Download ound Devices 664 Mixer/RecorderTutorial

ACM CERTIFICATION STUDY GUIDE
Sound Devices 664 Mixer/Recorder
PURPOSE
PURPOSE
This Study Guide was created to help ACM students to prepare for the Sound Devices 664
Mixer/Recorder Certification exam, which is necessary to reserve and use the SOUND
DEVICES 664 MIXER/RECORDER remote equipment, specifically for class projects. This
Study Guide and the P2 Tutorial provides all essential information on the proper handling and
use of the SOUND DEVICES 664 MIXER/RECORDER equipment, including an explanation of
contents, procedures to demonstrate, and required features and techniques to know.
FREQUENTLY ASKED QUESTIONS
REQUENTLY
ASKED QUESTIONS
Q. When is the ACM Media Center open?
A. The ACM Media Center in KHET 210 is open on Monday – Friday from 8:30 AM - 5:00 PM
unless otherwise posted. (Modified hours will be posted for holidays and special circumstances.)
Q. Do I get to practice on the equipment before I take the certification exam?
A. Yes, it is your responsibility to attend at least one “Open House Practice Session” before
certification. During the “Open House” practice sessions not only will you be able to get handson practice in setting up and “striking” the SOUND DEVICES 664 MIXER/RECORDER remote
equipment, but also a chance to ask the ACM Media Center staff any questions you might have
regarding the equipment and/or the certification process. (Look for the “Open House Practice
Session” schedule sheet at the ACM Media Center Front Desk).
Q. How do I sign up to take the certification exam?
A. After you complete an “Open House Practice Session,” you need to reserve time to take your
certification exam with either your Instructor or a ACM Media Center Staff member depending
on your course instructions. The certification exam takes 1 full hour to complete. (Look for the
“Certification Sign-Up Sheet” at the ACM Media Center Front Desk or with your Instructor).
Q. Can I reserve equipment without being “Certified” first?
A. Sorry, you must have successfully completed the Certification Exam before making any
reservations for the SOUND DEVICES 664 MIXER/RECORDER Remote Equipment. . . NO
EXCEPTIONS.
Q. Do I need to make reservations in order to use the SOUND DEVICES 664
MIXER/RECORDER Remote Equipment?
A. Yes, before checking out the equipment, you MUST make reservations with the ACM Media
Center Staff at least 24-hours in advance, otherwise the ACM Media Center Management and
Staff reserves the right to refuse service to the student(s). Reservations are made on a “first
come, first serve basis,” unless otherwise noted by Professor or by ACM Media Production
Manager due to scheduling conflicts. To prevent such scheduling conflicts, please ask for
assistance at the front desk to make your reservations. Students may be assigned a maximum
time that he/she may reserve the SOUND DEVICES 664 MIXER/RECORDER Remote
Equipment. This allotment will be based on the equipment needs each semester.
Copyright © 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights
Reserved.
Page 1
Q. When are the Remote Equipment Check-In / Out times?
A. All equipment can be utilized by certified students and can be checked in/out during the
following times:
- All check-ins between: 8:30am – 10:00am M-F
- All check-outs between 2:00pm – 4:15pm with a prior 24-hour reservation
- Checkouts with no reservations are not recommended however, if equipment is available it may
be checked out at 4:45pm only. NO EXCEPTIONS.
A grace period of 15 minutes will be given for all Check-Ins and Check-Outs. After the 15 minute grace period, if
equipment is neither returned nor picked up, a penalty mark will be given to the student reserving or returning the
equipment. For check-outs, after the 15 minute grace period, you will forfeit your reservation and equipment will
become available to standby students on a first-come-first-serve basis.
NOTE: Certified student(s) who check-out the equipment is fully responsible for being present to check the
equipment back in.
Remember, you must be certified to reserve, check-out, use, and check-in the SOUND DEVICES 664
MIXER/RECORDER equipment, otherwise, the appropriate student(s) will receive a NO SHOW Penalty.*
Q. What if I can’t make it during the time we made our reservation?
A. If, for any reason you are unable to keep your reservation, you must call or leave a message
(voice mail) at the ACM Media Center Front Desk, 956-0750 to cancel:
1. No later than 1:00 PM on the day of your reservation.
Failure to cancel your reservation will result in a NO SHOW Penalty.*
_____________________________
* Student(s) who receive two (2) “NO SHOW” penalties will lose their reservation privileges. Once a student receives a third (3) NO SHOW, that
student will lose his/her equipment privileges, at the discretion of the ACM Media Center Director, and/or have points deducted from his/her final
grade which will be decided by the Instructor.
664
Portable Production Mixer and Recorder
User Guide and Technical Information
firmware
rev. 2.01 Mixer and Recorder
Portable Production
664
User Guide and Technical Information
firmware rev. 2.01
Sound Devices, LLC
Copyright
© 2015
of Hawaii,
Manoa, Academy
for•Creative
E7556 State
Rd.University
23 and 33
• Reedsburg,
WI • USA
53959Media, All Rights
Reserved.
+1Sound
(608)Devices,
524-0625
•
fax:
+1
(608)
524-0655
LLC
Toll-Free:
(800)
E7556 State
Rd.505-0625
23 and 33 • Reedsburg, WI • USA • 53959
Page 2
+1
(608)
524-0625
• fax: +1 (608) 524-0655
www.sounddevices.com
UDMA
Toll-Free: (800) 505-0625
[email protected]
www.sounddevices.com
UDMA
"SAFETY PRINCIPLES OF THE ACM MEDIA CENTER
1. Never force anything! If something you are attempting to do requires any amount of
excessive force, STOP and review your methods.
2. Never over tighten! This may cause the stripping of threads and/or the use of
excessive force which can damage the equipment.
3. Never leave the Sound equipment unattended! Sound and other video equipment
are prime targets for theft.
4. Never leave the sound equipment exposed to any heat source! (e.g. - in the trunk
of a vehicle.)
5. Never take the UHM ACM Media Center equipment to the beach or near shorelines!
(e.g. - where sand and salt air/spray may contact the equipment) Sand and salt air/spray
can clog and damage the sensitive equipment.
6. Never use equipment in “risky” environments**! (e.g. - any type of airborne devices
or locations including airplanes, helicopters, skateboards, motorcycles, rollerblades,
etc., night time shoots in low lit and/or unsafe areas, and “remote” areas which require
transport of equipment over rough terrain).
7. Never provide Phantom Power to a Dynamic Microphone! This will cause the dynamic
microphone to break, so make sure you perform a mic test to check what type of microphone you
are using.
8. Mixer should always be used in the bag. After inserting the batteries, place mixer in the bag.
It will protect the mixer from any elements and provides a convenient carrying bag.
9. Never store the mixer with batteries inserted. Batteries will continue to discharge even if the
machine is turned off.
10. Always over-under XLR cables! Putting away a cable using the over-under method allows
the cable to rid of small kinks and prevents the wires inside from breaking
_____________________________
** “Risky” environments are defined as, but not limited to, situations and/or locations which present potential hazards to personal and/or
equipment safety. Determination of “risky” locations shall be at the sole discretion of the ACM Media Center Director.
REQUIRED INFORMATION FOR CERTIFICATION
A. Recite the “Safety Principles” of the ACM Media Center.
Copyright © 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights
Reserved.
Page 3
Answer the following Sound Devices related questions:
Setting Up the Sound Devices 664 Mixer/Recorder Unit
664 User Guide and Technical Information
3) Slate Mic Input
4) TA3 Direct Outputs 1-6 / Inputs 7-12
Balanced direct outputs on TA3 connectors. DiTA3 input for connecting external slate microrect output signal is pre- or post-fader and level is
phone. Select between internal or external slate
selected between Line, -10, and Mic levels in the
Setup Menu section OUTPUTS. Tone signal appears
at the direct outputs. These connections can option-
Setup Menu section COMMS/RETURNS. Pin-1
unbalance.
B. Demonstrate how to insert the batteries to the Sound Devices 664 Mixer/Recorder (8)
Insert a NP-1 Battery into the battery holder. Secure the 4 pin cable to the recorder. (9) Next
RightthePanel
Connectors
Controls
follow
battery diagram
drawn onand
the bottom
of the mixer and insert 5 AA batteries + side
down. Tighten the battery cap till secure.
664
1
2
3
4
5
6
7
Portable Production Mixer and Recorder
User Guide and Technical Information
firmware rev. 2.01
13
12
11
10
8
9
Sound Devices, LLC
1) USB
B Connector
X1 •
and
X2 •Outputs
E7556
State Rd. 23 and 33 • Reedsburg, WI
USA
53959
Line, -10, or Mic level selected in the Setup
+1 (608) 524-0625 • fax: +1 (608) 524-0655
adapter).
Menu section OUTPUTS. Pin 1 = Ground,
Toll-Free: (800) 505-0625
www.sounddevices.com
2) Time
code I/O
unbalance. UDMA
[email protected]
connector.
6) TA3 Master Outputs
3) 10-pin A and C
Each connection includes a pair of transformerisolated Outputs and a stereo unbalanced
Downloaded from www.Manualslib.com
manuals search
engine
Return input. Analog
Output
levels are selected
between Line, -10, and Mic levels in Setup
Menu section OUTPUTS. 10-pin A outputs can
Menu section OUTPUTS.
4) Tape Output
Unbalanced stereo, tape level output on TA3
Right) connector.
Line, -10, or Mic level selected in the Setup
Menu section OUTPUTS. Pin 1 = Ground,
unbalance.
Link I/O
302, 442, or MixPre mixers.
8) Battery Compartment
ering. NiMH rechargeable cells advised.
9) DC Input
Accepts DC voltages from 10–18 V for power-
of the circuitry.
Copyright © 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights
Reserved.
Page 4
Downloaded from www.Manualslib.com manuals search engine
3
Right Panel Connectors and Controls
1
2
3
4
5
6
7
8
13
12
11
10
1) USB B Connector
X1 and X2 Outputs
Line, -10, or Mic level selected in the Setup
Menu section OUTPUTS. Pin 1 = Ground,
adapter).
2) Time code I/O
unbalance.
connector.
3) 10-pin A and C
Each connection includes a pair of transformerisolated Outputs and a stereo unbalanced
Return input. Analog Output levels are selected
between Line, -10, and Mic levels in Setup
Menu section OUTPUTS. 10-pin A outputs can
Menu section OUTPUTS.
4) Tape Output
Unbalanced stereo, tape level output on TA3
Right) connector.
9
6) TA3 Master Outputs
Line, -10, or Mic level selected in the Setup
Menu section OUTPUTS. Pin 1 = Ground,
unbalance.
Link I/O
302, 442, or MixPre mixers.
8) Battery Compartment
ering. NiMH rechargeable cells advised.
9) DC Input
Accepts DC voltages from 10–18 V for power-
of the circuitry.
B. Check/insert the CF and SD card. (12, 13)
ACM has provided both a CF card and a SD card. If you wish to use your own card make sure it
one of the approved cards. Refer to http://www.sounddevices.com/notes/mixers/663-664approved-media/
Downloaded from www.Manualslib.com manuals search engine
Copyright © 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights
Reserved.
Page 5
3
or any RTN selected, press then turn to adjust
level. Vertical Scroll in matrix windows. Turn to
dow. Turn to scroll cursor and press to insert a
space character during text entry. Acts as shift
ary functions of the RTN toggle switch can be
selected in the Setup Menu.
C. Plug in XLR cables into a camera and mixer.
Carefully connect the cables through the bag to the mixer and to the camera using XLR
cables(10)
or theConnectors
multi-pin quickand
release
cable(3). Make sure that the cable labeled L goes into
Left Panel
Control
the left channel for the two devices being connected.
1
4
3
1) XLR-3F Analog Inputs 1-6
Active-balanced analog microphone- or linelevel input for inputs 1-6 on XLR-3F connec-
2) Headphone Output
connectors. Can drive headphones from 8 to
1000 ohm impedances to very high levels. Tip =
left, ring = right, sleeve = ground.
Screen. Inputs 1 and 6 can also accept AES3 or
2
2
D. Connect the microphones into the mixer. (1)
Input the microphones into Inputs 1 through 6.
664 User Guide and Technical Information
v. 2.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Downloaded from www.Manualslib.com manuals search engine
E. Turn
on the Power.
Front
Panel
Descriptions
The power switch is located
4
5
6
7
8
9
10
11
12
1
13
14
2
3
19
18
17
16
15
Power
selects
1)11)Input
FaderSwitchThree-position slide switch,
6) Input
Panbetween AA battery power or
external
DC
sources,
middle
position
is
off.
Primary control for adjusting the level of an
Controls the Left/Right balance of the input
signal to the Stereo Master Bus.
12) Power LEDIlluminates green to indicate the 664 is powered on.
Transport Control
2) Gain (Trim)
Controls the Integrated Digital Recorder. Slide
Coarse input gain control. Sets the initial input
up to Record, press in to Pause/Stop, slide
sensitivity
so that
the Input Fader
can beManoa,
down
to Play,for
slide
left to Rewind,
slideRights
right to
Copyrightlevel
© 2015
University
of Hawaii,
Academy
Creative
Media, All
Fast Forward. See Digital Audio Recorder.
Reserved.
See Input Setup and Control.
8) Meters Button
Page
6
3) Highpass Filter Control
Displays the Main Screen which includes me-
information. Cycles between available Meter
F. Demonstrate how to select the proper input signal for each input. (4)
Input Settings Screen
for an input, slide the Input Selector Switch to the right. The LCD will display information pertaining
to the selected input and provide access to.
input/Track Name
Input/Track Number
664 User Guide and Technical Information
664 User Guide and Technical Information
664 User Guide and Technical Information
2) Input Meter
The background color of the Iso Track Status box indicates the status of the Input’s Iso Track. A blue
The
background
colorGain
ofthat
thethe
IsoIso
Track
Status
box
indicates
the status
the Input’s
Isobackground
Track. A blue
Current
Fader
background
indicates
Track
is not
active
and will
not be of
recorded.
A red
indiThe
background color of
thethe
IsoIso
Track
Status
box
indicates
the not
status
of the Input’s
Isobackground
Track. A blue
background
Track
is not
active
and will
be recorded.
A red
indicates the Isoindicates
Track is that
armed
for recording.
background
thefor
Isorecording.
Track is not active and will not be recorded. A red background indicates the Isoindicates
Track is that
armed
1)
ISO
Track
Status
3) Input Selection
cates
the
Iso
Track
is
armed
for
recording.
2) Input Meter
2) Input Meter
Headphone Source / Level
2) Input
Meter
Displays
the Input’s signal level and limiting activity. The level displayed is the level to the Iso Track
LR
Bus Assignment
4)the
Aux
Bus Assignment
Displays
signal level
and limiting
activity.
The level
displayed
is the
level
Track
and will
be Input’s
preor post-fade
depending
on the
Iso Track
Status.
Meter 5)ballistics
can to
bethe
set Iso
globally
Displays
Input’s
signal level
and limiting
activity.
The Status.
level displayed
is the level
to the
Iso Track
and willthe
be preor post-fade
depending
on the
Iso
Track
Meter
ballistics
can be
set globally
SYSTEM > Meter Ballistics.
and will be pre- or post-fade depending on SYSTEM
the Iso 6)
Track
Status.
Meter ballistics can be set globally
Polarity
>Input
Meter
Ballistics.
SYSTEM
>
Meter
Ballistics.
3) Input Selection
3) Input Selection
3) Input Selection
(13)
Displays the available input types. To change the input type, press the Headphone Encoder, turn it to
Displays the available input types. To change the input type, press the Headphone Encoder, turn it to
Displays the available input types. To change the input type, press the Headphone Encoder, turn it to
Input Type
Input
Type
Off Input Type
Off
Off MIC
MIC
MICMIC-PH
MIC-PH
MIC-PH
LINE
LINE
LINE-PH
LINE
LINE-PH
LINE-PH
AES42 (Mode 1)
AES42 (Mode 1)
AES42 (Mode 1)
AES3
AES3
AES3
Description
Description
Description
Input off.
Input off.
Use
Input
off.with dynamic microphones or other mic-level signals.
Use with dynamic microphones or other mic-level signals.
phantom-powered
microphones
only. Provides 48V or 12V phantom power.
UseUse
withwith
dynamic
microphonescondenser
or other mic-level
signals.
seewith
Phantom
Power
Use
phantom-powered
condenser microphones only. Provides 48V or 12V phantom power.
Use
phantom-powered
condenser microphones only. Provides 48V or 12V phantom power.
see with
Phantom
Power
use withPower
any line-level source.
seeFor
Phantom
For use with any line-level source.
ForFor
useuse
withwith
anyphantom-powered
line-level source. condenser microphones only. Provides 48V or 12V phantom
power,
but at
a line-level gain condenser
range. Useful
for recording
extremely
For
use with
phantom-powered
microphones
only.
Providesloud
48Vsounds.
or 12V phantom
For
use with
condenser
microphones
only.
Providesloud
48Vsounds.
or 12V phantom
power,
but atphantom-powered
a line-level gain range.
Useful
for recording
extremely
Digital
input
with
power
activated
for
digital
microphones.
Inputs
1
and
6
(channels
1, 2, 5, and
power, but at a line-level gain range. Useful for recording extremely loud sounds.
6) only.
Digital
input with power activated for digital microphones. Inputs 1 and 6 (channels 1, 2, 5, and
6) only.
Digital
input with power activated for digital microphones. Inputs 1 and 6 (channels 1, 2, 5, and
Digital input. Inputs 1 and 6 (channels 1, 2, 5, and 6) only.
6) only.
Digital input. Inputs 1 and 6 (channels 1, 2, 5, and 6) only.
Digital input. Inputs 1 and 6 (channels 1, 2, 5, and 6) only.
AES42 and AES3 input source option only appears in input 2 when selected as a source for input 1, and only
AES42
and
option
appears
in input
2 when
selected
a sourceconnectors
for input 1,are
and
onlyfor
appears
in AES3
input input
5 whensource
selected
as a only
source
for input
6. Input
1 and
input 6asXLR-3F
used
AES42
and
AES3
input
source
option
only
appears
in input
2 when
selected
asXLR-3F
a sourceconnectors
for input 1,
and
only
appears
in
input
5
when
selected
as
a
source
for
input
6.
Input
1
and
input
6
are
used
for
digital inputs.
appears
input 5 when selected as a source for input 6. Input 1 and input 6 XLR-3F connectors are used for
digital in
inputs.
digital inputs.
4) Aux Bus Assignment
4) Aux Bus Assignment
4) Aux Bus Assignment
Copyright © 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights
only be routed to X1 and X2 post-fade, while Inputs
1 and 6 can be routed to X1 and X2 pre- or postReserved.
only
beSlide
routed
X1 and
X2 Switch
post-fade,
1 and
6 can
befor
routed
to Track
X1 and
pre-through
or post-the
fade.
thetoSlate
/ Tone
leftwhile
for theInputs
X1 Track
and
right
the X2
toX2
cycle
only
beSlide
routed
to
X1 and
X2Switch
post-fade,
while
Inputs
1 and
6 can
befor
routed
toTrack
X1 and
X2
preor postfade.
the
Slate
/
Tone
left
for
the
X1
Track
and
right
the
X2
to
cycle
through
the
available options.
Pageand
7 right for the X2 Track to cycle through the
fade.
Slide options.
the Slate / Tone Switch left for the X1 Track
available
available
options.
5) LR Bus
Assignment
5) LR Bus Assignment
5) LR Bus Assignment
AES3
Digital input. Inputs 1 and 6 (channels 1, 2, 5, and 6) only.
Polarity reversal is used to compensate for incorrectly wired balanced cables, to prevent signal cancellation Power
when a source is dual-miked from opposite directions, or to reverse left/right with microphones
Phantom
AES42 and AES3 input source option only appears in input 2 when selected as a source for input 1, and only
appears in input 5 when selected as a source for input 6. Input 1 and input 6 XLR-3F connectors are used for
inputs.
G. digital
Phantom
Power
The
phantom
is selectable between 12 and 48 Volts from the Setup Menu item
4) Aux
Bus voltage
Assignment
INPUTS > Phantom Voltage. The selected voltage level applies to all inputs with phantom power
enabled. The factory default phantom power voltage is 48 V.
664 User
Guide
and Technical
Information
The phantom
voltage
is selectable
between
12 and 48 Volts from the Setup Menu item
Phantom power can be activated for each input. To enable phantom power, enter the input’s chanINPUTS > Phantom Voltage. The selected voltage level applies to all inputs with phantom power
nel screen, press the Headphone Controller, highlight either MIC-PH or LINE-PH, press Headphone
enabled. The factory default phantom power voltage is 48 V.
Controller
again to
the
selection.
6)X2
Input
Polarity while
(InputsInputs
2, 4, and
6) 6 can be routed to X1 and X2 pre- or postonly be routed
tomake
X1 and
post-fade,
1 and
fade. Phantom
Slide the power
Slate / Tone
left for the
TrackTo
and
rightphantom
for the X2power,
Track enter
to cycle
can beSwitch
activated
eachX1input.
enable
thethrough
input’s the
chanGain/Trim
and
Fader
Relationship
available
options.
nel
screen,
press
the
Headphone
Controller,
highlight
either
MIC-PH
or
LINE-PH,
press
Headphone
H. Select what tracks are assigned to the LR Bus. (16)
Controller
again
to make
the
selection.
Polarity
reversal
is used to compensate
forand
incorrectly
balanced
cables, to prevent
signal cancelThe gain
of an input
is adjusted
by
two
controls,
Input Trim
Input wired
Fader.
This two-stage
architec-
5) LR Bus Assignment
lation of
when
a source
is dual-miked
directions,
to reverse
left/rightInput
with microphones
ture is identical to the topology
large
mixing
consolesfrom
andopposite
provides
a greatordeal
of control.
Gain/Trim and Fader Relationship
Phantom
Power
The gain of an input
is adjusted
by two controls, Input Trim and Input Fader. This two-stage architec-
Input Trim
(Analog)
ture is identical to the topology of large mixing consoles and provides a great deal of control. Input
-
The 664’s analog input sensitivity is set with the pop-up Trim control
Input Trim (Analog)
The phantom voltage is selectable between 12 and 48 Volts from the Setup Menu item
INPUTS > Phantom Voltage. The selected voltage level applies to all inputs with phantom power
is set
toThe
the 664’s
desired
level,input
press
the
Trim control
to hide
from the
664’s
H.
Demonstrate
proper
level
adjustment.
analog
sensitivity
is set
with
the it
pop-up
Trim
control
enabled.
The factory
default
phantom
power voltage
is 48 V.
Phantom power can be activated for each input. To enable phantom power, enter the input’s chan-
screen, press the
Headphone Controller, highlight either MIC-PH or LINE-PH, press Headphone
Gain/Trim
andnel
Fader
Relationship
again
to make
selection.
is set to the desired Controller
level, press
the
Trimthe
control
to hide it from the 664’s
7
Downloaded from www.Manualslib.com manuals search Gain/Trim
engine
The gain of an input is adjusted byand
twoFader
controls,
Input Trim and Input Fader. This twoRelationship
stage architecture is identical
to
the
topology
of
large
mixing
consoles
provides
a architecThe gain of an input is adjusted by two controls,
Input Trim
and Inputand
Fader.
This two-stage
ture isTrim
identical
the topology
of large
provides
a great and
deal ofthe
control.
Input
great deal of control. Input
istooften
thought
ofmixing
as aconsoles
courseandgain
control
Input
FaderTrim
as the
fine gain control.
Input
(Digital)
Input Trim (Analog)
The coarse level of a digital input is set by rotating the Select Encoder in
Input Trim (Analog)
The 664’s analog input sensitivity is set with the pop-up Trim control
Input
Trim (Digital)
trim level
is displayed
on the LCD when adjusted. The digital trim level is
The 664’s analog input issensitivity
is set with the pop-up Trim control
set to the desired level, press the Trim control to hide it from the 664’s
The coarse
level of
a digital
is setgain
by rotating
Encoder make
in
knob. With
the Input
Fader
setinput
to unity
(0 dB the
or Select
12 o’clock),
the appropriate adjustments using the Trim control. Once the coarse gain
is displayed
on the the
LCDTrim
whencontrol
adjusted.toThe
digital
trim the
level664’s
is
is set totrim
thelevel
desired
level, press
hide
it from
mixing surface. Analog trim level is adjustable from +22 to +72 dB
of
664 User Guide and Technical Information
gain.
Input Trim (Digital)
Input Fader
InputThe
Fader
coarse level of a digital input is set by rotating the Select Encoder in
The Input Fader is the
primary
control
used
while
mixing
anddigital
it affects
trim of
level
displayed
on
the LCD
adjusted.
The
trim
the level
theisInput
signal
routed
to when
all post-fade
destinations.
Uselevel
the is
the level of the Input signal routed to all post-fade destinations. Use the
Input Fader to make fine gain adjustments. The fader can be attenuated
8
from
off and
(full
counter-clockwise
position)
to +15 dB above
setdocumentation.
Trim v. 2.01
Features
specifications
are subject to change.
Visit www.sounddevices.com
for thethe
latest
level (full clockwise position). To optimize gain structure for the best
ownloaded from www.Manualslib.com
manuals
search engine
performance,
operate
input faders at or near the 0 dB (unity gain)
8 position.
v. 2.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Downloaded from www.Manualslib.com manuals
search engine Filter
High-Pass
8
v. 2.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Copyright
© 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights
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Reserved.
cause audio information below 100 Hz is rarely used, especially for speech
Page 8
reproduction.
-
High-Pass
High-Pass
FilterFilter
Each input channel has an adjustable high-pass filter controlled by the
High-Pass Filter control. High- pass (or low-cut/low roll-off) filters are
useful for removing excess low frequency energy from audio signals. Wind noise iscause
a common
unwanted
low
signal
that can
be
audio information
below
100 frequency
Hz is rarely used,
especially
for speech
reproduction.
reduced with the use of a high-pass filter.
-
For most audio applications, engaging the high-pass filter is beneficial,
because audio information below 100 Hz is rarely used, especially for
speech reproduction.
The 664’s high-pass
filter circuit features an adjustable corner (-3 dB) frequency over a
desired.
range from 80 to 240 Hz. Below 80 Hz, the filter’s slope is 12dB/octave. At higher corner
frequency settings, the slope is 6 dB/octave. The purpose for this compound slope is to
give additional roll-off at the 80 Hz setting to reduce wind noise and low frequency
rumble. The higher settings can be used to counteract the proximity effect of directional
microphones where a more gentle slope is desired.
The 664’s high-pass filter circuit is unique because of its placement before any electronic
amplification. Most mixers’ high-pass filter circuits are placed after the microphone
preamplifier, such that all of the low-frequency signals get amplified. By virtue of the
664’s circuit cutting the low-frequency signals before amplification, higher headroom is
achieved in the
signals
with
significant
thenpresence
recessed to of
hide
it from the
mixing
surface. low- frequency energy.
-
When possible, attempt to equalize at the sound source with microphone selection,
placement, wind- screens, and onboard microphone filtering. Many microphones have
on-board high pass filters. Use the high-pass filters on the 664 in conjunction with the
microphone’s filter to increase the filter’s slope.
The filter can be removed from the circuit completely by rotating the high-pass filter
control to the full counter-clockwise (detented) position. The high-pass filter
potentiometer can be adjusted easily and then recessed to hide it from the mixing surface
Pan Control
nels of the stereo Master Bus. The pan pot has a detent in the center posi-
The pop-up Pan Control routes inputs to the left (L) and right (R)
channels of the stereo Master Bus. The pan pot has a detent in the
center position. After setting the pan, the pan control can be recessed
to hide it from the mixing surface during normal operation.
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Reserved.
Page 9
9
Slide the Slate / Tone Switch left to activate the slate mic. The green Slate Mic LED will illuminate to
indicate that the slate mic is active. Slide the Slate / Tone Switch left again to deactivate the slate mic.
released).
Limiters
The secondary slate function is accessed by holding down the Select encoder when using the Slate
The limiters are globally activated when the Setup Menu item LIMITERS > Limiters is set to On. This
see
COM Setup). The primary and secondary slate functions can be swapped from the Setup Menu option
mends
using
the
limiters
at
all
times.
Limiters
are
present
on
both
mic
and
line-level
inputs
as
well
as
COMMS/RETURNS > Mic Toggle Switch.
below clipping), while the limiters for the L, R, X1, and X2 tracks are adjustable from the Setup Menu
program
audio> does
not mute
when
the
slate mic is>X1,
activated)
fromThresh.
the Setup Menu option
item
OUTPUTS
L,R Liniter
Limiter
Thresh
and
OUTPUTS
X1,X2
Limiter
Thresh.
item
LIMITERS>L,R
Thresh
and
LIMITERS>
X2 Limiter
COMMS/RETURNS > Program Auto-Mute.
In normal operation, with a properly set gain structure, the threshold of the Input Limiter is rarely
InternalWithout
Slate Mic
reached.
Input Limiters, high signal conditions can overload a channel and cause distortion.
The Input limiter is working when the respective input’s Input Activity LED illuminates yellow. If the
The default slate mic is the 664’s internal slate microphone. The 664’s built-in slate microphone is used
Activity LED is regularly in the yellow, reduce the amount of gain applied to the channel by turning
to notate scenes from the mixer location. Its audio performance is not suitable for critical recording apdown the Trim control. See Input Activity LED for additional information.
plications; it should be used for documenting scenes and for communication purposes only.
When Inputs are linked as a stereo pair, the Input Limiters are also linked and perform the same gain
External Slate Mic
An external microphone can be used instead of the built-in slate microphone. To use an external
slateMenu
mic, plug
the mic
into the
TA3Limiter
Slate Mic
inputand
on the
Left panel
and adjust
Setup
Menu
option
Setup
options
LIMITERS
> L,R
Thresh
LIMITERS
> X1,X2
Limiter
Thresh
allow
COMMS/RETURNS > Slate/Com Mic Source to Ext Mic
Ext 12V Mic
Tone Oscillator
Slide the Slate / Tone Switch right to activate the tone oscillator. Hold the Slate / Mic Switch right for
more than 1 second to lock the tone oscillator on. When the tone oscillator is locked on, slide the Slate /
Mic Switch right again to deactivate.
can additionally sent to the X1 and/or X2 tracks. Access Setup Menu option SYSTEM > Tone Routing
Headphone
Monitoring
to adjust this.
Alternate
Slate/Com
Headphone
Gain Switch
ByBydefault,
communication
is engaged
by sliding
the Slate/Tone
SwitchEncoder
to the left
default,COM
headphone
output level
is controlled
by turning
the Headphone
while viewing
while holding the Select Encoder and normal slate operation is engaged by simply sliding the
Slate/Tone Switch to the left. This functionality can be reversed from the Setup Menu option
COMMS/RETURNS
> Mic
Toggle Switch.
the currently selected
headphone
source when the headphone gain is not being adjusted.
Headphone gain during adjustment
21
Headphone Encoder
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The 664 can drive headphones to dangerously high volumes. Turn down the headphone gain before
selecting a headphone source to prevent accidental signal extremes.
Copyright © 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights
Reserved.
Page 10
Headphone Source Selection
This will display a list of available monitor sources. Turn the Headphone Encoder to highlight a
source, and press the Headphone Encoder to select that source. The signal to the headphone outputs
will immediately change to the selected program.
Monitor Source
Description
LR ST
Master Bus in stereo.
LR Mono
Master Bus summed mono to both ears.
L Mono
Left channel of Master Bus sent to both ears.
R Mono
Right channel of Master Bus sent to both ears.
LR MS ST
Mid-Side Stereo - Master Bus decoded MS stereo to headphones, this is not to be used if the inputs
are already linked as an MS pair.
X1X2
Aux Bus in stereo.
HP Preset
HP Presets 1-10 are customizable monitor sources. See Headphone Presets
Main Screen
Switch to the left.
Current take
Media information
Power source level
Bus tracks
Armed track
Input tracks
Unarmed track
Monitor (Headphone) information
SMPTE Timecode
Absolute recording time
Sample rate information
RTN levels
Copyright © 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights
Reserved.
Page 11
Meter Appearance
Track Name Display Style
Off
Left
Left (w/ramp)
Right
Meter Ballistics
Audio meter “ballistics” is the manner in which a visual meter responds to audio signal levels. The
ballistics of all 664 meters is set globally from Setup Menu option SYSTEM > Meter Ballistics.
VU
the meter signal is 300 mS. VU meters provide good visual indication of how loud a signal will be, but
provide poor information of actual signal peaks.
Peak + VU
The 664 can simultaneously display VU and Peak level information. In this mode the perceived loudthe VU.
Peak Only
monitoring of peak activity. Peak metering is useful when interconnecting to audio inputs on digital
Peak Hold
est peak value on the meter as a separate, individual meter segment. By default this meter segment will remain visible for 1 second. This time can be adjusted from Setup Menu option
SYSTEM > Meter Peak Hold Time to 1, 2, 3, 4, or 5 seconds. The Infinity option will display the last
Off option will disable peak hold.
Copyright © 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights
Reserved.
Page 12
664 User Guide and Technical Information
Digital Audio Recorder
The 664 features a powerful multi-track digital recorder. The internal recorder can record up to 10
See File Formats
See Record Media.
Transport Control
Function
Direction
Action
Record
Tilt the Transport Control Up
Begins recording a new file.
Pause / Stop
Press the Transport Control
During Record, press once to stop recording. During Playback, press once
to pause, press again to stop. In standby, hold to display next take name.
Play
Tilt the Transport Control Down
Begins playback of the last file recorded or file currently loaded. See Play-
Rewind/
Load Previous
Take
Tilt the Transport Control Left
While in Stand-by, tilt left to load the previous take. While in playback, tilt
and hold left to rewind.
Fast Forward/
Load Next Take
Tilt the Transport Control Right
While in Stand-by, tilt right to load the next take. While in playback, tilt and
hold right to fast forward.
Recording Tracks
664 User Guide and Technical Information
see Input Setup and Control). Four additional record
FrontSeePanel
Descriptions
Bus Assignment for additional information.
4
5
6
7
8
9
10
11
12
1
13
14
2
3
19
18
17
16
15
22 1) Input Fader
6) Input Pan
v. 2.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Copyright
© 2015
University
of Hawaii,
Academy
Creative
Media,
Allinput
Rights
Primary
control
for adjusting
the level
of an Manoa,
Controls
the for
Left/Right
balance
of the
Reserved.
signal
to
the
Stereo
Master
Bus.
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Transport Control
Page 13
2) Gain (Trim)
Coarse input gain control. Sets the initial input
sensitivity level so that the Input Fader can be
Controls the Integrated Digital Recorder. Slide
up to Record, press in to Pause/Stop, slide
down to Play, slide left to Rewind, slide right to
Track Arming
All tracks along with their signal levels, are visible on the Main Screen.
Output limiting activity
Master Bus L,R (Armed)
Aux Bus X1,X2 (Unarmed)
Input limiting activity
Iso Tracks (Unarmed)
armed tracks) have a gray label. To toggle the armed status of a track, turn the Select Encoder to
Track-to-Media Routing
The 664 supports simultaneous recording to CF and SD media. See Recording Media for details. By
set independently for each memory card from the Setup Menu items RECORDER > Record to CF and
RECORDER > Record to SD
Setting
Tracks Recorded
File(s) Generated
Off
None (0 tracks)
No file
Wav Poly
All armed tracks (0-16 tracks)
Polyphonic WAV file
Wav Poly (ISOs only)
Armed ISO tracks (0-12 tracks)
Polyphonic WAV file
Wav Poly (LR only)
Armed L and R tracks (0-2 tracks)
Polyphonic WAV file
Wav Poly (X1X2 only)
Armed X1 and X2 tracks (0-2 tracks)
Polyphonic WAV file
MP3 (LR)
Armed L and R tracks (0-2 tracks)
2-track MP3 file
MP3 (X1X2)
Armed X1 and X2 tracks (0-2 tracks)
2-track MP3 file
Wav Mono
Armed Tracks (0-10 tracks)
Mono WAV files
Wav Mono (ISOs only)
Armed ISO Tracks (0-10 tracks)
Mono WAV files
Copyright © 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights
Reserved.
Page 14