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On September 8th, Sound Devices rocked our world with their latest product release: the 552 Mixer/Recorder. Evolving from the esteemed 442 mixer, the 552 has 5 mic/line inputs, all with pre or post fader direct outputs, plus two other very notable additions: a built-in stereo recorder, and four channels of AES outputs.
The two main XLR outputs may be selected as either analog (two channels, L/R) or digital (AES, four channels). When used as AES outputs, the sources of the four channels are selected from the setup menu.
While the 552 does not have an internal timecode generator, it will accept external timecode for its recorder (via the return-B connector). The timecode function is very simple as it auto detects all common frame rates.
Perhaps the most important feature of the 552 is its similarity to the 442. When you consider upgrading to the latest and greatest industry toys you probably hold your breath and wonder…will this work in my current system? Do I need new cables? What about my production bag? With the 552, all of these remain the same. Your 442 direct out, tape out, breakaway, wireless send, and main output cables all fit the 552. The physical size of the 552 mixer is identical too, yet lighter than the 442. Sound Devices added inputs AND dropped weight by using carbon fiber materials in the box’s outer shell.
To make full use of the new functions of the 552, you will need to add a few accessories. Timecode input (TA3F), and link (TA5) are new additions, and we will have the corresponding cables and adapters. Since the 552 records to SD cards, you’ll need to throw a few sizes of those in your kit too.
So what do you do with your old 442 mixer? Of course, you could keep it and link your 442 and new 552 together for mixing 9 inputs, but chances are you are wondering what they’re worth on the used market. Through our consignment program we recently sold 2 fantastic 442 packages for $2000 each. Now, with the 552 becoming available, we do expect to see more used 442s, but I believe that price will hold for a while. So if you don’t need both mixers, the sooner you send your 442 in for consignment, the more you’re likely to get for it. The 702Ts will still be very viable on the new and used markets as they have a timecode generator with jamming capability while the 552 requires an external timecode generator.
The Sound Devices 552 gives you increased high quality mixing capability for the demands of crazy reality shows and news magazine madness, and the built-in 2-channel recorder adds transcription and double system sound functionality ideal for commercials and documentaries. All in an affordable package that fits perfectly in the same space your beloved 442 has held for the past 6 years.
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Some really nice features in the 552. I have some questions, as a down and dirty sound guy who's been working in the ENG/EFP field for 22 years.
1. How is the MIC/LINE input selection determined? I don't see an obvious switch. Are there switches on the bottom panel? Is the input trim continuously variable all the way from mic to line level, negating a selection? If so, very cool. If not, and MIC/LINE is selected in a menu, really un-cool.
2. Can the 552 record a WAV and MP3 file at the same time? It would be really nice to have both a usable production track set and a time coded MP3 transcript recording created at the same time, negating the need for an outboard MP3 transcript machine. Is the MP3 kbps rate adjustable, or fixed? If fixed, at what value? Is time code stamped to MP3 files?
3. Where's the automix feature???!!! At 5 channels, how am I supposed to manually mix 4 wireless lavs, while holding a boom pole, and help the camera op backtrack, all at the same time, on a NYC street? Unless the 552 has a third hand to spot the camera op...
4. With so many low-cost, small format, time-code-incapable cameras being used as 2nd, 3rd and 4th cameras on multi-camera shoots, why not include a time code window on the top surface of the 552, so sync points can constantly be grabbed on-the-fly by any camera? I suggested this to SD last year.
This may sound like a pile of complaints-- and they may be-- but I'm looking for products that simplify what can be an extremely challenging, back-straining, cable-entangled mess of a job.
Larry Kaltenbach
NYC area Sound Recordist/Mixer
I can't stress how important the Time-coded MP3 transcription recording is in the Network News Magazine word. If this mixer can get it right, it would truly be a game changer in work flow.
If it's to work properly the mixer needs to supply a mono program mix to channel 2 and an external time-code feed to channel 1 of the SD card recorder. The recorder then needs to have an easily accessible start / stop button and a track addressing feature based on date & time. Basically a built in Edirol.
A built in time-code generator that can be jam synced is nice but still have a way to send record-run time-code from a camera to the MP3 recorder. I now use a wireless time-code receiver to send camera time-code to my Edirol.
Bruce Anderson
Atlanta
Hi Larry,
I'll try to give your questions and comments a good first response, keeping in mind that an actual finished 552 and a complete user manual is not yet available.
1. There is not a hard switch for mic/line selecting. However, from what I can deduce, making the selection is very easy and fast from the front panel; probably faster than a hard switch at the tradition side location. Notice the "MIC/LINE, TONE/PH" switch above the meter. I'll bet our 2009 profits that this switch, in simple combination with the PFL switch on the related input, determines MIC/LINE and PHANTOM power. The selection is then indicated by the LED above each input pot. This is much more convenient than a traditional slide switch, which would require turning the mixer sideways and spreading the bag flap to make the adjustment, then doing it again countless times to see where the switch position is. Multiply this feature times 5, and it becomes a huge advantage over traditional ENG mixers.
2. I don't know if the 552 can record BWF (WAV with a timecode stamp) and MP3 simultaneously. (However, I'll point out that Wave Agent (free download from Sound Devices) can easily convert WAV to MP3.) I agree that an ideal format for an ENG-type transcription file would have mono mix audio on channel 1 and linear timecode on channel 2. If this has not been thought of yet by Sound Devices, I'm sure that they will now consider it. Hopefully, since the audio signals in the 552 are largely routed by microprocessor, this could be accomplished.
3. I have not heard about an auto mixer within the 552, and I doubt that it has one. However, keep in mind that the Wendt X5 has been very popular for many years now, largely because if its 5 inputs. Add to that the 552's input limiters and prefader direct outputs, and the need for an auto-mixer is seriously reduced. According the specs, it seems that the input limiters are close to being "brick wall" limiters intended to prevent peak overload (rather than artistic dynamic range compression). But it is a safe assumption that many of the 552 inputs will be used with wireless mics, which are usually fairly heavily compressed, further reducing the need for an auto-mixer and compressor.
4. Regarding your suggestion of a timecode window in the mixer, it would just be a matter of real-estate (panel and internal chassis space), money, and market demand. What you described is available, but in a bit larger package and 4x the price. For timecode notes within a couple of seconds, a watch set to time-of-day would work well.
Regarding your comment: "This may sound like a pile of complaints– and they may be– but I’m looking for products that simplify what can be an extremely challenging, back-straining, cable-entangled mess of a job." -- With the additional (5th) input, internal recorder, and lighter weight, the Sound Devices fits your criteria, and at an amazingly low price.
Thanks for your input.
Glen Trew
Hi Glen,
Thanks for the response and info. I know this Comment section is probably intended for quick comments, but being that the 552 is one of the few new field mixers to come along in a while, and you're touting it, only a slightly long response can properly address the 552 and ENG/EFP sound needs. My apologies if I'm improperly using this space. I'll beg forgiveness instead of asking permission!
On foot, I currently use Sound Devices mixers-- a MixPre in a fly-weight bag (that completely survived getting run over by a BMW!) and a 302 for everything else, with time-coded BWF backup recordings onto a super-small and light-in-weight Zaxcom ZFR100. The 302 is so amazing and weighs so little that only a game-changer new product will force it out of my sound bag. That said, the following may reflect the needs of other newsy, work-in-the-streets ENG/EFP buyers.
Regarding MIC/LINE switching-- yeah, at closer look, that switch over the meter set sure looks like how it gets done. Agreed-- excellent solution, with the added benefit of instant and constant setting verification per channel via blue LED. Nice.
On the MP3 time-coded transcription-- It's great that Sound Devices, and other manufacturers, offer WAV to MP3 converters, but in the ENG/EFP world where I, and potentially thousand of other possible 552 buyers work, having to convert files in the field, or post-shoot, on our own unpaid time, isn't practical or realistic, due to the amount of time it requires. I used to be able to hand audio cassette transcriptions to producers the moment a shoot was finished-- that was simplicity. Now for transcriptions, even without having to convert files, we ENG/EFP folks have to carry an outboard MP3 recorder (cha ching, another $400 spent), match often-fixed tape-out levels and code levels to them, carry a laptop, or use the producer's, and then have producers calling post shoot with USB stick driver issues. Further, I now need a WhaleMail account (cha ching) to get files out when I get home-- on my own time (cha ching). All this is not simplicity-- it's an immensely awkward process. Simultaneous WAV recordings and MP3 transcriptions with code, built into the mixer, would be a positive step forward. Placing a USB connection on the unit to output the MP3 transcripts would allow users to hand producers cheap $5 USB sticks, the only universal media producers understand-- albeit with the occasional driver issues.
Regarding automixing-- I use automixers (Shure 810's and 410's) to reduce the number of open mics at any given moment, thereby reducing background noise, missed cues, and cross pick-up of subjects on other subject's mics. Input limiters address none of these practical concerns. Pre-fade direct outs imply I'll be carrying an outboard recorder on the street-- I and most other ENG/EFP folks won't be. For years now, I've been able to strap my little 302 to my Shure FP410 4-channel automixer and hit the streets. If the Sound Devices folks (who ironically have Shure roots) placed that functionality into one box I'd buy it.
As for the time code window-- agreed, market demand might be a bit limited, but it can't cost that much to add. I wasn't referring to code note-taking-- I was referring to a sync reference in post. When a couple spare "DV" cameras, none of which offer time-code connections, are recording along with a standard production camera, the DV's often only have the camera mic running, due to time, mobility and budget constraints. A common sync point is required for all these running cameras and is routinely acquired by a rude interruptive hand clap in front of on-camera subject's faces. A time code slate could be used-- but as evidenced by the above practice-- that's already considered impractical. Since the 552 accepts code, why not build in a window for cameras to see it? A momentary "push-to-illuminate" button would make power draw practically a non-issue.
THESE things would would fit my criteria for simpler and lighter, making me buy the product. Camera Ops would stress less, as their sound folks would fiddle with fewer wired-together devices and transcription issues. Producers would appreciate the smoother-running productions. The manufacturer of such a device, and their retailers, would be happy because they'd sell a lot of these devices to users who have already solved these issues with their own annoying patched-together solutions. Everybody would win.
Somebody please take my money-- with an ENG/EFP product that solves real ENG/EFP problems. And please, please-- don't make me wait years for it.
Glen Trew, thank you for being bold and brave enough to create an open product forum like this, for a lunatic such as myself. Sound Devices, I can't thank you enough for making the MixPre and 302.
Larry Kaltenbach
Hi Bruce,
Thanks for your comments.
Your suggestion of MP3 files with timecode on one of the channels (also validated by Larry Kaltenbach) is a very good one. Hopefully this can be done; I'm betting it can be.
I should point out that, from what I understand, the design intention for the 552 was not to be a recorder, but to refine and evolve the aging 442 mixer, which was accomplished with numerous improvements including AES outputs, a fifth input, no increase in size, and a weight reduction to boot. Notice that the Sound Devices website refers to the 552 as a mixer, not a recorder. According to Sound Devices, the recorder feature was added to make further use of the circuitry used for the digital outputs.
I think we are all in agreement that the ability to record MP3 files with timecode on one of the audio channels would be huge for ENG production, in facilitating the transcription process. We'll see what Sound Devices can pull out of their hat.
Glen Trew
Bruce, absolutely nothing to apologize for. On the contrary, thank you for your participation. The Trew Audio Flow forum is intended to be a source of useful information and to stimulate ideas. Your thoughtful input has helped to accomplish both.
Glen Trew
Oooops... I just walked the dog and he informed me I forgot one other thing re: the ideal 552... Cost.
Here's what it costs for my years old 4-channel auto mix capability, with simultaneous WAV and MP3 recording, with multiple outputs...
Sound Devices 302, $1300, Shure FP410 used from ebay, $500, Tascam DM-100 for MP3 w/ code, $400, Zaxcom ZFR 100 for BWF w/code $1225, Whirlwind passive DA's $175.
Total $3,600.
Currently, I get 4 automixed channels AND two more channels manually mixed, at this cost, beating the 552 the by one channel. No EAS/EBU capability you say? That's okay, I've never had a single request for AES/EBU to be fed into a recording device yet. That's the ENG/EFP reality.
Ok, so I don't have a time code slate cost factored in. Add that cost, but then reduce the price considering all this would go into one chassis, reducing manufacturing cost, and I come up with a fair price for such a unit around... ohhh, $3200-$3600. I'd gladly pay that.
Larry Kaltenbach
A timecode display for your DV camera shoots could be addressed by using the Katamount Scriptlink Jr
http://www.trewaudio.com/store/Katamount-Scriptlinc.html
although it does not have a backlight it could be a solution for the DV camera shoots.
Or you could have them shoot the TC window on the A camera and set all the DV cameras to TOD and free run.