPre, and the MixPre because when supplying 48V phantom and powering the internal headphone amp at a high level, the low internal power from 2xAA batteries can result in unstable audio with some mics.

Last edited by Jay Massengill; September 12th, 2007 at 01:46 PM.
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Old September 12th, 2007, 05:34 PM   #17
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Yep. That's true.

Still, I'd much rather have a MixPre for the sound quality.

Ty
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Old September 17th, 2007, 07:59 PM   #18
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I was looking at ebay, and it looks like I could buy a used Shure FP33 for about the same money as new MixPre. The Shure seems to have more features, but I wanted to ask the question one last time before I make a purchase.

Used FP33 or New Mix Pre. Which would you take if you could have only one mixer.

Thanks everyone for the great feedback
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Old September 17th, 2007, 08:35 PM   #19
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MixPre. Period.

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Old September 18th, 2007, 06:29 AM   #20
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"You have an XL1. If that's like my XL2, the XLR inputs are mic level, NOT line. For you, I think a Sound Devices 302 has the most bang for the buck.

You can use the MixPre if you get the custom output leads that Sound Devices sells that knock the line level down to mic level."

Hi Ty,

Why not go in the RCA's at line level and bypass the pre-amps? (Assuming the XL1 is same as XL2). I know it's unbalanced and RCA's aren't always as secure as XLR's but I feel that is the best way when working with the XL2 when coupled to a good field mixer.
Keeps the quality highest by feeding at line not mic level and avoids the second set of pre-amps at the entrance to the XL2.
Unbalanced at line level is less of a concern and not the devil which unbalanced circuits are desribed as a lot these days. I've found balanced circuits can throw up shenanigans as well.

Shame the line level in's are not on balanced XLR all the same.

Regards
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Old September 18th, 2007, 06:41 AM   #21
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Hello Jimmy,

It's a dodgy thing as you describe, especially if you're working with a hand held shooter who's moving around a lot.

I have had success with unbalanced operations with other equipment, but always in controlled environments.

They should just make a law that Mic/Line XLR inputs are always properly designed. (Like that's going to happen.)

My 442 mixer has mic, -10 and line level outputs, all switchable. I occasionally get jobs where I'm feeding a consumer deck of some sort and the -10 comes in very handy there.

Regards,

Ty Ford
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Old September 18th, 2007, 10:07 AM   #22
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Nordic?

Quote:
Originally Posted by Ty Ford View Post
...

My 442 mixer has mic, -10 and line level outputs, all switchable. I occasionally get jobs where I'm feeding a consumer deck of some sort and the -10 comes in very handy there.

Regards,

Ty Ford

Saw the discussion on RAMPS the other day about the 442 Nordic versus the 442 standard. Which do you have, hwat do you prefer, and why?
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Old September 18th, 2007, 08:38 PM   #23
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regular. It IS a little weird for me because the yellow and red lights of the level display light up before you're in trouble. Visually it freaks you out. Monday I had a guy on a crew ask if the level was OK because he saw the red. I think I'd have kept it green up to +18 and then gone red, but after you get used to it , it doesn't matter.

Regards,

Ty Ford
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