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Transcript
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 Downloaded from www.Manualslib.com manuals search engine 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. Downloaded from www.Manualslib.com manuals search engine Copyright © 2015 University of Hawaii, Manoa, Academy for Creative Media, All Rights 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 Downloaded from www.Manualslib.com manuals search engine 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. Downloaded from www.Manualslib.com manuals search engine 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