Sound Devices 442 Manuel

Sound Devices, LLC

300 Wengel Drive

Reedsburg, WI 53959 USA

Voice +1 (608) 524-0625

Fax +1 (608) 524-0655

www.sounddevices.com

442

Field Mixer

User Guide and Technical Information

for 442 and 442 Nordic Field Mixers

backside - front cover

Table of Contents

Quick Start Guide . . . . . . . . . . . . . . . . .3

Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Input Channel Setup . . . . . . . . . . . . . . . . . . . . . . . . . 3

Output Connection . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Headphone Monitoring . . . . . . . . . . . . . . . . . . . . . . . 3

Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Limiting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Front Panel Descriptions . . . . . . . . . . .4

Input Panel Descriptions . . . . . . . . . . .5

Output Panel Descriptions . . . . . . . . . .6

Input Channels . . . . . . . . . . . . . . . . . . .7

Mic/Line Level Selection . . . . . . . . . . . . . . . . . . . . . . 7

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Microphone Powering. . . . . . . . . . . . . . . . . . . . . . . . . 7

High-Pass Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Pan Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Channel Limiters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Peak LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Polarity Reversal - Channel 2 . . . . . . . . . . . . . . . . . . 9

Stereo Link ON - Channels 1 and 2 . . . . . . . . . . . . . . 9

Stereo Link MS - Channels 1 and 2 . . . . . . . . . . . . . 9

PFL (Channel Solo Monitoring) . . . . . . . . . . . . . . . . . 9

Master Gain Control . . . . . . . . . . . . . . . . . . . . . . . . . 9

Master Outputs - XLR and Hirose Multi-Pin . . . . . . . 10

Secondary Balanced Outputs . . . . . . . . . . . . . . . . . . 10

Tape Outputs (Mix Output) . . . . . . . . . . . . . . . . . . . . 10

Mono Mic Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Output Limiter . . . . . . . . . . . . . . . . . . . .10

LINK vs ON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Mix Input (linking mixers) . . . . . . . . . . .11

Metering . . . . . . . . . . . . . . . . . . . . . . . . .11

Meter Ballistics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Ballistics Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Headphone Peak LED . . . . . . . . . . . . . . . . . . . . . . . 12

Headphone Monitoring . . . . . . . . . . . . .12

Headphone Source Selection . . . . . . . . . . . . . . . . . . 12

Headphone Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Return A and B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Powering. . . . . . . . . . . . . . . . . . . . . . . . .13

Internal Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

External Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Power Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Power Consumption . . . . . . . . . . . . . . . . . . . . . . . . . 13

Tone Oscillator / Slate Microphone . . .14

Tone Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Slate Microphone . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Accessing the Setup Menu. . . . . . . . . .15

Enter the Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . 15

User Default . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

442 Nordic Information . . . . . . . . . . . . .16

Setup Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Setup Menu Firmware v 5 . . . . . . . . . . .17

Setup Menu Firmware v 3 & 4. . . . . . . .18

Setup Menu Firmware v 2, (442 only). .19

Speciﬁcations . . . . . . . . . . . . . . . . . . . .20

Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Block Diagram - Inputs and Outputs . .23

Block Diagram - Monitoring . . . . . . . . .24

Accessories . . . . . . . . . . . . . . . . . . . . .25

CE Declaration of Conformity . . . . . . .26

Warranty and Technical Support . . . . .27

FCC Statement . . . . . . . . . . . . . . . . . . .27

442/442N User Guide and Technical Information

v. 5.06 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

Welcome

Developed with input from the industry’s top audio engineers, the 442 Field Mixer encompasses the audio

performance, feature set, and mechanical construction demanded by those who rely on audio gear for

their livelihood. The 442 contains four high-performance microphone preampliﬁers, many outputs, and ﬂexible

monitoring. Its inputs and outputs, including direct outputs per channel, make the 442 at home in small “run-

and-gun” applications as well as large, multiple input productions.

The 442 incorporates a complete feature-set into a compact, functional design. All controls are accessible on its

three main surfaces; no hidden controls. The high-efﬁciency circuitry allows the mixer to run from either four

internal AA batteries or external 5-18 VDC.

The 442, like all Sound Devices professional audio products, is designed to withstand the physical and envi-

ronmental extremes of ﬁeld production. Its compact mechanic construction strikes the perfect balance between

access to all functions, uncluttered design, and durability.

Quick Start Guide

For those familiar with ﬁeld mixers or mixing consoles, this "Quick Start Guide" highlights basic functionality

to begin operating the 442.

Powering

1. Insert four AA batteries into the battery compartment. Insert with the positive (+) side ﬁrst.

2. Or, connect external DC power (5–18 VDC) to the unit's DC connector.

3. Slide the power switch to the intended power source.

4. View battery level by depressing the battery check button.

Input Channel Setup

1. Connect a signal source (microphone or line level signal) to a channel input connector.

2. Select the input type - MIC or LINE level.

3. Activate Phantom or T-powering, if required by the microphone.

4. Set the Channel Fader to the 0 (unity) position.

5. Adjust the Channel Pan for the appropriate position.

6. Adjust the High-Pass ﬁlter as needed.

7. Place the Master Gain control to the 0 (unity) position.

8. Adjust the Channel Gain/trim control for the required level.

9. Verify that there is signal present on the output meter.

Output Connection

1. Connect to the XLR output of the 442.

2. Select the output type - MIC, -10, or LINE level.

3. Verify that the destination input is receiving signal.

Headphone Monitoring

1. Connect headphones to the headphone connector on the output panel.

2. Select the ST position on the headphone selection switch to listen to stereo mixer program.

3. Monitor audio in the headphones.

Metering

1. View the master output level on the LED output meter.

2. Toggle between VU, PPM (Peak), or combined VU/PPM metering with the PK/VU button.

3. Adjust the meter brightness among its intensities with the meter brightness button.

Limiting

1. Activate the input and output limiters by engaging the front panel switch - either stereo linked or dual

mono.

2. Note limiting activity via the limiter LEDs and the output level.

3. Adjust the output limiter threshold and input limiter availability in the Setup Menu (see Appendix).

442/442N User Guide and Technical Information

v. 5.06 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

1. Gain (Trim)

Controls the gain of the microphone preamp.

Range is from +22 dB to +60 dB to accomodate

different input sources. Can be thought of as a

"coarse" gain adjustment.

2. Channel Fader

Controls a channel's gain. Ranges from 'off' to

+15 dB. Nominal setting is in the middle (0 dB).

Can be thought of as a "fine" gain adjustment.

3. Channel Pan

Controls the Left/Right balance of the input signal

to the outputs. Signal is 3 dB greater than center

position when panned hard right or left.

4. LINK LED

Indicates that channels 1 and 2 are linked as a

stereo pair, set via the Link Switch on the input

panel.

5. Channel 2 Polarity Reverse

Reverses the polarity of input channel 2.

6. PFL (Solo)

Sends the channel signal to the headphones for

troubleshooting and gain set-up. Does not affect

master output signal at all.

7. Peak LED

Indicates that the input signal is 3 dB from clip-

ping. Indicates that Gain is set too high if LED

comes on.

8. High-Pass Filter

Adjusts corner (-3 dB) frequency of high-pass

filter. Fully counter-clockwise (detented) removes

the high-pass filter. Range is 80 Hz to 240 Hz,

12dB/oct to 6 dB/oct.

9. Input Limiter LED

Illuminates orange in proportion to the amount of

input limiting. Indicates that Gain Trim is set too

high if significant limiting is occurring.

10. Slate Mic / Tone Oscillator

Activates the slate microphone in the left position

(momentary) and activates the tone oscillator in

the right position (latched).

11. Limiter Switch

Activates both input and output limiters. Input lim-

iters can be defeated in the Setup Menu. ON =

output limiters are not linked to each other. LINK

= output limiters are linked to each other for ste-

reo outputs.

12. Master Gain

Controls overall level of signals to both left and

right outputs.

13. Meter Brightness

Adjusts the overall mixer LED brightness level

among four intensities (or meter off).

14. Meter Ballistics Selection

Selects among output meter ballistics—VU, PPM

(Peak), combined VU/PPM, or VU-PPMHold (see

Metering). Hold down while powering to access

the Setup Menu.

15. Monitor Selection Switch

Sets the signal source sent to headphones.

Options include: input PFL 1, 2, 3; left output bus;

right output bus; Mono (summed left and right);

STereo master; RTN - stereo monitor return;

MS-mono; MS-stereo; RTN-MS.

16. Battery Level

Views the battery level on the output meter. Left

meter indicates internal battery level, right meter

indicates external battery level. See POWERING.

17. Headphone Gain

Adjusts the overall headphone gain.

Front Panel Descriptions

2 3 4 5 6 7

910

11 12 14 17

18 19

15 16

18. Output Meter

40 segment output meter. Markings indicate out-

put level (at line-level) in dBu for Peak setting. For

VU setting, markings indicate Volume Units. See

APPENDIX A for 442N scale.

19. Power LED

Illuminates when unit is powered. Flashes when

power supply is low. With external DC supply the

LED flashes at select voltage. See POWERING.

20. Monitor Return A|B

Allows for quick selection of return audio signals

to be sent to the headphones. Function can be

modified in the Setup Menu.

21. Output Limiter LEDs

Illuminates orange in proportion to the amount of

output limiting. Indicates that Master or Faders

are set too high if significant limiting is occuring.

22. Power Switch

Selects internal or external power source for the

mixer.

Input Panel Descriptions

24 25

27 28 29

23. XLR Inputs

Transformer-balanced channel inputs. Can be

unbalanced by grounding pin-3 to pin-1 of the

XLR connector. Pin-1 = Ground; pin-2 = 'Hot'; pin-

3 = 'Cold'.

24. Mic/Line Channel Switch

Selects the input level of its associated input con-

nector.

25. Phantom/DYNamic/T-Power Selection

Selects the microphone powering type of the

associated channel. NOTE: Use T-Powering ony

for T-Powered microphones.

26. TA3-type Channel Direct Outputs

Balanced, line level channel output. Signal is

pre-fader, post-trim, post-input-limiter, post high-

pass. Selectable line- or mic-level output via

Setup Menu. Pin-1 = Ground; pin-2 = 'Hot'; pin-3

= 'Cold'. Can be used unbalanced with pin-2 and

ground.

27. Phantom Voltage Selection

Selects either 48 V or 12 V phantom voltage for

the input channels.

28. 1 + 2 LINK

Groups channels 1 and 2 as a stereo pair. ON

selects a L/R stereo pair, MS selects a Mid-Side

stereo pair. See Stereo Link for more information.

29. RTN A and RTN B Level

Adjusts the input sensitivity for the Return A and

Return B signals. Useful for balancing levels when

toggling between program and return audio.

442/442N User Guide and Technical Information

v. 5.06 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

Output Panel Descriptions

31 3132

3738

41**

30. XLR Master Outputs

Transformer-balanced ouputs. Pin-1 = Ground;

pin-2 = 'Hot'; pin 3 = 'Cold'. Can be unbalanced by

grounding pin-3 to pin-1 of the XLR connector.

31. XLR Output Level

Sets the nominal output level for the XLR Master

Outputs to Mic, Tape (-10), or Line levels.

32. TA3-type Master Outputs

Selectable Line (factory default) or Mic level out-

put set in Setup Menu. Pin-1 = Ground, pin-2 =

'Hot', pin-3 = 'Cold'. Can be used unbalanced with

pin-2 and ground.

33. Hirose Multi-Pin Output (Return A)

Multi-pin connector includes second master out-

put (on separate winding from XLR outputs). Also

includes unbalanced stereo Return A. (See block

diagram for pin out.)

34. Hirose Multi-Pin Hirose Output Level

Selects output level for the Hirose Multi-Pin

Output to Mic, Tape, or Line Level.

35. Tape Output(s) / Mix Out

Unbalanced stereo outputs on 3.5 mm and TA3-

type connectors. For TA3, pin-1 = Ground, pin-2 =

Left, pin-3 = Right. For 1/8", sleeve = Ground, tip

= Left, ring = Right. Also used to link to the Mix In

to add inputs to a 442.

36. Mono Mic Out

1/8-inch, mono, mic level connection designed to

connect to wireless IFB transmitters or transcrip-

tion recorders. Unbalanced. Tip = Hot, sleeve =

Ground.

37. Return B Input

Unbalanced stereo TA3-type or 3.5 mm input con-

nectors for Return B audio. TA3: Pin-1 = Ground,

pin-2 = Left, pin-3 = Right. 1/8": Sleeve = Ground,

tip = Left, ring = Right.

38. Headphone Outputs

1/4-inch and 3.5 mm stereo connectors can drive

headphones from 8 to 2000 ohm impedances to

required monitoring levels.

39. Mix In

An input to the master bus designed exclusively

to link another 442, MixPre, or MP-2 to the 442

for additional inputs. Pin-2 = Left, pin-3 = Right,

pin-1 = Ground. Shell of TA3 connector must be

grounded to pin-1 to open connection.

40. Battery Compartment

Holds four AA batteries required for internal pow-

ering. Accepts alkaline and lithium cells or NiHM

rechargeable cells.

41. DC Input

Accepts DC voltages from 5–18 V for mixer

powering. Four-pin Hirose connector is wired

pin-4 positive (+), pin-1 negative (–). Ext DC is

completely isolated (floating) from the rest of the

circuitry.

** Note

Early versions (s/n < 0303) of the 442 use a coax-

ial DC power connector with tip (+) and sleeve (–).

Input Channels

The inputs of the 442 consist of four, full-featured microphone preampliﬁers. Each channel has a wide gain

range to accommodate nearly all signal types. The 442 accepts signals ranging from low-sensitivity ribbon and

dynamic microphones to medium level wireless and condenser mic outputs up to "hot" line levels.

442 input channels are transformer-balanced. The isolation characteristics of transformers are superior to other

balancing techniques for the hostile and uncontrolled environments of ﬁeld production. Transformers provide

galvanic isolation from the driving source, meaning there is no direct electrical connection. Signals are "trans-

formed" magnetically. The input transformers in the 442 use premium magnetic core material to achieve high

signal handling capability (especially at low frequencies) while keeping distortion to a minimum. Because of

their inherently high common mode impedance, transformers are unrivaled by any other type of input for

common-mode noise rejection.

The inputs of the 442 can be used as either balanced or unbalanced connections. When unbalancing, ground

pin-3 to pin-1. There is no change in gain between unbalanced and balanced connections into the 442.

Mic/Line Level Selection

The Mic/Line switch is used to select the input level for the channel. Taking into account all available gain

stages, the 442 has up to 84 dB of available gain from mic input to line output. When in the LINE position, the

input channel sensitivity is reduced by 40 dB.

Gain

Like traditional mixing consoles, the 442's microphone preamp gains are set via the Gain control. The Gain,

or trim, adjusts the input sensitivity of the channel input so that the channel fader can be set to operate in a

usable range. Once set, the Gain is typically kept at the set level and all mixing is done on the Channel Fader.

The Gain adjustment features a pop-up knob so that it can be adjusted easily and then hidden from the mixing

surface.

Faders

While both the Gain and the Fader control the gain of a given channel, the Fader is the primary channel level

control. The Gain can be thought of as a "coarse" gain adjustment to be adjusted during setup, and the Fader is

a "ﬁne" gain adjustment to be adjusted while recording. With a properly set up Gain, the Fader can be set to a

nominal 0 (unity) level. With the Fader at unity, the dynamic range of the mixer is maximized. There is a wide

range of gain control for the input, allowing for smooth gain changes with adequate control of attenuation and

gain.

Microphone Powering

Condenser microphones require power for various parts of their operation. The 442 can provide phantom or T-

power to each input and is selected per input. The 442 can provide up to 10 mA to each input at 48 V, sufﬁcient

for the most power-hungry condenser microphones. When acceptable, use 12 V phantom to extend battery

runtime. The 12 V/48 V phantom voltage switch is located on the input panel.

Phantom Power

Phantom powering is a method of providing power to microphones by applying a voltage to the microphone

using the same wires that carry the audio signal. Phantom power is produced by the 442 for microphones that

require power. Phantom powering utilizes a ﬁxed DC voltage between 12 and 48 volts. This voltage is resis-

tively applied to pin-2 and pin-3 of an XLR connector relative to pin-1 (there is no voltage difference between

the signal pins -2 and -3—a dynamic mic can operate just ﬁne in the presence of phantom powering.)

Many phantom-powered mics will operate at 12 V with no difference in performance as compared to operating

off of 48 V. As the mics draw the same current no matter what the phantom voltage, operating at 48 V con-

sumes four times the power as 12 V with no performance gain! This excess power draw can make a signiﬁcant

difference in battery life and is the reason that the 442 allows the user to select phantom voltage.

442/442N User Guide and Technical Information

v. 5.06 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

It is generally good practice to turn off phantom powering when not using microphones that require it. Phantom

can capacitively couple noise into the mic inputs with poor mic cables. Also, be certain to turn off mic powering

when using ribbon microphones since an improperly wired cable can permanently damage the microphone.

Dynamic

The DYN (dynamic) position applies no voltage to the microphone input.

T Power

T-Powering is a microphone powering scheme used by several European condenser microphone manufacturers.

Today, T-powered microphones are not as common as phantom microphones, but many are still in regular use.

T-power resistively applies 12 V between the signal pins -2 and able T-power for each input. The 442 provides

positive T-power, where pin-2 on the XLR-3 connector has +12 volts relative to pin-3. When using "red dot"

T-powered microphones (reverse polarity T-power) use a polarity-reversing adapter on the input, otherwise

damage to the microphone may occur.

Phantom and T-powering are not interchangeable. Use T-powering only for T-powered microphones.

High-Pass Filters

Each channel of the 442 has an adjustable high-pass ﬁlter. High-pass (or low-cut / low roll-off) ﬁlters are useful

for removing excess low frequency energy in audio signals. Wind noise is a common unwanted low frequency

signal and a high-pass ﬁlter is effective for reducing wind noise. For most audio applications engaging the high-

pass ﬁlter is beneﬁcial, since little useable audio information exists below 100 Hz, especially for speech repro-

duction.

The 442's high-pass circuit features an adjustable corner (–3 dB) frequency over a range from 80 Hz to 240 Hz.

Below 80 Hz, the ﬁlter's slope is 12 dB/octave. At higher corner frequency settings, the slope is 6 dB/octave,

and then below 80 Hz, it increases to 12 dB/octave (See Speciﬁcations). The purpose for this compound slope is to

give additional roll-off at the 80 Hz setting to reduce wind noise and rumble. The higher settings can be used to

counteract proximity effect of directional mics where a more gentle slope is desirable. The 442's high-pass circuit

is unique because of its placement before any electronic ampliﬁcation. Most mixer's high-pass circuits are placed

after the mic preamp, where all of the high-energy low-frequency signals get ampliﬁed. By virtue of the 442's

circuit cutting the low-frequency signals before amplifying, higher headroom is achieved in presence of signals

with a lot of low-frequency energy.

Where possible, attempt to equalize at the sound source with microphone selection, use of windscreens, micro-

phone placement, and onboard microphone ﬁltering. Many microphones have on-board high pass ﬁlters, and

the high-pass ﬁlters on the 442 can be used in conjunction with the microphone's ﬁlters to increase the ﬁlter's

slope.

The ﬁlter can be removed from the circuit completely by moving the high-pass control fully counterclockwise.

The high-pass features a pop-up knob so that it can be adjusted easily and then hidden from the mixing surface.

Pan Controls

The pan control routes an input channel signal anywhere between the Left and Right output. The 442 uses con-

stant loudness pan controls, meaning that the signal is 3 dB louder at the full-right or full-left position relative to

the center position. For most applications the channel will be panned either full left, full right, or to the center;

the 442 features excellent "off-attenuation" of the channels in the hard- left and right positions. The pan pot has a

detent in the center position, and is calibrated at Sound Devices for a maximum difference of +/- 0.1 dB between

the left and right output in this position. Since pan is not often used after channel setup, the pan pot is on a pop-

up knob so it can be hidden from the mixing surface during normal operation.

Channel Limiters

The channel limiter acts solely as a "safety" limiter, and is enabled when the output limiters are enabled via the

"LIM" switch on the front panel. (See Setup Menu to defeat Channel Limiters entirely.) In normal operation, with

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