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Complete Suite Of Products

We are seeing more and more companies filling out the range of products into a suite of offerings for many people. Going from the MixPre-3 all the way up to the 788t. This gives sound mixers and recordists from all levels to be able to get a device that is right for them. Lets compare the top of the MixPre Range with the bottom of the 6-Series range.

Now don’t be fooled with top and bottom as both these units are very flexible for many people.

Main Features To Look For As A Professional On Both Recorders

Timecode: Timecode connections are going to be key for being able to sync audio and cameras together. Though there are more solutions for sync boxes that also do genlock you are going to want the option to be able to get timecode out in an easy way. 5pin Lemo on the 633 and the BNC on the 10T makes it sent.

Word Clock: Word clock syncs recorders together by sample rate. This is the audio equivalent of Genlock which synchronizes frames in a camera for frame rate. Having this option allows you to expand to record on multiple recording devices with sample accuracy.

Professional Powering: Having 4-pin Hirose powering on both devices which allows you to power from NP1 or other solutions.

Tone Generator: This is a way to properly calibrate audio meters between the camera and sound devices with a consistent tone to then set the levels.

High Quality Files: Being able to record at 24 bit depth and up to 192kHz will satisfy everyone from sound effects recordists to ENG mixers.

Metadata / Sound Reports: These are essential for proper detail of scene and takes.

Ask Yourself If You Mixer Or Mainly Record

These both have functions for recording and mixing but with their being more output options on the Sound Devices 633. If you are just mixing straight to camera than obviously either unit is fine. If you want to mix to lots of cameras then the 633 will give you more options with. The dedicated comms return to monitor cameras also puts the 633 ahead in my opinion.

Why I mention mainly record is that then you may actually lean more towards the MixPre 10T with it having a bigger track count with slightly quieter preamps and inbuilt wingman app. So though you have less inputs the 633 is an all around better mixer.

Extras to consider

If you have a digital mic like the Schoeps SuperCMIT then you are going to need a Sound Devices 633 to be able to power it with AES42. There is also 6 second pre roll recording on the 633 making it great for never missing a board or sound effect on the fly.

Auto mixer options are only available on the 633 as well. This is great for podcasts or live unscripted situations. Though speaking of podcasting you will love the 10T for its USB streaming capability as an interface for recording to your computer.

What Wins For You?

There are a few features you are paying for to justify the price difference of these beasts. The 633 has automix, AES inputs and outputs, more output options like 6 bus outputs (L,R, X1-X4). These are a deal breaker for some but let me know in the comments which one you would pick.

Sound Devices MixPre 10T

Frequency Response
10Hz to 80kHz +/- 0.5dB re 1kHz @ 192kHz sample rate
THD + Noise
0.005% max (@1kHz, 22-22kHz BW, gain=20dB, -10dBu in)
32 bit precision; 120dB dynamic range min (A-weighted, gain=10dB, fader=0dB)
Equivalent Input Noise
-130dBV (-128dBu) max (A-weighting, gain=76dB, 150 ohm source impedance)
  • Mic: XLR active-balanced; 4k input Z
  • Line: XLR active-balanced; 4k input Z
  • Aux/Mic in: 3.5mm TRS, 2-channel unbalanced; 100k input Z
  • Line: ¼-inch TRS active-balanced; 4k input Z
  • USB Audio: 4 channels
  • All inputs fully RF-filtered and overload protected.
  • Mic input: +6dB to +76dB
  • Line input: -20dB to +30dB
  • Fader: -inf to +20dB
  • Headphone: -inf to +20dB
  • Total, Mic-to-recording (max): +96dB
  • Aux In (Mic): Gain = +10dB to +40dB
  • Aux In (Line): Gain = -10dB to +20dB
  • Total Aux Gain including Fader (Mic-to-recording): +60dB
Maximum Input Level
  • Mic XLR: +14dBu (limiters on or off)
  • Line XLR/¼-inch: +28dBu (limiters on or off)
  • Aux In (Mic): -10dBu
  • Aux In (Line): +10dBu
Low Cut Filters
40Hz to 160Hz (adjustable), 18 dB/oct. First stage analog, subsequent stages digital.
Microphone Powering
  • Mic XLRs: 48V via 6.8k resistors, 10mA each
  • Mic 3.5mm: 3V @ 3k source Z
Limiter at all gain stages, range > 40dB. First stage analog, subsequent stages digital.
DAC feeding Stereo Out, Headphone Out
32 bit precision; 115dB dynamic range (A-weighted)
L/R Out
TA3 2-channel balanced, 1.1K max output impedance, +7.8dBu max output level
X1/X2 Out
3.5mm TRS stereo unbalanced, 500 ohm output Z, +7.8dBu max output level
Headphones Out
3.5mm TRS stereo unbalanced, for use with any impedance headphones
  • Audio Interface (USB-C): 12-in/4-out; 44.1 to 96 kHz; 16/24-bit; Class-compliant USB 2.0 high speed or ASIO (supplied)
  • Mass Storage (USB-C): USB 2.0 high speed
  • Keyboard (USB-A): Text entry and control
Maximum Record Tracks
12 Tracks: Stereo mix + 10 ISOs
Sampling Frequency
  • 44.1 kHz
  • 47.952 kHz
  • 48 kHz
  • 48.048 kHz
  • 96 kHz
  • 192 kHz
Bit Depth
16, 24
Recording Storage
  • Type: SD, SDXC, SDHC Card
  • Max Storage Size: 512 GB (SDXC)
  • Card format: FAT32 (32GB or less) or exFAT (>32GB)
File Type
WAV (Broadcast Wave File Format) with embedded timecode stamp and metadata
Timecode Modes
  • Free Run
  • Time of Day (file stamped w/current ToD)
  • Rec Run
  • Ext LTC (file stamped w/incoming LTC on BNC or Aux 3.5mm)
  • HDMI TC (file stamped w/incoming TC from cameras that output TC over HDMI
Timecode Frame Rates:
  • Auto-detects (fps): 23.98 (same as 23.976)
  • 24
  • 25
  • 29.97DF
  • 29.97ND
  • 30
  • 30DF
Sync Source
Internal, Word Clock, Ext LTC
BNC In (TC In)
Switchable between Timecode (default) or Word Clock Input
  • Timecode: 20k ohm impedance, 0.3 V – 3.0 V p-p (–17 dBu – +3 dBu)
  • Word Clock: 10k ohm impedance, 1.5V p-p
BNC Out (TC Out)
Switchable between Timecode (default) or Word Clock Output
  • Timecode: 1k ohm impedance, 3.0V p-p (+12 dBu)
  • Word Clock: 75 ohm impedance, 5V p-p
Remote Control
  • Bluetooth Smart: Wireless control using Wingman app
  • HDMI (micro): Auto-record start/stop trigger from cameras that output record flag over HDMI
  • Timecode: Auto-record start/stop trigger via Aux In timecode
Touch Screen
320x240; 1.6-inch, color, sunlight-viewable IPS LCD
  • AA Batteries: 8x AA sled (included). NiMH recommended
  • L-Mount: Optional sled for 2x (hot-swappable) Li-ion batteries
  • AC Adapter: XL-WPH3: Universal, 45 W in-line AC-to-DC power supply Hirose 4-pin DC plug, with detachable IEC power cord. 100-240, 50/60Hz
  • Operating: -20°C to 60°C, 0 to 90% relative humidity; (non-condensing)
  • Storage: -40°C to 85°C
Dimensions and Weight
  • Dimensions: 36 mm x 206 mm x 175 mm (H x W x D); 1.375” x 8.125” x 6.875”
  • Weight: .91 kg; 32.1 oz. (unpackaged, without batteries)

Price ~ $1,799.00

Sound Devices 633

Analog Inputs

Frequency Response
10 Hz to 40 kHz ± 0.5 dB, -3 dB @ 65 kHz (192 kHz sampling rate reference 1 kHz)
THD + Noise
0 .09% max (1 kHz, 22 Hz–22 kHz BW, fader at 0, 0 dBu output)
Equivalent Input Noise
-126 dBu (-128 dBV) maximum. (22 Hz – 22 kHz bandwidth, flat filter, trim control fully up)
Input Types
  • XLR Mic: active-balanced for use with ≤600 ohm mics, 4k ohm actual; 12V or 48V phantom power, 10 mA max
  • XLR AES: AES3 or AES42 (10 V power), SRC
  • XLR Line: active-balanced for use with ≤2k ohm outputs, 10k ohm actual
  • TA3 Line: active-balanced for use with ≤2k ohm outputs, 10k ohm actual
  • RTN (3.5 mm): unbalanced stereo for use with ≤2k ohm outputs, 30k ohm actual
Maximum Input Level
  • XLR Mic: 0 dBu (0 .78 Vrms)
  • XLR Line: +40 dBu (80 Vrms)
  • RTN (3 .5 mm): +24 dBu (12 .4 Vrms)
Maximum Gain
  • Mic-In-to-Line-Out: 91 dB
  • Mic-In-to-Aux-Out, -10 Out: 77 dB
  • Line-In-to-Line-Out: 39 dB
High-Pass Filters
Sweepable 80 Hz to 240 Hz, 12 dB/oct at 80 Hz, 6 dB/octave at 240 Hz
Microphone Powering (each analog Input selectable)
  • 12 V Phantom: through 680 ohm resistors, 10 mA per mic available
  • 48 V Phantom: through 6 .8k resistors, 10 mA per mic available
Analog Input Limiters (Inputs 1-3)
  • Affects the output of the mic preamps only (‘Trim’ stage) · +16 dBu threshold (fixed)
  • 20:1 limiting ratio
  • 1 mS attack time
  • 500 mS release time
Digital Input Limiters (Inputs 1-6)
  • Post-fader
  • +6 dBu to +18 dBu threshold (adjustable) · 20:1 limiting ratio
  • 1 mS attack time
  • 500 mS release time

Digital Inputs

  • AES42 Mode 1, provides +10 V Digital Phantom Power

Analog Outputs

Output Type
  • XLR Line: Active Balanced for use with ≥600 ohm inputs
  • XLR -10: Active Balanced for use with ≥10k ohm inputs
  • XLR Mic: Active Balanced for use with ≥600 ohm inputs
  • TA3 Active Balanced Mic/Line: pin-2 and 3 driven, for use with ≥3k ohm inputs · X3,X4 (3 .5 mm): Unbalanced, stereo, for use with ≥6k ohm inputs
  • Headphones (1/4”): Unbalanced, stereo, for use with 8-2k ohm headphones
Output Impedance (ohms actual)
  • XLR and TA3 balanced outputs: 100 ohms at Line setting, 3 .2k ohms at -10 setting, 150 ohms at Mic setting
  • TA3 Balanced Outs: 1k ohms at Mic and Line settings · X3,X4 (3 .5 mm): 100 ohms
  • Headphones (1/4”): 100 ohms
Line Output Clipping Level (1% THD)
20 dBu minimum with 10k load
Maximum Output Level
  • Line: +20 dBu (7.8 Vrms)
  • -10: +6 dBu (1.5 Vrms)
  • Mic: -20 dBu (0.078 Vrms)
  • Aux 3/4: +6 dBu (1.5 Vrms)
Output Limiters
  • Affects the outputs of the mixer
  • Threshold selectable from +4 dBu to +18 dBu, 1 dB steps · 20:1 limiting ratio
  • 1 mS attack time
  • 500 mS release time
Maximum Gain – Typical (Trim, Fader, Master, Phones, RTN fully up)

MIC Level Input

LINE Level Input


Master Outs (XLR) @ LINE

91 dB 51 dB

Master Outs (XLR) @ -10

77 dB 37 dB

Master Outs (XLR) @ MIC

51 dB 11 dB

X3, X4 Outs (3 .5 mm)

77 dB 37 dB

Headphones (1/4”)

107 dB 67 dB 5dB

Digital Outputs/Recorder

AES3 Output
  • Transformer-balanced AES Out A,B on XLR
  • 110 ohm, 2 V p-p, AES and S/PDIF compatible with RCA adaptor
Sampling Frequency
  • 44.1 kHz
  • 47.952 kHz
  • 48 kHz
  • 48.048 kHz
  • 88.2 kHz
  • 96 kHz
  • 192 kHz
24 bit
A/D Dynamic Range
114 dB, A-weighted, typical
Recording Storage Type
  • SD, SDXC, SDHC Card
  • FAT32 or exFAT formatted, will format media on-board
  • CompactFlash (CF)
  • FAT32 formatted for CF and SD <32 GB, exFAT for SD cards >32 GB, will format memory cards in-unit
File Type
  • Record: WAV (Broadcast Wave File format), polyphonic or MP3
  • Playback: WAV (Broadcast Wave File format), polyphonic or MP3
Timecode and Sync
  • Modes Supported: off, Rec Run, Free Run, 24h Run, External
  • Frame Rates: 23.976, 24, 25, 29.97DF, 29.97ND, 30DF, 30ND
  • Accuracy: Ambient generator, 0.2 ppm (0.5 frame in 24 hr)
  • Time Code Input: 20k ohm impedance, 0.3 V – 3.0 V p-p (-17 dBu – +3 dBu)
  • Time Code Output: 1k ohm impedance, 3.0V p-p (+12 dBu)
Sample/Timecode Accuracy
± 0.2 ppm (0.5 frames per 24 hours)
  • External: 10-18 V on locking 4-pin Hirose connector, pin-4 = (+), pin-1 = (-).
  • Removable x 2: 7.2 V (nominal) Sony L-type Li-ion, operational from 6.5–8.5 V,
  • Internal: accepts 6 AA-sized (LR6) batteries, 1.2-1.6 V nominal (NiMH rechargeable compatible)
  • Operating: -20°C to 60°C, 0 to 90% relative humidity; (non-condensing)
  • Storage: -40°C to 85°C
Dimensions and Weight
  • Dimensions: 6 cm x 24 cm x 14 cm (H x W x D); 2.2” x 9.4” x 5.6”
  • Weight: 1.1 kg; 2 lbs. 9 oz. (unpackaged, without batteries)


Price ~ $3.328,00


  1. RWR

    So true Paul.
    But what beyond specs here might you consider important?

  2. Paul Isaacs

    A comparison of specs only tells a small part of the story. There is so much more to evaluate to get a true picture of the feature differences and usability in practice. I would always recommend trying both if you can. Would you buy a car without test driving it first?

    • Matt Price

      Of course Paul, not had a chance to test drive it yet 😉 but love that you have fully filled your ranges for 6 series and MixPre series.


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Matt Price

Matt Price

London Sound Recordist

I am a London Sound Recordist and Sound Editor for many types of projects around the film genres. This covers creative content right through to feature films. I am passionate about sharing my journey and knowledge to help the rest of the community. If you need anything from me, feel free to get in touch with me at London Sound Recordist.

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