Comments

Rory Cooper wrote on 4/7/2011, 10:12 PM
That is a very handy piece, thanks for the heads up musicvid.

I was disappointed with the lack of any audio control on the Sony NEX VG-10,these two can work nicely together.
Byron K wrote on 4/8/2011, 12:12 AM
impressive specs:

Frequency Response:
20 Hz - 30 kHz, +0.2, -0.5 dB (relative to 1 kHz level with 150 ohm source, gain controls set at 50%)
Equivalent Input Noise:

-126 dBu (-128 dBV) maximum mic in to line out, (150 ohm source, flat weighting, 22 Hz - 22 kHz bandwidth, gain control set at 50% or higher, phantom power off)
Input Clipping:

-10 dBu minimum (mic level), +28 dBu minimum (line level)
Output Clipping Level:

Line: +22 dBu minimum with 100k ohm load
Mic: -18 dBu minimum with 100k ohm load
Gain

Mic to Line, max: 66 dB
Line to Line, max: 26 dB
Line to Mic, max: -14 dB
Mic to Mic, max: 26 dB
Mic (TA3) relative to Line out: -36 dB
Dynamic Range:

110 dB minimum, mic input to line output
THD + Noise:

0.05% maximum (from 50 Hz to 22 kHz @ +4 dBu output level)
Common Mode Rejection Ratio:

100 dB minimum at 80 Hz, 60 dB minimum at 10 kHz
Inputs:

Transformer-balanced, 2k mic input impedance, 16k line input impedance
Outputs:

XLR-Line/Mic: active-balanced, 100 ohm output impedance
XLR-AES3: balanced, 110 ohm, two-channel, on right XLR connector
TA3: unbalanced mic-level output, pin-2 left, pin-3 right, pin-1 ground, 200 ohm output impedance
Tape (3.5 mm) Unbalanced, tip-left, ring-right, sleeve-ground, 2.1k ohm output impedance
A/D Converter for USB:

103 dB typical, A-weighted; sample rate selectable 44.1k, 48k, or 96k
Output Noise:

-100 dBu (-102 dBV) maximum (22 Hz - 22 kHz bandwidth, flat filter)
High Pass Filters:

80 Hz or 160 Hz (switch selectable), 6 dB per octave
Phantom Power:

12-volt through 680 ohm resistors or 48-volt through 6.8k resistors (switch selectable)
Limiter:

Threshold adjustable, +8 dBu to +18 dBu, 20:1 limiting ratio, 1 mS attack time, 200 mS release time.
Metering:

16 segment x 2 GaN (Gallium Nitride) meters, peak + VU responding, wicked bright
Power:

Internal: 2 AA alkaline batteries, 4 hours life typical, no phantom power
External: 10-17 VDC via 4-pin Hirose, pin 4 = +, pin 1 = -, completely isolated floating supply
USB Connectivity:

USB class-compliant device, analog input to USB output, USB monitoring in headphones
Temperature:

Operating: -20°C to 60°C, 0 to 95% relative humidity; (non-condensing), storage: -40°C to 85°C
Weight:

0.7 kg, 1.5 lbs with batteries
Dimensions:

43 mm x 94 mm x 140 mm (h x w x d), (1.7" x 3.7" x 5.5")
Optional Accessories:

CS-1 - Compact Production Case

XL-3 - TA3 to 3.5 mm (to DSLR mic input)

XL-CAM - Mount (shown opposite page)
farss wrote on 4/8/2011, 12:33 AM
As always another piece of great gear from SD.
It does seem to be missing one feature for the DSLR market, AGC defeat via 20KHz tone injection. The Beachtek DXA-5D does, I wonder why SD left this out.

Bob.
rraud wrote on 4/8/2011, 6:54 AM
"It does seem to be missing one feature for the DSLR market, AGC defeat via 20KHz tone injection. The Beachtek DXA-5D does, I wonder why SD left this out."
-- I don't know, but who in their right mind would spend $800 on a top shelf preamp/mixer and send the audio to a horrible sounding audio recording devise, except for sync reference, but then what;s the point? That being said, the unbalanced mic level out (via a TA-3 jack) may very well have that feature. Jon and the gang at SD usually does not overlook these things.
musicvid10 wrote on 4/8/2011, 9:10 AM
The use of a TA3 for unbalanced stereo output bothered me a bit when I read the specs. The TA3 cable connectors are delicate, and are almost impossible to repair and solder in the field. Could have done just as well with a 1/8 TRS like the line out (preferably a locking connector).

The only thing harder to solder than a TA3 is a TA4.
rraud wrote on 4/8/2011, 9:23 AM
"The only thing harder to solder than a TA3 is a TA4".
I hear ya MV, Not to get off topic but, how about the Hyrose connectors? SD uses them for the external power input. Even when my eyes were younger and better, they were a Nightmare. The tiny solder pins are about the size of 18ga wire.
musicvid10 wrote on 4/8/2011, 9:39 AM
I hate Hirose power connectors anyway because you can't just walk into a radio shack and get a replacement power supply in a pinch, which is not an uncommon need in concert and stage work.

As far as a universal replacement that is serviceable in the field, shielded 1/8" (3.5mm) TRS (preferably locking), is the best all around miniature mic level connector, because you can change one out in about ten minutes. Having them in my kit has saved my butt quite a few times.

BTW, I think Neutrik combo connectors are the neatest thing since sliced bread.
plasmavideo wrote on 4/8/2011, 9:44 AM
"The only thing harder to solder than a TA3 is a TA4"

Except a TA5 like on the Lectrosonics wireless mics . . . .

Also, practically any connector that is ROHS compliant. It's hard to find one that isn't difficult to get solder to adhere to unless it's gold plated.
Laurence wrote on 4/8/2011, 12:06 PM
I have three questions that I can't see the answers to in their literature:

1/ Does it have direct input monitoring? (I need this unless I buy a way more powerful PC).

2/ Does it work with the Windows and Mac generic USB audio drivers? This would open up things like using it with an iPad 2.

3/ Does it work with the http://usbaudio.com/same excellent driver that earlier Sound Devices interfaces used?[/link] If so, that would be wonderful because that is an exceptionally low latency and CPU usage driver.
musicvid10 wrote on 4/8/2011, 12:11 PM
2 & 3:
No external drivers to install, no software-dependent controls, iPad compatibility would need to be tested.
Laurence wrote on 4/8/2011, 12:41 PM
I'm curious about this because every USB audio device that I've seen that needs no external software driver is limited to 16 bits. That could be different in the latest builds of Windows 7 and the Mac OS though. Usually the built in drive is 16 bit only but way more efficient than external USB audio drivers. One exception is the usbaudio.com drive which is 24 bit and super efficient even with latencies in the less than 5ms range. The best case scenario is usually where it can access the built in audio drive at 16 bits, but can also use a well written external driver for 24 bit use. Of course if the built in usb audio driver now does 24 bits, I would be happy to just use that.
earthrisers wrote on 4/8/2011, 1:54 PM
A probably elementary question:
They say the 1/8" output is specifically tailored for DSLR cameras.

Does that imply that the output connector will NOT work with the 1/8" stereo input on video cameras like the Sony FX-1000, or did they just word it in a way that sounds unnecessarily restrictive?
farss wrote on 4/8/2011, 2:41 PM
It should work but you could be wasting your money.
A lot of the minipin inputs on cameras feed into pretty horrid audio circuits so no matter how pristine the audio you feed into them the results may not be all that great. Your money is probably better spent on an external recorder such as the H4n or if you've got deep pockets one of the ones from Sound Devices.

Bob.
rraud wrote on 4/8/2011, 3:44 PM
These are the links I received from SD upon the MixPre-D's debut a few days ago:
PDF Fact sheet: http://www.sounddevices.com/download/lit/mixpre-d-facts.pdf
Product page: http://www.sounddevices.com/products/mixpre-d.htm