[Allen Cavedo]

Wow, a ton of advice here, all of it good but a lot to digest. I think some of the problems you had were not only level matching but also impedance matching, but let’s not get crazy at this point!

I have a pile of Sound Devices pro audio gear and know exactly how to do what you want using that gear. But what would I use if I did not have that SD gear? I would try my TASCAM DR-100 mkII recorder. I bet $10 that recorder could get an excellent recording, why? Because it has real Line inputs on XLR connectors (not fake Line in’s like on a Zoom H4n), it also has a stereo 3.5mm Line input, take your pick. It also has a real limiter (not an Automatic Gain Control but it also has that if you want although not recommended for use on your application but maybe, depending. I know that is vague so you will have to experiment as I would). The limiter sounds pretty good if you set the input level correctly. Most board mixers I’ve seen have RCA Tape Outputs which should work into a Line input although you will need a lot of gain, or try Mic level with gain set low (there are 3 Mic gain settings in addition to the gain knobs).

So I would connect the Mixer RCA Tape outs to the DR-100 Line input using either the XLR (switched to Line) or 3.5mm Line input depending on what cable you get (get both). Turn on the Limiter to prevent unexpectedly loud stuff from clipping, and set the gain so the loudest sounds, be they music or the intros and toasts, peak before the limiter starts limiting (around -6 dB). The DR-100 has huge semi-pro flexibility and that is why I ditched the old H4n a couple years ago.

https://www.bhphotovideo.com/c/product/832911-REG/Tascam_DR100MKII_DR_100mkII_Portable_Linear.html

[Allen Cavedo]

Typically you would use the 552 Direct Outputs from the 4 Mic Inputs to connect to the 744T line inputs. You will need 2 regular XLR cables and 2 XLR to TA3 cables to do this.

You can set gain and fader levels on the 552 but only the gain (trim) level affects what goes out of the 552 into the 744T. The 552 channels’ Gain, HPF, and Limiters are in the Direct Output signal chain, the Fader is not. The inputs on the 744T would be set to 0 dB line level. Best to connect up the channels and turn on tone at the 552 and set the 744T input levels so 552 out on meter at -20 dB equals 0 dB on the 744T meter. On the 744T Input 1 and 2 turn off 48v, HPF, and limiters as that will be handled by the 552. The 744T will record ISO tracks only, no mix track as there are only 4 tracks on the 744T. You can run a mix out of the 552 L and R XLR outputs to a camera if you want.

You should monitor the ISO’s from the 744T using the HP monitor knob settings (and you may need to set up A,A B,B C,C and D,D settings on the HP settings menu). You would monitor a mix (if you do one) from the 552 HP out.

[Allen Cavedo]

The pros use shotgun windscreen rain covers like:
https://mymic.rycote.com/products/accessories-parts/duck-raincover/

and this:
https://www.bhphotovideo.com/c/product/556123-REG/Remote_Audio_RMAN_REM_RMAN_Rainman_Boom_Mic.html

Also see this:
https://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/509170-recording-film-rain.html

The pro post guys can do amazingly good ADR these days. There are software tools that do lip movement to audio dialog matching by stretching and shortening audio syllable by syllable. Also if there is a guide track recorded in production VocALign can adjust an ADR performance to perfectly match the production track even if the guide track is noisy from rain.

[Allen Cavedo]

Yes. I had a H4n for a few years. Always formatted the SD card before every new job (and set the clock). Never had any file problems. I sold it last year and replaced it with a TASCAM DR-100 mkII.

[Allen Cavedo]

I use a Sennheiser MKH8050 supercardioid or depending on rear lobe pickup of HVAC noise from the ceiling a MKH8040 cardioid on a boom pole in a C-stand. Always sounds great, better than a lav because it brings room perspective to the audio. I will also run a Sanken COS-11D lav if the producer insists, but is usually unneeded.

[Allen Cavedo]

Even though SD serviced your unit, let me answer as you asked using my MixPre-D: “I notice when I have the headphone level set to 0db and have no mic connected or a mic connected and not set to phantom power (my mic needs phantom power) I start to hear a little noise/hiss with the gain pot set to 11 o-clock and hear noticeable noise/hiss from 1 o-clock to max gain.”

Using no mic plugged into Input 1 with 48v turned on, I got the same results as you did, meaning yes there is normal preamp self noise at 11 and 1 o’clock. Using a Sennheiser MKH8020 (very low self noise) I heard similar self noise as you did, only probably less due to the mic I used.

The point is that all preamps have self noise, the more you pay, generally the less there is. SD uses excellent components and make great preamps designed for battery powered field use. The MPD mixer is without question very good in all respects. Hard to find a field mixer with better specs or performance. The SD 302 is slightly better on paper but I doubt you could hear the difference. You have a best-in-class professional piece of gear, quit worrying, it’s awesome.

Little known fact: you can buy a $30 Apple USB Camera to Lightning adapter, with a short USB cable plug it into the USB output of the MPD, plug the Lightning connector into an iPhone, fire up RodeRec or other recording App, and record awesomely high quality sound! Also only way I know to get stereo sound INTO an iPhone.

[Allen Cavedo]

This is an in depth review of the H4n from a technical viewpoint.
https://www.kenrockwell.com/audio/zoom/h4n.htm

This is a review where Ken discusses the 24 vs. 16 bit setting which applies to the DR100 and even more so to the H4n.
https://kenrockwell.com/audio/tascam/dr-100mkii.htm

I recently upgraded to the DR-100mkII from the H4n.

The H4n was designed for musicians singing and playing a guitar which is why there are so many music related features. But the H4n when set up properly is just fine for your intended use.

[Allen Cavedo]

I meant to say, when setting record level for the mic, press REC once to go into standby mode. This turns on the pre-amps and the recording system and headphone output, but does not record yet. position the mic above the talent’s head just out of frame, point mic at chest just below mouth. Have talent speak normally and adjust record level input so the meter bounces around -12 dB. Have talent speak as loudly as possibly will speak during interview (they always speak louder than in a test) and set max level so it does not go above -6. Press REC a second time to roll sound (record). Press the little square to STOP. Press > to play back recording.

You will have a nice recording.

[Allen Cavedo]

Nice mic.

Regarding set up for the H4n, read the manual, seriously, read it twice, then you become the expert.

I have used an H4n for about 4 years off and on mainly as a backup unit but it has saved my rear on several occasions in the field.

Press the INPUT 1 2 button so you can use your external mic in the XLR mic connector.

Select MODE STEREO.

I usually set FREQUENCY to 48kHz sample rate and 24 bit recording for anything I did because I usually ran a video camera of some sort and 48 kHz is what you want there. You can safely run at 16 bit recording because the mic pre-amps and inherent noise floor of the H4n do not provide 24 bits of resolution so why waste the file space? A 16 bit and 24 bit recording will sound exactly the same quality-wise. 24 bit recording is only useful when the electronics support that huge dynamic range (Sound Devices 702 for example) and the H4n does not.

REC SETTING -> REC FORMAT -> WAV48kHz/16bit, unless you know you want to record MP3 files for web use, then use 128 or 192 kbps.

Also a good idea to turn on Limiting to prevent signal clipping when unexpectedly loud sounds occur. INPUT SETTING -> COMP/LIMIT -> LIMIT1 or 2.

You will need to set PHANTOM to +48 to power the shotgun mic from the XLR input. You will either need a good supply of AA batteries or use the H4n AC power supply. Lithium AA or rechargeable AA Sanyo Eneloop batteries work well. But if you are only recording for an hour, you will be fine with one set of good new batteries.

Set INPUT SETTING -> MONO MIX ON if you want to have the one mic channel recorded in both Left and Right channels. You don’t need to do this but typically it makes listening and editing easier.

[Allen Cavedo]

Your question: 6.

Can I connect the MixPre-D to a 302 for 5 inputs to two channels output? -> YES.

What cable do you suggest for this? -> Sound Devices XL-3 cable. MP-D 3.5mm TAPE OUT into 302 TA3 MIX IN.

How does the audio tech monitor each of the 5 inputs? On the 302 you can have the LEDs monitor each input at a time or the stereo output. -> You will hear the MP-D outputs on the 302 mix bus, so you will hear all 5 input channels from the 302 HP selector. You cannot solo the MP-D channels.