Sound Devices 664 Portable Six-Channel Mixer

$4,998.00 USD

The Sound Devices 664 Field Production Mixer is the flagship in Sound Devices line of portable audio mixers joining the 552, 302 and MixPre-D Sound Devices product.



Special considerations may apply if this item is received outside of North America. Please read for details.

Sound Devices 664 Overview

The Sound Devices 664 Field Production Mixer is the flagship in Sound Devices line of portable audio mixers joining the 552, 302 and MixPre-D Sound Devices product. The 664 has six input channels and four output bus channels, all recordable for a total of 10-tracks. Other features include Ambient time code, intuitive menus via color LCD interface, multiple mic/line output configurations on XLR, 10-pin and TA-3 connectors, up to four channels of AES inputs (AES-3, AES42), and up to eight channels of AES3 outputs.

The CL-6 Input Expander is also available for applications requiring more inputs. It adds six line-level analog inputs, additional LED output metering and additional recording transport controls. The 664 with the CL-6 has 12 inputs and four output busses for 16 total record tracks. The direct output connectors on the 664 are selectable as inputs with the CL-6 attached.

KIT OPTION: The Sound Devices 664 is now available in a package with accessories. The kit includes (1) 664 mixer, CS-664 bag by Camrade with strap. Cables include (4) XL-2F type cables, (2) XL-2 type cables, (1) XL-LB2 timecode
sync cable, (1) Sound Devices Approved 16GB CF card and (1) Sound Devices Approved 16 GB SD card.

Key Features:

  • Six high-bandwidth, low noise microphone preamplifiers with phantom, limiters, high-pass, pan, and direct outputs per channel
  • Four output buses, Left, Right and Aux 1, Aux 2; transformer-balanced for freedom from ground loops; multiple output connectors, including dual multi-pin
  • Built-in production recorder, records all inputs and output buses: 10 tracks total. With CL-6 attached: 16 tracks total.
  • Broadcast WAV recording to dual memory card slots, CF and SD
  • Record different track combinations and to each card type
  • High-precision, Ambient Recording-based time code generator/reader with auto-recharging of internal TC battery
  • Time code compare tool to measure offset from internal and external time code
  • Quick, intuitive interface via sunlight readable, transflective LCD menu control
  • Main controls on dedicated knobs and switches
  • Two AES42/AES3 digital inputs (input connectors 1 and 6)
  • AES3 output selection, up to eight channels of AES out (XLR, multi-pin)
  • Expanded return monitoring capabilities, with three camera returns
  • Dedicated communication circuit (PL)
  • Built-in slate microphone and external slate microphone input connector
  • Powered by AA-battery x5 or isolated (floating) external DC, 10-18V
  • Metalized, gasketed carbon-fiber chassis panels for light weight and durability


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Frequency Response 20 Hz to 50 kHz, ᄆ 0.5 dB
THD + Noise0.09% max (50 kHz, +18 dBu at line out, fade fully up)
Equivalent Input Noise -126 dBu (-128 dBV) maximum. (22 Hz - 22 kHz bandwidth, flat filter, trim control fully up)
XLR Mic:active-balanced for use with <=600 ohm mics, 4k ohm actual; 12V or 48V phantom power, 10 mA max
XLR AES:AES3 or AES42 (10 V power), SRC
XLR Line: active-balanced for use with <=2k ohm outputs, 10k ohm actual TA3 Line (with CL-6): active-balanced for use with <=2k ohm outputs, 10k ohm actual
RTN A,B,C (3.5 mm/10-pin):unbalanced stereo for use with <=2k ohm outputs, 30k ohm actual
Maximum Input Level
XLR Mic: 0 dBu (0.78 Vrms)
XLR Line: +40 dBu (80 Vrms)
RTN A,B,C (3.5 mm/Multi-pin): +24 dBu (12.4 Vrms)
High-Pass FiltersSweepable 80 Hz to 240 Hz, 12 dB/oct at 80 Hz, 6 dB/octave at 240 Hz
Input Limiters Individual limiters on both trim and fader stages, +16 dBu threshold, 20:1 limiting ratio, 1 mS attack time, 500 mS release time
Link I/O Unbalanced stereo for linking to MixPre, 302, 442, 552, and 664; 2k ohm impedance
Maximum Gain
Mic-In-to-Line-Out: 93 dB
Mic-In-to-Aux-Out: -10 Out: 79 dB
Line-In-to-Line-Out:39 dB
Output Type
Line:transformer-balanced for use with >=600 ohm inputs, 100 ohms
-10:transformer-balanced for use with >=10k ohm inputs, 3.2k ohm
Mic:transformer-balanced for use with >=600 ohm inputs, 150 ohms
TA3 Mic/Line:active-balanced, pin-2 and 3 driven, for use with >=3k ohm inputs, 1k ohm TA3 Direct Outs Mic/Line: active-balanced, pin-2 and 3 driven, use with >=3k ohm inputs, 1k ohm
Tape Outs (3.5 mm and TA3-type): unbalanced, stereo, use with >=6k ohm input, 1.8k ohm actual
Headphones (3.5 mm and 1/4"): unbalanced, stereo, use with 8-2k ohm headphones, 50 ohms
Line Output Clipping Level (1% THD) 20 dBu minimum with 10k load
Maximum Output Level
Line: +20 dBu (7.8 Vrms)
-10:+6 dBu (1.5 V rms)
Mic:-20 dBu (0.078 Vrms)
Tape Outs:+6 dBu (1.5 Vrms)
Output LimitersAffects analog output. Threshold selectable from +4 dBu to +20 dBu, 1 dB steps, 20:1 limiting ratio, 1 mS attack time, 500 mS release time.
Recording Tracks
10 tracks(6 inputs, 4 output buses);
16 tracks(12 inputs, 4 output buses) with CL-6
A/D:24-bit, 114 dB, A-weighted dynamic range typical; 44.1 kHz, 47.952 kHz, 48 kHz, 48.048 kHz SR
Digital Outputs: AES3 transformer-balanced, in pairs; 1-2 XLR-L, 3-4 XLR-R, 5-6, multi-pin 1, 7-8, multi-pin 2, 110 ohm, 2 V p-p, AES and S/PDIF compatible
Recording Storage Type: Secure Digital High Capacity (SDHC), Secure Digital (SD), CompactFlash (CF), FAT32 formatted, will format memory cards on-board, WAV (Broadcast Wave File format) polyphonic
Sample/Timecode Accuracy: ᄆ 0.2 ppm (0.5 frames per 24 hours)
Timecode and Sync
Modes Supported:off, Rec Run, Free Run, 24h Run, External
Frame Rates:23.976, 24, 25, 29.97DF, 29.97ND, 30DF, 30ND
Accuracy: Ambient generator, 0.5 frame in 24 hr
Time Code Input:20k ohm impedance, 0.3 V - 3.0 V p-p (-17 dBu - +3 dBu)
Time Code Output: 1k ohm impedance, 3.0V p-p (+12 dBu)
Word In/Out:square wave; 10k/75 ohm, 1-5V p-p input; 75 ohm, 3.3V p-p output, at SR
External:isolated 10-18 V on locking 4-pin Hirose connector, pin-4 = (+), pin-1 = (-).
Internal: accepts 5 AA-sized (LR6) batteries, 1.2-1.5 V nominal (NiMH rechargeable compatible).
Operating: -20ᄚC to 60ᄚC, 0 to 90% relative humidity; (non-condensing) Storage: -40ᄚC to 85ᄚC
Dimensions and Weight
Dimensions:5.3 cm x 32 cm x 19.8 cm (H x W x D) 2.1" x 12.6" x 7.8"
Weight:4 lbs. 12 oz. (unpackaged, without batteries)


Q: With the introduction of the 664, is the 552 discontinued?
A: No. The 552 continues in our field mixer product line. The 552 includes the benefits of five transformer-balance inputs, two-channel recording, excellent power efficiency, and relative simplicity. It is a very compelling product for many applications. The 552 continues to be the accepted industry standard for many applications where the 664 would simply be overkill.

Q: I love the sound of my 552 and 744T. Does the 664 use the same preamps?
A: The 664 preamps are a unique design, very similar to the transformerless 744T preamps.

Q: Are there transformers in the 664?
A: Yes. All of the XLR and Hirose analog and digital outputs are transformer-coupled. Transformers are highly effective in eliminating hum and noise in environments where battery and mains powered equipment is interconnected. While transformers add some weight, their benefit is significant for field mixers.

Q: How do the limiters sound and operate?
A: Just like all of Sound Devices field mixers, there are limiters at all gain stages (trim, fader, master) for worry-free mixing and recording. The limiters on the 664 are implemented 100% in analog via optoisolators and VCAs, taking action on the signal before it is converted to digital for recording. These analog limiters are very similar to the 442's limiters, sound superb and are tuned specifically for speech-oriented audio.

Q: Are signals summed in analog, like the rest of the mixer line, or digital, like the 7-Series?
A: The 664 offers both analog and digital summing. The input-to-mix and mix-to-analog outputs are all-analog signal paths. This provides for superb sonic performance. Top music engineers often use analog summing mixers for their sonic benefits versus "in the box" digital mixing.

Q: What happens with digital mics? Is their signal going through the mixer in analog or digital?
A: Either! AES42 inputs go through high-resolution sampling rate converters and are sent digitally to the DSP. When that signal is routed to a record track or to an AES output, it remains in digital. Signals in the DSP sent to analog outputs run through a DAC (digital-to-analog converter).

Q: How many channels can I record with the 664?
A: The 664 can record 10 tracks. Recording is very straight-forward - any or all of the 6 inputs can be recorded, as well as the L, R, X1, and X2 outputs.
When the CL-6 is connected, 16 tracks of recording are available: inputs 1-12, as well as outputs L, R, X1, and X2.

Q: I know that the 552 requires external time code to record with time code. Does the 664 have its own time code circuitry?
A: Yes, the 664 has a fully integrated Ambient Lockit generator and reader, just like the 788T recorder. It can operate as a master clock source, or its clock can be jammed from external sources. The 664 uses the same solid, ultra-accurate Ambient time code circuit that is used by Sound Devices, Arri Alexa, Ambient Lockits, and other high-end equipment.

Q: I have many wireless receivers. What if I need more than 6 inputs?
A: By connecting a CL-6 to the 664, 6 more inputs are available. Inputs 7-12 provide fully balanced line-level inputs. These inputs each provide a trim control, hardware fader, high-pass filter. These inputs can be sent to L, R, X1 and X2. All 6 of these inputs are recordable.

Q: How do I attach the CL-6? Is it difficult?
A: No. The CL-6 directly attaches to either the top or the bottom of the 664 using the CL-6's ribbon cable. Once connected, the direct outputs of the 664 can be changed to line-level inputs 7-12 via input menus.

Q: How many mix tracks can I create with the 664?
A: Four. Any input can be routed to any combination of L, R, X1, X2. All four of these mixes can be sent out to external cameras or other equipment, and they can be recorded to the CF and SD card. Additionally each input can be recorded.

Q: What if I need more than four mix tracks?
A: The 788T is the right tool when more than four mix tracks are required. It has full input-to-track and track-to-output routing capability for all tracks.