[Tom Grushka]

This may be unrelated, but I just updated to 1.2 on my MacBook Pro (because playback in the prior version I had installed was choppy).

I’ve been browsing footage just fine for awhile in 1.2. Then, quite suddenly, Catalyst Browse stopped loading MXF and AVCHD clips! I get perpetual spinning arrows loading any clip.

I’ve wiped preferences, rebooted, deleted the Application Support folders, reinstalled the app. No luck!

This has nothing to do with folder structure, etc. I had no problems before and haven’t changed the folder structure. Besides, MXF files are self contained, and the sidecar XML files are just metadata, certainly not required for playback or editing.

What is this, Sony? All I’m trying to do is go through my footage to log segments I later want to use. Maybe I’ll just load all my clips into Premiere and forget it.

How could such a simple app, designed for a very specific use, have such fundamental issues?

Sony, please fix. Thanks.

[Tom Grushka]

I will likely be using the direct-to-camera audio in most scenarios, and the direct-to-digital as a backup, in case something happens to the camera audio.

I also found the XH-A1 adds only 9 dB of noise floor as compared to the MixPre-D direct-to-digital. This may be critical in very quiet situations, hence I’ll have the digital backup, but totally unimportant with louder audio. I’m making a documentary, so the audio quality is not cinematic, but it seems I’ll get very, very good audio with my setup.

I’ll probably be syncing manually, with sync claps, if and when I need the digital version of the audio.

[Tom Grushka]

For one thing, it’s a lot better than the Sony PCM-M10 I was going to use as my backup recorder — I didn’t measure it, but it probably lost at least a half second of sync over an hour.

What if I were to set my XH-A1 outside in the cold, and the MixPre-D inside, or vice versa? Would that be an adequate test?

[Tom Grushka]

Hey guys, been working with Stephen at SD on this. He’s been very responsive and helpful. Here’s what I’ve learned so far:

1. It is NOT possible to hear the USB output and the mic input on the MixPre-D at the same time. That means — no zero latency monitoring. Even aux analog out from the computer will not work, as you cannot hear the aux (tape) in and the mic in on the MixPre-D at the same time. Ugh.

The only solution would be (a) software monitoring, or (b) using the MixPre-D as the preamp in front of a different computer interface that would provide hardware monitoring. Not elegant, but for now, I can live with this. I’ll just have to use my RME FireFace 800 (which I wanted to sell) as the interface if I need that.

2. In regards to the tape outs — since I want to record directly to camera (XH-A1) with a digital audio backup, I like the MixPre-D’s “plug and go” way of working — that is, no level fumbling on the outputs. Stephen said — “With the Pre2, you would have to find your unity setting so that it passes the mic inputs through the outputs without applying attenuation or gain. This flexibility is nice, but anything coming out of the AUX outs will need to first be processed through a computer unless being used in stand alone mode.” In other words, apparently I couldn’t drop the Pre2 in my bag and start a shoot without “checking and double checking” it. OTOH, with the MixPre-D, just plug stuff in, turn it on, and the only level to deal with is the preamp level — nice.

3. I did a sync test with the Sony PCM-M10, which is getting a love fest on TapersSection. Yes, it’s line input, though not that sturdy, is very low noise. However, its digital clock is, like, “What the heck? Sony! Dudes! Where did you get the digital clock for the M10… from a cheap cell phone?!” Much cheaper recorders can have a more accurate digital clock than this thing. Here’s what I did:
a. Rode NTG-3 into the MixPre-D;
b. MixPre-D into the Mac / Soundtrack Pro via USB;
c. MixPre-D tape out to the Sony M10;
d. MixPre-D XLR out to the XH-A1.
I recorded for over an hour straight onto a 63-minute tape. I found that the MixPre-D’s digital clock (via USB into Soundtrack) kept very close time with the XH-A1 — only a frame or two difference over an entire hour!!! However, the M10 quite noticeably lost sync after less than 10 minutes. Thus, I decided to order a Marantz PMD-661 because of its digital input, which will sync with the MixPre-D, which, IMHO, has a very good digital clock.

Here’s the killer question(s):

Now that I’ll be recording digitally, and thus won’t really need the 1kHz reference tone, and picking up extra “bulk” with the larger PMD-661 chassis to boot, should I look again at the USBPre2? Am I wrong that it is not a “plug and go” device like the MixPre-D? Has anyone used the USBPre2 as a field preamp / “mixer” (not really a mixer, but…) for film sound, running the Pre2 into both a digital recorder and a camera?

Does the USBPre2’s clock line up nicely with video like the MixPre-D’s?

Or should I just stick with the MixPre-D?

Thanks again guys.

Tom

[Tom Grushka]

Hi Ty! Thank you.

Yes, I did try that, as well as switching to 44.1k sample rate. I tried playing iTunes while having my Rode shotgun connected to input #1 on the MixPre. When I push the HP (headphone) knob, it cycles between monitoring the mic (mixer output), then the tape/aux in, then the USB output, as the manual suggests, but never any two of them at a time, unless I route the tape-in into the mix.

I’ve seen other discussions on the MixPre-D vs. the USBPre-2, but I gathered from these that the limitation was that the MixPre-D’s USB output could only go to the headphone jack, as opposed to the balanced outputs (USBPre-2), which is fine with me.

I guess I’m asking about “hardware monitoring” more than “duplex” — my mistake. The MixPre-D’s input is received on the Mac while it is also set as the output, it’s just not mixed in the headphone out.

Do you know of a way to achieve real-time monitoring on this device, or would I need the USBPre-2?

And if I did trade it, is the USBPre-2 as roadworthy as the MixPre-D? (I’m aware of the lack of internal batteries, but other than that…?)

[Tom Grushka]

Well, I found out it’s more than just Sony. Panasonic is also making “screw-less” tapes now.

For some reason, there is pressure being put on us to drop the tape workflow, just as there was pressure for photographers to drop film in favor of digital.

The tape flow is not going away, people, just like pro photographers still use film and Hollywood studios still shoot on 35mm.

This is just a ploy to the consumer to push the consumer to buy new equipment, and it’s working. It’s working quite well … but it won’t work for me, I’m not switching.

[Tom Grushka]

Yes, unfortunately, I believe Sony has cheaped us out (if that’s a word).

I shot an event last night and we needed an extra tape. One of my camera guys had a red Sony Color Collection — it also has the “ME” logo and is probably a little old because he reuses tapes. His tape has the screws. The ones I bought just a month ago do not.

I FINALLY got the case open. (Wish I made a YouTube video… maybe I’ll do that with my remaining blank.) I had to pry it open destructively. Ahhh, yes — a “snap together” case. It probably cost Sony more money to change the plastic molds than they saved from leaving out four tiny screws on thousands of tapes.

Honestly, I believe it’s a ploy to force the consumer into using a “disposable” product — if the tape breaks, (1) buy a new one, (2) pay Sony’s service center $50 to repair it for you, or (3) open it yourself and have to cannabilize another tape just to use the cartridge.

Bad move, Sony … I’m switching to Panasonic tape. Just ordered some… and will report back if they have the same design flaw… hope not.

[Tom Grushka]

So, will Sony fix it for free, since it’s their faulty design?