Page 1
PIX 260i
User Guide and Technical Information
Firmware rev. 1.01
Sound Devices, LLC
E7556 State Rd. 23 and 33 • Reedsburg, WI • USA
+1 (608) 524-0625 • fax: +1 (608) 524-0655
Toll-Free: (800) 505-0625
www.sounddevices.com
support@sounddevices.com
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Table of Contents
PIX 260i User Guide and Technical Information
Introduction ..................................1
Manual Conventions ................................1
Video Mode and Audio Mode ..........................1
Panel Descriptions ............................2
Front Panel ........................................2
Rear Panel ........................................3
PIX-CADDY 2 (Optional) .............................5
Menu and Navigation ..........................6
LCD .............................................6
Main View .........................................6
On-screen Display ..................................6
Menu ............................................8
Audio Screen ......................................8
File List ...........................................9
File Details .......................................11
Inputs and Outputs ...........................12
Video Inputs ......................................12
HDMI ...........................................12
SDI ............................................12
Video Outputs ....................................12
Audio Inputs .....................................13
Analog Audio Inputs ................................13
XLR (1-2) ........................................13
DB25 (1-8) .......................................13
Digital Audio Inputs ................................13
HDMI / SDI Embedded Audio ........................13
AES3 ...........................................13
Dante Audio Inputs .................................14
Dante Redundancy ................................15
Sample Rate Converters ............................15
Choosing Audio Sources ............................15
Input Level Control .................................15
Input Delay Control ................................16
Audio Outputs ....................................16
Analog Audio Outputs ..............................16
Digital Audio Outputs (AES/HDMI) .....................16
Dante Audio Outputs ...............................16
SDI Audio Outputs .................................16
Headphone Output .................................16
Ethernet ....................................18
Video Monitoring Features .....................19
Exposure Assist ...................................19
False Color .......................................19
Zebras ..........................................20
Focus Assist ......................................21
Peaking .........................................21
Edge Enhance ....................................22
Zoom ...........................................23
Flip Display .......................................23
Recording ...................................24
Selecting Video File Resolution and Frame Rate ..........25
Progressive Segmented Frames (PsF) .................25
Selecting a Video Codec ............................25
Interruption of Signal During Recording .................26
Alignment of Audio and Video ........................26
Audio Track Arming ................................26
Audio Mode ......................................26
F Sampling Rate Modes ............................27
48.048k and 48.048kF ..............................27
Fostex DV40 ......................................27
47.952k and 47.952kF ..............................27
Video Scaling and Frame Rate Conversion .......28
3:2 Pulldown Removal ..............................28
Up and Down Conversion ...........................29
Down-Conversion ..................................29
Up-Conversion ....................................30
Playback ....................................31
Playback Operation ................................31
Fast Forward and Rewind ...........................31
File Skip .........................................31
Shuttle Playback Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Cue Marker ......................................32
Cue Marker Looping ................................32
Play List .........................................33
Playback Mode ....................................34
Playback Rate of Audio Files .........................34
Non-Native File Playback ............................34
Exporting QT Files for 260i Playback ...................35
Playing Back Files on a Computer ....................35
Synchronization and Timecode .................36
Sync Reference ...................................37
Video Mode Synchronization .........................37
Audio Mode Synchronization .........................37
Timecode Reader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Internal Ambient® Lockit: Timecode Generator with Sync Out 38
Setting the Sync Out ...............................38
Timecode Modes ..................................38
Freerun Timceode Mode ............................38
Record Run Timecode Mode .........................38
External Timecode Mode ............................39
Timecode Frame Rate ..............................39
Timecode Input Sources ............................39
Timecode BNC ....................................39
SDI or HDMI Input Embedded Timecode ................39
Synchronization/Timecode Examples ..................39
Single Video Camera, no Genlock .....................39
Single Camera with Genlock Input, Genlocked from PIX ....40
Multiple Cameras with Genlock Input, all Genlocked from a Single
PIX ............................................40
Camera #1 to PIX #1, Camera #2 to PIX #2, No Genlock ..41
Camera to PIX with Word Clock Connection to Audio Recorder 41
External Control ..............................42
RS422 ..........................................42
PIX Grouping .....................................42
Group Transport ...................................42
Non-Grouping Settings and Functions ..................42
Web Interface - PIXNET .............................43
PIXNET All Units Page ..............................43
PIXNET Unit Page .................................44
PIXNET Unit Page Main View and Menu Tabs ............45
Main View ........................................45
Clips Menu .......................................45
File Storage Menu .................................45
Video Menu ......................................45
Audio Menu ......................................45
TC Menu ........................................46
OSD Menu .......................................46
Remote Menu .....................................46
Network Menu ....................................46
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PIX 260i User Guide and Technical Information
System Menu .....................................46
Triggering Recording from External Timecode ............46
Triggering Recording from SDI Flag Bits ................47
GPIO (General Purpose Input / Output) .................47
USB Keyboard ....................................47
Storage and File Management ..................49
Storage ..........................................49
PIX-CADDY ......................................49
e S ATA ...........................................49
Supported Storage Devices ..........................49
Formatting .......................................49
Target Storage Device for Recording ...................50
Metadata ........................................50
CamID ..........................................50
Reel ............................................50
Clip .............................................50
Scene/Shot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Ta k e ............................................51
Audio Track Name (Audio Only) .......................51
File Management ..................................51
File Size Limit .....................................51
File Naming ......................................51
RED File Format ..................................51
Arri File Format ...................................52
Folder Structure ...................................52
Deleting a File ....................................52
Transferring Files ..................................52
USB, Firewire, Thunderbolt ..........................52
Ethernet File Transfer (Samba) .......................53
Setup Management and Firmware Upgrades ......54
Saving and Loading Setup Files ......................54
Custom Default Settings and Setup Menu Option Visibility ..54
Firmware Upgrades ................................56
Setup Menu Options ..........................57
Video/Audio Mode .................................57
File Storage ......................................57
Video ...........................................58
Audio ...........................................59
Timecode/Sync ...................................60
LCD Monitor ......................................62
On-Screen Display .................................62
Remote Control ...................................63
Network .........................................63
System ..........................................64
Quick Setup ......................................65
Button Shortcuts .............................65
Connector Pin Assignments ...................66
Appendix A - Supported Files ..................69
Specifications - PIX 260i .......................70
SDI .............................................70
HDMI ...........................................70
Video Input Resolutions / Rates .......................70
Video Codecs and Files .............................70
Up/Down/Cross Conversion ..........................70
Frame Rate Conversion .............................70
LCD ............................................70
Audio Recording ...................................70
Analog Audio .....................................71
Digital Audio ......................................71
File Storage ......................................71
Timecode and Sync ................................71
Control ..........................................72
Keyboard ........................................72
Powe r ...........................................72
Physical .........................................72
PIX 260i CE Declaration of Conformity ...........73
CE - CISPR Publication Dates ..................74
Software License ............................75
Warranty and Technical Support ................76
Warranty & Service ................................76
Technical Support / Bug Repor ts .....................76
Copyright Notice and Release
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording, or otherwise, without the expressed written permission of SOUND DEVICES,
LLC. SOUND DEVICES is not responsible for any use of this information.
SOUND DEVICES, LLC shall not be liable to the purchaser of this product or third parties for damages, losses, costs, or expenses
incurred by purchaser or third parties as a result of: accident, misuse, or abuse of this product or unauthorized modifications, repairs, or
alterations to this product, or failure to strictly comply with SOUND DEVICES, LLC’s operating and installation instructions.
Microsoft Windows is a registered trademark of Microsoft Corporation. Macintosh, OSX, and ProRes are registered trademarks of Apple,
Inc. DNxHD is a registered trademark of Avid, Inc. Other product and company names mentioned herein may be the trademarks of their
respective owners.
PIX 260i, and the sound waves logo are registered trademarks of Sound Devices, LLC.
v. 1.010 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
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PIX 260i User Guide and Technical Information
Introduction
The PIX 260i is a rack-mountable, production video recorder with extensive audio and video processing capabilities. The foundation of the PIX 260i is hardware-based, 10-bit video up/down/cross
conversion, and hardware-based encoding to Apple ProRes and Avid DNxHD codecs (both at up
to 12 bit 4:4:4). These features allow for fast, reliable acquisition of video (at any standard HD or
SD resolution and frame rate) and audio (up to 32 tracks from Analog, AES, HDMI, SDI, or Dante
sources) to ready-for-edit, industry standard Quicktime .mov les.
Files are recorded simultaneously on (up to) 4 separate, 2.5” SSD storage devices via two front panel
PIX-CADDY slots and two rear panel eSATAp connections. This redundancy in local, removable
storage devices, coupled with standard, Ethernet-based le transfer features further reduces steps in
the production workow. Gigabit Ethernet network ports enable remote access to recorded les and
the ability to transfer them quickly into a post-production environment.
Full-featured precision timecode and sync reference I/O using Ambient Lockit core technology is
provided to allow tight synchronization with external equipment in complex multi-machine congurations. The PIX 260i supports various external control options: RS422, GPIO, SDI ags, Timecode
triggering, and an embedded web server for network-based remote control.
This User Guide details installation and operation of the PIX 260i. This User Guide corresponds to
PIX 260i rmware version 1.010. User Guide revisions are released at the same time as rmware
updates and available online:
hp://www.sounddevices.com/products/pix260i/downloads/
Manual Conventions
Several formaing features have been included to make navigating the guide easier.
• Setup Menu items are indicated with this text: [Menu Category - Parameter], where the menu
category is one of the items in the list displayed when the Menu buon is pushed, and the
parameter is an item in the list displayed when that category is selected (by pushing in on the
Control Knob).
• Terms that refer to specic controls or functions (such as Control Knob, Menu Buon, Setup
Menu, etc) are capitalized. These terms are described elsewhere in this user guide (see the Panel
Descriptions section).
• Blue italicized text references sections of the user guide containing contextually relevant
information.
Video Mode and Audio Mode
Thoughout this User Guide, the terms Video Mode and Audio Mode will be used. The PIX 260i is
capable of recording video and audio together into a Quicktime .mov le (Video Mode) or recording audio only to a .wav le (Audio Mode). The mode is determined by the Setup Menu option
[Video/Audio Mode - Video/Audio Mode]. When set to [Video + Audio (Quicktime), the PIX 260i is
in Video Mode. When set to Audio Only (Wave), the PIX 260i is in Audio Mode.
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PIX 260i User Guide and Technical Information
Panel Descriptions
Front Panel
1 2 3 54 6 7 8 9
1) Control Knob
The Control Knob can be both turned and
pressed. Use the Control Knob to navi-
gate between menu seings and to select
menu items. Pressing during playback or
stop will toggle to Shule mode. Turning
while playback is paused will jog forward
or backward by single frames.
2) Audio Button
Displays the Audio Screen. From the
Audio Screen: Select audio input sources,
Arm/disarm tracks, Set audio input gain
and delay,View audio input levels, and
Edit audio track names.
3) LCD Button
Toggles the On-Screen Display. Hold for 2
seconds to toggle LCD on/o.
4) Handle
This handle is designed to provide a gripping point for tilting down the LCD.
5) LCD Display
Displays operating information when the
On-Screen Display (OSD) is active (see
On-Screen Display), user interface, source
video, and playback video. 5-inch display; 800x480 resolution.
101214 13 1115
6) Files Button
Displays the File Browser Screen. Press
during record or playback to add a Cue
Marker, press and hold to delete a Cue
Marker (Video Mode).
7) Menu Button
Displays the Setup Menu.
8) Play Button
Plays the most recently recorded le
when pressed. In the File List View, plays
the selected video le from the File List.
Pauses video during playback. Press and
hold Play to activate Loop Play.
9) Stop Button
Stops an active recording or playback.
When Stopped, hold the Stop buon to
display the next lename.
10) Fast-Forward Button
When Stopped, press Fast-Forward to
cue up the next le for Playback. During
Playback or Pause, press once to jump
to the next Cue Marker, press and hold
to increase playback speed. Continue to
hold for faster speeds.
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PIX 260i User Guide and Technical Information
11) Record Button
Begins recording. Optional: Splits the
recording and begins writing a new
le when pressed while recording.
[System - Rec Button File Split]
12) Rewind Button
When Stopped, press Rewind to cue up
the previous le for Playback. During
Playback and Pause, press once to jump
to the previous Cue Marker or beginning
of the le, press and hold to reverse playback speed. Continue to hold for faster
reverse speeds.
Rear Panel
13) Headphone Volume Knob
14) Headphone Output 1/4”
15) USB Keyboard Input
42 31 6 7 8
Adjusts the overall volume of the headphones. NOTE: the headphone output is
capable of ear-damaging levels. Take care
when adjusting among signal sources.
TRS stereo headphone connector. Can
drive headphones from 8 to 100 ohms to
very high headphone levels.
USB A female connector to connect a USB
keyboard. Keyboards can be used to navigate, control, and enter metadata into the
PIX 260i. Keyboards with integrated USB
hubs are not compatible.
1095
1) DC Power Input (XLR 4-pin)
Accepts 10–27 volts DC. XLR 4-pin connector is wired pin-1 ground, pin-4 positive (+).
2) SYNC Output (BNC)
Selectable genlock or wordclock output.
Congured with Setup Menu option
[Timecode/Sync - Sync Out].
3) SYNC Input (BNC)
Wordclock input. Congured with Setup Menu options
[Timecode/Sync - Sync Ref - Audio Only]
4) Timcode Output (BNC)
SMPTE timecode output.
13141516171819 1112
5) Timcode Input (BNC)
SMPTE timecode input.
6) Digital Audio Input/Output (DB-25)
8 channels of AES digital audio input
and 8 channels of AES digital output. See
Pinout section for wiring details
7) Ch. 1-8 Analog Audio Output (DB-25)
8 channels of balanced, line-level
analog audio output. See Connector Pin
Assignments
8) Ch. 1-8 Analog Audio Input (DB-25)
8 channels of balanced, line-level
analog audio input. See Connector Pin
Assignments
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PIX 260i User Guide and Technical Information
9) Analog Audio Outputs (XLR)
2 channels of balanced, line-level analog
audio outputs.
10) Analog Audio Inputs (XLR)
2 channels of balanced, line-level analog
audio inputs.
11) Ethernet (RJ-45)
Aaches to 1G or 100M Ether networks.
Provides Dante connectivity (see Dante),
web access for remote control (see Web
Control), and network le service. see File
Management
12) RS-422 Control (DB-9)
Connects to RS-422 Controllers for external control of the PIX 260i. See RS-422
13) External Drive Connections (eSATAp)
Connector for approved 2.5-inch SATA
drives. Sound Devices maintains a list
of tested and approved SSD drives for
use with PIX video recorders. Visit www.
sounddevices.com/approved for an up-to-
date list of tested and approved drives.
14) SDI Video Input (BNC)
SDI video input. Accepts 3G-SDI, HD-
SDI, or SD-SDI signal with up to 16 channels of embedded audio.
15) SDI Video Output (BNC)
SDI video output. Provides 3G-SDI, HD-
SDI, or SD-SDI signal with up to 16 channels of embedded audio.
16) HDMI Video Input (HDMI)
Accepts HDMI (1.4a) signal with 8
channels of embedded audio. The PIX
260i does not record or display content
encoded with HDCP.
17) HDMI Video Output (HDMI)
Provides HDMI (1.3) signal with 8 channels of embedded audio.
18) GPIO Remote (Phoenix 10-pin)
Logic contact points for remote control.
See GPIO
19) USB Connection
Factory use only.
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v. 1.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
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PIX 260i User Guide and Technical Information
PIX-CADDY 2 (Optional)
The PIX-CADDY 2 is an accessory to connect approved 2.5” drives to the front-panel drive bays.
When removed from a PIX 260i, the PIX-CADDY 2 operates as a high-speed drive interface to Mac
OS and Windows computers via the onboard FireWire800, USB 3.0, or the optional PIX-DOCK Thunderbolt interface.
For reliable operation, it is imperative that the 2.5” drive be rmly screwed to the PIX-CADDY 2 with
the supplied screws.
3
5
6
1
1) FireWire 800
FireWire 800 or 400 (backward compatible). Requires a powered FireWire 800 or
400 port.
2) eSATAp
High-speed data transfer over 5V
eSATAp. Requires a 5V powered eSATAp
port.
3) USB 3.0
High-speed data transfer over USB 3.0
(backward compatible with USB 2.0).
4) 2.5” Drive Slot
Connector for approved 2.5-inch SATA II
and SATA III drives. Sound Devices maintains a list of tested and approved SSD
drives for use with PIX video recorders.
Visit www.sounddevices.com/approved for
an up-to-date list of tested and approved
drives.
4
2
5) Activity LED
Illuminates when recording, playing,
reading, or writing to the aached 2.5”
drive. Do not remove the caddy while the
Activity LED is illuminated. LED does not
illuminate when connected to a computer’s
eSATA port.
6) Release Latches
Secures the PIX-CADDY to the recorder.
Press both latches to remove the caddy
assembly.
7) Screw Holes
For reliable operation, it is imperative that
the 2.5” drive be rmly screwed to the
PIX-CADDY 2 with the supplied screws.
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PIX 260i User Guide and Technical Information
Menu and Navigation
LCD
From the Main View, press the LCD buon to toggle the On-Screen Display (OSD) on or o, press and hold the LCD buon for two seconds to
turn o the LCD, press again to turn on. From all other views, press the
LCD buon to return to the Main View.
The LCD Control Panel provides adjustments to the LCD backlight,
buon backlight, image brightness, image contrast, and image chroma.
To access the LCD Control Panel, hold down the LCD buon then
press the Control Knob. The parameter with the orange slider bar is the
selected parameter. To toggle through the parameters press the Control
Knob, to adjust the seing turn the Control Knob. Press LCD again to
exit back to the Main View.
Main View
The Main View displays the live or playback video and the On-screen Display. The Main View is the
default view which appears when no other views or menus are selected.
On-screen Display
The On-screen Display (OSD) provides information superimposed over the Main View. From the
Main View, the LCD buon will toggle the OSD on and o. Items included in the OSD are congured with the Setup Menu option On-Screen Display. When factory seings are loaded from the
Quick Setup menu item all OSD items are shown.
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PIX 260i User Guide and Technical Information
On-screen Display Menu
Item Description
1. ABS Time Absolute Time: Displays the elapsed time of the file being recorded or played and the transport
2. File Codec The presently selected video codec (Video Mode) or when in Audio Mode the OSD will display
3. File Name Name of the current file. Pressing STOP shows the next file name
4. File Resolution/Rate Displays the resolution and frame rate of the file being recorded or played (Video Mode). In Au-
5. Audio Source Audio sample rate, bit depth, and channel count. In Audio Mode, flashes red to indicate
6. Input - Video Resolution and frame rate of the incoming video input.
7. Headphone Source Current headphone routing selection.
8. Audio Metering Levels of audio inputs 1 and 2.
9. Time/Date The current time and date.
10. Timecode Current timecode and frame rate of the recorder or playing file.
11-14. Drive 1-4 (D1-D4)
status
15. RS422 Status
16. Cue Marker Cue marker and playback looping information is displayed here during record and playback.
17. Sync Reference The current source of synchronization. This information will update for recording and playback.
18. Group Number
19. IP Address Network IP address of the PIX 260i
status (Stop, Rec, Play, FF, and REW).
“Audio Only”. This information will update for recording and playback.
dio Mode the file type (WAV) is displayed. The File Resolution/Rate field is displayed in different colors to indicate conversion methods. See Video Scaling and Frame Rate Conversion
[Audio - Sample Rate] does not match [Timecode/Sync - Sync Ref - Audio Only].
Displays the status and remaining record time of each drive (when video input is present or
in Audio Mode) or remaining space in GB (when no video input is present), “Offline” (when
no media is present), “Mounting” (when media is becoming ready), “No Fmt” (when media is
not formatted), or “Network” (when [Network - Ethernet File Transfer] is set to On).
An asterisk indicates that the drive is On in [File Storage - Record to Drive] when
recording or stopped. When recording all drives that are recording are displayed in red. When
Stopped or in Playback, the green drive is the current default playback drive. Drive status field
is orange when a drive is being accessed for writing or reading.
RS422 is displayed when [Remote Control - RS422] is on.
Displays the selected network group in [Network - Network Group].
Target drives, ABS Time, File Name, Timecode, and Cue Marker OSD elds change colors to indicate
the various transport states, White = Stopped, Red = Record, Green = Play/Pause, Blue = REW/FF/
Shule.
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PIX 260i User Guide and Technical Information
Menu
Press the MENU buon (keyboard: F1) to enter the Setup Menu. Most seings of the PIX 260i are
accessed and changed from the Setup Menu. Navigate between menu items by turning the Control
Knob and pressing it to select. When in a menu, press the MENU buon to go back to the previous
screen. See Setup Menu Options for a complete list of all available options.
The Setup Menu is not accessable when in Record or Playback. If the Setup Menu is open when record or
playback is engaged, the Setup Menu will close and return to the Main View.
Audio Screen
Press the AUDIO buon (keyboard: F3) to enter the Audio Screen. The Audio Screen displays all
audio input levels and provides conguration of Track Arming, Track Naming, Input Source selection, Input Gain, and Input Delay. Turn the Control Knob to move the blue highlighter vertically and
press the FF and RW buons to move the highlighter horizontally. Press the Control Knob to edit the
highlighted seing, press again to save and exit. To exit the Audio Screen press either the Audio or
LCD buons.
When transport is stopped, holding the Stop buon while the highlighter is on a Track Name or
Input Source eld will display the full name of that eld. When recording or playing back, pushing
the Stop buon in the Audio Screen will stop playback.
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v. 1.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
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PIX 260i User Guide and Technical Information
The Audio Screen by default displays 16 tracks at a time. This can be changed to 8, 16, or 32 track
displays in [Audio - Audio Screen Meters].
Other audio related seings are accessible from the Setup Menu option Audio.
File List
Press the FILE buon (keyboard: F2) to display the File List; A list of all of the clips. Clips are arranged chronologically and grouped by Reel. Turn the Control Knob to highlight an item. Press
Play to start playback of the highlighted clip. Press the Control Knob to perform functions based on
which item is highlighted:
Reel group
Number of clips in the reel
indicated in brackets. Press
Control Knob to expand or
collapse.
Clip
Single file clip. Press Control
Knob to view details. Press
Play to play.
Multi-file Clip
Multi-file clip. Number of
files in the clip indicated in
brackets. Press Control Knob
to expand or collapse. Press
Play to play first clip.
File
File of a multi-file clip. Only
shown when clip is expanded.
Press Control Knob to view
details. Press Play to play.
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PIX 260i User Guide and Technical Information
Highlighted Item Result of Pressing Control Knob
Reel group. Indicated by a grey background (when
not highlighted) and a number in brackets that indicates the amount of clips in the reel.
A Clip that consists of multiple files. Indicated by the
filename with a .mov or .wav extension and number
in brackets that indicates the amount of files that the
clip consists of.
A Clip that consists of one file or a File within a sublist of a multi-file clip. Indicated by the filename with a
.mov or .wav extension
Creation Time/Date
Reel Folder or file creation
time and date.
File Size
Size in GB of a single clip
or file.
Reel Size
Total size in GB of the entire
Reel folder.
Multi-file Clip Size
Total size in GB of a multi-file
clip.
Expands a list of clips that are within the Reel.
Expands a sub-list of the files that are within the clip.
Opens the File Details view where various details of the file can be
viewed and the file can be deleted. See File Management and
Metadata
The selected drive is displayed on the top of the screen. To view the contents of other drives, scroll to
the top of the list, a pop up box appears with a list of all available drives, select the desired drive and
press the Control Knob.
10
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PIX 260i User Guide and Technical Information
While in the File List press the Files buon to collapse all Reel folders and multi-le clips to ease le
navigation.
The File List is not available when in Record or Playback. If the File List is open when record or playback
is engaged, the File List will close and return to the Main View.
It is recommended that les in the same play list or reel be of the same resolution, frame rate, and codec.
File Details
From the File List, highlight a le and press the Control Knob to view the File Details of that le.
To view Multi-le Clip details, highlight the menu item with le extension then press and hold the
Control Knob. File Details include:
• Start time code
• Timecode frames-per-second
• Timecode user bits
• Video resolution
• Video frame rate
• Video codec/ Broadcast Wave
• Media
• File size
• Duration
• Audio Format
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PIX 260i User Guide and Technical Information
Inputs and Outputs
Video Inputs
The PIX 260i accepts video input signals over HDMI, HD-SDI, and single link 3G-SDI Level A and B.
The PIX 260i does not accept analog video signals. See the specications section for a complete list of supported frame rates.
HDMI
The PIX 260i accepts HDMI version 1.4a video and audio. Supported video resolutions and rates
are listed in the specications section. The PIX 260i HDMI input accepts up to 10 bit, 4:4:4 video,
up to 8 channels of embedded audio. The PIX 260i also accepts Sony’s proprietary timecode over
HDMI. In Video Mode, the digital audio embedded in the HDMI stream (32 kHz – 192 kHz) is
always re-sampled to 48 kHz. In Audio Mode it is re-sampled to the sample rate determined by the
[Timecode/Sync - Sync Ref - Audio Only].
720p30/29.97, 720p25, and 720p24/23.976 are not supported on the HDMI input or the HDMI output.
HDCP copy protection prevents direct digital-to-digital copying of copyrighted material. Protected
DVDs, Blue-Rays and streaming content with HDCP encryption is not valid content and will be ignored
by the PIX 260i.
SDI
The SDI input on the PIX 260i accepts video with embedded audio (up to 16 channels) and embedded SMPTE timecode. This connection accepts digital video up to 12-bit, with up to 4:4:4 color sampling. Unlike the HDMI interface, which auto-negotiates rates between devices, what comes out of a
camera’s SDI output is received by the PIX 260i with no auto-negotiation or sample rate conversion.
The PIX 260i supports 3G-SDI single link, but not dual-link HD-SDI.
Timecode over SDI is not available when recording in standard denition
Video Outputs
Both HDMI and SDI outputs are active simultaneously. This allows for conversion from SDI to
HDMI and HDMI to SDI.
The output video signal source is the signal present at the currently selected video input (Setup
Menu option [Video - Video Input]), except during video playback. The resolution and frame rate of
the output stream is determined by the Setup Menu option [Video - File Resolution/Rate] seing,
except during video playback. The SDI Output is capable of sending HD (4:2:2 10-bit) or 3G (4:4:4
12-bit), this is set in [Video - SDI Output Type].Video playback signal is sent to the HDMI and SDI
Outputs.
Standard Denition video is always output using HD Mode because 3G does not support Standard
Denition.
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The output video stream contains up to 16 tracks of embedded audio for SDI and 8 tracks for HDMI.
Timecode and record start and stop ags are included on the SDI output.
Timecode overlay can be added to the HDMI and/or SDI output signal in
[Video - Video Output OSD]. The timecode overlay is displayed in various colors to indicate the cur-
rent transport state of the PIX 260i, Stopped = white, Red = Record, Green = Playback.
Audio Inputs
The PIX 260i can record up to 32 tracks from a vast array of audio input sources in both Video and
Audio modes:
Input Type Count Connector(s) Gain Details
Analog 8
AES Digital 8 1-8: DB-25 (CH 1-8 AES IN/OUT)
HDMI Digital 8 1-8: HDMI Input
SDI Digital 16 1-16: SDI Input
Dante 32 1-32: Ethernet
1-8: DB-25 (CH 1-8 LINE IN)
1-2: XLR (LINE IN 1/2)
Off, -25
to 20 dB
Off, -25
to 50 dB
Off, -25
to 20 dB
Off, -25
to 20 dB
Off, -25
to 20 dB
Balanced, Line-level. Channels 1-2 on DB-25
connector are summed with respective XLR connectors.
Selectable between AES or HDMI with Setup
Menu option [Audio - HDMI/AES Select]
Selectable between AES or HDMI with Setup
Menu option [Audio - HDMI/AES Select]
[Timecode/Sync - Sync Ref - Audio Only]
should be set to SDI when using any SDI Audio
Inputs (Audio Only Mode). See Sample Rate
Converters for details
See Dante Audio Inputs for full details
Analog Audio Inputs
The PIX 260i has eight, high-performance, line-level analog audio inputs.
XLR (1-2)
The XLR balanced inputs accept line-level signals. These inputs are shared with Channels 1 and 2 of
DB25 Analog Audio Input connector. Channels 1 and 2 of this connector are summed with channels
1 and 2 of the DB25 connector, respectively..
DB25 (1-8)
Eight analog, line-level inputs are provided on the DB25 Analog Audio Input connector. This connector is wired in the Tascam fashion (see Connector Pin Assignments). Channels 1 and 2 of this connector
are summed with channels 1 and 2 XLR Analog Audio Inputs, respectively.
Digital Audio Inputs
The PIX 260i accepts digital audio from HDMI, SDI, and AES/EBU inputs. In Video Mode, all
audio is sampled at the sample rate determined by the video input stream, typically 48kHz. In
Audio Mode, the sample rate is determined by the [Audio - Audio Mode Sample Rate] when
[Timecode/Sync - Sync Ref - Audio Only] is set to Internal.
HDMI / SDI Embedded Audio
The PIX 260i accept 8 channels of embedded digital audio on the HDMI Video Input or 16 channels
of digital audio on the SDI input.
AES3
The PIX 260i accepts AES3 (AES/EBU) digital signals with sampling rates from 32 kHz
up to 192 kHz and bit depths up to 24-bits. In Video mode, AES3 inputs are sample rate
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PIX 260i User Guide and Technical Information
converted to 48k. In Audio Mode, they are sample rate converted to the sampling rate set
in Setup Menu option [Audio -Audio Mode Sample Rate] (except when Setup Menu option
[Timecode/Sync - Sync Ref- Audio Only] is set to AES 1-2 in which case the sampling rate is determined by the embedded clock within the AES3 stream). see Audio Mode
Dante Audio Inputs
Dante delivers an easy-to-setup, self-conguring, plug-and-play digital audio network that uses
standard Internet Protocols over 100Mb and/or Gigabit Ethernet. Dante reliably distributes mul-
tichannel digital audio with sub-millisecond latency and sample-accurate record and playback
synchronization over CAT 5 cabling. Up to 32 Dante audio channels can be selected in any combination from any Dante audio device on the same Dante network. Should they be necessary, sample rate
converters are automatically activated for all Dante audio inputs.
An input Source can be set to an available Dante channel from the PIX 260i or from the Dante Controller application (Available from Audinate’s website: hp://www.audinate.com/) running on a com-
puter aached to the network. To select a Dante source from the PIX 260i, follow the instructions in
the Choosing Audio Sources section of this guide.
To route Dante channels with the Dante Controller application:
1. Open the Dante Controller application.
2. Select the Routing tab. This table displays Dante devices with available outputs (“Dante
Transmiers”) horizontally, and Dante devices with available inputs (“Dante Receivers”)
vertically. PIX 260i units will be represented by their PIX names per Setup Menu option
[Network - This PIX’s Name].
3. Click the plus symbol (+) where the column of the desired Dante transmiing device intersects with the row of the PIX 260i you wish to set input sources on. This expands the table to
display a matrix of the transmiing device’s outputs to the PIX 260i’s inputs.
4. Click the slots in the matrix where you wish to route or un-route audio channels. A green
circle with a check mark will appear in slots that are routed.
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Dante Redundancy
When [Network - Dante Redundancy Mode] is set to On, the PIX 260i’s Primary and Secondary Ethernet ports both transmit Dante Audio data over separate networks. This provides a fail safe of the
Dante system if one of the networks should fail.
In Dante Redundancy Mode, two separate networks must be run and they CANNOT be connected to one
another. Connect any computer running Dante Controller to the PIX 260’s PRI Ethernet network.
See hp://www.audinate.com/ for further information on the Dante protocol.
Sample Rate Converters
Dante, AES, and HDMI inputs all have Sample Rate Converters. These help ensure syncronization of
digital audio from multiple sources. SDI Audio Inputs do not have Sample Rate Converters. When
using SDI Audio in Audio Only mode the [Timecode/Sync - Sync Ref - Audio Only] should be set
to Video Input (SDI/HDMI). Any other conguration could result in undesired audio artifacts such
as clicks and pops. In Video Mode, SDI audio cannot be used when using HDMI as the Video Input
source.
Choosing Audio Sources
Audio Input Source is selected in the Audio Screen in the Source column. To setup an input:
1. Press the Audio buon to access the Audio Screen.
2. Select the Source box for the desired track using the Control Knob to move vertically and
REW and FF to move le and right.
3. Press the Control Knob to open the Audio Source options window. Select the general type
of input to be used from O, Line In, HDMI/AES In, SDI In, or Dante and press the Control
Knob again to open up all options for that input type.
4. Press the Control Knob to make a selection and exit the Audio Input Source options window.
Dante sources must be connected in order to select them as audio input sources.
For quick general audio source congurations use [Audio - Audio Input Quick Setup]. See Setup
Menu for full list of options
Input Level Control
Audio Input Gain is set in the Audio Screen in the Gain column. To adjust the gain of an audio track:
1. Press the Audio buon to access the Audio Screen.
2. Select the Gain box for the desired track using the Control Knob to move vertically and REW
and FF to move le and right.
3. Press the Control Knob to edit the gain value. Turn the Control Knob to adjust the gain in
1 dB increments. Gain is adjusted in real time. The available gain range depends on audio
input source. See Audio Inputs
4. Once the desired gain value is set, press the Control Knob to exit the gain window.
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Input Gain can be linked in [Audio - Input Gain Linking]. When linked, adjust any channel’s gain
value to adjust the gain of all channels. Gain osets from channel to channel are maintained. If this is
not desired, unlink the gain and set all gain values to the same value then relink input gain.
Input Delay Control
Audio Input Delay is set in the Audio Screen in the Delay column. Delay is adjustable from 0 to 400
mS. To adjust the delay of an audio track:
1. Press the Audio buon to access the Audio Screen.
2. Select the Delay box for the desired track using the Control Knob to move vertically and REW
and FF to move le and right.
3. Press the Control Knob to edit the delay value. Turn the Control Knob to adjust the delay in 1
mS increments.
4. Once the desired delay value is set, press the Control Knob to exit the delay window.
Input Delay can be linked in [Audio - Input Delay Linking]. When linked, adjust any channel’s delay
value to adjust the delay of all channels. Delay osets from channel to channel are maintained. If this
is not desired, unlink the delay and set all delay values to the same value then relink input delay.
Audio Outputs
Analog Audio Outputs
The eight analog outputs of the PIX 260i are active-balanced, line-level outputs (+18dBu max). At factory default, the source of the Analog Line Outputs 1-8 is tracks 1 to 8, respectively. Any of the availabe 32 Tracks can be sent to the Line Outputs. Line Output routing is set in [Audio - Line Output].
Digital Audio Outputs (AES/HDMI)
AES and HDMI Outputs are active at all times but these two outputs share the same source. At
factory default, the source of the AES/HDMI Outputs 1-8 is tracks 1 to 8, respctively. Any of the
availabe 32 Tracks can be sent to the AES/HDMI Outputs. AES/HDMI Output routing is set in
[Audio - HDMI/AES Output].
Dante Audio Outputs
Tracks 1-32 are permanently routed to Dante Outputs 1-32 respectively. Up to four PIX 260i units can
be daisy-chained using their built-in internal Ethernet switches. If using ve or more PIX 260i units,
Sound Devices recommends using an external Ethernet Switch in a star conguration.
SDI Audio Outputs
The SDI video output embeds up to 16 channels of digital audio. At factory default, the source of the
SDI Audio Outputs 1-16 is tracks 1 to 16, respectively. Any of the availabe 32 Tracks can be sent to the
SDI Output. SDI Output routing is set in: [Audio - SDI Output].
Headphone Output
The PIX 260i is capable of driving headphones to extremely high sound pressure levels. Hearing experts
advise against exposure to high sound pressure levels for extended periods.
The PIX 260i’s headphone output is a exible tool for monitoring audio. The headphone level is adjusted using the Headphone Volume Knob.
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PIX 260i User Guide and Technical Information
To quickly select amongst headphone sources, Press and hold the Audio buon while turning the Control Knob. The Headphone Source can also be selected in the Setup Menu option
[Audio - HP Source].
Warning Bells are sent to the headphone monitor to alert the user of various states, such as record/
stop, and errors such as No Media Connected, or No Input Signal Detected. The loudness of these
warning bells is adjustable from O, -60 to -12 dBFS in [System - HP Warning Bell Level]. At factory
default, the warning bells are set to -40 dBFS.
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PIX 260i User Guide and Technical Information
Ethernet
The PRI and SEC Ethernet ports on the rear panel of the PIX 260i are used for a variety of PIX 260i
functions/features:
• Dante (32-Channel Audio I/O over network) See Dante Audio Inputs and Outputs for details.
• PIX Grouping See PIX Grouping for details.
• File Transfer (Samba) See Ethernet File Transfer - Samba for details.
• Web Browser Control See Web Interface - PIXNET for details.
A key use of the Web Browser is to allow the user to remotely instigate a transfer of PIX 260i recorded les to a network destination of their choice. Access to le transfer and web browser is via the IP
Address indicated in the Network Setup Menu and the OSD. See Network for further details.
Up to four PIX 260i units can be daisy-chained using their built-in internal Ethernet switches. If us-
ing ve or more PIX 260i units, Sound Devices recommends using an external Ethernet Switch in a
star conguration.
The PIX 260i can either be allocated an IP address from a DHCP server (recommended) or over Linklocal networking. Link-local networking is a protocol which automatically allocates a 169.254.x.x IP
address even in absence of any DHCP server. If a DHCP server is available, the PIX 260i will automatically use it if [Network - Auto IP Settings] is set to On. See Ethernet File Transfer (Samba) and Web
Interface - PIXNET
The PIX 260i uses on-board Auto-MDIX (crossover detection) to allow for direct connection to a computer or to a network.
Dante uses a separate IP Address which is congured automatically when connected to other Dante
devices. This IP Address is displayed when connected to a computer running Dante Controller, a
free-of-charge application available from Audinate. See the following link for details about Dante
Controller’s capabilities.
hp://www.audinate.com/
In Dante Redundancy Mode, two separate IP Addresses are used by Dante. See Dante Redundancy
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PIX 260i User Guide and Technical Information
Video Monitoring Features
The PIX 260i includes various monitoring features to assist with exposure and focus. These functions
only aect signal on the LCD display and will never aect the recorded video or the video output
signal.
Exposure Assist
LCD
+
Exposure assist features mark areas of the video image based on the exposure level. With over- or
under-exposed areas of the image clearly marked, adjustments can be made on the camera to ensure
that the signal reaching the recorder has a proper exposure. Exposure Assist is enabled by holding
down the LCD buon and pressing the FILES buon. When Exposure Assist is enabled, “EXP” is
displayed on the OSD in yellow text.
When exposure assist is enabled, False Color or Zebra stripes will be overlaid on the LCD monitor
signal. The Setup Menu option [LCD Monitor - Exposure Assist] determines which mode will activate when exposure assist is toggled on.
The following image is a luminance ramp signal displayed on a PIX 260i with no exposure assist en-
abled. Screen shots in the following sections show the eect of the various Exposure Assist features
on this test signal.
FILES
False Color
False Color exposure assist mode replaces pixels with a specic color relative to the luminance level.
The two types of False Color (selectable from Setup Menu option [LCD Monitor - Exposure Assist])
are 12-step and 4-step.
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PIX 260i User Guide and Technical Information
12-step False Color mode divides the monitor signal into 12
luminance ranges and assigns a color to each.
4-step False Color mode divides the monitor signal into 4
ranges and assigns a color to all but one range (this range is
displayed without chroma). The table below illustrates the
colors as they relate to luminance levels (IRE).
12-step
100-108 Red
95-99 Orange
85-94 Yellow
79-84 Light Yellow
59-78 Light Grey
53-58 Pink
49-52 Medium Grey
43-48 Green
23-42 Dark Grey
13-22 Light Blue
3-12 Blue
0-2 White
4-step
101+ Red
99-100 Orange
3-98 N/A
0-2 Blue
Zebras
Zebra stripe exposure assist mode overlays diagonal stripes over areas that are in a dened luminance range (Zebra 1) or above a dened luminance threshold (Zebra 2). The range for Zebra 1 is 5%
above and below the IRE value of Setup Menu option [LCD Monitor - Zebra 1 Level]. The range for
Zebra 2 is everything above the IRE value of Setup Menu option [LCD Monitor - Zebra 2 Threshold].
The options for Zebra display (selectable from Setup Menu option [LCD Monitor - Exposure Assist])
are Zebra 1, Zebra 2, or both Zebra 1 and Zebra 2 simultaneously.
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PIX 260i User Guide and Technical Information
Zebra 2
70 IRE (+/- 5%)
Zebra 1
85 IRE
Focus Assist
LCD
+
Focus Assist features mark sharp edges in the video image to assist in focusing on the desired sub-
ject. Focus assist is enabled by holding down the LCD buon and pressing the MENU buon. The
word “FOCUS” is displayed in yellow text on the OSD when Focus Assist is enabled. There are two
available Focus Assist modes: Peaking and Edge Enhance.
Peaking
Peaking nds sharp edges in a video (based on luminance) and replaces pixels in those areas to highlight the edges.
The Setup Menu option [LCD Monitor - Peaking Sensitivity] sets sensitivity level of the Peaking
lter. A seing of High will be more sensitive and highlight more edges.
The Setup Menu option [LCD Monitor - Peaking Background Contrast] is used to adjust the area of
the video image that is not highlighted while Peaking is enabled.
MENU
The color of the Peaking marks can be set with the Setup Menu option
[LCD Monitor - Peaking Color].
The following image comparison demonstrates the eect of Peaking on an image with a shallow
depth-of-eld and a short focal length (top) and a longer focal length (boom).
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Edge Enhance
The Edge Enhance lter uses an algorithm which enhances the variation of the luminance of all
edges present in the video image. The following image comparison demonstrates the eect of Edge
Enhance on an image with a shallow depth-of-eld and a short focal length (top) and a longer focal
length (boom).
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Zoom
PIX 260i User Guide and Technical Information
LCD
+
The Zoom function enlarges the video image to a 1:1 pixel ratio. To toggle Zoom on and o, hold
down the LCD buon and press the AUDIO buon. When Zoom is enabled, “ZOOM” is displayed
on the OSD in yellow text and all other OSD elements are hidden. When zoomed, turning the Con-
trol Knob moves vertically and REW and FF buons move le and right respectively.
AUDIO
Flip Display
Some mounting situations require the PIX 260i (or camera) to be upside-down. The
LCD output can be vertically inverted to facilitate upside-down operation with the
Setup Menu option [LCD Monitor - Verical Flip Display]. The Setup Menu option
[LCD Monitor - Horizontal Flip Display] option reverses the LCD output signal hoizontally (mirror
image).
Vertical and Horizontal ipping aect the video image on the LCD screen only. Recorded content and
HDMI/SDI outputs are not aected.
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PIX 260i User Guide and Technical Information
Recording
The PIX 260i can record video and audio together to a Quicktime .mov le (Video Mode) or audio
only to a .wav le (Audio Mode) File type is selected in [Video/Audio Mode - Video/Audio Mode].
The PIX 260i can simultaneously record to up to four drives. Files are reecorded to all available
drives that are set to On in [File Storage - Record to Drive].
Pressing the REC buon will start recording provided there is valid video signal present (Video
Mode) or at least one audio track is armed (Audio Mode). Recording will continue until the Stop ()
buon is pushed or until the target recording media is full. Record and Stop can also be triggered by
other devices via a web browser, RS-422, GPIO, SDI Triggers, and Timecode. External control of such
functions is set in Remote Control. See External Control and Timecode for more details
While recording, the REC buon will illuminate red and the OSD items Timecode, File Name, ABS
Time, and drives actively recording turn red. The PIX 260i is a record-priority device and will enter
record any time the REC buon is pressed. If the PIX 260i is not ready to record when a record command is given the PIX 260i will enter a Record Pending state. In this state the REC key will ash
red, once the system will enter record when it becomes ready. This is usually caused by le storage
mounting or response time, loss of video input, or Play/Pause/Shule/etc... to Record.
While recording and playback, the Setup Menu and File List are locked out. When the Setup Menu
option [System - REC button File Split] is set to On, pushing the REC buon during recording will
begin a new le.
Recorded les are split when the time of Setup Menu option
[File Storage - Quicktime File Split every] is reached (Video Mode) or the le size of Setup Menu
option [File Storage - Wave File Split Every] is reached (Audio Mode). In both cases, a new le will
be created and grouped with the other les from the clip in the File View (see File Management and
Metadata).
To discard the last take and delete the le (False take), hold down the Stop () buon and press Rewind (<<). A dialog box will appear warning that the last take will be deleted and indicating the le
name. Use the Control Knob to highlight OK and push the Control Knob to conrm.
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PIX 260i User Guide and Technical Information
Selecting Video File Resolution and Frame Rate
The PIX 260i can record video in numerous resolutions and frame rates. The Setup Menu option
[Video - File Resolution/Rate] sets the resolution and frame rate of recorded Quicktime les. This
Setup Menu option also determines the resolution and frame rate of the live HDMI and SDI output
signals, except during playback. The PIX 260i can record Quicktime les in the following resolutions
and frame rates:
• 1080 p30
• 1080 p29.97
• 1080 p25
• 1080 p24
• 1080 p23.976
• 1080 i60
• 1080 i59.94
• 1080 i50
When Setup Menu option [Video - File Resolution/Rate] is set to Same as Video Input, recorded
Quicktime les and video output signals will be of the same resolution and frame rate as the input
video signal.
* Standard denition recording is only available for ProRes 422 HQ, ProRes 422, and ProRes 422 Proxy.
• 1080 PsF 30
• 1080 PsF 29.97
• 1080 PsF 25
• 1080 PsF 24
• 1080 PsF 23.976
• 720 p60
• 720 p59.94
• 720 p50
• 720 p30
• 720 p29.97
• 720 p25
• 720 p24
• 720 p23.976
• 576i50 *
• 480i59.94 *
Progressive Segmented Frames (PsF)
Some cameras output video signal in progressive segmented frames (PsF). PsF is a method for
transmiing progressive video in an interlaced stream. A device generates PsF signal by spliing
each frame into two segments. PsF segments are the same as interlaced elds in that one segment
represents the even lines of a frame and the other segment represents the odd lines of a frame. PsF
segments dier from interlaced elds in that there is no motion between each segment in a pair.
The PIX 260i will automatically sense PsF signal from most cameras that output PsF over SDI. This is
accomplished through the use a ag inserted into the SDI signal by the camera. If a camera does not
insert this ag into the SDI stream or if it outputs PsF signal over HDMI, then the Setup Menu option
[Video - Input PsF Detect] can be set to Interpret 1080i as PsF. This will force the PIX 260i to treat
all 1080i signal as if it were PsF and deinterlace it accordingly.
Selecting a Video Codec
Setup Menu option: [Video - Codec].
The PIX 260i has two families of intra-frame, DCT based codecs available: Apple ProRes and Avid
DNxHD, with ve levels of compression for ProRes and four levels of data compression available for
DNxHD. Both codecs are intermediate codecs that assist the editing process by eliminating the need
to transcode video before importing into Final Cut (ProRes) or Avid (ProRes or DNxHD).
ProRes is a variable data rate codec; DNxHD is a xed data rate codec. PIX 260i supports all compression levels and bit rates of DNxHD and ProRes and automatically records the correct bit rate
dependent upon the video input resolutions and frame rate. The data rates indicated in the Setup
Menu item [Video - Codec] indicate the maximum data rate at 1080p30.
DNxHD 36 Mb/s only supports 1080p signal. Standard denition recording is only available for ProRes
422 HQ, ProRes 422, and ProRes 422 Proxy.
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Interruption of Signal During Recording
In video mode, in the event that video signal is lost (an unplugged HDMI or SDI cable, for example)
during recording, the PIX 260i will pause the recording and wait for video signal to be re-initialized.
If video signal is re-initialized recording will begin again to a new le of the same name with an
“A” appended to the end. Further interruptions of signal during that take will cause an alphabetic
lename progression (“B”, “C”, etc).
In Audio Mode, loss of video signal will have no aect on the transport state unless it is the sync reference source.
Alignment of Audio and Video
An advantage to recording audio on the PIX 260i along with the video is the elimination of audio/
video sync problems in post. The PIX 260i has many options regarding audio sources along with the
two options for video inputs, HDMI and SDI. Given this exibility, care must still be taken to ensure
good audio/video sync.
If recording camera audio embedded on HDMI or SDI, then the audio/video alignment will be excellent provided the alignment is proper on the camera.
If recording audio using the dedicated audio inputs (Analog, AES, or Dante), then a delay may need
to be dialed in. The reason for this is that some cameras have a delay of one or more frames from lens
to SDI/HDMI output. The PIX 260i on the other hand has no appreciable delay between audio and
video. This means that if the camera does have this delay, the audio will lead the video as recorded
by the PIX 260i. Note that on some cameras, the lens-to-SDI/HDMI delay changes with resolution/
frame rate. The best practice is to test the audio/video sync using sticks on a test le for each camera
resolution/frame rate to be used on a project before starting. See Audio Input Delay Control for details
Audio Track Arming
Up to 32 Tracks of audio can be recorded in both Audio and Video modes. Tracks must be armed in
the Audio Screen in order for them to be recorded. To arm or disarm Tracks for recording:
1. Press the Audio buon to access the Audio Screen.
2. Select the Arm box for the desired track using the Control Knob to move vertically and REW
and FF to move le and right.
3. Press the Control Knob to access the Arm options window. Arm options are O, On, All O,
or All On.
4. Select the desired option then press the Control Knob to exit the arm window.
Audio Mode
When Setup Menu option [Video/Audio Mode - Video/Audio Mode] is set to Audio Only (Wave),
the PIX 260i is in Audio Mode. In Audio Mode, the PIX 260i records only audio signal to uncom-
pressed PCM .wav les. Certain Setup Menu options apply only to Audio Mode:
• [Timecode/Sync - Sync Ref - Audio Only Mode]: This determines the sync reference source
clock for audio mode. The source can be set to Internal, Word Clock (Sync In), AES1-2, Dante,
or Video Input (SDI/HDMI). In Video Mode, sampling rate always follows the sample rate of
the input video stream, typically 48 kHz.
• [Audio - Audio Mode Sample Rate]: This menu option only applies when the
[Timecode/Sync - Sync Ref - Audio Only Mode] is set to Internal. The default sample rate is 48
kHz. Audio Mode allows for 44.1 kHz or 48 kHz recordings.
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PIX 260i User Guide and Technical Information
• [Audio - Audio Mode Bit Depth]: The bit depth of recorded audio in Audio Mode. The default
Bit Depth is 24. Audio Mode allows for 16- or 24-bit recordings. In Video Mode, audio bit
depth is always 24 bits.
• [File Storage - Wave File Split Every]: The le size that will cause a .wav le split in Audio
Mode. At factory default audio les will automatically split when the le size reaches 4 GB.
Audio recordings can also be split when the le size reaches 2 GB.
• [Timecode/Sync - Frame Rate (Audio Only)]: The frame rate that will be stored in the iXML
and Bext area of the .wav le. The default frame rate is 29.97 non-drop. The available frame
rate options are 23.976, 24, 25, 29.97, 29.97 drop-frame, 30, 30 drop-frame.
If the synchronization source (Setup Menu option [Timecode/Sync - Sync Reference -Audio Only])
is lost while in record, the recording will stop. The Sync Reference OSD eld will ash red
if the synchronization source is not present. The Audio Input OSD eld will ash red if there
is a mismatch between the currently selected audio sync referenece sample rate and the
[Audio - Audio Mode Sample Rate] seing. If recording audio from an SDI source, Setup Menu op-
tion [Timecode/Sync - Sync Reference -Audio Only] must be set to SDI. See Sample Rate Converters
F Sampling Rate Modes
48.048k and 48.048kF
The 48.048kF mode (F can stand for “fake”, “faux”, or “Fostex”) is a specic compatibility mode for
use with the Fostex DV40 soware (1.74 and previous), Avid, Final Cut Pro, and other post-production environments that do not recognize audio les wrien at 48.048 kHz. In this mode WAV les are
recorded at a 48.048 kHz sampling rate but are stamped at 48 kHz. When played, they will play back
0.1% slower than real time.
One use for the 48.048kF mode is to force a 0.1% speed reduction (pull down) of audio to match
MOS-telecined lm (24 fps-to-NTSC) in non-linear edit systems, such as Avid or Final Cut Pro. Since
the le is stamped as a 48 kHz le, the edit system will play it back at 48 kHz and not at 48.048 kHz.
This “audio pull down” will match the transferred picture without the need for an intermediate step
through other soware to create the pull down.
The time code frame rate (actual recording rate) is forced to 30 ND in 48.048kF mode. The audio le,
however, is stamped with a 29.97 ND frame rate, along the 48 kHz sampling rate. It will appear as if
the le was originally recorded at a 48 kHz sampling rate at a TC rate of 29.97 ND.
Fostex DV40
When using les recorded in the 48.048kF mode in with a DV40 with early soware, set the DV40
time code frame rate to 29.97ND. Time code stamps will properly match the original time code start
times.
47.952k and 47.952kF
Both 47.952 and 47.952kF seings use a record sampling rate of 47.952 kHz, 0.1% lower than 48 kHz.
The 47.952kF mode, however, identies the le as being recorded at 48 kHz. Additionally there are
two frame rate options in 47.952kF mode. The timecode frame rate can be set to 23.97 while the le is
identied as 24ND or it can be set to 29.97ND while the le is identied as 30ND. By default, when
47.952kF mode is selected the frame rate is changed to 29.97ND and identied as 30ND unless the
Frame Rate was already set to 23.97 in which case it will remain at 23.97.
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PIX 260i User Guide and Technical Information
Video Scaling and Frame Rate Conversion
The PIX 260i features powerful, hardware-based video scaling, frame rate conversion, and de-inter-
lacing. This allows for converting the resolution and frame rate of video input to the recorded le
and to the HDMI and SDI outputs in real-time.
Video scaling and/or de-interlacing is active whenever the Setup Menu option
[Video - File Resolution/Rate] is set to something other than Same as Video Input. Any supported input signal can be converted to any available resolution. When set to record progressive frames, the PIX 260i will convert incoming interlaced video to progressive frame video
via its built-in, powerful, hardware-based de-interlacer. The PIX 260i will also convert progressive segmented frame (PsF) video to progressive video automatically if Setup Menu option
[Video - File Resolution/Rate] is set to a progressive frame format (for example 1080p30). If Setup
Menu option [Video - File Resolution/Rate] is set to interlaced format (for example 1080PsF30), the
PIX 260i will record PsF signal unaltered, but the le will be stamped as interlaced.
Frame rate conversion occurs whenever the frame rate of [Video - File Resolution/Rate] diers
from the frame rate of the input video signal. Frame rate conversion is achieved by appropriately
duplicating or dropping frames. The PIX 260i will auto-sense between integer and non-integer frame
rates (for instance 30 frames vs. 29.97 frames). The PIX 260i will not frame rate convert between
integer and non-integer frame rate values. For example, if the incoming video signal is 1080i59.94,
it can be converted to 1080p29.97 or 720p59.94 but not 1080p30 or 720p60. The Setup Menu option
[Video - File Resolution/Rate] contains entries with a combination of integer and non-integer frame
rates (such as 1080p30/29.97). When any of these options are selected, the PIX 260i will record in the
indicated integer frame rate if the input video is an integer frame or record in the indicated noninteger frame rate if the input video is a non-integer frame rate.
Not all frame rate conversions are visually desirable. When the OSD Item
File Resolution/Rate is red, the conversion of the frame rate of the input video to the frame rate
set by [Video - File Resolution/Rate] will contain a nite amount of motion judder. For example,
if the incoming video is 720p60 and [Video - File Resolution/Rate] is set to 720p50, the cadence of
dropped frames may be noticeable depending on the content. Conversions which are simply 1:2 or
2:1 (such as 1080i59.94 to 1080p29.97) introduce no motion judder. For these conversions, the OSD
Item File Resolution/Rate remains white.
When the input video signal is 720p24 or 720p23.976, up-, down-, and cross-conversion is not available.
3:2 Pulldown Removal
Many cameras which shoot with a shuer speed of 24/23.976 frames per second will output signal
on the HDMI or SDI output at 60i/59.94i. To achieve this, the camera performs a “3:2 pulldown”
process. The 3:2 pulldown process splits each frame into 2 elds and duplicates a eld periodically.
The PIX 260i is capable of removing 3:2 pulldown from a 60i/59.94i signal and converting it back to
24/23.976 progressive frames per second in real-time. The PIX 3:2 removal process actively views
video elds looking for duplicates. When these duplicates are sensed, then this cadence is locked in
and the appropriate extra elds are removed. The process depends on motion in the incoming video.
The OSD item File Resolution/Rate changes from orange to white when this cadence is detected:
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PIX 260i User Guide and Technical Information
Orange: No 3:2 pulldown sensed in 60i/59.94i input signal. Input video is being converted to 24p/23.976p using a conversion
process which drops frames and may introduce judder.
White: 3:2 pulldown sensed in 60i/59.94i input video signal.
Input video signal is being converted to 24p/23.976p using 3:2
pulldown removal which recreates 24p/23.976p as it is cap-
tured from the camera’s shuer.
Up and Down Conversion
Standard-denition video resolution employs a 4:3 aspect ratio, and high-denition video resolution
employs a 16:9 aspect ratio. Up-conversion is the process of ing standard-denition video (with a
4:3 aspect ratio) into a high-denition, 16:9 frame. Down-conversion is the opposite process.
The PIX 260i has various options for up and down conversion:
Down-Conversion
Leerbox: Maintains the same height and width ratio. Results in blank bar at top and boom of
image.
Crop: Le and right side of image is cropped to t into 4:3. Results in missing image at sides of
picture.
Anamorphic: Image is horizontally squashed to t into 4:3. Results in a narrow looking image.
16
9
Letterbox
Crop
Anamorphic
4
3
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PIX 260i User Guide and Technical Information
Up-Conversion
Anamorphic: Image is horizontally stretched to t into 16:9. Results in a wide looking image.
Zoom 14x9: Maintains same size but lls in remaining screen space with blank bar on the right and
le of image.
Zoom Leerbox: Converts leerbox to full screen 16:9.
Pillarbox: Increases size and maintains same ratio. Results in blank bar at right and le of image and
picture cropped at top and boom.
Zoom Wide: Increase size and maintains ratio to full screen 16:9. Results in top and boom being
cropped.
4
3
Anamorphic
Zoom 14x9
Zoom Letterbox
16
9
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Pillarbox
Zoom Wide
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PIX 260i User Guide and Technical Information
Playback
The PIX 260i has a very powerful playback engine that allows for playback of QuickTime .mov
les and PCM .wav les whether the les were generated by the PIX 260i or elsewhere. See Ap-
pendix A for currently supported les Playback video is shown on the onboard LCD display and
is sent to the video outputs. The PIX 260i’s video playback clock is determined by the seing in
[Timecode/Sync - Sync Reference -Video Playback]. Audio Only playback clock is determined by
the seing in [Timecode/Sync - Sync Reference -Audio Only].
Playback Operation
From the Main View, pressing Play () aer a recording will playback the most recent le. Using the
Rewind (<<) and Fast Forward (>>) buons, previous recorded les can also be cued for playback.
The le cued up for Playback is displayed in the File Name eld of the OSD. To select other les for
Playback, enter the File List, locate the le then press Play ().
The Playback drive is indicated when Stopped or Playback by the green Drive Status OSD eld. To
switch the playback drive, simply playback a le from the desired drive from the File List.
In Playback Mode the Play () buon and the OSD Items ABS Time, Timecode, and Filename are
green. While in Playback Mode, pause playback by pressing the Play () buon again. The Play but-
ton ashes green to indicate playback is paused. Press the Stop () buon anytime to stop playback
and exit Playback Mode.
Frame by frame scrolling (similar to the traditional Jog function) is supported when playing back
QuickTime .mov les. To scroll through a video le frame by frame, pause playback then turn the
Control Knob to increase/decrease the video le in one frame increments.
Playback audio of both QuickTime .mov and PCM .wav les is routed to audio outputs as deter-
mined by output routing options in the [Audio] Setup Menu section. see Audio Outputs
Other PIX 260i’s in a group will begin playback only if a le of the same name is present. see PIX
Grouping
Fast Forward and Rewind
Video Mode: Hold down the Fast Forward (>>) or Rewind (<<) buon during playback for 2x
(double) speed playback. When the Fast Forward (>>) or Rewind (<<) buon is held for ve seconds
or more the playback will become 16x speed. Normal playback will resume when Fast Forward (>>)
or Rewind (<<) is released.
Audio Mode: Hold down the Fast Forward (>>) or Rewind (<<) buon during playback scrub forward or backward. As the Fast Forward (>>) or Rewind (<<) buon is held down, playback speed in
that direction will increase (up to 50x). Release the buon to resume playback in real time.
File Skip
Video Mode: During Playback, press Fast Forward (>>) once to jump to the next Cue Marker (if ap-
plicable) or begin playback of the next clip (if it exists). Press Rewind (<<) once to jump to the previ-
ous Cue Marker (if applicable) or to the beginning of the current le. Immediately press Rewind (<<)
again to skip to the previous le’s last Cue Marker (if applicable) or beginning. File Skip functions
will work while a clip is playing and while it is paused.
Shuttle Playback Mode
Shule Playback Mode is available in Video Mode only
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In Shule Playback Mode the PIX 260i is capable of playing back at various rates in forward and in
reverse. Shule Playback Mode is only available when playing back Quicktime .mov les.
To immediately enter Shule Playback Mode from the Main View, press the Control Knob. The cued
le will begin playback at half speed (FFx1/2). Shule Playback Mode can also be accessed while a
le is playing back or when paused by pressing the Control Knob.
When Shule Playback Mode is active, the OSD items ABS Time, Timecode, and Filename are
displayed in blue. Turn the Control Knob to select among the available playback directions and rates.
The following table denes the playback directions and speeds available when turning the Control
Knob in Shule Playback Mode.
Reverse Forward
32 16 8 7 6 5 4 3 2 1 1/2 1/3 1/4 1/5 1/6 1/7 1/8 1/8 1/7 1/6 1/5 1/4 1/3 1/2 1 2 3 4 5 6 7 8 16 32
In Shule Playback Mode, the playback direction and speed will be indicated on the LCD if Setup
Menu option [Display - ABS Time] is set to On. The Fast Forward (>>) and Rewind (<<) buons will
illuminate independently to indicate the playback direction. Press the Control Knob while in Shule
Mode to pause playback. Press the Play () buon while in Shule Mode to return to Playback
Mode.
Cue Marker
Cue Markers are available in Video Mode only.
During Record, Playback, or Shule mode, press the FILES buon to set a Cue Marker. To delete
a Cue Marker, press and hold FILES again. A dialog box appears asking “Delete Cue Marker? Cue
(number)”, select OK to delete and Cancel to ignore. Cue Markers added or deleted during record
are applied to all available drives. Cue Markers added or deleted during playback or shule mode
are only applied to the current playback drive.
The previous Cue Marker is displayed in the lower le-hand corner of the OSD when
[On-Screen Display - Cue Marker] is On. The OSD eld will be displayed in various colors depending on the current transport status, Red = Record, Green = Play, Blue = REW/FF/Shule. To quickly
jump to the next or previous Cue Marker, press the Fast Forward (>>) or Rewind (<<) buon
respectively.
Cue Marker Looping
Cue Marker Looping is available in Video Mode only.
Looping playback can be enabled between consecutive cue markers or
the beginning and end of the current clip. To toggle looping playback
and begin looping the currently playing clip, hold the Play () buon
for 1 second during playback. “Loop: Clip” will be displayed in the bottom le-hand corner of the OSD if [On-Screen Display - Cue Marker] is
set to On.
Looping between cue points
To loop between two consecutive cue markers, hold down the Play
() buon and press the Fast Forward (>>) buon while playback is in
between the two cue markers. The cue markers that are being looped
are displayed on the boom le-hand corner of the OSD. To return to
looping the entire clip, hold down the Play () buon and press the
Rewind (<<) buon.
32
To exit looping, hold down the Play () buon for 1 second.
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Looping entire clip
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PIX 260i User Guide and Technical Information
Play List
Files can be added to a play list in order to play them back sequentially. Play list functions are ac-
cessed from the File Detail view of any le. To access the File Detail view of a le:
1. Press the FILES buon to view the File List.
2. Highlight the desired le, then press the Control Knob to enter the File Details view.
Add to Play List will add the le to the end of the play list. Remove from Play List will remove the
le from the play list and decrease the position of all les above in the play list. Empty Play List will
clear the play list completely (note that this function aects the entire play list).
Files in a play list are indicated with a number in the Files View:
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PIX 260i User Guide and Technical Information
By default, the PIX recorder will play les in the order that they are arranged in the File List. To play
back les in a play list in the order of the play list, [System - Playback Mode] must be set to one of
the Play List modes.
It is recommended that les in the same play list or reel be of the same resolution, frame rate, and codec.
Playback Mode
By default, when a le is selected for playback, the PIX 260i will play the le immediately and stop playback when the end of the le is reached. The Setup Menu options
[System - Playback Start mode] and [System - Playback mode] alter this behavior. When
[System - Playback Start mode] is set to Pause on First Frame, a le will begin playback in a paused
state on the rst frame. This is useful for “loading” a clip so that playback can be manually triggered
without any start up delay.
The Setup Menu option [System - Playback mode] aects how playback will continue aer the end
of a le is reached (assuming no user transport commands are called):
Playback mode Behavior
Play Once Playback stops when the end of the file is reached.
Play Once - Pause Playback pauses on last frame when the end of the file is reached.
Play All Playback continues with the next file in the File List. This process is repeated until all files in
Play All - Pause Playback pauses at the first frame of the next file. This process is repeated until all files in
Play All - Loop Playback continues with the next file in the File List. This process is repeated until all files
Play List Playback continues with the next file in the Play List. This process is repeated until all files in
Play List - Pause Playback pauses at the first frame of the next file in the Play List. This process is repeated
Play List - Loop Playback continues with the next file in the Play List. This process is repeated until all files
the File List have been played at which point playback stops.
the File List have been played or Stopped is pressed.
in the File List have been played at which point playback begins at the beginning of the File
List.
the Play List have been played at which point playback stops. see Play List
until all files in the Play List have been played or Stopped is pressed.
in the Play List have been played at which point playback begins at the beginning of the Play
List.
It is recommended that les in the same play list or reel be of the same resolution, frame rate, and codec.
Playback Rate of Audio Files
Audio les (WAV) will always be played back at the sample rate of the PIX 260i. The sample rate that
the le was originally recorded at (and that is stamped in the le’s header) will be ignored by PIX
260i during playback, and the PIX 260i will play the le at the current sample rate, as determined
by Setup Menu option [Timecode/Sync - Sync Ref - Audio Only Mode]. When Setup Menu option
[Timecode/Sync - Sync Ref - Audio Only Mode] is set to Internal, audio les will play back at the
sample rate of Setup Menu option [Audio - Audio Mode Sample Rate], even in Video Mode.
Non-Native File Playback
The PIX 260i can playback QuickTime .mov les and PCM .wav les generated by third party applications and devices.
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Exporting QT Files for 260i Playback
When exporting QuickTime les for PIX 260i playback be sure to set audio to 48kHz. The PIX 260i
cannot playback more than two QuickTime tracks of audio. If multi-channel audio is required, it is
recommended that the multi-channel audio is interleaved into a single QuickTime audio track.
Playing Back Files on a Computer
Video les recorded with the Apple ProRes codec require Quicktime to be installed. Quicktime can
be downloaded from hp://www.apple.com/quicktime/download/. See hp://soware.sounddevices.com/
Apple_ProRes_White_Paper_July_2009.pdf for more detailed information about the ProRes codec.
Video les recorded with the Avid DNxHD codec require DNxHD drivers to be installed. Visit hp://
www.avid.com/dnxhd to download DNxHD drivers and for more detailed information about the
DNxHD codec.
Audio les are industry standard .wav les that adhere to the Broadcast Wave File standard (BWF).
Each le includes the original broadcast extension (bext) and a complete iXML section.
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PIX 260i User Guide and Technical Information
Synchronization and Timecode
Synchronization of video, audio, and associated timecode while recording video and audio has long
been a problematic area. Situations where several cameras are used can complicate issues further.
There may be sync issues between two (or more) cameras and/or between audio recorders because of
a) oset and b) dri. In a production environment (during recording), oset and dri are both terms
to describe a timing problem between the timecode signal from two or more audio or video record-
ers. In a post-production environment (a non-linear editor application), oset and dri are both
terms to describe a timing problem between two or more audio or video les.
Oset (matching the beginning or “head” of a take) occurs because the beginning of takes are not
aligned due to the absence or misuse of timecode. Dri (matching the end or “tail” of a take) occurs
because dierent recorders (audio or camera) run at dierent rates - the beginning of les from each
may have zero oset, but by the end they dri apart. The PIX 260i was designed with these problems
in mind and includes the most comprehensive and powerful synchronization features available in a
production recorder. These features can be used to alleviate or eliminate oset and dri problems in
both production and post-production. While the PIX 260i’s design makes seing the parameters as
easy as possible, a good understanding of synchronization is still necessary to properly operate the
PIX 260i and ensure a trouble-free workow.
In a camera, the shuer, video circuitry, audio sampling, and timecode all run o of one “heartbeat”
from its master internal clock. If this master clock is slightly fast, then the shuer, audio sampling,
and timecode will be slightly fast, and if the master clock is a slightly slow, the shuer etc will also
be slightly slow.
When a PIX 260i’s video input is connected via HDMI or SDI to a camera or other video source,
this “heartbeat” is passed through the HDMI or SDI. The PIX 260i video and audio circuitry can be
clocked o of this incoming signal. In other words, the PIX 260i references this clock and synchro-
nizes its own clock to it. The PIX 260i writes les based on this clock as well - each audio sample and
video frame wrien out to the le is synchronized to the incoming video. This way, the PIX 260i is
always completely in sync with the connected video source - there can never be any dri of audio or
video between the camera and the PIX. See Sync Reference for clarication.
Dri problems in a workow can arise when more than one camera is used on a shoot, as each
camera is driven o of its own internal master clock. Since internal master clock speed will always
vary from camera to camera (and vary based on temperature and time), each camera used will run
at a slightly dierent shuer speed, audio sample rate and timecode rate. This is also true when
recording video on a camera and recording audio on a separate recorder, as each device has its own
internal master clock. Particularly problematic are long takes where there may be signicant dri
from camera to camera from the beginning to end of the take’s le. Even if the heads match, the tails
of a take may not.
These dri problems can be mitigated during recording by using a Genlock (or “Sync”) Input on a
camera which takes over the camera’s internal master clock. Wiring several cameras’ Genlock Inputs
together forces all of the cameras to run at the exact same rate with no dri. This same concept applies to audio recorders using the Word Clock input. Genlock inputs are available only on higher-
end cameras and Word Clock inputs are available on higher-end audio recorders.
Oset problems are easier to overcome than dri problems. By feeding each recording device with
the same timecode signal, the les from dierent recording devices can all be in sync and there will
be no oset in post-production.
The PIX 260i can address the synchronization issues of both oset and dri (heads and tails) via its
built-in Ambient® Lockit with Genlock Out and Timecode Reader. The PIX 260’s Ambient® Lockit
features an internal clock which has an accuracy of +/-0.2ppm (½ frame per 24 hours). Numerous PIX
260i recorders can be used to maintain extremely tight synchronization.
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Sync Reference
The following table lists the available sources for sync reference. Depending on the current Mode
(Audio or Video) and the transport state, some of these sources might not be available.
Signal Connection OSD
HDMI video HDMI input
SDI video SDI input
Wordclock SYNC IN
AES channels 1-2 Digital Audio I/O (DB-25)
Dante Ethernet
Internal None
By default, The currently referenced synchronization source is always displayed on the OSD preceded by Sync:. When valid signal is present at the selected source, the OSD label will show with
white text. When no valid signal is present at the selected source, the OSD label will ash and the
text will be red. Additionally, when a source is selected that has no valid signal, or when the signal at
a selected source is lost, a warning dialog will appear on the LCD.
Video Mode Synchronization
Sync: HDMI
Sync: SDI
Sync: WCK
Sync: AES1-2
Sync: Dante
Sync: Int
Setup Menu option [Timecode/Sync - Sync Ref - Video Playback].
In Video Mode the PIX 260i’s sync source is always the incoming video signal when stopped and
while recording. This is to ensure that the PIX 260i is always in sync with the incoming video source.
During Playback of QuickTime les, the PIX 260i can reference its own Internal clock, or Video Input
(SDI/HDMI).
If sync reference source is Video Input and the playback le’s resolution and rate are dierent than the
Video Input, the PIX 260i will automatically use it’s Internal clock. The OSD label will ash with red
text during playback to indicate this.
Audio Mode Synchronization
Setup Menu option [Timecode/Sync - Sync Ref - Audio Only Mode].
In Audio Mode, the audio sync reference source is used for both Record and Playback. Sync reference for Audio Only mode can be the PIX 260i’s own Internal clock, Wordclock (Sync In), AES 1-2,
Dante, or Video Input (SDI/HDMI).
The supported sample rates for audio synchronization are those available in the Setup Menu option
[Audio - Audio Mode Sample Rate]. The PIX 260i will only lock to supported sample rates from any
source (Including external sources). When an unsupported sample rate is present at the sync refer-
ence source, the OSD label will ash and the text will be red to indicate there is no synchronization
occurring.
Timecode Reader
The PIX 260i includes a timecode reader which can accept incoming SMPTE timecode. The
PIX 260i can read timecode from embedded SDI / HDMI or linear timecode fed into the
TC IN BNC connector. The timecode reader is enabled whenever the Setup Menu option
[Timecode/Sync - Timecode Mode] is set to Ext TC (LTC) or Ext TC (SDI, HDMI) which indicates that
it will read external timecode.
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Timecode Reader operation is useful for simple cases where the PIX 260i’s timecode follows the
camera timecode. The timecode of the PIX 260i’s le will match exactly with the camera’s le with
zero-dri (since the PIX 260i is always synchronized with video input during recording in Video
Mode. see Video Mode Synchronization).
In situations where a consistent oset is observed between PIX 260i les and other production recordings, the PIX 260i can oset the timecode stamp on each le. The Setup Menu option
allows for adjustment of the frame oset from -10 to +10 in
increments of 1 frame. This seing does not aect timecode on the PIX 260i’s outputs.
For shoots involving more than one camera or an audio recorder, using the PIX 260i’s Timecode Generator can be more benecial than using the Timecode Reader to achieve good heads and tails sync
between all recordings.
Internal Ambient® Lockit: Timecode Generator with Sync Out
The PIX 260i includes an internal Ambient® ACL-203 Lockit which can be used as a master sync/
timecode source for cameras or audio recorders. The Lockit is an ultra-high accuracy sync/timecode
generator with < 0.2 ppm (½ frame per 24 hours) accuracy that is suitable as a master clock in all
levels of productions. With its internal, rechargeable baery, accurate timecode is maintained for up
to 2 hours aer the PIX 260i is powered down. Aer 2 hours, the timecode value is reset. The baery
is recharged automatically.
Multi-camera shoots using cameras that accept genlock input can benet from the PIX 260i’s built in
Ambient® Lockit as their master sync and timecode source. Files from multiple PIX 260i recorders
will have very tightly synchronized recordings with matching heads and tails.
Additionally, even multi-camera shoots utilizing lower-cost cameras (with no genlock or timecode)
can benet from the built-in Lockit. By using the Timecode Generator to stamp the beginning of each
le, the heads of each take will match from several recorders, even if the tails dri due to using non-
genlocked cameras.
Setting the Sync Out
The seing of this is parameter is found in Setup Menu option [Timecode/Sync - Sync Out]. When
the Sync Out of the PIX 260i is not needed, set this option to . When using the Lockit to generate the Sync (genlock) for a camera, the frame rate and resolution must be set for the camera’s sync
input. Consult the camera’s documentation for information of which rates are accepted.
Additionally, there are two advanced modes under [Timecode/Sync - Sync Out]:
Genlock, Follows Video In and Wordclock, Follows Video In. Genlock, Follows Video In can be
used to slave another camera’s or audio recorder’s genlock input to the camera feeding the PIX. Likewise, Wordclock, Follows Video In can be used to slave an external audio recorder to the camera
driving the PIX to achieve perfect audio sync with zero dri. Dri is less likely to be an issue when
recordings are kept short.
Timecode Modes
Freerun Timceode Mode
Generator mode. Timecode runs continuously. The value can be set by “jamming value” in the Setup
Menu option [Timecode/Sync - Jam Received TC] or by manually seing a value from the Setup
Menu option [Timecode/Sync Set Generator TC].
Record Run Timecode Mode
Generator mode. The PIX 260i sends running timecode while recording and stationary timecode
while not recording. Timecode in this mode defaults to the last stationary value at power-up. When
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switching to record run from another mode, the internal generator will stop at the last number gen-
erated. A user-dened value can be jammed into the internal generator from the Setup Menu option
[Timecode/Sync - Set Generator TC].
External Timecode Mode
Reader mode. The PIX 260’s internal timecode generator follows an external timecode signal ap-
pearing at the BNC Timecode Input, timecode embedded on the SDI or HDMI input (see SDI Input
Embedded Timecode). If the external timecode is removed the internal generator continues to run to
preserve continuous timecode.
Timecode Frame Rate
In External mode, if the incoming frame rate does not match the frame rate as set in
Video - File Resolution/Rate, the timecode frame rate display will appear orange to notify the user.
The PIX will still record using the File Resolution/Rate.
Timecode Input Sources
Timecode BNC
The Timecode Input BNC accepts standard SMPTE timecode signal.
SDI or HDMI Input Embedded Timecode
The PIX 260i can use timecode embedded in the SDI or HDMI input signal.
[Timecode/Sync - Timecode Mode] must be set to Ext TC (SDI, HDMI).
Synchronization/Timecode Examples
The following examples illustrate common scenarios where timecode and synchronization can be
employed with the PIX 260i and other devices.
Single Video Camera, no Genlock
SDI/HDMI
In this scenario, the video camera is the master source of the video sync. The timecode can either be
read from the camera or be generated by the PIX 260i. The accuracy of the recording is dependent on
the internal clock accuracy of the camera.
To receive timecode from the camera, set [Timecode/Sync - Timecode Mode] to Ext TC (LTC) for
cameras that output standard SMPTE timecode to the PIX 260i’s Timecode BNC. Alternatively, the
PIX 260i can receive timecode from the SDI or HDMI input (if the camera sends timecode in this
way) by seing [Timecode/Sync - Timecode Mode] to Ext TC (SDI, HDMI).
The Setup Menu option [Timecode/Sync - Sync Out] can be set to several valid seings, including
the following:
• sync signal is disabled.
• Genlock, Follows Video In - Genlock for another camera or device is derived from the video
signal of the single camera.
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• Wordclock, Follows Video In - Wordclock for an audio device is derived from the video signal
of the single camera.
Single Camera with Genlock Input, Genlocked from PIX
SDI/HDMI
Genlock
In this scenario, the PIX 260i is the master source of video sync. Set the output of the sync generator
to a selected rate and connect the PIX 260i Sync Out (Genlock) to the same camera. Feed the timecode output of the PIX 260i into the timecode input of the camera.
Multiple Cameras with Genlock Input, all Genlocked from a Single PIX
A
B
SDI/HDMI
Genlock
SDI/HDMI
A
B
In this scenario, a PIX 260i is the master sync source for multiple cameras , each with or without their
own PIX acting as a recorder. Because of this locked connection, the cameras can be run indenitely
and be assured of frame-accurate sync with no possibility of dri.
Set the output of the sync generator to a selected rate and connect the PIX 260i Sync Out (Genlock)
and timecode output to multiple cameras (“mult” the genlock output). This connection uses the PIX
260i as both the video sync source and timecode source. Heads and tails sync for the camera’s and
PIX les will be perfect.
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Camera #1 to PIX #1, Camera #2 to PIX #2, No Genlock
A
SDI/HDMI
A
B
SDI/HDMI
B
In this scenario, each camera is its own master video sync source , but the PIX 260i is the source of
the timecode. The PIX 260i records its les based on the camera’s clock. The heads will match perfectly, but the tails may dri depending on the cameras’ clocks.
Camera to PIX with Word Clock Connection to Audio Recorder
SDI/HDMI
Wordclock
3
1
4
2
MENU
5
7
8
6
HDD
ARM ARM
R
L
A
B
EX
IN
CF
C
D
E
F
0
0
d
BFS
d
BFS
REC
PWR
INPUT
788T
The word clock output on the PIX 260i is synchronous with incoming video signal. The word clock
output can be used to sync external audio recorders to any camera. To enable word clock output, set
Setup Menu item [Timecode/Sync - Sync Out] to Wordclock, Follows Video In.
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External Control
RS422
The PIX 260i conforms to the Sony P2 (9-pin) machine control standard over RS422. The PIX 260i acts
as a slave only, not as a master. To enable RS422 set [Remote Control - RS422] to On.
The following table lists the tested RS422 controller models and the supported functions for each
model.
Command DNF ST300 JLC-ES450
RECORD Ye s Ye s
STOP RECORDING Ye s Ye s
PLAY Ye s Ye s
PAUSE Ye s Ye s
STOP PLAYBACK Ye s No (Pause only)
FFWD Ye s Ye s
REW Ye s Ye s
JOG Ye s Ye s
SHUTTLE Ye s Ye s
T-BAR Ye s n/a
REC and PLAY TIMECODE Ye s Ye s
Please note that the JLC-ES450 does not read machine transport status information from the PIX 260i
but the DNF ST300 will.
PIX Grouping
When multiple PIX 260i units are in use, they can be grouped together to ease transport control and
setup. A grouped PIX 260i will retain all seings made before being grouped. If a change is made
to any PIX 260i in the group, the seing will be changed on all other PIX 260i units in the group.
Grouped PIX 260i units do not have a master slave relationship, they are all eectively “masters”.
If a transport command or seings change has to be made to only one unit in a group, ungroup the
input, make the change, then regroup the PIX 260i. To quickly toggle between no group and the cur-
rent group seing, press and hold the MENU buon then press the Control Knob.
To group units, connect all PIX 260i units via Ethernet ports or connect them all to the same network.
Enter [Network - Network Group] and set all PIX 260i units to the same group number.
Group Transport
The Record, Stop, and Pause transport commands will always aect all units in the group. When a
le is played back on a grouped unit, the other units in the group will only begin playback if a le of
the exact same name is present on those units. Fast Forward, Rewind, Cue Points, and Looping are
not group transport functions.
Non-Grouping Settings and Functions
The following seings and functions will only apply to the PIX 260i that they are performed on, even
when the unit is grouped.
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Settings Functions
• [File Storage - Erase/Reformat]
• All settings in [Timecode/Sync] section besides [Sync Ref - Video Playback] and
[Sync Ref - Audio Only Mode]
• All settings in [Network] section besides
[Ethernet File Transfer]
• [System - Set Date/Time]
• [System - Update Software]
• All functions in [Quick Setup] section
• Audio Track Arm
• Audio Track Name
• Transport: Fast forward, Rewind, Shuttle playback, Cue
Points, and Looping
• Powering up and powering down
• LCD assist functions (Zoom, Focus, and Exposure)
Web Interface - PIXNET
When either the primary (PRI) or secondary (SEC) Ethernet ports on the PIX 260i rear panel are connected to an Ethernet network (via switch or router), or direct to a computer (ad-hoc), the PIX 260i
can be controlled remotely via PIXNET. PIXNET is a built-in web server with an intuitive GUI and
is accessed with an HTTP connection using a web browser. The interface is designed for use with
current versions of Chrome and Safari. Multiple PIX 260i’s can be accessed at the same time from the
same web browser window using tabs.
The PIX 260i’s web IP address must be determined before accessing PIXNET:
1. Make sure that the PIX 260i is powered on and connected to a network or directly to a computer via one of the rear panel Ethernet connectors.
2. The PIX 260i must have a unique name when controlling multiple PIX 260i units via PIXNET.
Verify that the PIX 260i has a unique name in [Network - This PIX’s Name].
3. The PIX 260i can automatically nd a unique IP Address when
[Network - Auto IP Settings] is set to On. This is the recommended method for seing
up IP connections on the PIX 260i. If needed, the IP seings can be manually entered. To
manually enter IP seings, set [Network - Auto IP Settings] to . Then manually en-
ter [Network - IP Address - Subnet Mask -Gateway] values.
4. Open the web browser and enter the IP address displayed on the PIX 260i OSD or listed in
[Network - IP Address] into the web browser’s address bar.
PIXNET All Units Page
When PIXNET is launched the rst page displayed is the All Units Page. This is a quick overview of
all PIX 260i units connected to the network. Information available is PIX Name, IP Address, Video
Input details, Video Codec details, and assigned Group number. From this page, a PIX 260i can be
alloted to a particular group. See PIX Grouping Click on the PIX 260i name to open the Unit Page for
that particular PIX 260i.
21
3
6 74 5
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PIX 260i User Guide and Technical Information
1) Address Bar
Type in PIX 260i IP Address to connect to
PIXNET.
2) Unit Page Tabs
Each Unit Page can be opened in a separate browser tab
3) PIX 260i Name
Lists all PIX 260i connected to the network. Click on a Name to open the Unit
Page for a particular unit.
4) IP Address
5) Video Input List
Displays Video Input for all PIX 260i units
currently on the network.
6) Codec List
Displays Codec for all PIX 260i units currently on the network.
7) Group
Displays Group seings for all PIX 260i
units currently on the network. Group
seings can be edited using the drop-
down menu for each PIX 260i.
Displays the IP Address for all PIX 260i
units currently on the network.
PIXNET Unit Page
The Unit page allows for near full remote control of the PIX 260i via the web browser.
62 3 4 5 7 8 9 10
1
12
11
13
14
15
16
17
1) All Units Page Button
Click to return to All Units Page.
2) Previous
Jumps to the beginning of the le.
3) Rewind
Acts as Rewind buon. When selected the
clip will reverse at x2 speeds.
4) Play
Functions as PLAY buon.
5) Stop
Functions as STOP buon
6) Unit Name and IP Address
Displays the name and IP Address of the
current Unit Page PIX 260i.
21
22
2018 19
7) Fast Forward
Acts as Fast Forward buon. When selected the clip advances at x2 speed. Click
again for 16x speed.
8) Next
Jumps to the next le.
9) Record
Functions as REC buon.
10) Group
Displays current Group seing, quickly
change designated group or remove from
group using the drop-down menu.
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PIX 260i User Guide and Technical Information
11) Video/Audio Mode
Displays current Video/Audio Mode setting. Switch between Video and Audio
modes using the drop-down menu.
12) Menu Tabs
Clicking on each tab will display a dierent menu. See PIXNET Unit Page Views
13) Main View
Default view of PIXNET. When no View
tab is selected the main view is displayed,
as shown.
14) Headphone Selection
Displays current headphone selection.
15) Video Input
Displays the source and current resolution and rate of incoming video.
16) File
Displays the current resolution and rate
of incoming le.
17) Codec
Displays the current Codec selection.
18) Timecode
Displays the current timecode value.
19) Frame Rate
Displays the current timecode frame rate.
20) File Name
Displays the current le name.
21) Audio
Displays the current audio seings.
22) Drive Status 1-4
Displays the drive status of all drives
(D1-D4).
PIXNET Unit Page Main View and Menu Tabs
The Unit Page can display many dierent menus. The menus are accessed by clicking on the tabs of
the Unit Page.
Please note that not all PIX 260i menu items or features are available from PIXNET.
Main View
The Main View is always the rst to appear when a Unit Page is open and is displayed whenever
no other tab is selected. It is the only view active while in Record and Playback. The contents of this
view are covered in detail in PIXNET Unit Page.
Clips Menu
The Clips Menu is the PIXNET version of the PIX 260i File List. From the Clips Menu select a drive.
The currently selected drive contents are displayed. Reel, le Name and location, creation date, and
le size are all displayed. Click on a le name to playback the le.
File Storage Menu
The File Storage Menu provides quick access via the web browser to the PIX 260i File Storage menu
options. Menu seings are displayed and can be edited directly from the web browser.
Video Menu
The Video Menu provides quick access via the web browser to the PIX 260i Video menu options.
Menu seings are displayed and can be edited directly from the web browser.
Audio Menu
The Audio Menu provides quick access to the various PIX 260i audio seings and windows. These
are separated by views Audio Seings, Tracks, and Output Matrix. When Audio Seings is selected,
the PIX 260i Audio menu options are displayed and can be edited directly from the web browser.
When Tracks is selected, all the seings from the PIX 260i Audio Screen are displayed and can be
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PIX 260i User Guide and Technical Information
edited. When Output Matrix is selected, a comprehensive track-to-output matrix appears. From this
view route any PIX 260i track to any output.
TC Menu
The TC Menu (timecode) provides quick access via the web browser to the PIX 260i Timecode/Sync
menu options. Menu seings are displayed and can be edited directly from the web browser.
OSD Menu
The OSD Menu (On-screen dispaly) provides quick access via the web browser to the PIX 260i
Timecode/Sync menu options. Menu seings are displayed and can be edited directly from the web
browser.
Remote Menu
The Remote Menu provides quick access via the web browser to the PIX 260i Remote Control menu
options. Menu seings are displayed and can be edited directly from the web browser.
Network Menu
The Network Menu provides quick access via the web browser to the PIX 260i Network menu op-
tions. Menu seings are displayed and can be edited directly from the web browser. In this menu the
Ethernet File Transfer option can be remotely activated. This allows for remote transfer of les from
the PIX 260i.
System Menu
The System Menu provides quick access via the web browser to the PIX 260i System menu options.
Menu seings are displayed and can be edited directly from the web browser.
Triggering Recording from External Timecode
The PIX 260i can be congured to start recordings when incoming timecode begins rolling and
stop when it becomes stationary. This is generally referred to as Record Run timecode. The master
timecode device should be setup in this manner. To congure the PIX 260i to follow Record Run
commands:
1. Set Setup Menu option [Remote Control - Rec Start/Stop] to Timecode
2. Make sure that the device that is sending timecode is congured to send stationary timecode
while stopped and running timecode while recording.
3. Some cameras do not send the correct timecode in the rst few seconds of a recording, or
they send short bursts of timecode causing the PIX 260i to record short unintentional les.
The feature is designed to eliminate these issues.
When a hold o value is applied, the PIX 260i will begin capturing the moment timecode
begins rolling but will only go into record if a valid timecode signal is present aer the hold
o time has elapsed.
Triggering from external timecode will not cause the PIX 260i to automatically stamp external timecode to recorded les. The timecode stamped to les is determined by the seing
[Timecode/Sync - Timecode Mode]
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Triggering Recording from SDI Flag Bits
Start and stop ags embedded in the SDI signal from some cameras can be used to
start and stop recording of the PIX 260i. To enable this feature, set Setup Menu option
[Remote Control - Rec Start/Stop] to the SDI Flag option that refers to the manufacturer of the connected camera.
GPIO (General Purpose Input / Output)
The 10-pin Phoenix connector provides six GPIO logic points. These can be used as simple-closure
inputs, and to drive LEDs or relays. The following table lists the pin assignments of the GPIO
connector.
Pin Function
1 (-) Ground. Provides access to ground for triggering logic-low connections.
2 REC Input. Triggers PIX 260i record.
3 Play Input. Triggers PIX 260i play.
4 Stop Input. Triggers PIX 260i stop.
5 (unused)
6 (unused)
7 REC Output. Activates upon PIX 260i record.
8 Play Output. Activates upon PIX 260i play.
9 Stop Output. Activates upon PIX 260i stop.
10 +5V DC Output. Constant source of +5V for triggering logic high connections.
GPIO inputs (pins 2, 3, and 4) and GPIO outputs (pins 7, 8, and 9) can be set to “logic high” or “logic
low”. Logic high connections will trigger to the presence of +5V (GPIO input) or output +5V when
the function is active (GPIO output). Logic low connections will trigger when connected to ground
(GPIO input) or become connected to ground when the function is active (GPIO output).
To congure GPIO connections as logic high or logic low, access Setup Menu option
[Remote Control - GPIO Inputs] or [Remote Control - GPIO Outputs].
The GPIO Outputs can be used to drive LEDs with a proper series resistor. Resistor values will vary
from LED to LED, 470 ohms is a good starting point.
USB Keyboard
The PIX 260i supports standard USB keyboards connected to the USB A connector on the front Panel.
The keyboard can be used to navigate menus, enter text, and control PIX 260i Transport functions.
The following table shows common functions for an aached keyboard:
Keyboards with integrated USB hubs are not supported.
Key Function
F1 Functions the same as the MENU button.
F2 Functions the same as the FILES button.
F3 Functions the same as the AUDIO button.
F4 Functions the same as the LCD button.
Menu Key Functions the same as the MENU button.
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Key Function
Ctrl + R Functions the same as the Record button.
Ctrl + S Functions the same as the Stop button.
Space Bar Functions the same as the Play button.
Arrow Keys Up/Down function the same as Control Knob turn.
Return/Enter Functions the same as pressing the Control Knob.
Ctrl + L Loop Mode toggle.
Ctrl + Q Delete Cue Marker
Ctrl + Alt + F10 Enters Menu Customization. (In Menu only)
Escape Exits / cancels current dialog.
Page Up
Page Down
End Moves the highlight to the end of a list.
Home Moves the highlight to the beginning of a list.
F1, F2, F3, and F4 keys can be pushed in combinations to activate buon shortcuts, just like their respective buons on the PIX 260i. See Shortcuts
Left/Right function the same as Rewind and Fast Forward keys.
Moves the highlight to the top or bottom of displayed list elements.
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Storage and File Management
Storage
The PIX 260i records on up to four separate storage devices simultaneously. There are two PIX-CADDY slots on the front panel which are accessed by pulling the LCD Handle forward and tilting the
LCD down. Additionally, there are two eSATAp connections on the rear panel. The four drive connections are numbered 1 to 4. Functions on the PIX 260i will refer to the drives using these numbers.
PIX-CADDY
Drives 1 and 2 are PIX-CADDY slots behind the LCD on the Front panel.
The PIX-CADDY allows for simple, quick, and solid connection and removal of drives for le storage and exchange. When connected to a PIX 260i, whether powered on or o, the caddy’s USB 3.0,
FireWire 800 connections are disabled. When the PIX-CADDY is removed from a PIX 260i, it oper-
ates as a high-speed data interface for transferring les from the drive to a computer. Only one data
connection can be used at a time. See PIX-CADDY documentation for details on aaching a 2.5”
drive to the PIX-CADDY.
eSATA
Drives 3 and 4 are eSATAp connections on the Rear panel. These connections can be used to power
an external drive via 5V eSATAp, or they can be used with powered external enclosures using an
eSATA (non-powered) cable. It is important to use an approved drive and external enclosure to ensure proper performance. An up-to-date list of supported storage devices can be found online: hp://
www.sounddevices.com/approved
Supported Storage Devices
Sound Devices maintains a list of storage devices that are approved for use with the PIX 260i. An upto-date list of supported storage devices can be found online: hp://www.sounddevices.com/approved
Approved mechanical drives are recommended for use only in stationary applications. Excessive vibration
or motion may cause data corruption when using mechanical drives.
The PIX 260i formats and writes to a UDF (v2.50) lesystem. The UDF lesystem is readable and
writable by Mac OS X, Windows 8, Windows 7, and Windows Vista. Files stored in a UDF lesystem
are not restricted to 4GB, unlike FAT32 (a commonly utilized lesystem in other digital recorders).
Storage devices to be used with the PIX 260i must be formaed by the PIX 260i.
Mounting PIX formaed UDF volumes to virtual machines is not supported.
UDF volumes are not readable by Windows XP. A third-party UDF driver that enables writing
to UDF volumes is available for Windows XP, however it is not ocially supported for use with PIX
formaed volumes.
Formatting
To format a drive:
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PIX 260i User Guide and Technical Information
1. Make sure the drive to be formaed is connected to the recorder and note which drive number it is.
2. Open Setup Menu option [File Storage - Erase/Re-format].
3. Choose the Erase/Re-format: Drive Number for the drive to be formaed or
Erase/Re-format: All Drives option.
4. A conrmation dialog will appear: “All data will be erased. Continue?”. Use the Control
Knob to select OK.
5. Use the displayed on-screen keyboard (or an external USB keyboard, if aached) to enter a
volume label for the drive, and then use the Control Knob to select OK to initiate the format.
When formaing all drives at once, the volume label is applied to all drives but each drive
will be suxed with an underscore and drive number to distinguish between drives.
Target Storage Device for Recording
The PIX 260i can record directly to four drives simultaneously. The PIX 260i will record to any approved drive that is aached and set to On in [File Storage - Record to Drive]. The OSD will show
all drives that are set to On with an * (asterisk). When in record the targeted drive’s OSD item will be
red.
Metadata
Several parameters can be set within the Setup Menu File Storage to aid in the organization of les.
Some of this metadata can be used in naming the le which is to be recorded. Folders are created on
the drives based on the Reel number. QuickTime les contain reel and timecode metadata. Broadcast
Wave les contain bEXT and iXML chunks that store various metadata information such as time-
code, scene, take, reel, and audio track names.
CamID
The CamID eld consists of a single alpha character. It is intended to indicate which physical camera
shot the content for the take.
Reel
The reel can be considered a container for all assets gener-
ated during a recording session or day’s work. This eld
consists of a numeric value between 1 and 999. It is intended
to indicate what reel the recording is part of. The PIX 260i
will create a folder at the root level for each Reel. Recorded
les are placed inside the current Reel folder.
Clip
The Clip eld consists of a numeric value between 1 and 999. It is intended to indicate what clip
number the recording is. This eld can be set manually and will increment each time a new le is
recorded. The Clip number will reset to 1 when the Reel number is changed.
Scene/Shot
The Scene/Shot eld consists of a alpha-numeric value. Use this eld to indicate a descriptive name
for the current scene or shot.
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Take
The Take eld consists of a numeric value between 1 and 999. It is intended to indicate what take
number the clip is, relative to the scene. This eld can be set manually and will increment each time
a new le is recorded. The Take number will reset to 1 when the Scene name is changed.
Audio Track Name (Audio Only)
Audio Track Names are stored in the metadata of the Broadcast Wave File only. Audio Track Names
are set in the Audio Screen in the Name column. To edit the name of an audio track:
1. Press the Audio buon to access the Audio Screen.
2. Select the Name box for the desired track using the Control Knob to move vertically and
REW and FF to move le and right.
3. Press the Control Knob to edit the track name.
4. Use the displayed on-screen keyboard (or an external USB keyboard, if aached) to enter
a new track name, and then use the Control Knob to select OK to save and exit back to the
Audio Screen.
File Management
The PIX 260i provides several tools for le management and metadata entry. File management of
les to be recorded is managed in File Storage. File management for les previously recorded mate-
rial is handled in the File List. See File List and File Details for navigation and basic overview.
File Size Limit
To aid in maintaining manageable le sizes, the PIX 260i will automatically begin writing a new le
aer a set amount of minutes has elapsed in a recording (Video Mode) or aer a le size limit has
been reached (Audio Mode). The beginning of this new le will be seamless to the ending of the
previous le. The default time before spliing the le is 60 minutes (Video Mode). The Setup Menu
option [File Storage - QuickTime File Split every] adjusts the amount of time before a le split occurs. File split options include 1, 5, 10, 15, 30, or 60-minute splits. The default le size is 4GB (Audio
Mode), this can be reduced to 2 GB in [File Storage - Wave File Split every].
File Naming
Files are named according to the le name format as set with Setup Menu option
[File Storage - File Name Format]. The options for le name format include various combinations of
CamID, Reel, Clip, Scene/Shot, and Take metadata elds. The le name format can also be prexed
with the PIX Name as dened in [Network - This PIX’s Name]. To prex the le name with the PIX
name, set to PIX Name.
RED File Format
When the Setup Menu option File Storage - File Name Format is set to RED File Format, the PIX
260i will
• Generate les that follow the same naming convention used by RED cameras.
• Extract the CamID, Reel number, and Clip number from the SDI input signal from a RED One
or RED Epic camera and apply it to the le name and appropriate metadata elds of each
recorded le. See Metadata
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Camera Letter
A001_C002_0502.mov
Reel
Clip Number Date
Arri File Format
When the Setup Menu option [File Storage - File Name Format] is set to Arri File Format, the PIX
260i will:
• Generate les that follow the same naming convention used by Arri cameras.
• Extract the CamID, Reel number, and Clip number from the SDI input signal from the Arri
camera and apply it to the le name and appropriate metadata elds of each recorded le. See
Metadata
Clip IndexCamera Index
B001C001_120601_R1RA.mov
Reel
Clip Counter Date Unique Camera ID
Folder Structure
All les generated by the PIX 260i are placed into a Reel folder. The Reel Folder name/number is
dened by the Reel metadata, which is set in [File Storage - Reel]. When using the RED or Arri File
Formats, the PIX 260i will generate a Reel folder based on the camera’s reel metadata.
Deleting a File
Any le that appears in the Take List can be deleted directly from the PIX 260i .To delete a le:
1. Press the FILES buon to enter the File List.
2. Scroll with the Control Knob to highlight and select the le to be deleted. Once highlighted,
press the Control Knob to enter the File Details view.
3. Highlight and select the Delete option. A dialog will appear to conrm the deletion. Turn the
Control Knob to highlight and select “OK”.
Transferring Files
USB, Firewire, Thunderbolt
Files on PIX 260i formaed storage volumes (approved 2.5” drive or external storage device) can be
copied to a computer by removing the storage device from the PIX 260i and connecting it to a com-
puter. Storage devices formaed with the PIX 260i recorder use the UDF lesystem. See File Storage
The Firewire 800 and USB 3.0 connectors on the PIX-CADDY are disabled when the PIX-CADDY is
aached to the PIX 260i. When aaching the PIX-CADDY to a computer, either the Firewire 800 or
the USB 3.0 connection must be used; not both.
Sound Devices recommends rst copying les from the drive to the computer and then editing the
les. It is not recommended to edit les directly o of the drive.
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Do not copy unsupported les from a computer (or any other host device) to a drive that is intended to be
used by the PIX 260i. If this occurs, it is advisable to format the drive with the PIX 260i before making
new recordings. See Appendix A for currently supported les
Ethernet File Transfer (Samba)
Samba is an industry standard networking protocol that enables les to be transferred from the PIX
260i to any destination with access to the network. Ethernet File Transfer can be initiated remotely
via PIXNET (web browser interface). Ethernet supports data rates up to a theoretical maximum of
1Gbps. In reality, data transfer speeds over Ethernet are dependent on network trac and many
other factors. To transfer les from the PIX 260i drives to a local area network or a computer over
Ethernet follow these steps:
1. Aach an Ethernet cable from either PIX 260i Ethernet port to a computer or a LAN (Local
Area Network) connection.
2. Set [Network- Ethernet File Transfer] to On. All drives are now aached to the Network and
are unavailable to the PIX 260i for read or write actions. The Drive Status eld on the OSD
will read “Network” in this mode.
3. From Mac, go to the Finder and select Go>Connect to Server. Enter the server address “smb://
(IP Address of the PIX 260i as shown on OSD and in [Network - IP Address])” then click
Connect. Connect as a Guest User. All aached PIX 260i drives will be displayed.
From Windows, Go to Run type in “\\(IP Address of the PIX 260i as shown on OSD and in
[Network - IP Address])\sata”. All aached PIX 260i drives will be displayed.
4. Transfer les from the PIX 260i drives to the computer or other LAN device.
5. Set [Network- Ethernet File Transfer] to to remount the drives for further use on the PIX
260i. Allow time for the drives to remount before Recording or Playing back les. The Drive
Status OSD eld will return to white when the drives are ready.
If the PIX 260i is in a group, seing Ethernet File Transfer to On will enable Ethernet File Transfer for
all units in the group!
Ethernet File Transfer only supports le transfer from the PIX 260i to a destination. Files cannot be
transferred to PIX 260i drives over Ethernet. When Copying les to PIX 260i drives use USB, FireWire,
Thunderbolt, or eSATAp.
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Setup Management and Firmware Upgrades
Saving and Loading Setup Files
To save all of the current seings to a setup le, select the Setup Menu option
[Quick Setup - Save Settings to Drive 1]. Use the on-screen keyboard (or aached USB keyboard) to enter a name for the setup le. This will save all of the current seings to an XML
le at root of Drive 1. To load a previously saved setup le, select the Setup Menu option
[Quick Setup - Load Settings from Drive 1]. The setup XML le will have to be copied to the root of
Drive 1 prior to aempting to load it.
For a complete list of available Setup Menu options, see Setup Menu Options.
Formaing a storage device will also remove any setup les that are on the drive. Setup les can be stored
on a computer and copied back to the root of a PIX 260i drive to be loaded on the PIX 260i.
Custom Default Settings and Setup Menu Option Visibility
The Setup Menu option [Quick Setup - Load Factory Settings] loads a setup that is saved internally
to the PIX when it leaves the factory. It is possible to alter this “factory” setup, so that the Setup
Menu option [Quick Setup - Load Factory Settings] will load a custom default.
It is also possible to hide specic Setup Menu parameters and options. This is useful for Setup Menu
options that are not commonly used in a particular workow, or to simplify use when lending the
unit to another user.
To customize defaults and Setup Menu option visibility:
1. Aach a USB keyboard to the PIX 260i’s USB keyboard jack.
2. Press the MENU buon to enter the Setup Menu.
3. Press Ctrl + Alt + F10 on the keyboard. If this is the rst time this action has been performed
since powering the PIX 260i up, a password dialog will appear. Enter the password (the default password is “default”).
4. Aer the correct password has been entered, the Seings Customization Menu will appear.
Select Edit Menu & Default Values.
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5. The Setup Menu will be shown with a colored background. There will be check boxes next to
each menu item. Navigate the menu with the Control Knob, as usual.
6. To to change the visibility of an item in the Setup Menu, push the spacebar on the keyboard
while the item is highlighted. Checked items will be displayed in the Setup Menu and unchecked items will not be displayed.
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Crossed out items will be hidden
7. Seings changed at this point will become the default seings.
8. When nished, press Esc or F1 on the keyboard. This will show the Seings Customization
Menu again. Select any of the save options.
Keep a record of the password, if it is changed. A lost password could result in undesirable limitations.
The Seings Customization Menu option Reset to Factory Settings will make all Setup Menu items
visible and revert default seings to factory defaults.
Firmware Upgrades
At times, Sound Devices makes rmware updates available for PIX 260i. These updates are easy to
apply:
1. Download the new .prg le from the Sound Devices website.
2. Copy this le to an approved drive, and connect to the PIX 260i.
3. Ensure that the power source for the PIX 260i is reliable. Power loss during a rmware up-
grade process can produce unexpected results.
4. From the System menu in the Setup Menu, select Firmware Update. The PIX 260i will search
for the .prg le and give the option to install the rst le that it nds (cancelling this dialog
will cause the PIX to search for another .prg on any aached storage devices). When the correct .prg le has been located, highlight the OK buon and press the Control Knob to begin
the rmware update.
5. The PIX will verify that the le is not corrupted, then it will update the rmware. When done
the unit will need to be powered down and then back up.
Firmware updates can take several minutes to complete. Never pull power during a rmware update.
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Setup Menu Options
The Setup Menu controls a wide range of parameters for the PIX 260i. The parameters are organized
into categories, making the setup Menu easy to navigate. The following tables show the parameter
name, a description, options available, and the factory default seing where applicable.
Default seings can be altered. See Setup Management
Video/Audio Mode
# Parameter Name Description Options
Video/Audio Mode
1
Switch between Video Mode (audio and video information recorded to Quicktime .mov files) and Audio Mode
(audio recorded to .wav files and video not recorded)
File Storage
# Parameter Name Description Options
Record to Drive
1
Quicktime File Split Every
2
Wave File Split Every
3
File Name Format
4
File Name Prefix
5
CamID
6
Reel
7
Clip
8
Scene/Shot
9
Take
10
Enable or disable recording to Drive 1-4
Choose the maximum file recording time. When set
time is exceeded a new .mov file is created automatically. Since ProRes and DNxHD codecs are variable
bit rate, the size of each file will vary, even though the
running time will be the same.
Choose the file size limit of .wav files. When the limit
is reached, the PIX 260i will create a new .wav file
(labeled sequentially) and continue recording.
The format for file names as they are written to the
drive.
Text to be placed before all other characters in each file name. PIX Name is set in
[Network - This PIX’s Name]
An identifying character for a camera
Current Reel number. When the Reel number is
altered, the Clip number is reset to 1
Current Clip number. When the Reel number is
altered, the Clip number is reset to 1
Current Scene name. When the Scene name is
altered, the Take number is reset to 1.
Current take number. When the Scene name is
altered, the Take number is reset to 1.
» Video + Audio (Quicktime)
• Audio Only (Wave)
» On (Drives 1-4)
• Off
• 1 min
• 5 min
• 10 min
• 15 min
• 30 min
» 60 min
• 2 GB
» 4 GB
» Drive_Reel_Clip
• Reel_Clip
• CamID_Reel_Clip
• Reel_Scene_Take
• Scene_Take
• RED File Format
• Arri File Format
• Off
» PIX Name
» A
(single alpha to “Z”).
• 1
(numeric)
» 1
(numeric)
» “Scene 1”
(multi alphanumeric)
» 1
(numeric)
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# Parameter Name Description Options
Format any or all attached drives. When all is se-
Erase/Reformat
11
lected, all drives will share the same volume label but
each drive name will be suffixed with a unique drive
number.
Video
# Parameter Name Description Options
Video Input
1
File Resolution/Rate
2
Codec
3
Up Conversion
4
Down Conversion
5
Input PsF Detect
6
SDI Output Type
7
Physical source to derive recorded video from.
The resolution and frame to be recorded and sent to
video outputs.
The video codec to use for encoding. Note for DNxHD
that the rates listed are assuming 1080p30. If a different resolution and frame rate is selected, the PIX 260i
will use the corresponding DNxHD data rate.
Method for conver ting SD input video to HD recorded
content.
Method for conver ting HD input video to SD recorded
content.
When set to “Auto”, the PIX will sense PsF signal
based on a flag within the signal stream. Most devices
with SDI output will provide this flag, however some
SDI outputs and all HDMI outputs will not provide this
flag. When sending PsF signal from these devices,
choose “Interpret 1080i as PsF”
HD output type employs SMPTE 292M / HD-SDI on
SDI output. 3G output type employs SMPTE 424M /
3G-SDI on SDI output.
• Erase/Re-format: Drive 1
• Erase/Re-format: Drive 2
• Erase/Re-format: Drive 3
• Erase/Re-format: Drive 4
• Erase/Re-format: All drives
• HDMI
» SDI
» Same as Video Input
• 1080p30/29.97
• 1080p25
• 1080p24/23.976
• 1080i60/59.94
• 1080i50
• 1080PsF30/29.97
• 1080PsF25
• 1080PsF24/23.976
• 720p60/59.94
• 720p50
• 720p30/29.97
• 720p25
• 720p24/23.976
• 576i59 (PAL)
• 480i59.94 (NTSC)
• DNxHD 220x 220Mb/s, 10bit
• DNxHD 220 220Mb/s, 8bit
• DNxHD 145 145Mb/s, 8bit
• DNxHD 36 36Mb/s, 8bit
• ProRes 4444 330Mb/s, 12bit
• ProRes 422HQ 220Mb/s, 10bit
» ProRes 422 145Mb/s, 10bit
• ProRes 422LT 100Mb/s, 8bit
• ProRes 422Proxy 36Mb/s, 8bit
• 4:3->16:9 Anamorphic
» 4:3->16:9 Pillar Box
• 4:3->16:9 Zoom Letterbox
• 4:3->16:9 Zoom 14:9
• 4:3->16:9 Zoom Wide
» 16:9->4:3 Letterbox
• 16:9->4:3 Crop
• 16:9->4:3 Anamorphic
» Auto
• Interpret 1080i as PsF
» HD (4:2:2 10-bit)
• 3G (4:4:4 12-bit)
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# Parameter Name Description Options
» Off
• SDI out
• HDMI out
• SDI + HDMI out
Video Output OSD
8
Superimpose the current timecode over the video signal on the selected output. Timecode value appears in
lower left corner of the frame.
Audio
# Parameter Name Description Options
• 44.1 kHz
• 47.952k
Audio Mode Sample Rate
1
Audio Mode Bit Depth
2
Input Gain Linking
3
Input Delay Linking
4
HDMI/AES Select
5
HP Source
6
Line Out Source
7
HDMI/AES Output
8
SDI Output
9
Audio Signal Generator
10
Audio Tone Level
11
The sample rate of recorded .wav files
The bit depth of recorded .wav files
When Input Gain is linked, adjusting an Input’s gain
adjusts all other Input Gains by the same amount. Any
offsets at the time of linking are maintained.
When Input Delay is linked, adjusting an Input’s delay
adjusts all other Input delays by the same amount.
Any offsets at the time of linking are maintained.
Choose between HDMI or AES for digital audio input.
Choose the source for Headphone output and the 2
channel meters on the OSD.
Sub-menu. Choose output source for each line output
(1-8)
Sub-menu. Choose output source for HDMI and AES
outputs (1-8)
Sub-menu. Choose output source for SDI output
(1-16)
Enable audio test to all outputs.
Level of audio test tone (dBFS)
• 47.952kF
» 48k
• 48.048k
• 48.048kF
• 16-bits
» 24-bits
» Off
• On
» Off
• On
» HDMI Inputs
• AES Inputs
• 1,2
• 3,4
• 5,6
• 7,8
• 9,10
• 11,12
• 13,14
• 15,16
• 17,18
• 19,20
• 21,22
• 23,24
• 25,26
• 27,28
• 29,30
• 31,32
• All tracks summed - mono
» All tracks summed - stereo
• Track 1 - Track 32 (per output)
» Track 1-8 (per output)
• Track 1 - Track 32 (per output)
» Track 1-8 (per output)
• Track 1 - Track 32 (per output)
» Track 1-16 (per output)
» Off
• On
» -20 dBFS
(numeric -40 to 0)
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# Parameter Name Description Options
Audio Screen Meters
12
Audio input Quick Setup
13
Amount of audio tracks displayed at a time in the Audio Screen. (All 32 tracks are accessible by scrolling)
Choose from presets audio input source schemes.
Timecode/Sync
• 8
» 16
• 32
» 1-8: Off
• 9-16: Off
• 17-24: Off
• 25-32: Off
• 1-32: Off
• 1-8: Line In 1-8
• 9-16: Line In 1-8
• 17-24: LineIn 1-8
• 25-32: Line In 1-8
• 1-8: HDMI/AES In 1-8
• 9-16: HDMI/AES In 1-8
• 17-24: HDMI/AES In 1-8
• 25-32: HDMI/AES In 1-8
• 1-16: SDI In 1-16
• 17-32: SDI In 1-16
• 1-16: Dante Rx 1-16
• 17-32: Dante Rx 17-32
# Parameter Name Description Options
Sync Ref - Video Playback
1
Sync Ref - Audio Only
2
Timecode Mode
3
Frame Rate (Audio Only)
4
Drop Frame Enable
5
The reference for synchronization of playback clock
for Video Mode.
The reference for synchronization of recording and
playback clocks for Audio Only mode.
Sets the running mode for the internal timecode generator and/or the method which the PIX 260i receives
SMPTE timecode..
The frame rate of timecode stamped to .wav files
(Audio Mode). This setting is ignored in Video Mode.
Enable or disable drop frame timecode.
» Internal
• Video Input (SDI/HDMI)
» Internal
• Wordclock (Sync in)
• AES1-2
• Dante
• Video Input (SDI/HDMI)
» Off
• Freerun
• Record run
• Ext TC (LTC)
» Ext TC (SDI, HDMI)
• 23.976
• 24
• 25
» 29.97
• 29.97 DF
• 30
• 30 DF
» Off
• On
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# Parameter Name Description Options
» Off
• 1080p30
• 1080p29.97
• 1080p29.97df
• 1080p25
• 1080p24
• 1080p23.976
• 1080i60/PsF30
• 1080i59.94/PsF29.97nd
• 1080i59.94/PsF29.97df
• 1080i50/PsF25
• 1080PsF24
• 1080PsF23.976
• 720p60
• 720p59.94 (29.97nd)
• 720p59.94 (29.97df)
• 720p50
• 720p60
• 720p30
• 720p29.97nd
• 720p29.97df
• 720p25
• 720p24
• 720p23.976
• 576i50 (PAL)
• 480i59.94 (29.97nd NTSC)
• 480i59.94 (29.97df NTSC)
• Genlock, Follows Video In
• Wordclock, Follows Video In
» 0 sec
(numeric 0-8)
• Push Control Knob to jam internal timecode to incoming (RxTC)
timecode.
• Push Menu button to back out.
» 00:00:00.00
(Timecode value)
» 00 00 00 00
(Hex: 00-FF for each slot)
» 0
(numeric -10 to +10)
Sync Out
6
Auto-Record Hold Off
7
Jam Received TC
8
Jam time Of Day
9
Set Generator TC
10
Set Generator UBits
11
File Start TC Offset
12
Determines whether the signal on the Sync Output
BNC is genlock or wordclock, and determines the
sync reference for that signal. When settings of a
resolution / frame rate are selected, the Sync Out
BNC will supply genlock signal at the specified rate
that reference the internal Ambient® Lockit.
Sets the duration that a valid timecode signal has to be recognized by the PIX 260i
before generating a new take when using external timecode to trigger recording (When
[Remote Control - Rec Start/Stop] is set to
Timecode.
Opens a dialog that displays incoming timecode
value in realtime (RxTC), incoming userbits (UB),
transmitting/internal (Ambient® Lockit) timecode value
(GENTC), and transmitting/internal userbits (UB).
Sets the internal timecode clock to the current time
of day.
Sets the Ambient® Lockit timecode generator value in
HH:MM:SS.FF format.
Sets userbits of the Ambient® Lockit timecode
generator.
Sets the offset of the beginning timecode stamp of
recorded files. Useful when there is a constant offset
between camera and PIX 260i recorded files. The
applied offset does not affect timecode output of the
PIX 260i.
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LCD Monitor
# Parameter Name Description Options
Exposure Assist
1
Focus Assist
2
Zebra 1 Level
3
Zebra 2 Threshold
4
Peaking Color
5
Peaking Sensitivity
6
Peaking Background Con-
7
trast
Vertical Flip Display
8
Horizontal Flip Display
9
Sets the type of Exposure assist tool.
Sets the type of Focus Assist tool.
Sets IRE level of Zebra 1.
Sets the IRE threshold valued for Zebra 2.
Sets the displayed peaking color.
Sets the general peaking sensitivity.
Sets the amount of background contrast when Focus
Assist Peaking is active.
Flips the LCD and OSD vertically.
Flips the LCD video image horizontally.
» False Color, 12-step
• False Color, 4-step
• Zebras 1
• Zebras 2
• Zebras 1+2
» Peaking
• Edge Enhance
» 70 IRE +/-5%
(numeric 50-108)
» 85 IRE
(numeric 70-108)
• White
» Red
• Blue
• Green
• Yellow
• High
» Mid
• Low
» 1x
• 0.5x
• 0.25x
• No Background
» Off
• On
» Off
• On
On-Screen Display
# Parameter Name Description Options
ABS Time
1
File Codec
2
File Name
3
File Resolution/Rate
4
Audio Source
5
Input - Video
6
Headphone Source
7
Audio Metering
8
Time/date
9
Display of absolute record time.
Display of current file codec
Display of current file name
Display of current file resolution
Display of audio input levels for channels 1 and 2
Display of input audio source and channel count
Display of headphone audio source
Display of audio meters for inputs 1 and 2
Display of time of day and date
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
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# Parameter Name Description Options
Timecode
10
Drive (D1) status
11
Drive (D2) status
12
Drive (D3) status
13
Drive (D4) status
14
RS422 Status
15
Cue Marker
16
Sync Reference
17
Group Number
18
IP Address
19
Display of current timecode value
Display status of Drive 1
Display status of Drive 2
Display status of Drive 3
Display status of Drive 4
Display status of connected RS422 controller
Display cue marker information during playback
Display current Sync Reference
Displays [Network - Group] setting
Displays current PIX 260i IP Address
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
» On
• Off
Remote Control
# Parameter Name Description Options
RS422
1
Rec Start/Stop
2
GPIO Inputs
3
GPIO Outputs
4
Enable or disable RS422 capability
Determines what method the PIX 260i uses to automatically start and stop recordings.
Set GPIO inputs (pins 1, 2, and 3 on GPIO connector)
to active high or active low. Active high: Connecting
the pin to +5V will activate the function. Active low:
Connecting the pin to ground will activate the function.
Set GPIO outputs (pins 6, 7, and 8 on GPIO connector) to active high or active low. Active high: When the
function is true, +5V will appear on the pin. Active low:
When the function is true, the pin will be grounded.
• On
» Off
» Off
• SDI Flag - RED
• SDI Flag - Panasonic
• SDI Flag - Panasonic (Varicam)
• SDI Flag - Canon
• SDI Flag - Sony
• SDI Flag - Arri
• SDI Flag - PIX
• Timecode
» Active low
• Active high
• Active low
» Active high
Network
# Parameter Name Description Options
This PIX’s Name
1
Sets name of PIX 260i. This must be unique within a
network.
» PIX260
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# Parameter Name Description Options
Network Group
2
Ethernet File Transfer
3
Dante Redundancy Mode
4
Auto IP Settings
5
IP Address
6
Subnet Mask
7
Gateway
8
Groups PIX 260i with other PIX 260i units.
When Off the attached media will mount to the PIX
260i for read and write action. When On the attached
drives will dismount from PIX 260i and connect to the
Local Area Network or computer for file transfer via
Ethernet.
When On the PIX 260i’s Primary and Secondary Ethernet ports both transmit Dante Audio over
separate networks. This provides a fail safe of the
Dante system if one of the networks should fail. In
Dante Redundancy Mode, two separate networks
must be run and they CANNOT be connected
to one another. Connect any computer running
Dante Controller to the PIX 260’s PRI Ethernet
network.
When On, the IP settings will automatically be provided by a DHCP (recommended), or Link-local when
no DHCP is present. When Off the IP Address, Subnet
Mask, and Gateway will have to be entered manually.
Displays IP Address, can be edited when Auto IP
Settings is OFF.
Displays Subnet Mask, can be edited when Auto IP
Settings is OFF.
Displays Gateway, can be edited when Auto IP Settings is OFF.
» No Group
• Group 1
• Group2
• Group 3
• Group 4
» Off
• On
» Off
• On
• Off
» On
System
# Parameter Name Description Options
Determines power on and off method. When set to
Power
1
HP Warning Bell Level
2
Time Zone
3
Daylight Saving
4
Time Format
5
Date Format
6
Set Date/Time
7
Rec button File Split
8
Playback Start Mode
9
Always on, the PIX 260i will turn on and off when
external DC is applied. When Use Power Switch is selected the PIX 260i is powered on and off using a key
combination of AUDIO button + Control Knob press.
Adjusts the level of the heaphone warning bell sound
Selects the international time zone
Toggles daylight saving on or off for the time-of-day
clock
Selects between 12 or 24 hour format for the time-ofday clock
Selects between MM/DD/YY and DD/MM/YY date
format
Set the time and date
Whether or not a new file will be created when the
REC button is pushed during recording.
Choose what to do when file playback is initiated.
• Always On
» Use Power Switch
» -40dBFS
(Off, -60 to -12dBFS)
» (GMT-06:00) Central Time (US)
(All GMT zones)
» Off
• On
» 12h
• 24h
» MM/DD/YY
• DD/MM/YY
• On
» Off
» Play immediately
• Pause on First Frame
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# Parameter Name Description Options
» Play Once
• Play Once - Pause
• Play All
Playback Mode
10
Shortcuts
11
Version Info
12
Update Software
13
Determines Playback Mode.
Displays a dialog that shows all shortcut button combinations. This is not a setting, but a helpful reference.
Displays a dialog indicating firmware version and
serial number. This is not a setting, but a helpful reference.
Searches attached drives for a .prg firmware file and
begins the firmware update process.
• Play All - Pause
• Play All - Loop
• Play List
• Play List - Pause
• Play List - Loop
Quick Setup
# Parameter Name Description Options
Load Factory Settings
1
Load Settings From Drive 1
2
Save Settings to Drive 1
3
Loads default setup
Loads selected setup from setup files saved on Drive
1.
Opens dialog to name and save current setup to Drive
1.
Button Shortcuts
Button Combination Effect
AUDIO + Control Knob rotate Change HP source.
LCD + Control Knob press Adjust LCD and button brightness.
Hold LCD Turns off LCD display.
MENU + FILES Button lock options: Unlock Buttons, Lock Non-Transport Buttons, or Lock All Buttons.
STOP + REW False take.
LCD + MENU Toggle Focus Assist on LCD display
LCD + FILES Toggle Exposure Assist on LCD display
PLAY + FF Begin looping between cue points when in loop playback mode
PLAY + REW Begin looping of clip when in loop playback mode
FILES When in Record or Playback, sets a cue marker
Hold FILES When in Record or Playback, deletes last cue marker
Hold MENU + Control Knob press Toggles between No Group and current Group setting
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Connector Pin Assignments
Connector Pin Assignments Notes
XLR-F (2)
(Analog Audio inputs)
XLR-M (2)
(Analog Audio outputs)
TRS
(Headphone output)
BNC (2)
(Timecode input &
output)
BNC (2)
(SDI input & output)
BNC (2)
(Sync input & output)
HDMI (2)
(HDMI input & output)
eSATAp Female (2)
1–ground
2–signal (+)
3–signal (-)
1–ground
2–signal (+)
3–signal (-)
Tip–signal L
Ring–signal R
Sleeve–signal ground
Center pin–signal
Sleeve–ground
Standard HDMI Mates with HDMI Type A Plug (male)
Standard eSATAp Mates with eSATAp male connector
Mates with XLR-Male connector
20k ohm input impedance, line level,
active-balanced
Mates with XLR-Female connector
20k ohm input impedance, line level,
active-balanced
Mates with TRS jack.
Mates with BNC male connector
Unbalanced, coaxial connection
Mates with BNC male connector
Unbalanced, coaxial connection, 75 ohm
connectors recommended
Mates with BNC male connector
Unbalanced, coaxial connection, 75 ohm
connectors recommended
USB-A (1)
Keyboard Input
DB-25 (1)
(CH 1-8 LINE IN)
Standard USB-A receptacle
1–Input 8 signal (+)
2–Input 8 Ground
3–Input 7 signal (-)
4–Input 6 signal (+)
5–Input 6 Ground
6–Input 5 signal (-)
7–Input 4 signal (+)
8–Input 4 Ground
9–Input 3 signal (-)
10–Input 2 signal (+)
11–Input 2 Ground
12–Input 1 signal (-)
13–unused
14–Input 8 signal (-)
15–Input 7 signal (+)
16–Input 7 Ground
17–Input 6 signal (-)
18–Input 5 signal (+)
19–Input 5 Ground
20–Input 4 signal (-)
21–Input 3 signal (+)
22–Input 3 Ground
23–Input 2 signal (-)
24–Input 1 signal (+)
25–Input 1 Ground
For use with USB Keyboards only. Data
transfer is not supported
Mates with DB-25 Male Connectors wired
in Tascam fashion
66
v. 1.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Page 71
PIX 260i User Guide and Technical Information
Connector Pin Assignments Notes
1–Output 8 signal (+)
2–Output 8 Ground
3–Output 7 signal (-)
4–Output 6 signal (+)
5–Output 6 Ground
6–Output 5 signal (-)
7–Output 4 signal (+)
8–Output 4 Ground
9–Output 3 signal (-)
10–Output 2 signal (+)
11–Output 2 Ground
DB-25 (1)
(CH 1-8 LINE OUT)
DB-25 (1)
(CH 1-8 AES IN/OUT)
Phoenix 10-pin (1)
(GPIO)
- 1 2 3 4 5 6 7 8 +5v
12–Output 1 signal (-)
13–unused
14–Output 8 signal (-)
15–Output 7 signal (+)
16–Output 7 Ground
17–Output 6 signal (-)
18–Output 5 signal (+)
19–Output 5 Ground
20–Output 4 signal (-)
21–Output 3 signal (+)
22–Output 3 Ground
23–Output 2 signal (-)
24–Output 1 signal (+)
25–Output 1 Ground
1–Digital Out 4 signal (+)
2–Digital Out 4 Ground
3–Digital Out 3 signal (-)
4–Digital Out 2 signal (+)
5–Digital Out 2 Ground
6–Digital Out 1 signal (-)
7–Digital In 4 signal (+)
8–Digital In 4 Ground
9–Digital In 3 signal (-)
10–Digital In 2 signal (+)
11–Digital In 2 Ground
12–Digital In 1 signal (-)
13–unused
14–Digital Out 4 signal (-)
15–Digital Out 3 signal (+)
16–Digital Out 3 Ground
17–Digital Out 2 signal (-)
18–Digital Out 1 signal (+)
19–Digital Out 1 Ground
20–Digital In 4 signal (-)
21–Digital In 3 signal (+)
22–Digital In 3 Ground
23–Digital In 2 signal (-)
24–Digital In 1 signal (+)
25–Digital In 1 Ground
1–Ground
2–Record Input
3–Playback Input
4–Stop Input
5–unused
6–unused
7–Record Output
8–Playback Output
9–Stop Output
10–+5V DC Output
Mates with DB-25 Male Connectors wired
in Tascam fashion
Mates with DB-25 Male Connectors wired
in Tascam fashion
Logic points can be set to high or low. See
GPIO for details
67
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PIX 260i User Guide and Technical Information
Connector Pin Assignments Notes
1–Ground
2–Transmit A
3–Receive B
DB-9 (1)
(RS422)
8P6C-F (2)
(Ethernet)
USB-B (1)
(Factory)
4–Receive Common
5–Spare
6–Transmit Common
7–Transmit B
8–Receive A
9–Ground
Standard 8P8C
Standard USB-B receptacle
Sony P2 (9-pin) machine control standard
For Ethernet Network connection, Ethernet file transfer, Dante, and PIX 260i
grouping. Mates with Cat-5
For Factory use only. Mates with USB
Standard-B plug.
68
v. 1.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Page 73
PIX 260i User Guide and Technical Information
Appendix A - Supported Files
The PIX 260i supports the playback of various QuickTime .mov and Broadcast Wave .wav les. The
PIX 260i will playback any le that it generates. Additionally, the PIX 260i can playback QuickTime
and Broadcast Wave les generated by other 3rd party recorders/applications .
The PIX 260i will import and playback up to 32 channels of polyphonic Broadcast Wave les.
The PIX 260i will import and playback High Denition QuickTime Pro Res and DNxHD les gener-
ated by Avid and Final Cut Pro (currently tested with Avid 6 and Final Cut Pro 7 and X). 720 x 486
NTSC Standard Denition les are also supported.
720 x 480 NTSC Standard Denition les are not supported.
The PIX 260i supports up to 32 Tracks of audio in a QuickTime le. When exporting the QuickTime
le for PIX 260i playback be certain to use only 2 audio streams (PIX 260i can handle up to 32 audio
tracks over one QuickTime audio stream).
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PIX 260i User Guide and Technical Information
Specications - PIX 260i
SDI
Input
Output
SMPTE
• 4:4:4 or 4:2:2; 12, 10, or 8-bit
• 3G-SDI (levels A and B), HD-SDI, or SDI
• 4:4:4 or 4:2:2; 12, 10, or 8-bit
• 3G-SDI (level A), HD-SDI, or SDI
12M-1, 12M-2, 125M, 259M, 272M, 291M, 292, 296M, 299, 352M, 372, 424, 425
HDMI
Input
Output
v1.4a, 4:4:4 or 4:2:2, RGB or YCbCr, 10 or 8-bit, HDCP-enabled
v1.3, 4:2:2 8-bit, RGB and YCbCr
Video Input Resolutions / Rates
Input Resolutions / Rates
• 1080p23.976/24/25/29.97/30
• 1080i50/59.94/60
• 1080PsF23.976/24/25/29.97/30
• 720p23.976/24/25/29.97/30 (SDI Only)
Video Codecs and Files
Codecs
Files
• Apple ProRes 4444, 330 Mb/s, 12-bit
• Apple ProRes 36, 100, 145, 220 Mb/s, 8 and 10-bit
• Avid DNxHD 36, 100, 145, 220 Mb/s, 8 and 10-bit
Quicktime wrapper (.MOV), Broadcast Wave (.WAV) Audio Only
• 720p50/59.94/60
• 576i50 (PAL)
• 480i59.94 (NTSC)
70
Up/Down/Cross Conversion
Up/Down/Cross Conversion
• 480i, 576i, 720p, 1080i, 1080p to any 480i, 576i, 720p, 1080i, 1080p
• Hardware based, 10 bit
Frame Rate Conversion
Frame Rate Conversion
• 24, 25, 30, 50, 60 to 24, 25, 30, 50,60, 23.976, 29.97, 59.94 to 23.976, 29.97, 59.94, automatic
3:2 pull-down removal in 23.976 and 24 frame modes, other pull-down cadences include 2:2:2:4,
2:3:3:2, 3:2:3:2:2, and 2:2
• Hardware based, 10 bit
LCD
LCD
• 5-inch LCD - IPS (In-Plane Switching), glossy, 800x480 pixel LCD display
• Ultra wide viewing angle and color accuracy
Audio Recording
Record/Playback
v. 1.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
• 32 channels record/playback, simultaneous with video
• Simultaneous Dante, Analog, HDMI or SDI, AES/EBU, selectable per channel
Page 75
Analog Audio
PIX 260i User Guide and Technical Information
Inputs
Outputs
Frequency Response
THD + Noise
Input and Output Topology
Line Output Clipping Level
Output Attenuation
Front Panel Headphone
Line Input Clipping Level
Input Impedance
Digital Audio
Sample Rate / Bit Depth
AES3
HDMI
SDI
Dante
• 8 Balanced, line-level inputs on DB-25.
• Ch1,2 also on XLR
• 8 Balanced, line-level outputs on DB-25.
• Ch1,2 also on XLR
10Hz-20kHz, +/- 0.5dB re 1kHz
0.004% max (1kHz, 22Hz-22kHz)
Fully electronically balanced, RF, ESD, shor t, and overload protected;
pin-2 hot, pin-3 cold
+18dBu
0-20 dB, 1 dB increments
1/4” with gain control
+26dBu
10k
• 44.1 kHz, 47.0952 kHz, 48 kHz, 48.048 kHz
• 24-bit
• 8 channels in and out via DB-25, 110 ohm, 2 V p-p.
• Accepts 32k, 44.1k, 48k, 96k, 192k sample rates. with SRC at input.
• 8 channels embedded HDMI input
• 8 channels embedded HDMI output.
• Accepts 32k, 44.1k, 48k, 96k, 192k sample rates.
• 16 channels embedded SDI input
• 16 channels embedded SDI output
• 48k sample rate, with sample rate conversion
• 32 channels
• 48kHz input and output
File Storage
Disk Format
PIX-CADDY 2 mounted drives
eSATAp conected drives
See Sound Devices’ website for a list of approved media:
hp://www.sounddevices.com/approved
UDF 2.5
Two, front-mounted Sound Devices approved 2.5-inch drives
Two, rear panel eSATAp ports for drives meeting Sound Devices specifications, supplies 5V
@ 2A
Timecode and Sync
Modes Supported
Frame Rates
Accuracy
Freerun, Record run, External
23.976, 24, 25, 29.97DF, 29.97ND, 30DF, 30ND
• +/- 0.2ppm (½ frame per 24hrs) accuracy
• Holds accurate timecode for 2 hours after power is removed
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PIX 260i User Guide and Technical Information
Timecode Inputs / Outputs
Sync Output
Sync Input
Control
RS422
Ethernet
GPIO
Keyboard
USB Keyboard
Power
External
• SDI Input BNC
• SDI Output BNC
• HDMI Input Jack (Sony protocol)
• Analog bi-, tri-level sync / Genlock
• Wordclock (Square wave, 48 kHz sampling rate, 3.3vp-p, 75 ohm)
• Wordclock (Square wave, 48 kHz sampling rate, 3.3vp-p, 75 ohm)
Machine Control
Web-based control of settings and transport
GPIO on 8 pins, Phoenix connector
Front-panel USB host. Keyboards without hubs acceptable.
10–27V, 60W max, via locking 4-pin XLR connector (pin-1 = ground, pin-4 = +). See Power-
ing
• Timecode Input BNC
• Timecode Output BNC
Physical
Size (H x W x D)
Weight
Operating Temperature
3.3” x 8.6” x 10.3” (8.4 cm x 21.8 cm x 26.2 cm)
7.5 lbs
-10° C to +40° C
72
v. 1.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Page 77
PIX 260i User Guide and Technical Information
PIX 260i CE Declaration of Conformity
According to ISO/IEC Guide 22
Sound Devices, LLC
E7556 State Rd. 23 and 33
Reedsburg, WI 53959 USA
declares that the product, PIX 260i Video Recorder is in conformity with and passes:
Product Family Application
EN 55103-1
EN 55103-2
Basic Standards (Emissions) Port Tested Test Descriptions Results
CISPR 22 (EN 55022) Enclosure Radiated Emissions, Class B Pass
CISPR 22 (EN 55022) AC Power Ports Conducted Emissions, Class B Pass
IEC 61000-3-2 EN 61000-3-2 AC Power Ports
IEC 61000-3-3 EN 61000-3-3 AC Power Ports Voltage Fluctuation and Flicker Pass
*EN 55103-1
Phenomena 2,3
Basic Standards (Immunity) Port Tested Test Specifications Results
IEC 61000-4-2 EN 61000-4-2 Enclosure ESD: ±4kV Contact, ±8kV Air Discharge Pass
IEC 61000-4-3 EN 61000-4-3 Enclosure
IEC 61000-4-4 EN 61000-4-4
IEC 61000-4-4 EN 61000-4-4
IEC 61000-4-5 EN 61000-4-5 AC Input Por ts
IEC 61000-4-5 EN 61000-4-5 Signal (>30m) Surge: ± 1kV Common Mode N/A
IEC 61000-4-6 EN 61000-4-6
IEC 61000-4-6 EN 61000-4-6
*EN 55103-2
Phenomena 3
IEC 61000-4-11 EN 61000-4-11 AC input ports
EN 55103-1 Enclosure Magnetic Emissions at 1 Meter 50Hz – 50kHz Pass
EN 55103-2 Enclosure Magnetic Immunity 50Hz – 10 KHz Pass
EMC-Product family standard for audio, visual, audio-visual and lighting control apparatus for
EMC-Product family standard for audio, visual, audio-visual and lighting control apparatus for
AC Power Ports
DC Power Ports
Signal (>3m), Con-
trol & Measurement
( >3m)
AC Power Ports
DC Power Ports
Signal (>3m)
(Control & Measure-
ment) (>3m)
professional use - Part 1: Emissions
professional use – Part 2: Immunity
Harmonic Current Emissions (through Amendment 14 of
IEC 61000-4-7)
Radiated RF Immunity:
3V/m, 80% AM @ 1kHz, 80-2700 MHz, 1% step
EFT Burst: ±0.5 kV - ±2kV Pass
EFT Burst: ±0.5kV Pass
Surge: ±1kV Differential Mode (line to line)
±2kV Common Mode (line to ground)
Conducted RF Immunity:
3 V 80% AM modulation @ 1kHz
Conducted RF Immunity:
3 V, 80% AM modulation @ 1kHz
Voltage Dips and Shor t Interruptions:
70%, 40% and 5% nominal for 10ms, 100ms, 1 sec and
5 sec (50Hz)
Pass
Pass
Pass
Pass
Pass
Pass
73
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PIX 260i User Guide and Technical Information
CE - CISPR Publication Dates
Standard # Date Am.1 Am. 2
ANSI C63.4 2003
CISPR 11 2009-05
CISPR 12 2007-05 2009-01
CISPR 14-1 2005-11 2008-11
CISPR 14-2 2001-11 2001-11 2008-05
CISPR 16-1-1 2006-03 2006-09 2007-07
CISPR 16-1-2 2003 2004-04 2006-07
CISPR 22 2008-09
CISPR 24 1997-09 2001-07 2002-10
EN 55011 2007-05
EN 55014-1 2006
EN 55014-2 1997
EN 55022 2006 2007
EN 60601-1-2 2007-03
EN 61000-3-2 2006-05
EN 61000-3-3 2008-12
EN 61000-4-2 2001 1998 2001
EN 61000-4-3 2006-07 2008-05
EN 61000-4-4 2004
EN 61000-4-5 2006-12
EN 61000-4-6 2007-08
EN 61000-4-8 1993 1994-01
* : Test not on LSR Scope of Accreditation
Standard # Date Am.1 Am. 2
EN 61000-4-11 2004-10
EN 61000-6-1 2007-02
EN 61000-6-2 2005-12
EN 61000-6-3 2007-02
EN 61000-6-4 2007-02
EN 60601-1-2 2007-03
EN 61000-3-2 2005-11 2008-03 2009-02
EN 61000-3-3 2008-06
EN 61000-4-2 2008-12
EN 61000-4-3 2008-04
EN 61000-4-4 2004-07
EN 61000-4-5 2005-11
EN 61000-4-6 2008-10
EN 61000-4-8 2001-03
EN 61000-4-11 2004-03
EN 61326-1 2006-06
ISO 14082 1998-07
MIL Std. 461E 1999-08
*IEC 60601-2-25 1993 1999-05
*EN 50499 2008-03
EN 55103-1 2009
EN55103-2 2009
74
Tested by L. S. Compliance, Inc. Cedarburg, Wisconsin
October 25, 2012
Mahew Anderson
Director of Engineering
Sound Devices, LLC
v. 1.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Page 79
PIX 260i User Guide and Technical Information
Software License
End-user license agreement for Sound Devices PIX 260i Embedded Software / Firmware
Important Read carefully: This Sound Devices, LLC end-user license agreement (“EULA”) is a legal agreement between you (either
an individual or a single entity) and Sound Devices, LLC for the Sound Devices, LLC software product identified above, which includes
computer software, embedded software, and may include associated media, printed materials, and “online” or electronic documentation
(“SOFTWARE PRODUCT”). By using, installing, or copying the SOFTWARE PRODUCT, you agree to be bound by the terms of this
EULA. If you do not agree to the terms of this EULA, do not use or install the SOFTWARE PRODUCT.
Software Product License
The SOFTWARE PRODUCT is protected by copyright laws and international copyright treaties, as well as other intellectual property laws
and treaties. The SOFTWARE PRODUCT is licensed, not sold.
Grant of license. This EULA grants you the following limited, non-exclusive rights: In consideration of payment of the licensee fee, Sound
Devices, LLC, as licensor, grants to you, the licensee, a non-exclusive right to use this copy of a Sound Devices, LLC software program
(hereinafter the “SOFTWARE”) on a single product and/or computer. All rights not expressly granted to licensee are reserved to Sound
Devices, LLC.
Software ownership. As the licensee, you own the hardware on which the SOFTWARE is recorded or fixed. Sound Devices, LLC shall
retain full and complete title to the SOFTWARE and all subsequent copies of the SOFTWARE, regardless of the media or form on or in
which the original copies may exist. The license is not a sale of the original SOFTWARE.
Copyright. All rights, title, and copyrights in and to the SOFTWARE PRODUCT (including, but not limited to, any images, photographs,
animations, video, audio, music, text, and “applets” incorporated into the SOFTWARE PRODUCT) and any copies of the SOFTWARE
PRODUCT are owned by Sound Devices, LLC or its suppliers. The SOFTWARE PRODUCT is protected by copyright laws and international treaty provisions. Therefore, you must treat the SOFTWARE PRODUCT like any other copyrighted material, except that you may
make copies as only provided below. You may not copy the printed materials accompanying the SOFTWARE PRODUCT.
Restrictions on use. Licensee may not distribute copies of the SOFTWARE or accompanying materials to others. Licensee may not
modify, adapt, translate, reverse engineer, decompile, disassemble, or create derivative works based on the SOFTWARE or its accompanying printed or written materials.
Transfer restrictions. Licensee shall not assign, rent, lease, sell, sublicense, or otherwise transfer the SOFTWARE to another party without prior written consent of Sound Devices, LLC. Any party authorized by Sound Devices, LLC to receive the SOFTWARE must agree to
be bound by the terms and conditions of this agreement.
Termination. Without prejudice to any other rights, Sound Devices, LLC may terminate this EULA if you fail to comply with the terms and
conditions of this EULA. In such event, you must destroy all copies of the SOFTWARE PRODUCT and all of its component parts.
Limited Warranty
No warranties. Sound Devices, LLC expressly disclaims any warranty for the SOFTWARE PRODUCT. The SOFTWARE PRODUCT and
any related documentation is provided “as is” without warranty or condition of any kind, either express or implied, including, without limitation, the implied warranties and conditions of merchantability, fitness for a particular purpose, or non-infringement. The entire risk arising
out of use or performance of the SOFTWARE PRODUCT remains with you.
No liability for damages. In no event shall Sound Devices, LLC or its suppliers be liable for any damages whatsoever (including, without
limitation, damages for loss of business profits, business interruption, loss of business information, or any other pecuniary loss) arising
out of the use of or inability to use this Sound Devices, LLC product, even if Sound Devices, LLC has been advised of the possibility of
such damages. In any case, Sound Devices, LLC’s entire liability under any provision of this evaluation license shall be limited to the
greater of the amount actually paid by you for the SOFTWARE PRODUCT or U.S. $5.00. Because some states/jurisdictions do not allow
the exclusion or limitation of liability for consequential or incidental damages, the above limitation may not apply to you.
Governing Law
This agreement and limited warranty are governed by the laws of the state of Wisconsin.
75
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PIX 260i User Guide and Technical Information
Warranty and Technical Support
Warranty & Service
Sound Devices, LLC warrants the PIX 260 Video Recorder against defects in materials and workmanship for a period of TWO (2) years from date of original retail purchase. This is a non-transferable
warranty that extends only to the original purchaser. Sound Devices, LLC will repair or replace
the product at its discretion at no charge. Warranty claims due to severe service conditions will be
addressed on an individual basis. THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE
EXCLUSIVE. SOUND DEVICES, LLC DISCLAIMS ALL OTHER WARRANTIES, EXPRESS OR
IMPLIED, INCLUDING WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. SOUND DEVICES, LLC IS NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES ARISING FROM ANY BREACH OF WARRANTY OR UNDER ANY
OTHER LEGAL THEORY. Because some jurisdictions do not permit the exclusion or limitations set
forth above, they may not apply in all cases.
For all service, including warranty repair, please contact Sound Devices for an RMA (return merchandise authorization) before sending your unit in for repair. Product returned without an RMA
number may experience delays in repair. When sending a unit for repair, please do not include ac-
cessories, including SSD drives, CF cards, baeries, power supplies, carry cases, cables, or adapters
unless instructed by Sound Devices.
Sound Devices, LLC
Service Repair RMA #XXXXX
E7556 State Rd. 23/33
Reedsburg, WI 53959 USA
telephone: (608) 524-0625
Technical Support / Bug Reports
For technical support and bug reporting on all Sound Devices products contact:
Sound Devices, LLC
E-mail: support@sounddevices.com
web: www.sounddevices.com/support/
Telephone: +1 (608) 524-0625 / Toll-Free in the U.S.A.: (800) 505-0625
Fax: +1 (608) 524-0655
Sound Devices hosts a user support forum. The URL is:
hp://forum.sounddevices.com
Sound Devices cannot guarantee that a given computer, soware, or operating system conguration
can be used satisfactorily with the PIX 260i based exclusively on the fact that it meets our minimum
system requirements.
76
v. 1.01 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
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PIX 260i, v 1.01 - Printed in U.S.A.
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