Can You Hear Me Now?

Battle of the Ultralights: Deity PR-4 vs. Sound Devices MixPre-3 II

For years, if you wanted professional, "never-clip" 32-bit float audio in a compact package, the industry answer was automatic: get a Sound Devices MixPre-3 II. It’s been the gold standard for run-and-gun filmmakers, podcasters, and sound designers alike.

But Deity has shaken things up with the PR-4, a six-track field recorder specifically built to challenge that undisputed crown

If you’re trying to decide between the classic titan and the new challenger, the choice actually comes down to your physical rigging and your wireless workflow. Here is how they stack up.

The Quick Verdict: Which Should You Buy?

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Choose the Deity PR-4 if: You run a solo or small-crew video rig, use wireless lavaliers alongside a boom, rely on app-based control, and want an all-in-one wireless timecode ecosystem without buying extra hardware boxes.

Choose the Sound Devices MixPre-3 II if: You require the absolute lowest noise floor for whisper-quiet environments (like nature recording), want full-sized physical gain knobs, and need three dedicated XLR inputs rather than combo/3.5mm compromises.

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The Tail of the Tape: Spec Comparison

Feature	Deity PR-4	Sound Devices MixPre-3 II
Max Tracks	6 tracks (4 ISOs + Stereo Mix)	5 tracks (3 ISOs + Stereo Mix)
Physical Inputs	2x XLR/TRS Combo, 1x Stereo 3.5mm	3x XLR
Preamps / Gain	ReGain Preamps (+60 dB)	Kashmir Preamps (+76 dB)
Max Resolution	32-bit Float / 192 kHz	32-bit Float / 192 kHz
Storage Backup	Dual: SD Card + Internal 64GB SSD	Single: SD Card only
Remote Control	Sidus Audio App (Bluetooth)	Wingman App (Bluetooth)
Timecode	Wired I/O + Native Wireless Sync	Wired I/O (BNC / Aux In)
Power Options	Sony NP-F550, USB-C PD, 4-pin Hirose	AA sled, Sony L-Mount sled, USB-C
Price	~$449	~$895

3 Critical Differences You Need to Know

1. The Inputs: 3 XLRs vs. "The Hybrid 4" The MixPre-3 II features three pristine, full-sized XLR inputs powered by legendary Kashmir preamps. They offer an incredible +76 dB of gain, making them capable of driving notoriously "gain-hungry" dynamic mics (like the Shure SM7B) completely clean.

The Deity PR-4 offers four inputs, but they are split up: two XLR/TRS combo jacks and a stereo 3.5mm jack for channels 3 and 4 (B&H)

• Why this matters: If you're hosting a 3-person podcast with XLR mics, the MixPre wins. But if you’re a videographer running a boom mic on XLR and a dual-channel wireless receiver (like a DJI Mic 2 or Rode Wireless PRO) via 3.5mm, the PR-4 gives you four clean tracks without needing messy adapters. (CVP)

2. Timecode & The Wireless Ecosystem Both recorders handle standard wired timecode perfectly. However, the Deity PR-4 pulls ahead for solo shooters by acting as a wireless timecode master hub. Out of the box, it can natively sync timecode over the air to Deity's TC-1 boxes or TC-SL1 smart slates. If your cameras are outfitted with Deity gear, syncing your entire set takes seconds from the Sidus Audio phone app. To get wireless timecode on the MixPre, you have to buy a third-party add-on like a Timecode Systems Bluetooth module. (Sound on Sound)

3. Redundancy: The "Forgot My SD Card" Lifesaver If you’ve ever formatted a card on set by accident, this feature will resonate with you. The MixPre-3 II records strictly to a single SD card. The Deity PR-4 introduces dual-media recording: it writes your tracks to an SD card and a built-in 64GB internal SSD simultaneously. If your card fails, or if you simply leave it sitting in your computer's card reader at home, the PR-4 still saves your shoot. (Deity Microphones)

The Usability Factor The MixPre-3 II features beautiful, tactile physical knobs on the front for dialing in your headphone levels or mixes on the fly. The PR-4 relies heavily on its AMOLED touchscreen interface and smartphone app. If you hate digging through digital menus in the field, the MixPre's analog layout remains unmatched.

Summary The Sound Devices MixPre-3 II remains an absolute boutique audio powerhouse with unmatched preamps, stellar build quality, and a premium price tag to match.

However, at roughly half the price, the Deity PR-4 isn't trying to beat Sound Devices at the acoustic engineering game—it's trying to out-smart it. By packaging an internal SSD backup, 4-input camera-bag friendly routing, and built-in wireless timecode into a tiny footprint, it's easily the more practical tool for the modern independent videographer.

Which of these features matters most to your setup—preamp power or built-in backup?

The Giant Killer? Why the Deity PR-4 is a Game-Changer for Run-and-Gun Audio

If you’ve ever shot a documentary, a wedding, or a multi-person interview on a tight budget, you know the absolute panic of managing audio. You’re trying to balance gain staging so your subjects don't clip, praying your single SD card doesn't corrupt, and desperately trying to keep your camera and timecode boxes synced.

Until now, fixing those headaches meant buying a massive, expensive field recorder and dedicating an entire bag to it.

Enter the Deity PR-4. Launched at NAB 2026 (where it scooped up multiple Product of the Year awards), this tiny powerhouse isn't just another generic audio recorder. It’s a beautifully thought-out, pocket-sized 4-input / 6-track field recorder designed to bring high-end production features down to an indie price point ($449)

Here is everything you need to know about why this little box is a massive deal for solo operators and small crews.

1. Zero Risk of Clipping: 32-Bit Float & ReGain Preamps™

The headline feature for most creators will be the 32-bit float recording. If you aren't familiar, 32-bit float essentially eliminates the need for setting input gain. Whether your subject is whispering or screaming into the microphone, the dynamic range captured is so wide that you can simply adjust the volume in post-production without adding noise or clipping the audio. (Trew Audio)

But Deity took it a step further by pairing this architecture with their brand-new ReGain Preamps™. Boasting an exceptionally low noise floor (-127 dBV EIN) and up to +60 dB of ultra-clean gain, these preamps can drive notoriously power-hungry dynamic microphones (like a Shure SM7B or a heavy-duty shotgun mic) beautifully without needing external inline boosters like a Cloudlifter. (Deity Microphones)

2. The Ultimate Safety Net: True Dual Media

Ask any professional shooter what their biggest nightmare is, and they’ll tell you: a corrupted SD card at the end of a 12-hour shoot.

Usually, to get simultaneous backup recording, you have to spend thousands of dollars on enterprise-tier mixers. The PR-4 completely flips the script. It records your audio simultaneously to an external SD card (up to 1TB) and a built-in, shock-resistant 64GB internal SSD.

If your SD card glitches, gets lost, or accidentally formatted, your entire shoot is still sitting perfectly intact inside the hardware. This feature alone makes the $449 price tag worth every penny. (Videomaker.com)

3. Pocket-Sized I/O and Native Wireless Timecode

Don't let its size fool you. The PR-4 gives you plenty of routing flexibility:

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Inputs: 2x XLR/TRS combo jacks (supporting analog balanced signals or up to 4 channels of digital AES3/AES42) plus a stereo 3.5mm TRS jack for channels 3 and 4 (perfect for hooking up dual wireless lavalier receivers). (B&H)

Outputs: Two stereo 3.5mm outputs alongside a dedicated headphone jack, letting you route custom mixes directly into your cameras or monitoring setups. (Sound on Sound)

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The real magic? The timecode. The PR-4 acts as a master timecode generator for your entire set. It can jam-sync cameras via a standard 3.5mm wired connection, but it is also the world's first recorder to natively sync wirelessly to Deity’s ecosystem of TC-1 boxes and smart slates directly through the hardware and the Sidus Audio app.

Technical Specifications at a Glance

Feature	Specification
Tracks / Inputs	6 Tracks total (4 physical inputs)
Bit-Depth / Resolution	24-bit, 32-bit, and 32-bit Float up to 192 kHz
Preamps	ReGain Preamps™ (+60 dB Clean Gain, -127 dBV EIN)
Storage Architecture	Dual Media: 1x SD Slot (up to 1TB) + 64GB Internal SSD
Smart Tech	VoiceAware Automix, Sidus Audio App remote control

Smart Design for Real Workflows

Deity didn't just design this in a lab; they built it for the field. Instead of burning through AA batteries every few hours, the PR-4 runs on a single NP-F550 rechargeable battery, netting you upwards of 8 to 10 hours of runtime. It can also be powered or recharged directly over USB-C. (Adorama)

They also fixed the classic "spinning accessory" problem. The top and bottom features dual ARRI-style 1/4"-20 mounts with anti-rotation locating pins. When you screw this onto a camera cage or an arm, it locks down completely solid. If you want to build it out further, Deity offers a dedicated metal cage ($59) featuring a built-in ORTF layout template to quickly mount a perfectly configured stereo pair of microphones.

The Verdict

The Deity PR-4 bridges the gap between ultra-compact "creator" gear and elite broadcast equipment. It takes the stress out of gain staging, guarantees a physical backup of your data, fixes your timecode sync issues, and fits right into a lightweight camera rig or an incredibly small audio bag.

For solo videographers, documentarians, and independent filmmakers, the game just changed.

Head-to-Head: Sanken CS-M1 vs. Sennheiser MKH50

If you're looking for an elite indoor dialogue microphone, the Sennheiser MKH50 is almost certainly on your radar. It has been an industry-standard "go-to" for Hollywood sound mixers for decades.

So how does the upstart Sanken CS-M1 compare to the reigning king of indoor boom audio?

Feature	Sanken CS-M1	Sennheiser MKH50
Microphone Type	Short Interference Tube Shotgun	True Small-Diaphragm Condenser (RF)
Polar Pattern	Supercardioid / Lobar	Supercardioid
Length	4.1 in (103 mm)	5.9 in (150 mm)
Weight	1.9 oz (55 g)	3.88 oz (110 g)
Frequency Range	70Hz – 20kHz	40Hz – 20kHz
Self-Noise	16 dB-A	12 dB-A
On-Board Controls	None (Clean body)	Low-cut filter & -10dB pad switches
Price Point	~$675	~$1,490

The Sonic Showdown The Sennheiser MKH50 is legendary for its rich, warm tone and massive low-end. It makes voices sound "larger than life" right out of the box, which is why it is so beloved for narrative films. Because it doesn't use an interference tube, it handles worst-case indoor reflections with absolute grace.

The Sanken CS-M1, by contrast, favors punchy realism. It rolls off the low end sooner (around 70Hz compared to the MKH50's deep 40Hz), meaning it actually sounds cleaner in rooms with heavy background rumble. It trades a bit of that heavy Sennheiser "warmth" for incredible speech articulation and presence.

Where the Sanken Wins

• The Travel Factor: The CS-M1 is nearly half the weight and length of the MKH50. If you are mounting a mic onto a gimbal-mounted cinema camera or carrying gear in a backpack, the Sanken wins by a landslide.

• Outdoor Versatility: Because the CS-M1 is technically a short shotgun, it retains a tighter, more focused "reach" outdoors than the MKH50, which is strictly designed as an indoor/spot microphone.

• The Budget: At roughly half the price of the Sennheiser, you can almost buy two CS-M1s for the cost of one MKH50.

Where the Sennheiser Wins

• Ultimate Quietness: With a self-noise floor of just 12 dB-A, the MKH50 is noticeably quieter in pristine, soundproofed studio environments.

• On-Board Customization: The MKH50 features a physical -10dB pad for handling explosive sound sources and a low-cut switch right on the mic body, giving you hardware-level control before the signal ever hits your mixer.

The Ultimate Tiny Workhorse: Why the Sanken CS-M1 Belongs in Your Audio Bag

If you’ve ever had to boom a scene in a room with a 7-foot ceiling, or tried to rig a high-end shotgun to a compact mirrorless camera, you know the struggle. Standard shotgun microphones are fantastic until you run out of physical space.

Enter the Sanken CS-M1. It is an ultra-compact shotgun mic that punches way above its weight class, delivering that legendary Sanken reach in a body that feels impossibly small.

The Specs: Tiny Footprint, Massive Audio Don't let the size fool you. Sanken didn't strip out the professional internals to get this tiny form factor; they just engineered it smarter.

Attribute	Specification	Why It Matters
Length	4.1 inches (103 mm)	Shorter than most smartphone screens; never pokes into your frame.
Weight	1.9 oz (55 g)	Weighs next to nothing on a boom pole, saving your shoulders on 12-hour days.
Polar Pattern	Supercardioid / Lobar	ncredible off-axis rejection without the "hollow echo" effect of longer tubes.
Max SPL	137 dB SPL	Handles loud sound effects or sudden shouts without clipping.
Self-Noise	16 dB-A	Exceptionally quiet, giving you clean dialogue tracks even in quiet rooms.

Where the CS-M1 Absolutely Shines

1. Low-Ceiling Interiors & Tight Spaces

Longer interference-tube shotguns (like the industry-standard Sennheiser MKH416) are notorious for sounding phasey and unnatural indoors when placed too close to a ceiling or wall. The CS-M1 uses a unique, short design that avoids those nasty acoustic reflections, making it your secret weapon for car interiors, tight bathrooms, or low-overhead indie sets.

2. The Ultimate On-Camera Scratch & Run-and-Gun Mic

If you run a small camera rig, mounting a massive shotgun can throw off your gimbal balance or accidentally peek into the top of a wide-angle lens. The CS-M1 mounts completely flush, sits behind the front edge of almost any short lens, and gives you broadcast-quality audio directly to your camera preamp.

3. Natural Dialogue That Blends Perfectly

Many sound mixers who rely on the legendary Sanken CS-3e keep the CS-M1 as a plant mic or secondary boom because the sonic signatures match beautifully. It has a slightly bright, crisp top-end presence that slices right through ambient environmental noise, meaning less work for you (or your editor) in post-production.

Pro Tip from the Field: Toss the cheap foam windscreen that comes in the box. Because the CS-M1 is so lightweight and short, it is sensitive to wind and sudden movements. Pair it immediately with a high-quality shockmount (like a Rycote InVision) and a proper fur or spacer-bubble windshield for outdoor use.

The Verdict

The Sanken CS-M1 isn’t just a "niche" microphone for tiny spaces—for many documentary filmmakers and run-and-gun shooters, it has become their main, everyday boom mic. It offers pristine, high-output Japanese engineering at a footprint that won't weigh down your kit or your crew.

Sound on Set: Why the Deity THEOS DIFB is a Game-Changer for Wireless Monitoring

If you’ve ever worked on a chaotic film set, you already know that IFB (Interruptible Foldback) systems are the unsung heroes of production. Keeping the director, script supervisor, and clients tuned into clean, real-time dialogue isn’t just a luxury—it’s vital for a smooth workflow.

For years, location sound mixers have had to choose between clunky legacy systems or expensive, high-end monitoring setups. Enter the Deity THEOS DIFB (and its North American counterpart, the HUSH Wireless). Deity has completely shaken up the monitoring game by bringing ultra-wideband digital tech and massive quality-of-life updates to the crew's ears.

Let’s dive into why this system is quickly becoming a staple in location sound bags.

1. Global OneBand™ Tech: Total Frequency Freedom

Navigating local RF laws can be a nightmare, especially for traveling filmmakers. The THEOS DIFB introduces an incredibly wide tunable range of 550MHz to 960MHz.

The Smart Feature: By syncing with your phone’s GPS via the Sidus Audio app, the DIFB automatically conforms to the local RF regulations of whatever country you just landed in. No more accidental fine-inducing transmissions.

2. Built for the Reality of Production

Older IFB receivers often feel like cheap plastic walkie-talkies. Deity built the DIFB with a rugged, full-metal housing meant to survive the inevitable drops and bumps on set.

But what really sets it apart mechanically is how it handles the user experience:

• True Diversity Monitoring: Dual SMA ports and dual antennas mean fewer dropouts when a producer wanders behind a grip truck.

• Top-Facing Metal Volume Knob: Sound mixers rejoice! Your clients no longer have to open a plastic flap just to adjust their volume.

• Text-to-Speech (TTS) Notifications: Because these units are usually clipped to a belt or shoved in a pocket, the DIFB will literally read out the transmitter's name into the user's headphones when they switch channels. They always know exactly who they are listening to without looking at the screen.

3. Battery Life That Outlasts the Shoot

There is nothing more frustrating than a producer tapping you on the shoulder halfway through a day because their monitoring just died. Deity has optimized the power draw on these units significantly:

Battery Type	Expected Lifespan
AA	Up to 15–17 Hours
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Alkaline AA	Up to 10 Hours
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1900mAh NiMH	Up to 9 Hours

Note: The system also includes an ECO Mode to dim the screen and a USB-C port for external power if you're running a permanent video village setup.

4. Ecosystem Integration and the Sidus Audio App

The DIFB is built to seamlessly listen in on any Deity THEOS DBTX transmitter. Using the Sidus Audio App, you can manage frequency coordination, perform bulk updates, and handle automatic frequency scans across dozens of units simultaneously.

The receiver features a 20-frequency bank library, meaning a user can quickly rotate the metal encoder to flip between different sound bags, a director’s mix, or individual talent mics seamlessly.

The Verdict

The Deity THEOS DIFB bridges the gap between ultra-expensive rental house gear and budget-tier wireless kits. At roughly $299 USD for a single receiver (or around $1,096 for a 3-pack kit with a transmitter), it offers unmatched flexibility, incredible battery longevity, and rugged build quality.

If you are looking to upgrade your wireless monitoring workflow, keep your clients happy, and stop stressing about international RF coordination, the DIFB deserves a permanent spot in your audio kit.

Have you had a chance to deploy the Deity DIFB on your latest shoot? Let us know your thoughts on the Text-to-Speech channel naming in the comments below!

🚀 Sound Devices A20-TX Digital Wireless Bodypack: Raising the Bar for Pro Audio

In the demanding world of professional audio, reliability, pristine sound, and seamless integration are paramount. Sound Devices, a name synonymous with robust and high-performance audio gear, has once again raised the bar with the introduction of the A20-TX Digital Wireless Bodypack Transmitter. This powerhouse is a meticulously engineered solution designed to be a game-changer for sound professionals across film, television, and live production.

Compact Powerhouse, Engineered for Excellence

The A20-TX immediately impresses with its design. It features a rugged aluminum chassis built to withstand the bumps, drops, and varied environmental conditions of location sound work. Its form factor accommodates vital features like its ultra-low-power e-Paper display- which remains readable even in bright sunlight and when powered off—and its long-lasting power options (up to 12 hours on three AA batteries).

Unlocking Unprecedented RF Flexibility with SpectraBand™

One of the A20-TX's most revolutionary features is SpectraBand™ technology. This proprietary innovation provides an ultra-wide tuning range covering an astounding 169 MHz to 1525 MHz (VHF and UHF). This means unparalleled flexibility to find clear frequencies in even the most congested RF environments, anywhere in the world, dramatically reducing interference worries.

Pristine Audio with Next-Gen Preamps and GainForward™

At the heart of the A20-TX lies its ability to deliver exceptional audio quality. It features a true, fully balanced microphone preamp directly derived from the acclaimed Sound Devices 8-Series mixers. This translates to incredibly low noise, high headroom, and an impressive 140 dB dynamic range (for balanced mic input).

The transmitter’s pure audio capture is powered by Sound Devices' GainForward™ Architecture. This ingenious design eliminates the need for a physical gain knob on the transmitter itself. Instead, the audio gain is set remotely at the receiver or your mixer's digital trim, preventing accidental gain adjustments on talent and ensuring consistent, optimized levels.

Versatile Inputs & Un-Clippable 32-Bit Float Recording

The A20-TX is exceptionally versatile when it comes to inputs. Its single 3-pin LEMO connector supports a wide array of sources: lavaliers, dynamic mics, condenser mics with switchable 12V/48V phantom power, balanced line-level, AES3, AES42 (for digital mics), and even guitar.

For ultimate peace of mind, the A20-TX includes a built-in 32-bit float, 48 kHz recorder utilizing a removable micro-SD card. This onboard recorder provides a virtually un-clippable backup recording, ensuring a perfect safety track even if unexpected loud transients occur.

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🔗 The Astral Ecosystem: A20-TX and ARX8 Integration

The true power of the A20-TX is realized when it integrates with the Astral receiver lineup, particularly the flagship Astral ARX8 (4-, 6-, or 8-Channel Portable True-Diversity Wireless Receiver). This pairing unlocks system-level features crucial for efficiency on set:

• Centralized Gain Control: The ARX8 acts as the control center for GainForward™, allowing mixers to remotely adjust the A20-TX's gain, low-cut filter, and limiter without accessing the talent or the bodypack itself.

• NexLink™ Remote Management: The ARX8 uses the NexLink™ 2.4 GHz link to provide full remote control over all linked A20-TX transmitters. This includes wirelessly jamming timecode, adjusting frequency, changing RF power, and even remotely powering the transmitters on or off.

• Rapid Frequency Coordination: Leveraging the shared SpectraBand™ range, the ARX8’s integrated Real-Time Spectrum Analyzer (RTSA) and AutoAssign function can quickly scan the environment and deploy clean, coordinated frequencies to all paired A20-TX units with a single press.

• Seamless Mixer Integration: The ARX8 can be quickly and securely docked directly to Sound Devices' 8-Series Mixer/Recorders (833, 888, Scorpio) using the A20-QuickDock accessory, creating a compact, cable-free recording and wireless system perfect for bag work.

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The Sound Devices A20-TX Digital Wireless Bodypack Transmitter, especially when paired with the ARX8, is a revolutionary leap forward in wireless audio. Its blend of SpectraBand flexibility, pristine audio from 8-Series preamps, automated GainForward control, and 32-bit float recording makes it an indispensable tool for audio professionals demanding the very best.

Unleash Perfect Sound: Why the Sound Devices MixPre-3 II is a Game-Changer for Creators

For podcasters, filmmakers, and field recordists, pristine audio isn't a luxury—it's a necessity. Enter the Sound Devices MixPre-3 II, a compact marvel that packs professional, broadcast-quality recording into a device small enough to fit in your bag. This isn't just an incremental update; it’s a powerful tool designed to eliminate common recording headaches and let you focus on your craft.

The Magic of 32-Bit Float: Say Goodbye to Clipping

The headline feature of the MixPre-3 II is its support for 32-bit float recording. This isn't just a bigger number; it’s a fundamental change that offers a virtually limitless dynamic range.

What does that mean for you?

• No More Clipping (Practically): Imagine recording a quiet interview followed by a sudden, ear-splitting clap of thunder. In 24-bit, you'd likely clip the thunder. With 32-bit float, you capture all the detail, and you can recover the "clipped" audio in post-production with zero loss of quality or added noise.

• Set It and Forget It: This technology allows you to set your levels to a safe, general range and stop worrying about sudden peaks. It dramatically simplifies the recording process, especially for solo operators or in unpredictable environments.

World-Class Preamps: The Kashmir Advantage

Professional audio starts at the preamplifier, and the MixPre-3 II is equipped with Sound Devices' acclaimed Kashmir mic preamps.

• Ultra-Low Noise: With a stunning -130 dBV noise floor and a massive 76 dB of clean gain, these preamps can drive even the most gain-hungry microphones (like the Shure SM7B) without needing an external booster.

• Pristine Quality: They deliver a clean, transparent, "silky smooth" tone that rivals recorders many times its size and price, giving your audio a professional sheen right from the source.

Versatility in a Compact Form

The MixPre-3 II is much more than just a recorder; it's a full production hub that adapts to any scenario:

• Inputs: It features three high-quality XLR inputs for microphones, plus a 3.5mm Aux/Mic input, allowing you to capture up to five tracks (3 ISOs + a stereo mix) simultaneously to an SD card.

• USB Audio Interface: Connect it to your Mac or PC via USB-C, and it instantly transforms into a 5-in/2-out USB audio interface—perfect for high-quality podcasting, streaming, or home studio work.

• Timecode Integration: Essential for videographers, the MixPre-3 II features an internal LTC timecode generator and can receive triggers from cameras via HDMI, ensuring your audio and video are perfectly synced.

• Durable and Portable: Housed in a die-cast aluminum chassis, this recorder is built to withstand the rigors of field recording while remaining remarkably lightweight.

Who Should Buy the MixPre-3 II?

• The Solo Filmmaker/Videographer: You need top-tier audio but can't constantly monitor levels while operating a camera. 32-bit float is your safety net.

• The Serious Podcaster: You demand the best sound quality for your multi-mic recordings and need an interface that can power your studio-grade microphones.

The Field Recordist: You capture everything from quiet nature sounds to loud cityscapes and need the dynamic range and low-noise performance of the Kashmir preamps.

Final Take

The Sound Devices MixPre-3 II is an investment in flawless audio. It removes the technical anxiety of setting levels and delivers a sound quality that will immediately elevate your productions. If you're ready to make audio problems a thing of the past and hear the true potential of your microphones, the MixPre-3 II should be at the top of your gear list.

In the fast-paced world of production sound, efficiency is key.

Every minute saved on set is a win. That’s where the Sound Devices WM-Connect Bluetooth Smart® USB dongle and the free Wingman app for Android and iOS come in, offering a powerful and affordable solution for wireless remote control and metadata management for your 6-Series mixer/recorder.

What is the WM-Connect? The WM-Connect is a small, essential piece of hardware: a Bluetooth Smart USB dongle. It's the bridge that brings your Sound Devices 6-Series mixer/recorder into the wireless, touch-screen era.

Compatibility:

• Mixer/Recorders: Sound Devices 688, 664, and 633 (requires a compatible 6-Series firmware version, typically v4.00 or later).

• Installation: It plugs into the USB-B port on the right side of the mixer using one of the included adapters (a right-angle adapter and a cable adapter), or directly into the keyboard port of an attached CL-12/CL-12 Alaia.

Enter Wingman: Your Wireless Control Surface The Wingman app, available as a free download on the Apple App Store and Google Play, harnesses the WM-Connect's Bluetooth connection to give you remote control features from your smartphone or tablet. This puts a clear, intuitive interface for vital functions right in the palm of your hand, allowing you to step away from the recorder while maintaining crucial control.

Key Features of the Wingman App:

• Remote Transport Control: Easily Start and Stop audio recordings from a distance (typical line-of-sight range is about 50 feet).

• Clear Monitoring: View meters, timecode, and frame rate on the larger screen of your mobile device.

• Metadata & Take Management:

  • Enter and Edit metadata on the mixer in real-time.

  • Arm, Disarm, and Rename tracks quickly.

  • Circle a take or designate a False take with a simple tap.

• Sound Reports: Create and manage sound reports directly on the mixer and then email the reports (as .csv files) from your connected iOS or Android device.

• Workflow Convenience: If multiple WM-Connect-equipped 6-Series mixers are nearby, the Wingman app will display them all, allowing you to easily switch control between devices.

Note: For MixPre Series recorders, the WM-Connect is not required, as those recorders have built-in Bluetooth LE.

The Power of Pairing The combination of the WM-Connect and the Wingman app is a game-changer for 6-Series users. It allows for a more streamlined workflow, especially when the mixer is placed in a bag or on a sound cart where direct access to the small screen and controls might be cumbersome. From rapid metadata entry using your phone’s keyboard to remotely checking levels, this affordable accessory package brings modern wireless convenience to a professional sound mixer's toolkit.

Why the Sound Devices MM-1 is Still Worth Its Weight in Gold

In the world of professional location sound, few single-channel preamps command the respect—and the high resale value—of the Sound Devices MM-1. This compact, battery-powered microphone preamplifier and headphone monitor has been a staple on film sets, in broadcast trucks, and in challenging field environments for years.

But for a single-channel box, both its original price (around $795 USD) and its persistent cost on the used market often surprise newcomers. Why does this little piece of gear hold its value so fiercely? The answer lies in its meticulous design, its unique functionality, and its status as a critical piece of gear for a specialized craft.

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What Makes the MM-1 Essential? The MM-1 isn't just a basic preamp; it's a specialized tool for the working professional, particularly the Boom Operator.

a. Exceptional Preamplifier Quality Sound Devices built its reputation on pristine audio quality, and the MM-1 is no exception. Its microphone preamp delivers:

• Ultra-Low Noise: A minimal Equivalent Input Noise (EIN) of -126 dBu ensures that even quiet dialogue is captured cleanly without hiss.

• High Headroom: A maximum gain of 66 dB and a high clipping level mean it can handle everything from quiet plant mics to loud dialogue without distortion.

• Transformer-Balanced I/O: Using high-quality transformer-balanced inputs and outputs contributes to its excellent immunity to RF interference (RFI) and its ability to drive clean line-level signals over long cable runs.

b. The "Unclippable" Limiter One of the MM-1's most famous features is its dual-stage, extended-range peak limiter. This robust analog circuit uses dual opto-isolators to make the preamp virtually "unclippable." For a boom operator reacting instantly to unpredictable on-set dialogue, this is a literal lifesaver, guaranteeing a clean signal even during unexpected peaks.

c. Versatile Headphone Monitoring This is the feature that elevates the MM-1 beyond a simple preamp and makes it indispensable for a boom op:

• Mic + Monitor Mix: It allows the operator to monitor their microphone signal and an external line-level "Monitor In" signal (typically the full mix from the Sound Mixer's cart) simultaneously.

• Solo and Split Ear: The operator can instantly solo their own mic to hear exactly what they are picking up, or use the Split Ear function to monitor their mic in one ear and the mix in the other. This facilitates private communication and precise performance.

• Phantom Power Versatility: It provides all necessary phantom power options: +48V, +12V, and even 12V "T-power," accommodating virtually any professional boom microphone.

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Why Is the Price Still So High? The Market Dynamics Unlike consumer electronics that quickly depreciate, the MM-1's price remains remarkably resilient on the used market. This is due to a confluence of professional factors:

a. High Cost of Construction (Boutique Audio) Sound Devices equipment is not mass-produced like consumer gear.

• High-End Components: The MM-1 uses boutique, high-tolerance components (like audio transformers and precision analog circuitry) which are inherently more expensive than integrated circuit (IC) designs.

• Rugged Build: Its chassis is built from aluminum and stainless steel with robust, panel-mounted connectors. This durability means the MM-1 can withstand the rigors of years of field use, making a used unit nearly as reliable as a new one.

b. Professional Demand and Niche Market The target audience for the MM-1 is relatively small—primarily professional boom operators and field recordists.

• Unmatched Feature Set: For a boom operator, no modern alternative perfectly matches the MM-1's specific combination of clean preamp, legendary limiter, and versatile split-ear monitoring in a belt-mountable, AA-powered package.

• "Industry Standard" Status: Since the MM-1 became the standard piece of gear for this role, professionals are trained on it and trust it implicitly. Its reliability ensures the job gets done right the first time, an invaluable trait on an expensive production.

c. The Longevity Factor The high resale price is a reflection of the MM-1's expected lifetime. This unit was built to last decades. A new buyer knows that even a five-year-old MM-1 will likely perform flawlessly for another ten years, justifying the high initial investment. It's less of a purchase and more of an investment in a career tool with a reliable return.

In short, the Sound Devices MM-1 remains expensive because you're not just paying for a preamp; you are buying pristine audio quality, legendary reliability, and a niche tool set that is essential for a mission-critical role in professional production sound.

Enhanced by the CL-8 and CL-9

The Sound Devices 788T digital audio recorder, though a legacy product, remains legendary in the world of professional production sound. Its combination of portability, robust build quality, and extensive feature set made it a staple for sound mixers on film, TV, and documentary sets. Paired with its dedicated control surfaces—the CL-8 and CL-9—the 788T transformed from a powerful recorder into a comprehensive, highly flexible mixing and recording system.

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The 788T: A Compact Powerhouse 💪

The 788T was designed for demanding field applications, offering superb audio quality and reliable performance in a compact form factor. Key 788T Features:

• 8 Pristine Inputs & 12-Track Recording: It boasts eight full-featured, ultra-low-noise microphone preamplifiers that accept mic or line-level signals. It can record up to 12 tracks simultaneously, allowing for isolated tracks ("isos") for each input plus a stereo mix and two auxiliary tracks.

• Time Code and Synchronization: A high-accuracy, on-board time code generator/reader (supporting all standard frame rates) and word clock I/O ensure seamless synchronization with cameras and other production equipment—critical for sound-for-picture work.

• Durable Storage: The recorder utilized multiple recording media options, including an internal hard drive (or later, an SSD), a CompactFlash (CF) card, and external FireWire drives, all of which could be used simultaneously for immediate backups.

• Built-in Processing: Each input included essential tools like 48V phantom power, fully adjustable high-pass filters, and robust peak limiters.

• Taking Control: The CL-8 and CL-9While the 788T is fully functional on its own, its compact size means menu diving is sometimes necessary. This is where the CL-8 and CL-9 control surfaces stepped in, vastly improving the user experience for on-set mixing. Both connected to and were bus-powered by the 788T via a single USB cable.

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The CL-8: Rotary Control for the Bag Mixer: The CL-8 was designed as a lightweight, portable mixing surface for the sound mixer working "over-the-shoulder" or from a compact audio bag.

• Rotary Faders: It features eight large, tactile rotary faders (knobs) to control the input-to-mix levels (L/R and Aux tracks).

• Quick Access Buttons: Dedicated push buttons provide immediate, visual control over critical channel functions like High-Pass Filter, Limiter, Polarity Reverse, Mute, and Solo for each of the eight inputs.

• Simple and Durable: The design is focused on durability and simplicity, providing essential mixer-type controls without adding excessive bulk or weight.

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The CL-9: Linear Precision for the Sound Cart

• The CL-9 is the larger, more advanced mixing surface, perfect for sound mixers working on a stationary sound cart where precision and more controls are desired. It effectively turns the 788T into a professional mixing console.

• Eight 100mm ultra-low-latency linear faders for highly precise and smooth level control.

• Dedicated Rotary Trim controls for each input, plus a full sweepable, single-band parametric EQ per input (Frequency, Gain, and Q) added to the 788T's feature set.

• Dedicated control over Input Pan and Output Level for all six analog outputs.Communication

• Dedicated connections and controls for a slate circuit and private talkback circuits (Return Inputs) for seamless communication with the boom operator and talent.

• Four additional user-programmable controls for assigning menu items to physical knobs.

The System's Legacy The 788T and its controllers provided a generation of production sound mixers with a powerful, flexible, and robust recording solution. The ability to switch between the compact, rotary-fader CL-8 for mobile work and the comprehensive, linear-fader CL-9 for cart-based mixing made the 788T System incredibly versatile and a true industry standard for high-track-count, sync-sound recording that can now be purchased on the second-hand market for a fraction of its original price.