Wendt X5 or SD 442

MrDigitaL · 17th February 2009

Looks like i might be getting into field production work.
I'm looking at the wendt x5 and the SD 442 and they both look great but how do they sound?
Is there a portable compressor that can be used on a location shoot?
Thanks,
Mike

jacobfarron · 17th February 2009

Wendt x5 - only if you MUST have 5 channels. Some of the reality work I do dictates the need. Other than that, the only good quality is it's light. The headphone amp is crap, the limiter is crap, the VU metering is crap, tone is at 400 which isn't terrible but unusual, the RF shielding is crap, there is NO INFINITY OFF - yes channels bleed, you can only gain them down (I've forgotten the exact attenuation) and the list goes on an on.

The SD442 - which I use daily, although heavier, is an incredible tool. Mic pre's are quiet and transformer balanced. Separate gain and fader make adjustments easier. It also has direct outs in addition to two sets of master bus outputs. You can change the limiter threshold (big for me... going to Beta or digi / anything HD?). The headphone amp is not only clean, but it has a clip LED so you can tell where your signal is going wrong. Hundreds of more benefits that I'm leaving out. The SD 442 is the way to go if you can.

eastwestaudio · 18th February 2009

+1 for SD 442. many have called the 442 the "swiss army knife" of production sound over the shoulder mixers. Not only does it sound great, the routing options on it are fantastic.

You might want to direct your question over to r.a.m.p.s. or jwsound.net. these are user groups dedicated to production sound (as opposed to gearslutz post-production).

-greg-

MrDigitaL · 18th February 2009

Thanks for the help.
I'm going to rent a 442 this weekend and run it thru it's paces.
Does the 442 have any quirks to it? How long does it last on batteries
compared to a np1 system?

jacobfarron · 18th February 2009

The battery question is a bit hard - it depends on how many channels have phantom on. I typically only have it running on 1 ch - my boom. With AA's I get about 5 or 6 hours on the 442, and close to 9 on the 302.

BDS is tricky as well because I've never used the 442 on a BDS without also running four Lectro 411a's as well. But, with the L7 NP1 batts I usually get at least 5 or 6 hours. I have run the SD 302 for 3 days straight (no wireless) on the same L7 battery, so I suspect the 442 isn't far off. If you're using the 45 watt/hr batts it will be less.

One thing about the IDX batteries: I find the indicator light goes from full to medium to off. I never get a low indicator light, or if I do I miss it. So I usually change on the mid level LED.

eastwestaudio · 18th February 2009

i can run a 442 and 744t all day on one IDX NP-L7s.

-greg-

MrDigitaL · 18th February 2009

I just rented a 442 today and so far it is working great.
I have to work on a shoot tomorrow with 2 guitars and 2 singers.

I think the preamps will hold up fine.
I'm going to be trading in my PSC when i return the 442

leeg1970 · 19th February 2009

Haven't used a wendt, but have the 442, and I think it's a great mixer. The wendt might be lighter but if you're used to using a SQN then both would be like feathers.

Not much else to say as I think others have pointed out the plus points.

LEE G

Quote:

Originally Posted by MrDigitaL

Looks like i might be getting into field production work.
I'm looking at the wendt x5 and the SD 442 and they both look great but how do they sound?
Is there a portable compressor that can be used on a location shoot?
Thanks,
Mike

Petrus · 19th February 2009

I do not really see a need for a portable field compressor. If you are recording a 24 bits you can compress to your hearts content at the studio.

I have the small brother of 442 the SD302, and have the limiters set at 17 dBVU (-3 dBFS). At 1:20 slope that gives an extra 60 dB of headroom if I blow it. Lets do the math... with SD722 recorder at 24 bits and SD302 limiters I get almost 30 bits worth of dynamic range...

math: SD722 has about 20 bits real DR, SD302 limiters give another 60 dB=10 bits in emergency...

17th February 2009	#1
MrDigitaL Gear Head Joined: Jan 2008 Location: Music City Posts: 32 Thread Starter	Wendt X5 or SD 442 Looks like i might be getting into field production work. I'm looking at the wendt x5 and the SD 442 and they both look great but how do they sound? Is there a portable compressor that can be used on a location shoot? Thanks, Mike __________________ www.myspace.com/ernietaintworth

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17th February 2009	#2
jacobfarron Gear addict Joined: Oct 2007 Location: Los Angeles Posts: 309	Wendt x5 - only if you MUST have 5 channels. Some of the reality work I do dictates the need. Other than that, the only good quality is it's light. The headphone amp is crap, the limiter is crap, the VU metering is crap, tone is at 400 which isn't terrible but unusual, the RF shielding is crap, there is NO INFINITY OFF - yes channels bleed, you can only gain them down (I've forgotten the exact attenuation) and the list goes on an on. The SD442 - which I use daily, although heavier, is an incredible tool. Mic pre's are quiet and transformer balanced. Separate gain and fader make adjustments easier. It also has direct outs in addition to two sets of master bus outputs. You can change the limiter threshold (big for me... going to Beta or digi / anything HD?). The headphone amp is not only clean, but it has a clip LED so you can tell where your signal is going wrong. Hundreds of more benefits that I'm leaving out. The SD 442 is the way to go if you can.

18th February 2009	#3
eastwestaudio Gear nut Joined: Jun 2008 Location: nyc Posts: 91	+1 for SD 442. many have called the 442 the "swiss army knife" of production sound over the shoulder mixers. Not only does it sound great, the routing options on it are fantastic. You might want to direct your question over to r.a.m.p.s. or jwsound.net. these are user groups dedicated to production sound (as opposed to gearslutz post-production). -greg-

19th February 2009	#9
Petrus Lives for gear Joined: Oct 2008 Location: Espoo Finland Posts: 868	I do not really see a need for a portable field compressor. If you are recording a 24 bits you can compress to your hearts content at the studio. I have the small brother of 442 the SD302, and have the limiters set at 17 dBVU (-3 dBFS). At 1:20 slope that gives an extra 60 dB of headroom if I blow it. Lets do the math... with SD722 recorder at 24 bits and SD302 limiters I get almost 30 bits worth of dynamic range... math: SD722 has about 20 bits real DR, SD302 limiters give another 60 dB=10 bits in emergency...