News
eShop
About Us
Join Us
Contact Us
Search
Ableton
Analog Way
Antares
Apart Audio
Aphex
Audio Limited
Avalon
Avid
Axia
Barco
Brauner
Clair Brothers
DAD
dB Technologies
Dolby
DPA Microphones
Eventide
Focusrite
Fostex
Genelec
Gibson
Grace Design
Heritage Audio
IsoAcoustics
iZotope
K&M
KRK
Manley Laboratories
Mogami
Mojave
Native Instruments
Optocore
PMC
Rohde & Schwarz
Royer
RTW
Rycote
Schertler
Sennheiser
Softube
Solid State Logic
Sonifex
Sonnox
SonoSax
Studio Network Solutions
Symetrix
Tac Systems
Telos
Townsend Labs
Tube Tech
Universal Audio
Vizrt
Waves
Yamaha
Ableton
Antares
Aphex
Avid
Axia
Clair Brothers
dB Technologies
DPA Microphones
Eventide
Fostex
Genelec
Grace Design
IsoAcoustics
KRK
Native Instruments
PMC
Royer
RTW
Rycote
Schertler
Sennheiser
Softube
Solid State Logic
Sonifex
Telos
Townsend Labs
Universal Audio
Waves
Yamaha
News
2018/11/13

​SONOSAX SX62R AND SX-R4+

 
 
Small but strong!

I chose the SONOSAX SX-R4+ for the sound recording on the film “Gueule d’Ange”, first feature film of Vanessa Filho, with Marion Cotillard and Alban Lenoir, which was shot in Marseille, France, this autumn.
 
Being a SX62R’s enthusiast user for several years for the quality of its preamplifiers (I use it in documentary and fiction shootings since 2011), the choice of the more recent and more powerful SX-R4+ was an natural evolution of my way of working.


Security
With this configuration and thanks to the internal routing of the SX-R4+, I was able to record 2 boom poles, 6 HF inputs, a MS couple and 2 additional inputs for extra microphones. All these sources have been pre-mixed internally to set up a mixdown on 2 tracks. That’s a total of 14 channels (from 16 available).
 
The easy switch from analog inputs to AES allowed me to use a SuperCMIT without changing my basic configuration.
 
The mixdown was fed back into the line input of the SX62R via the line output of the SX-R4+ and recorded on 2 tracks to maximize safety. Both machines were synchronized with the same TC. My emergency recorder was then the same quality as my main recorder!
 
Routing
The very intuitive routing grid allowed me to switch easily my sources to the SX62R’s inputs, which benefit from a rotary low frequency cut and additional limiters. The possibility of adding delays on all inputs of the SX-R4+ allows a perfect alignment of the digital HF (8 ms delay) with wired mics. The dynamic range of the analog inputs is so high that it is almost impossible to saturate them during difficult moments of sound recording. The compactness of the 2 machines allowed me to pack them in the same bag in order to always keep my full setup even in field recording.
 
Conclusion
The choice and use of that unconventional setup really paid off in terms of ergonomics, reliability and above all sound quality. A perfect match with Schoeps and Beyerdynamic M160 microphones achieve a clean and precise soft sound, in perfect harmony with the idea of the film.
 
I look forward to the launch of the SX-R4+ mixing control surface to finalize that setup in a cart version.