722 High Resolution Digital Audio Recorder User Guide and Technical Information

722 High Resolution Digital Audio Recorder User Guide and Technical Information
722
High Resolution Digital Audio Recorder
User Guide and Technical Information
firmware rev. 1.74
1.8" HDD
2.5" HDD
Sound Devices, LLC
300 Wengel Drive • Reedsburg, WI • USA
+1 (608) 524-0625 • fax: +1 (608) 524-0655
Toll-Free: (800) 505-0625
www.sounddevices.com
Introduction
Table of Contents
Quick Start Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Powering the Unit
Menu Navigation Basics
Connecting Audio Sources
Routing Inputs to Tracks
Recording Parameter Setup
Recording
Playback
FireWire File Transfer
Front Panel Descriptions . . . . . . . . . . . . . . . . . . . . . 6
Panel Lock
LCD Display Descriptions . . . . . . . . . . . . . . . . . . . . 9
Left Panel Connectors and Controls . . . . . . . . . . 11
Right Panel Connectors and Controls . . . . . . . . . 12
Back Panel Descriptions . . . . . . . . . . . . . . . . . . . . 13
Input Setup and Control . . . . . . . . . . . . . . . . . . . . . 14
Input Source Selection
Analog Inputs
Input Linking (Stereo or MS Decoding)
Signal Presence and Peak Indicator
Digital Input – AES3
Digital Input – AES3id (S/PDIF)
Input Delay
Input-to-Track Routing . . . . . . . . . . . . . . . . . . . . . . 17
Routing
Selective Input Muting
Sampling Rate and Bit Depth . . . . . . . . . . . . . . . . 18
Sampling Rate
Bit Depths
Word Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Clock Slave
C. Link – Multi-Unit Linking
Outputs – Analog and Digital . . . . . . . . . . . . . . . . 21
Analog Output Bus
Digital Output Bus
Headphone Output . . . . . . . . . . . . . . . . . . . . . . . . . 22
Selecting Headphone Sources
Setting Headphone Source Options
MS Stereo Monitoring
Rotary Switch Behavior
Headphone Favorite Selection
Headphone Playback Mode
Headphone Warning Tones
Metering and Display . . . . . . . . . . . . . . . . . . . . . . . 24
Output Meter
Meter Ballistics
Peak LEDs
Tone Oscillator
LCD Contrast & Backlight, LED Brightness
Record Indication
Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . 27
WAV
MP3 Files
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Recording
Pre-Record Buffer
Failure During Recording
Scene Name/Number
Take Numbers
Mono Track Name Designators
Duplicate File Names
File Management and Copying . . . . . . . . . . . . . . . 31
File Finder Navigation
Setting/Clearing Flag Bits
Automatic Flag Clearing
Folder Actions
File Time and Date
File Size Maximum
File Copying – Between Internal Drives
File Deletion
False Take Control
Emptying the Trash and False Take Folders
Take Number Incrementing
The file name will be altered. To remove the circle take indicate hightlight the circled file as you would to circle it and select “uncircle”.
File Transfer – FireWire
Storage Medium – Internal Drive . . . . . . . . . . . . . . 38
Formatting
Drive Repair
Drive Type
Drive Failure
Drive Replacement
Storage Medium – Compact Flash . . . . . . . . . . . . 41
When to Use CF
Formatting
Testing
Drive Repair
Qualified CF Cards
Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Lithium Ion Rechargeable Battery
External Powering and Battery Charging
Time of Day Battery
Auto Functions with External Powering
Firmware Upgrades . . . . . . . . . . . . . . . . . . . . . . . . 44
Version Information
Upgrade Process
Setup Menu Presets . . . . . . . . . . . . . . . . . . . . . . . . 45
Built-In Presets
User Setups
Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Connector Pin Assignments . . . . . . . . . . . . . . . . . 54
Power Consumption Variables . . . . . . . . . . . . . . . 55
Recording Time Calculation . . . . . . . . . . . . . . . . . 55
Uncompressed Recording Time in Track-Hours
MP3 Compressed Record Time in Hours
Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Front Panel Button Shortcuts . . . . . . . . . . . . . . . . 58
Warranty and Technical Support . . . . . . . . . . . . . . 59
CE Declaration of Conformity . . . . . . . . . . . . . . . . 60
Software License . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
AutoPlay
File Naming / Numbering . . . . . . . . . . . . . . . . . . . . 29
1
722 User Guide and Technical Information
Welcome
Thank you for purchasing the 722. The super-compact 722 records and plays back audio to and from
its internal hard drive or Compact Flash medium, making field recording simple and fast. It writes
and reads uncompressed PCM audio at 16 or 24 bits with sample rates between 32 kHz and 192 kHz.
Compressed (MP3) audio playback and recording are also supported.
The 722 implements a no-compromise audio path that includes Sound Devices’ next generation
microphone preamplifiers. Designed specifically for high bandwidth, high bit rate digital recording,
these preamps set a new standard for frequency response linearity, low distortion performance, and
low noise.
With documentary and ENG recording engineers in mind, the 722 is very small, while still being feature-rich. No other recorder on the market matches its size and feature set. In addition, its learning
curve is quite short—powerful does not mean complicated. While the 722 is a very capable recorder
by itself, it truly excels when used in conjunction with an outboard audio mixer such as Sound
Devices’ own 442 or 302.
Sound Devices took advantage of the best in professional and consumer electronics technologies to
bring incredible feature depth with ease of use. Its two recording media (hard drive and Compact
Flash) are highly reliable, industry standard, and easily obtainable. The removable, rechargeable battery is a standard Sony-compatible Li-ion camcorder cell. The 722 interconnects with Windows and
Mac OS computers for convenient data transfer and backup.
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 registered trademarks of Microsoft Corporation. Macintosh is a registered trademark of Apple Computer. Other
product and company names mentioned herein may be the trademarks of their respective owners.
The sound waves logo is a registered trademark of Sound Devices, LLC.
2
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Quick Start Guide
Quick Start Guide
The 722 is an extremely powerful and flexible portable audio recorder. Before recording, familiarity
with the product is essential. Several settings should be verified or set based on individual recording
needs.
Powering the Unit
1.
Apply power to the unit by connecting the (included) removable, rechargeable Li-ion (lithium ion) battery to the back panel battery mount. The metal tabs on the mount line up with the electrical contacts
on the battery. From the factory, the battery may not have a charge, so external DC may be needed for
initial operation and charging. Connect the included AC-to-DC power adapter to the DC input plug to
power and charge the removable Li-ion battery.
2.
Press and hold the power key (150 ms) to power up the unit. To power down the unit the power button
must be held for one second.
If this is the first time the recorder has been powered, or if it has been without a battery for an extended period, the date and time may need to be set.
Charge the included Li-ion battery for 6 hours prior to initial use.
Menu Navigation Basics
The setup menu provides options for recording, routing, and control parameters. The single layer
menu structure allows for very quick navigation and selection of functions. To enter the setup menu
key. Once in the setup menu, the following conventions are shared for
press the front panel
navigating among selections and to select specific parameters.
•
•
•
•
•
•
•
- enters setup menu
❯item❮ - highlighted menu item
✔ - selects highlighted item or parameter
- moves up in menu and between menu parameters
- moves down in menu and between menu parameters
✘ - exits the selected menu or menu altogether
The
stop key will exit from any menu and cancel any changes. Use it to escape out of the
setup menus.
The right panel Rotary Switch (labeled “Select”) is a convenient control to quickly navigate among
menu items and item options. Its push-to-select function duplicates the check mark in most menus.
Connecting Audio Sources
1.
Connect audio sources, either analog or digital, to the input connectors.
2.
Set the appropriate input type and level—analog mic, analog line, or digital—with the adjacent slide
switch.
3.
If mic-level inputs are used on XLR 1 or XLR 2, make certain that phantom power, input limiters, and
high-pass filters are activated, as required.
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722 User Guide and Technical Information
Routing Inputs to Tracks
Before recording, inputs must be assigned to tracks. Each of the 722’s two inputs can be assigned to
the two tracks (A, B). Sixteen possible routing combinations are shown on the front panel with four
blue LEDs. Illuminated LEDs indicate input-to-track assignment.
1.
Press and hold the
STOP key then press the
INPUT key to cycle through factory routing presets. The 722 has four often-used presets for quick setup of input-to-track routing combinations. Note
the routing combinations on the blue LEDs with each successive press.
2.
If none of the preset routing combinations are suitable, assign a custom routing. Sequential presses of
input key will eventually cycle to the custom routing option (see Input to Track Routing, pg. 18).
the
From the custom input routing menu any input can be assigned to any track, including multiple inputs
assigned to a single track.
3.
Press Exit to leave input routing mode.
If no input is assigned to a track the 722 will not record.
Recording Parameter Setup
For most productions, the general recording parameters of sample rate, bit depth, media selection,
and file format are changed infrequently. Enter the setup menu to verify recording settings. Sample
rate and bit depth are displayed on the LCD panel.
1.
Select the bit depth as needed.
2.
Set the sample rate as needed.
3.
Select the file format for recorded files.
4.
Select the storage medium (internal hard drive, Compact Flash, or both) for recording.
Recording
Now that file basics are set, you are ready to begin recording. The 722 is a record-priority box. Pressing the record key cancels all functions—except file operations—and immediately starts recording
a new file. When record is pressed, the red record LED illuminates to confirm record mode. The
filename in the LCD display shows the currently recorded file. Push the
stop (150 ms) key to
end recording.
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firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Quick Start Guide
Playback
When recording is stopped, the most recently recorded file is immediately available for playback.
Press the
key to begin file playback from the beginning of the file.
To select a file for playback:
1.
Press and hold the
key to select the folder (directory) for playback, either internal hard drive or
Compact Flash. The default playback directory is the volume being recorded.
2.
Use the Multi-Function Controller, or the arrow soft-keys, to navigate through the file directory.
3.
Once a file is highlighted, press the
play key to begin playback.
When playback has finished, the filename will begin flashing. Use the
fast-forward key or
rewind key to step through files in the folder, or press the
stop key to exit playback mode.
FireWire File Transfer
When connected via FireWire (IEEE-1394a) to a Mac OS or Windows OS computer (see Specifications
for computer requirements), the internal hard drive and connected Compact Flash storage mediums are
mounted onto the computer as “letter” accessible drives. Use the appropriate FireWire cable, either
6-pin to 4-pin or 6-pin to 6-pin, for interconnection. Files on the 722 can be treated as if they are local
files, including renaming files, copying, and playing directly from the 722 storage medium. No drivers are required with operating systems meeting the specifications.
In general, it is good practice to copy all needed audio files from the 722 to a computer before any processing is performed on the files.
To connect the 722 for FireWire transfer:
1.
Stop all playback and recording activity.
2.
Make certain the 722 battery is fully charged, or connect to external DC.
3.
Connect the 722 to the host computer with a FireWire cable.
4.
The 722 will enter FireWire transfer, indicated by COMPUTER CONNECTION in the LCD display. All functions of the 722 are stopped while the 722 is connected to a computer through FireWire.
5.
Navigate the drives on the computer and copy all needed audio files to the computer.
To avoid possible directory corruption on the hard drive, do not interrupt the connection process and
always properly dismount the drives from the operating system. On Mac OS platforms, drag the drive
icons to the trash. On Windows platforms, use the “Disconnect External Media” icon in the system tray.
Dismount the 722 after file transfer by “ejecting” the volume from the computer. In Mac OS, drag the
disk icon from the desktop to the trash or hit -e. In Windows OS, highlight the disk icon, right-click,
and select “eject”. It is best practice to “eject” the 722 volume from the computer to maintain file
integrity (see FireWire File Transfer).
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722 User Guide and Technical Information
Front Panel Descriptions
All settings of the 722 can be accessed and monitored through the front panel LCD and navigation
keys. This allows the unit to be placed in a production bag along with field mixers and wireless
transmitters and receivers.
1
2
3
4
5
6
7
8
9
10
11
12
29
28
27
26
25
24
1)
23
22
21
20
19
18
17
Digital Input LEDs
Indicates the presence of digital signal
on the respective input. When flashing,
indicates that digital input is selected
but no valid digital clock signal is present.
2)
15
5)
6)
13
LCD Display
Tone Oscillator Key
Used to activate the tone oscillator. Tone
frequency, tone level, and routing are
controlled in the setup menu. Press and
hold to activate.
7)
Input-to-Track Matrix LEDs
Blue LEDs indicate inputs (1 and 2)
enabled for recording to tracks (A and
B). A solid blue LED indicates an input
is routed to a track. A flashing LED during “custom” routing mode shows the
selected input/track combination.
8)
INPUT Select Key
Pressing the INPUT key brings up the
input muting and routing menu. Hold
down the INPUT key and press one
of the two indicated soft keys to mute
inputs. Pressing the STOP key and the
INPUT select key cycles through the
six factory preset input-to-track routing
combinations plus the custom routing
menu. In the custom routing menu any
input can be routed to any track. See
Input-to-Track Routing, page 18.
Input 2 Gain
Controls input 2 gain, as in #2 above.
When inputs are linked as a stereo pair,
Input 2 Gain controls left-to-right balance.
4)
14
Primary display of 722 status. The LCD
is backlit using the LCD backlight control (#15).
Input 1 Gain
Controls the analog gain (input trim) of
the channel 1 input. Normal mic input
range is from 25 dB to 70 dB, low gain
mic range is from 10 dB to 55 dB, line
input range is from −6 dB to 18 dB. For
line-level inputs, this control can be
defeated and gain can be setup menucontrolled. If the LCD display shows
“locked” when the pot is turned, gain
control of the line-level input is menucontrolled. When inputs are linked as
a stereo pair, Input 1 Gain controls the
gain of both inputs.
3)
16
MENU Key
Used to access all 722 setup menu selections. When in menu mode, used to
move up through the menu selections.
9)
Level Meter LEDs
Two, 19-segment track level-meters indicate level in dBFS. Metering ballistics are
selected in the setup menu.
6
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Hardware Descriptions
10)
Power Key
16)
Press and hold to power up the 722.
Press and hold to power down.
11)
Performs fast-forward (FF) scrubbing
through the played file when pressed in
playback and play-pause mode. Playpause indicated by flashing A-time on
LCD. Fast forward rate increases the longer the key is held. In play-stop mode
(indicated by flashing filename on LCD)
selects the next file in the record folder
(either daily folder or main folder).
Charge LED
Indicates the status of the onboard
battery charger. Flashes when external power is connected and battery is
charging; solid when battery is fully
charged.
12)
Power LED
17)
Indicates that the 722 is powered and
available for operation. Flashes when
the removable battery or external DC is
in a low-voltage state.
13)
Record Key
18)
15)
19)
HDD Key
Press to enter the directory listing of the
selected storage medium (either internal
hard drive or CF). Selected medium is
shown in white type. Press-and-hold to
toggle between available mediums. If
only one recording medium is present,
press-and-hold is disabled.
20)
Headphone Output Peak LED
Indicates overload of the headphone
amplifier. When lit, the headphone circuit is overloading. Reduce headphone
level.
LCD Backlight Key
Press to toggle LCD and keyboard
backlighting. Hold the key and turn the
Rotary Switch to adjust the brightness of
LEDs. In menu mode, functions as the
cancel key.
Rewind Key
Performs reverse (REW) scrubbing
through the played file when pressed in
playback and play-pause mode. Playpause indicated by flashing A-time on
LCD. Reverse playback rate increases
the longer the key is held. In play-stop
mode (indicated by flashing filename
on LCD) selects the previous file in the
record folder (either daily folder or main
folder).
Stop/Pause Key
Press and hold this key for 150 ms to
stop recording. In playback mode, a single press pauses playback (play-pause),
allowing audio scrubbing with the FF
and REW keys. Another press of the key
enters play-stop mode where the FF and
REW keys select files for playback from
the current directory. One more press
of the key exits playback mode. In the
setup menu the stop key is also used
to exit from any menu, returning to the
main display.
Play Key
Plays back the file displayed in the LCD.
If pressed immediately after recording is
stopped, the most recently recorded file
is played back.
Used to start recording. The 722 is a
record-priority device, pressing this key
starts recording and discontinues all
other functions, except file operations.
Pressing key while recording can set a
cue marker or start a new file, as selected in the setup menu.
14)
Fast Forward Key
21)
LIM LED
Indicates that the microphone input
limiters are engaged. This LED does not
show input limiting activity (see descriptor #27, Microphone Input Limiter LEDs).
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722 User Guide and Technical Information
22)
Link LED
Indicates that channels 1 and 2 are
linked as a stereo pair. In link mode the
channel 1 potentiometer controls gain,
channel 2 potentiometer controls leftto-right balance. Inputs can be linked as
either a stereo L/R pair or as a a MidSide (MS) pair.
23)
25)
27)
High-Pass Filter LEDs
Microphone Input Limiter LEDs
Illuminates orange when limiting is
occurring on the microphone input. If
constantly lit, the microphone input is
being “hit” with too high of a signal.
Turn down the input sensitivity until
limiting occurs infrequently.
28)
Input Signal Presence LEDs
Indicates presence of analog or digital
signal and its relative level on each of
the two inputs.
Media Activity LEDs
Indicates storage media read/write
activity. IN (internal hard drive), CF
(Compact Flash), EX (external Firewire
device) [EX not available in firmware version 1.xx].
Phantom Power LEDs
Indicates that phantom power (48 volts)
is active for the individual input. Phantom can be applied to microphone or
line-level signals (menu-selected).
Media Ready LEDs
Indicates storage media is present and
available to record; IN (internal hard
drive), CF (Compact Flash), EX (external Firewire device) [EX not available in
firmware version 1.x]. Flashing indicates
media problem.
24)
26)
29)
Input Peak (Overload) LED
Indicates analog signal is approaching
clipping (–3 dBFS) on each of the four
inputs. Also used to indicate that an
input is muted.
Indicates that the high-pass (low-cut)
filter is active for the input. High-pass
only operates when the input is set to
microphone level.
Panel Lock
Press and hold the backlight key then the tone key to bring up the front panel Button Lock Screen.
Button lock prevents unintentional changing of settings or record status. The 744T will display the
current mode the LCD screen.
select the soft buttons to
activate the appropriate
button lock mode
There are three modes:
• Unlocked – all buttons are accessible and operate normally.
• Non-Transport Lock – All front panel controls are locked except the Record, Stop, Play, Rewind and Fast Forward.
• Lock All – All front panel keys are locked except the Record key. The Record key is kept active so the user can initiate recording after entering this mode and enter cue markers. To stop
recording in this mode, you must disengage the panel lock and hit the stop key.
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firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Hardware Descriptions
LCD Display Descriptions
1
2
3
4
5
10
6
9
8
7
7)
1)
2)
Time & Date Display
Alternating display between the set date
and time of the 744T. This information is
written as the creation and modification
date for generated audio files.
5)
Bit Depth Indicator
Shows the set record bit depth. In playback, shows the file bit depth.
6)
Sample Rate Indicator
Shows the set record sample rate. In
playback, shows the file sample rate.
External Media Space Status
(space remaining/record ready)
Not available on version 1.xx firmware. Bar
graph indicates amount of record time
remaining on the external FireWire volume. Numbers show time in hours and
minutes based on the presently selected
number of record tracks, sample frequency, bit rate, and file type.
9)
Internal Hard Drive Status
(space remaining/record ready)
Bar graph indicates amount of record
time remaining on the internal hard
drive. Numbers show time in hours and
minutes based on the presently selected
of number of record tracks, sample frequency, bit rate, and file type.
Absolute Time (A-time) Display
Shows the elapsed time of the file being recorded or played back. Flashes
in playback pause mode. In this mode
the FF/REW keys will scrub through
an open audio file. This display can be
set to reverse or flash during recording.
Flashes in playback-pause mode.
4)
8)
File Name Display
Shows file name actively being recorded
or played back. In playback-stop mode,
flashing file name indicates that the fastforward and rewind keys can be used to
step through files in the current playback directory.
3)
Indicates the source for headphone output. Sources and selection order are user
selectable in the setup menus.
Battery Level Indicator
Shows the voltage level of the removable rechargeable battery or external
power sources. External power overrides internal power when present.
Graphical bar for relative level and
numeric indicator for precise voltage
measurement.
Headphone Source Display
10)
Compact Flash Status
(space remaining/record ready)
Bar graph indicates amount of record
time remaining on the Compact Flash
media. Numbers show time in hours
and minutes based on the presently selected number of record tracks, sample
frequency, bit rate, and file type.
For all three media types, an asterisk in front
of the media descriptor indicates that the media is selected for record. Highlighted media
descriptor indicates media selected for record
monitoring, playback or file directory display.
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722 User Guide and Technical Information
11
12
11)
Input 1/2 Level
When control knobs are adjusted, indicates the gain level in dB for each analog
input gain control. Top display is input
1, bottom display is input 2. Normal mic
input gain range is from 26 dB to 70 dB,
low gain mic range is from 10 dB to 50
dB, line input range is from −6 dB to 18
dB. “LOCKED” will be displayed on the
LCD when the pot is turned with digital
inputs, and with line inputs with menu
control.
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firmware v. 1.74
12)
External Digital Clock Indicator
The 722 is locked to a valid external
digital or word clock source when the L
is in the display.
Cue Marker Display (not shown)
In record mode, indicates when cue
markers are set. Markers set by pressing
the record key (option must be selected
in setup menu). In playback mode, displays cue points numerically as they are
reached in a file.
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Hardware Descriptions
Left Panel Connectors and Controls
3
1
1)
4
2
XLR Input 1/AES3 Input 1&2
5
8
5)
Dual function input connection. Input
type set with switch (see #3). Active-balanced analog microphone- or line-level
input for input 1. Transformer-balanced
two-channel AES3 input (1 and 2).
2)
XLR Input 2
Mic-Line-AES3 Input Switch 1
6)
7)
Headphone Output
Headphone Volume
Adjusts the headphone volume. NOTE:
the 722 is capable of producing ear-damaging levels in headphones.
Mic-Line Input Switch 2
Selects the input level, mic- or line-level
of input XLR 2. NOTE: there are two redundant switch positions for line-level.
TA3 Master (L/R) Analog Outputs
3.5 mm TRS stereo headphone connector. Can drive headphones from 8 to
1000 ohm impedances to required levels.
Tip left, ring right, sleeve ground.
Selects the input level and mode of the
input XLR 1 connector.
4)
7
Active-balanced, line-level analog L/R
outputs for the Master Analog Outputs. Program source and attenuation
level are user selectable. Pin-1 ground,
pin-2 (+), pin-3 (–).
Same as Input 1 above for analog signals. Input type set with switch above.
Active-balanced analog microphone- or
line-level input for input 2.
3)
6
8)
Tape Output
Unbalanced tape (–10 dBv nominal)
output on 3.5 mm TRS stereo connector.
Signal source is identical to the Master
Output Bus. Tip left, ring right, sleeve
ground.
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722 User Guide and Technical Information
Right Panel Connectors and Controls
2
1
7
1)
AES3id Input
6
5
5)
Unbalanced digital input accepta two
channel AES3 (or S/PDIF) on BNC connectors. Supports sample rates up to 200
kHz.
2)
3)
C. Link In/Out Ports
RS-232 protocol interface on 6-pin
modular (“RJ-12”) connector for linking
multiple 722’s together. Word clock and
machine transport are over C. Link.
4)
External DC In
4
Word Clock Input and Out
Provides clock input and output for the
722. Word input accepts sample rates
between 32 kHz and 192 kHz. Word
clock output is the rate that box is running. There is no sample rate conversion
utility in the 722.
FireWire (IEEE-1394) Port
Connection to a computer to access the
internal hard drive and Compact Flash
volumes as mass storage devices. Direct
connection to Mac OS (10.2+) and Windows (XP- and 2000-only) computers.
3
6)
AES3id Output
Unbalanced digital output, two-channel,
for Output Bus 2. Signal source is menuselected.
7)
Multi-Function Rotary Switch
When in the setup menu, the rotary
switch moves between menu selections;
push to enter selection or enter data.
In record and playback modes, selects
headphone monitor source; push action
is user selectable.
Accepts sources of 10–18 volts DC for
unit powering and removable Li-ion
battery charging. The Hirose 4-pin connector is wired pin-1 negative (−), pin-4
positive (+). Pin-2 (−) and pin-3 (+) are
used to charge the removable Li-ion
battery. DC ground at both pins-2 and
3 is at the same potential as chassis and
signal ground.
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Hardware Descriptions
Back Panel Descriptions
1
1)
2
Security Slot
Compatible with the Kensington® Security Slot specification. Useful for securing the recorder to a fixed object with a
compatible computer lock.
2)
Compact Flash Slot
3
3)
Battery Mount
Accepts Sony® InfoLithium L- or M-Series removable rechargeable batteries,
or batteries conforming to this mount.
Numerous capacities, from 1500 mAh to
7000 mAh are accommodated.
Accepts Compact Flash medium with
the label-side up. Compatible with Type
I, Type II, and MicroDrives.
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722 User Guide and Technical Information
Input Setup and Control
The 722 has two inputs and two record tracks. Inputs are selectable between analog or digital sources. Analog inputs are connected with the balanced XLR connectors; digital inputs can be connected
to either XLR Input 1 (AES3) or the BNC input (AES3id).
Input Source Selection
Input types are selected in pairs. Each input pair accepts analog or digital audio. The XLR input
signal is selected with slide switch above the connector.
Manually selecting the audio source is used to force the inputs to analog while using an AES3 or
AES3id input to lock the 722 to an external sample rate.
Digital sources connected to AES3id BNC inputs override analog signals on the corresponding XLR
input. The BNC input signal type is set in the menu settings Input 1,2: Source. For most situations
the appropriate setting is auto select—the 722 will choose the input type based on signal present.
The 722 is capable of off-speed sample rates when clocked from either external digital inputs or the
word clock input.
Input sources can be set to “disabled (power save)”. This option shuts down all circuitry associated
with the inputs to reduce power draw and extend battery runtime during playback. When an input
pair is disabled, the digital input LEDs associated with the pair will flash.
Analog Inputs
Analog inputs on XLR connectors, are the primary connection into the recorder. These inputs accept
balanced or unbalanced mic- or line-level signals. Gain control for mic inputs 1 and 2 is adjusted
solely by the front panel push knobs. Gain for the line-level inputs can be controlled by the front
panel potentiometers or via menu settings. Line input gain is controlled in 0.1 dB steps.
A digital input present on the BNC inputs will override an analog signal present on the XLR inputs unless the input source is set to analog in the setup menu.
In the setup menu, the following functions can be controlled for analog inputs 1 and 2:
Phantom Power
Phantom power (48 volts) can be activated for analog inputs. When active, phantom is indicated by
).
the illuminated front panel LEDs (
Phantom power can be applied to both mic- and line-level inputs. Using the line-level input setting with
microphones is useful in extreme SPL environments such as concert recording. Make certain to turn off
phantom power with line level output devices susceptible to damage from DC.
Shortcut: To toggle phantom power without entering the menus, press and hold the tone key then
press the menu key for channel 1. Channel 2 phantom can be toggled by pressing the tone key then
pressing the HDD key. If the inputs are in line level mode, phantom power will not activate from the
shortcut keys and must be activated from the menus.
Input Limiters (mic-level only)
Microphone inputs 1 and 2 each have a limiter circuit designed to prevent input overload. In normal
operation, with proper gain settings, the limiters should rarely engage. When activated, these limiters will prevent unusually high input signal levels from clipping the analog input stage of the pre-
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Input Setup
amp. The front panel LIM LED (
) shows that the limiter is engaged. Limiter activity is indicated
by additional front panel LEDs, one for each input channel (
). The input limiters activate only
with mic-level inputs. The limiters are engaged by (factory) default.
When limiters are engaged, audio on channels 1 and 2 is limited to −6 dBFS.
Microphone-Level Control
Microphone gain is controlled by the recessed front-panel knobs. The gain control adjusts an analog
gain stage and is identical to the input trim on a mixing console or stand-alone microphone preamplifier.
Even with the gain controls fully counter-clockwise, there is gain, and consequently audio passing
through the recorder. The front panel gain controls do not function as faders.
Gain Range (microphone-level only)
The microphone inputs operate in two gain ranges, normal and low. The normal range is from 25 dB
to 70 dB of gain. The low range is from 10 dB to 55 dB. The low range is useful for high SPL recording environments.
High-Pass Filters (microphone-level only)
The high-pass filters on the microphone inputs use a combination of analog and digital filters to
reduce sensitivity to low frequency signals. When the high-pass is engaged on an input, its blue
front-panel LED illuminates to indicate it is active (
). The first pole of the high-pass circuit is an
analog filter at 40 Hz, 6 dB per octave and is part of the microphone preamplifier circuit. Additional
poles of high-pass filtering are done in DSP.
Several frequency and slope combinations are selectable, including corner frequencies of 40, 80, 160,
or 240 Hz, and filter slopes of 12 dB, 18 dB, or 24 dB per octave. The high-pass is selected for each
input independently.
Shortcut: The filters can be toggled with a two-key combination. Press and hold the
light key and press the
menu key for channel 1 high-pass. Press and hold the
key and press the
HDD key to toggle channel 2 high-pass.
LCD backLCD backlight
Line-Level Gain Control
When in line-level position, the gain for inputs 1 and 2 is controlled by the front panel recessed
potentiometers or by a menu sensitivity setting. When set for front panel control in the user menu,
Line Input 1: Gain and Line Input 2: Gain controls in the user menu are lined out and not accessible.
Input Linking (Stereo or MS Decoding)
Analog inputs 1 and 2 can be linked as a stereo pair. When linked, the channel 1 front panel potentiometer controls the signal level of both inputs, and the channel 2 pot controls the left-to-right balance
of the pair. When the inputs are linked, their peak limiters are linked, as well.
When set to link as an MS pair, the inputs are decoded as MS stereo, where the gain and balance for
the pair work the same as stereo linking above. Input 1 is for Mid signal, input 2 for Side signal.
If MS stereo linking is selected for inputs, program sent to tracks and headphones will be L/R stereo program. To record discrete M and S signals, do not link for MS, but monitor the MS signal in headphones.
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722 User Guide and Technical Information
Signal Presence and Peak Indicator
The signal presence and peak indicators show audio activity before input-to-track routing. Input signal presence LED’s illuminate when a –50 dBFS or greater signal is present. Input signal peak
LEDs illuminate when signal levels reach –3 dBFS or greater.
Digital Input – AES3
The 722 accepts AES3 (AES/EBU) balanced digital at the input 1 XLR connector. Digital input is twochannel—AES3 signals on XLR-1 appear at inputs 1 and 2. To use the AES3 input, the input mode-select switch must be set to AES/EBU. There is no level control for AES inputs.
The front panel digital input LEDs illuminate when digital signal is selected as input. If the
LED is flashing, digital input is selected but a no valid digital clock is being received.
Digital Input – AES3id (S/PDIF)
The 722 accepts AES3id and S/PDIF unbalanced digital signals on the BNC connector. The 722 will
auto detect the type of digital signal and adjust accordingly. Like AES3 signals, this is two channel
input. There is no level control for AES3id inputs.
AES3id inputs override analog signals present at the XLR inputs. To use analog sources while using
the AES3id signal as a digital clock source, select analog in the input source menu selection.
When a digital signal is present, the 722 locks its sample rate to its source frequency. This lock is indicated by a highlighted block on the main LCD display to the right of the bit depth and sample rate
indicators. Recording bit depth is independent of the external digital source.
When locking the 722 to an external digital signal, be certain the source is stable. Loss of digital
signal will cause the 722 to revert to its internally set sample rate, even while recording. The portion
of the file recorded after the loss of signal may not play back properly. Once recording has begun,
unused digital inputs are muted, digital signals that appear on them after the record key has been
pressed will not be recorded or affect the sample rate of the 722.
The 722 clocks itself to the first digital signal presented to it. If the 722 detects a digital signal on the
BNC inputs and locks to that signal, a digital signal applied to the XLR input will be ignored until the
first digital signal is removed.
Input Delay
A digital delay is selectable on each channel of the 722 in one microsecond (µS) steps. 1,000 microseconds equals 1 millisecond (ms). The Multi-Function Controller and menu arrows are accelerated. The
more you press or spin, the faster the delay setting will increment or decrement. Delay is not set until
enter is pressed. The amount of delay available is dependent on the sampling frequency in use.
Sample Frequency
Maximum Amount of Delay Available (per input)
32, 44.1, 48, 48.048 kHz
30,000 µS
88.2, 96, 96.096 kHz
15,000 µS
176.4, 192 kHz
7,500 µS
Input delay can be useful for time-aligning input signals from differing sources. For example, digital
wireless mics that have a processing delay in their outputs. In addition, all digital conversion stages
have delay.
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Input-to-Track Routing
Input-to-Track Routing
The 722 uses a flexible routing scheme to assign inputs and tracks for recording. The input matrix
allows any input to be routed to any recording track. Multiple inputs can be routed to a single track
to create mono-mixed recordings.
The 2-by-2 blue LED matrix makes it easy to view the set routing. A solid blue LED indicates an
input is assigned to a record track.
inputs can be routed
to tracks in any of
sixteen possible
combinations
Routing
Hold down the STOP key then press the
key to cycle through the four preset input-to-track
routing combinations. These presets are factory set and cannot be changed. The last preset selection
brings up the Custom Route option. Press the EDIT soft key to enter the custom routing menu. Custom routing allows any input to be assigned to any record track. In the menu, highlighted input and
track combination are displayed in white text. The two inputs are shown on the left; the two record
tracks are shown on the right.
To assign custom input routing:
1.
Press the
input key until Input Routing is displayed in the LCD display.
arrow indicates highlighted input is assigned
to highlighted track
select to exit menu and
apply selected routing
selet to move up
and down menu
select to remove
input assignment
2.
Press the EDIT soft button (
3.
Using either the Multi-Function Controller or the up and down arrows, navigate to desired input-totrack combinations.
4.
When a chosen pairing is highlighted press either the ASSIGN soft key or the Multi-Function Controller
to assign the combination. Assigned tracks are noted on the screen by the addition of an arrow pointing
to the record track. The LED routing matrix will also show a flashing blue LED for the currently selected
input-to-track combination.
5.
Once a track is assigned move to the next input-to-track combination desired.
6.
To remove an input-to-track combination assignment, navigate that combination and press the
UNASSIGN soft key.
7.
Exit and complete the assignment by pressing the check mark soft key.
) and scroll to the appropriate input screen.
The input routing menu will always exit to the main screen whether entered from the input key or the
menu selection.
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722 User Guide and Technical Information
Selective Input Muting
When the INPUT key is pressed, individual input muting is available. This feature can be used to
quickly mute microphones while maintaining their respective track assignments.
Indicates that an input is
available for routing.
No indication here shows
that an input is muted.
A solidly lit input Peak LED indicates that an input is muted.
A solid illuminated
Peak LED indicates
that an input is muted
Mono- and polyphonic files behave differently when selective muting is applied. When monophonic
files are selected, files from tracks A and B are named with the suffix “_1 and _2” respectively. If, for
instance, track A is muted but trackB is still selected, the resulting file will be named with the suffix
“_2” and track A will not be recorded, saving storage space.
When polyphonic file type is selected in the same scenario as above with track A muted, the resulting data file will be a two-track file with track A being a blank track. Blank tracks in polyphonic files
take up the same amout of storage space as tracks that are assigned.
Sampling Rate and Bit Depth
When recording to WAV (or BWF files) the 722 generates uncompressed, PCM audio files at the userselected sampling rate and bit depth. The 722 LCD calculates available recording time based on the
sampling rate, bit depth, number of tracks set for recording and the selected storage media available
capacity. See the Calculating Recording Time later in this guide to estimate record time.
Sampling Rate
When a sampling rate is selected for recording, all tracks are recorded at the selected sampling
rate. Sampling rates are selected among common rates from 32 kHz to 192 kHz. Additionally,
non-standard sampling rates can be applied when the 722 is word clocked from an external source
(clock sources between 32 kHz and 192 kHz). When recording off-speed sampling rates files will be
stamped with the rate closest to an internally generated frequency.
Sampling Frequency = Available Audio Bandwidth
The sampling frequency is expressed in samples per second (in hertz) and defines the number of
times in a second that the analog audio signal has been measured. Sampling frequency determines
the audio bandwidth, or frequency response, that can be represented by the digital signal. A quick
estimate of the maximum bandwidth capable of being represented at a given sampling rate is maximum analog frequency = sampling frequency/2. Higher sampling frequencies allow for wider audio
bandwidth.
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Outputs - Analog and Digital
The 722 generates the following sampling rates:
•
•
•
•
•
•
32 kHz
44.1 kHz
48 kHz
48.048 kHz
48.048F -file stamped at 48 kHz
88.2 kHz
•
•
•
•
•
96 kHz
96.096 kHz
96.096F - file stamped at 96 kHz
176.4 kHz
192 kHz
Bit Depths
The 722 records at bit depths of either 16 or 24 bit. 24 bit recording provides greater dynamic range
and addition headroom for signal peaks relative to 16 bit recordings. 24 bit recording (versus 16 bit)
is a significant benefit for field production audio tracks.
Bit Depth = Available Dynamic Range
Bit depth defines the digital “word length” used to represent a given sample. Bit depth correlates
to the maximum dynamic range that can be represented by the digital signal. Larger bit depths
accomodate more dynamic range. A quick estimate of maximum dynamic range capable of being
represented by a given word length is dynamic range ~= no. of bits x 6 dB. Bit depth is an exponential measure (exponent of 2), so as bit depth increases, the amount of data it represents increases
exponentially. The majority of field recording is done with 16-bit audio, therefore, each sample is represented by a digital word of 2^16 (65,536) possible values. 24-bit audio has a word length of 2^24
(16.7 million) possible values per sample.
The 722 has 24 bit analog-to-digital converters. To obtain 16 bit recording the 722 can be set to dither
24 bit digital signals to 16 bit. The 722 uses a proprietary pseudo-random dither routine for accurate
bit rate reduction. Dither can be defeated in the user menu. Without dither, 24 bit audio is truncated
to 16 bit, meaning the least significant 8 bits are discarded.
Once a file is recorded its sampling rate and bit depth can not be changed in the recorder. The 722 does
not perform sample rate conversion or bit depth changes. File conversion must be done in another environment, such as an audio workstation. Alternatively, a real-time analog transfer is often performed
instead of sample rate conversion.
Word Clock
Stable word clock is fundamental to high quality a digital audio signal. The 722 uses a highly-stable
crystal to generate its internal word clock frequencies. The 722 can clock external devices from its
word clock and accept external clock sources for recording.
The 722 disregards external clock, both AES and word clock, during playback.
Clock Master
When sending digital audio to several devices, one unit is designated as the word clock master and
the others as slaves. Generally, the device with the analog-to-digital converter is designated as the
word clock master.
The 722 can function as an A/D converter and can be used as the master word clock source. Slaved
devices will derive their word clock timing from either their digital audio inputs, S/PDIF or AES/
EBU, or through their word clock input connection. As a word clock master the 722 generates word
clock whether or not audio is sent.
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722 User Guide and Technical Information
Clock Slave
When using an external digital preamplifier connected to the 722 inputs, the recorder can derive its
clock signal from the AES (S/PDIF) stream (it will slave to the external device), or the external device
can be slaved from the 722 (if the external device has word clock input or accepts clock from the
722’s digital output). If, for example, you are using a wireless receiver with a digital output, it may
not have an external word clock input, and will be the word clock master.
If digital audio is connected to the 722 from more than one digital device, you must word clock the
sources to the same clock, otherwise variations between the sources will render their signals unusable.
If the 722 is slaved to external word clock, be certain that the source is stable. Loss of the word clock
signal during recording can cause the 722 to revert back to its internally set sampling frequency. If
this occurs, the portion of the file recorded after the loss of word clock may not play back at the proper speed. For reliability, set the 722 to the same sample frequency as the word clock source. Loss of
the word clock signal in this case will likely cause a glitch in the file, but the file may still be usable.
C. Link – Multi-Unit Linking
The proprietary C. Link (control link) connection allows multiple 722, 702, 702T, and 744T recorders
to be connected and clocked together. When linked, the 722 units have a master/slave relationship.
When the master recorder enteres record, the slave unit will roll, as well. Multiple units can be daisychained together to record many tracks. The C. Link protocol links carries the following data:
• word clock
• time code information (744T, 702T only)
• RS-232 machine transport data
master
unit
slave
unit
slave
unit
To link units:
1.
Connect multiple units as shown in the illustration.
2.
Set all linked recorders to the same sample rate, bit depth, file format, and time code frame rate (for
744T units used). This will ensure that all files generated are compatible.
3.
Set scene and take numbers on all linked recorders to the same starting file name. There is no file name
synchronization with multiple unit linking.
When linked, record start and stop on slave units will not affect units “above” it in the linked chain.
This makes it possible for units to get out of synchronization if a unit other than the master is set to
record or stop. Using the master unit will assure that all machines begin and end recording together.
The C. Link jack is a proprietary RS-232 port. Under no circumstances should analog or digital telephone
lines be connected to either jack. Serious damage could result.
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Metering
Outputs – Analog and Digital
The 722 has two discrete output buses, the Analog Output Bus (Bus 1) and the Digital Output Bus
(Bus 2). Each side (left and right) of the two-channel buses are assigned their audio sources independently, enabling the 722 to feed multiple audio devices with unique program content.
The chart below shows the audio sources available for the analog and digital output buses. The audio source for each output is selected in the setup menu.
Available Output Sources
Description
Inputs are assignable for each channel of the output bus.
Input 1
Input 2
When inputs are selected as the source for the outputs, the state of recording or
playback activity has no effect on the output signal. This allow uninterrupted input
audio at the output.
Track A
Track B
Track assignments and playback audio.
Input 1,2
Multiple inputs are summed with these selections.
Track A,B
Multiple track assignments are summed with these selections.
Analog Output Bus
Audio signals routed to the Analog Output Bus (Bus 1) are sent to three output connections:
• analog line out, TA3 x 2, two-channel
• analog tape out, 3.5 mm TRS, two-channel
Analog Line Out L, R
The analog line outputs are active-balanced line-level signals on Switchcraft TA3M locking connectors. The output level is a nominally 0 dBu at −20 dBFS. The level of the line output can be attenuated
in the setup menu by up to 40 dB in 1 dB increments. Attenuation is done as an output pair.
Analog Tape Output
The tape output connection is stereo, unbalanced consumer output level (–10 dBV) on a TRS 3.5 mm
connector. Output attenuation affects this output level.
Digital Output Bus
Just as with the Analog Output Bus, the Digital Output Bus (Bus 2) can be assigned signal sources
from inputs or tracks. Sources assigned to the Digital Output Bus are exclusive and do not affect the
assignments to the Analog Output Bus or headphone assignments. The same signal sources available
for the Analog Output Bus are available for Digital Output Bus (see chart above).
The Digital Output Bus appears solely on the AES3id BNC output connector. The unbalanced
AES3id output is directly compatible with most S/PDIF inputs.
The format for the AES3id output is selectable between professional AES and SPDIF. In either case
the SCMS bit is not set.
The maximum output level is 0 dBFS and can be attenuated in the setup menu in 1 dB increments by
40 dB.
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722 User Guide and Technical Information
Headphone Output
The 722 headphone output is a flexible tool for monitoring audio in the field. The 722 allows the user
to monitor inputs, tracks, and post-record tracks in a number of combinations. MS stereo monitoring
is also available in headphones.
The headphone output is independent of the Master Output Bus and the Output Bus 2—audio
sources can be routed to headphones independent of routing assignments to output buses.
The 722 is capable of driving headphones to extremely high sound pressure levels. Hearing experts advise
against exposure to high sound pressure levels for extended periods.
Selecting Headphone Sources
The headphone source display on the main LCD screen (
) shows the audio sources sent to
headphones. The 722 comes from the factory with several preset headphone audio source selections
available on the Rotary Switch. These selections include inputs, tracks and track monitors. Turn the
Rotary Switch to select among the available headphone monitoring sources.
Track Monitoring While Recording (Confidence Monitoring)
The 722 can monitor actual recorded audio written to the internal hard drive or CompactFlash during recording. This is commonly referred to as “confidence monitoring”. To monitor recorded tracks,
during recording select one of the track monitor modes. Because of the record buffering topology
of the 722, a delay of up to 12 seconds can be expected before recorded audio appears at the output.
The 722 will play back recorded audio from the media highlighted on the LCD panel (see File Management and Copying for more information on selecting and highlighting storage medium).
Setting Headphone Source Options
In addition to the 5 preset headphone routings, a total of 20 available “slots” can be filled in a user
defined order. Headphone monitoring sources are selected from combinations of inputs, tracks, and
post-record tracks, including stereo and MS decoding. The order of headphone selections is user-selectable. Available sources for headphone monitoring include:
HP Sources
Description
Inputs 1,2
Stereo monitoring of input pairs. Input 1 is assigned to left headphone output; input 2 is
assigned to right headphone output.
Tracks A,B
Stereo monitoring of track pairs. Track 1 is assigned to left headphone output; track 2 is
assigned to right headphone output. Upon playback, will play as track monitor.
Monitor A,B
Stereo monitoring of playback (post-record) track pairs. Track 1 is assigned to left headphone output; track 2 is assigned to right headphone output.
When using the recorded track monitor selection, there is a sample rate dependent
delay in the signal. At 48 kHz sampling, the delay is approximately 12 seconds. This
delay is due to the record buffering topology. Audio can not be monitored until it has
left the record buffer and written to the recording media.
22
Input 1, 1
Input 2, 2
Solo monitoring of selected input. This signal is sent to both sides of the headphones.
Track A, A
Track B, B
Solo monitoring of selected track. This signal is sent to both sides of the headphones.
Upon playback, will play as track monitor.
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Sample Rate and Bit Depth
HP Sources
Description
Monitor A, A
Monitor B, B
Solo monitoring of playback (post-record) track. Highlighted media is source of monitor program. This signal is sent to both sides of the headphones. When not in playback,
headphones have no program.
Inputs 1, 2 (MS)
Stereo monitoring of discrete M (mid) and S (side) input pairs. Highlighted media is source
of monitor program.
Tracks A, B (MS)
Stereo monitoring of discrete M (mid) and S (side) track pairs. Highlighted media is source
of monitor program. Upon playback will function as MS track monitor.
Monitor A,B (MS)
Stereo monitoring of playback (post-record) discrete M (mid) and S (side) track pairs.
Highlighted media is source of monitor program. When not in playback, headphones have
no program.
Inputs 1+2, 1+2
Summed inputs appear in each ear for summed mono monitoring of both inputs.
Tracks A+B, A+B
Summed tracks appear in each ear forsummed mono monitoring of both tracks.
When tracks (A or B) are monitored in headphones, audio assigned to the tracks is heard in headphones
during recording. During playback the recorded track audio is heard in headphones.
To set the available headphone source options for headphone monitoring enter the HP: Monitor
modes menu. Once you enter the Monitor Modes menu you will immediately be in slot-1. Rotate the
Multi-Function Controller to select the source you wish to appear first in your Headphone monitor list. Once the chosen source appears, press the Multi-Function Controller or the soft key ENTER
(tone) key to move to the next slot. Continue down the list to select the source for each slot in the list.
Once all sources have been chosen, press (done). This will exit the headphone monitor mode setup.
You can exit the selection process by pressing the stop or cancel (backlight) key at any time.
If DONE is pressed in the first headphone slot, the 722 will select a single option (Tracks A, B) for headphone monitoring. The 10 factory presets will be erased.
MS Stereo Monitoring
The MS stereo mode decodes discrete Mid-Side stereo signals to a left/right stereo signal for monitoring purposes. This allows for a proper stereo signal to be monitored in the field while discrete
M and S signals are recorded for later post production. For the MS decoder to operate properly, the
Mid signal is connected to input 1 and the Side signal is connected to input 2. The amount of stereo
“spread” is fixed to a 50/50 percentage from Mid to Side signal.
If MS is selected for input linking, do not use MS stereo monitoring. This would result in two MS decoders being inserted in the signal path. The resulting audio in the headphones would be the discrete M and
S signals!
Rotary Switch Behavior
The action of the Rotary Switch during recording and playback is set from among the three available
options:
• Disabled: pushing the Rotary Switch has no effect.
• Selects Favorite Mode: places the headphone source into the mode selected in the HP Favorite
menu.
• Playback/Monitor Drive Select: pushing the Rotary Switch toggles between CompactFlash
and hard drive for playback and monitoring while recording.
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722 User Guide and Technical Information
Headphone Favorite Selection
If “Selects Favorite Mode” is selected from the choices above, pushing the Rotary Switch
selects the assigned “Headphone Favorite” source. This feature is helpful to quickly return to a selected headphone monitoring selection while recording or playing. One of the available headphone
selection can be selected as the headphone favorite.
Headphone Playback Mode
The user may select a headphone source for automatic selection upon playback. All headphone
source selections are available for Headphone Playback Mode, as well as “No Change”, which leaves
the headphone source set to the currently selected mode. Headphone Playback Mode is controlled in
setup menu #61.
Headphone Warning Tones
Warning Tones
The 722 can generate an audible beep, or warning “bell”, in the headphones when an error has occurred. The specific error will be reported on the LCD. The output level of the warning bell is menuselectable from off to –12 dBFS in the setup menu.
Recording Start and Stop Tones
If activated from the setup menu the start of recording can be indicated audibly by a single, 440 Hz
tone sent solely to headphones. When recording is stopped, two 220 Hz tones play in headphones.
Low Battery Warning
When either the attached battery or external power supply voltage reaches their low warning levels
(6.5 V for the attached Li-ion, 11.0 V or user-selectable for external) warning tones are played in
headphones. The warning tone is a three pop note of 880 Hz every 20 seconds.
If all warning tones are turned off, no tones are sent to headphones, including low battery warning
tones.
Metering and Display
The 722 features a 38-segment LED (2 x 19) signal level meter. The DSP-controlled meter provides
a selection of ballistics and lighting intensities. In addition, peak indicators on input channels show
overload activity.
Output Meter
0 dBFS track LEDs are programmable
as peak LEDs
(0 dBFS to −20 dBFS)
The meter uses energy efficient LEDs viewable in full sunlight. The 722 output meter is unaffected
by shock or extremes in temperature and humidity. Meter ballistics are setup menu selectable among
VU, Peak, Peak-Hold, VU + Peak and VU + PeakHold.
The meter uses a compound metering scale which increases meter resolution in the most important
part of the scale. From −50 to −40 dBFS, each LED segment equals approximately 10 dB. From −40 to
−12 dBFS, each segment equals 2 dB. From −12 to 0 dBFS each segment equals 4 dB.
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Audio File Formats
Meter Ballistics
The output meter can be set to display any of five types of meter ballistics: VU, Peak, Peak-hold,
a combination of VU and Peak, and a combination of VU with Peak-hold. The meter ballistics are
selected in the setup menu.
VU - (Volume Units)
Ballistics correspond closely to how the human ear perceives loudness and provides a good visual
indication of how loud a signal will be. In VU mode, the attack and decay of the meter signal is
300 mS. While giving a very good visual indication of perceived loudness, VU meters gives poor
information on actual signal peaks and are virtually useless for tracking to the 722. In VU mode, the
front panel meter labeling is in volume units.
Peak
Peak-reading ballistics correspond to actual signal maximums, but don’t necessarily correspond to
perceived signal loudness. A peak meter has a near-instantaneous attack to display maximum signal
amplitude and a slow decay to allow the user to see them. Peak metering is essential for digital recording, since signal overload can cause immediate distortion. The peak meters front panel markings
are calibrated in dBFS, decibels relative to full-scale digital signal.
Peak Hold
Essentially the same as Peak metering where the peak level indication will hold for the peak level
indication for several seconds. Peak-hold indicators are useful for metering in applications when an
overload condition is unacceptable.
Peak/VU
The meter can simultaneously display VU and Peak level information. In this mode the perceived
loudness (VU) is displayed on a bar graph, and the Peak signal on a dot above the VU. With this
combination the user gets the best of both VU and Peak metering by seeing both the “loudness” of
the signal and the peaks at the same time. Peak/VU is the factory default.
Peak Hold/VU
Similar to VU/Peak mode, this mode holds the peak level indication for several seconds before
releasing. Peak Hold indicators are useful for metering in applications when an overload condition is
unacceptable.
Peak LEDs
input peak LEDs
input signal present LEDs
headphone peak LED
In addition to the main LED output meter, peak LEDs show input peaks, track peaks, and headphone peaks.
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722 User Guide and Technical Information
Input Peak
The 722 has a peak LED associated with each input. These LEDs illuminate when input signal
reaches –3 dBFS. There is no user-adjustment to the Input Peak LEDs. These LED’s also function as
indicators of input mute activity (see Input-to-Track Routing).
Track Peak
The 0 dBFS LED on each track can also function as a track peak indicator. The user can select a signal
threshold above which the 0 dB LED will flash.
Headphone Peak
Like the channel peak LEDs, the headphone circuit has an indicator for peak overload. This LED is
useful, since headphones can often overload before the recorder overloads. Monitoring without a
visual indication of headphone clipping may mislead the operator into thinking that the output or
return tracks are distorting.
Tone Oscillator
The tone oscillator level and frequency are user selectable. Tone level is adjustable over a range of
−40 to 0 dBFS. Tone frequency is adjustable from 100 to 10,000 Hz. Standard tone levels vary according to the practices and needs of production and post-production, but are generally in the –20 to −12
dBFS range.
The tone oscillator is activated by pressing the front panel
key. Tone will active only while the
tone key is pressed. Tone is routed where specified in the setup menu. Routing choices include: outputs, outputs and tracks, tracks only, or no tone routing (disabled). Tone can only be recorded to the
head of an audio file. To record tone, press the tone key and continue to hold it down while starting
to record. Subsequent presses of the tone key are locked out to prevent tone from inadvertently being
recorded.
LCD Contrast & Backlight, LED Brightness
LCD contrast is setup menu controlled. From the factory the contrast is set to 50%, suitable for most
viewing conditions. Contrast can be increased or decreased.
The front panel
key toggles the LCD and key backlight. Backlighting is suitable in low or no
ambient light situations.
LED brightness is continuously adjustable from low to high. Hold down the
key, then turn the
Rotary Controller to change brightness levels. The brightness of all LED’s is adjusted. In stealth
mode (setup menu selected) the LEDs are toggled on and off with the LCD backlight key.
Record Indication
The position of the A-time numbers and time code numbers can be exchanged in the setup menu.
When Big time code is selected in the menu the time code is displayed in the main numeric display. If time code is turned off A-time is shown as large numbers, even with Big time code set.
To provide for additional visual indication that recording is in process the big numerals can be set to
reverse contrast or to flash during record. This is menu-selected.
744T display shown
reversed numbers indicating that recording is active
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Storage Medium
Audio File Formats
The 722 records audio to industry-standard file formats—Windows Wave (WAV monaural or polyphonic) and MPEG Layer 3 (MP3). The 722 can write only one file type at a time, either WAV or MP3.
There is no provision to write different formats to different recording mediums.
WAV
The 722 adheres to Windows standard WAV audio file specification. The filename extension is .WAV.
The WAV files created by the 722 contain production information in its file header data chunk.
Among the values recorded are:
•
•
•
•
date and time of the original recording
bit depth
sample rate
number of tracks
All of the information contained in this chunk is available for post-production.
MP3 Files
The 744T can play back MPEG-1 Layer III (MP3) audio files. The 744T has a high-quality MP3 decoder that can play back both fixed-rate and variable bit rate MP3 files with 44.1 or 48 kHz sampling
rates. Additionally, the 744T can play back MPEG-1 Layer II audio files with an .MP2 extension. The
Absolute Time (A-Time) of the file will appear in the file viewer and during playback on the front
panel. MP3 playback is very useful on-set to play a personal MP3 audio library during downtime.
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722 User Guide and Technical Information
Recording
The user interface of the product has been designed similar to a “tape recorder”. Recording and playback functions are quite similar to that of tape-based machines. The flexibility of filed-based recording provides control not possible with tape-based recorders.
Recording
The largest, most easily accessed control on the 722 is the record key. Recording takes
priority over all activity except for disk formatting, disk speed tests, and file transfers. The 722 will
immediately enter record mode whenever the record key is pressed. When recording, the adjacent
red LED will illuminate to indicate that the unit is in record mode.
If no inputs are routed to tracks or if no mdium is selected for recording, recording cannot take place.
Make certain that at least one record track is assigned for recording.
While recording, the power, ff, rew, input, tone, and drive keys are disabled. Recording is stopped by
pressing and holding the STOP key. The Stop key must be held for 150 ms or greater to end recording. Although the setup menu can be viewed during recording, menu items affecting recording are
lined out in the menu list.
During recording, subsequent presses of the record key can perform one of three setup-menu-selected actions:
• no action,
• new cue - cue markers are set within the file being written,
• new file - a new file is started with each press of the record key, the take counter is increased by
one.
When removing the CF from the 722, always observe the amber CF activity LED. If it is lit, wait until it
goes out before removing the CF. If you remove the CF while the LED is lit, the file will be corrupted and
there is a possibility of FAT corruption as well.
Pre-Record Buffer
To prevent missing record cues or up-cutting takes the 722 has an available pre-record (or pre-roll)
buffer. When active, pre-record begins recording at a set number of seconds PRECEEDING the record key being pressed. The amount of pre-record is sample-rate-dependent. At 48 kHz, ten seconds
of buffered audio is available. At a 96 kHz sampling rate five seconds is available. At very high rates
(192 kHz) two seconds of pre-record buffer is available.
Failure During Recording
In the event of a recording media failure the error will be indicated on the front panel and by a tone
in headphones. Possible causes of media failure include a hard drive is in severe motion which
results in recording errors, or a the Compact Flash card filling up while recording. If both hard drive
and CF are selected for recording, recording will continue on the medium without the failure.
Front Panel Lockout
See Panel Lock on page 8 to engage panel lock during recording.
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Storage Medium
Playback
The 722 has high-resolution playback circuitry and is appropriate for any reference audio application. Any file recorded by the 722 can be played back, including MP3 file playback. In addition, files
copied to the storage medium from a computer can be played back. This is useful when using the
722 as a high-resolution playback device.
The 722 plays back the last recorded audio file unless another file is selected. There are two ways
to select another file for playback. To select another file in the current record directory, push either
the FastForward or reverse key to put the 722 in to play-stop mode. The filename display will begin
flashing and the FastForward and Reverse keys are used to step through files available in the current
record directory. To select a file in an alternate directory, press the HDD key to enter the media directories. Navigate to the appropriate directory. Select the file that to play back with the Rotary Switch
and press play.
If the stop key is pressed while playing files from an alternate directory, the 722 will revert to the current daily directory.
AutoPlay
The 722 can be set to play back all (playable) audio files in a directory. Files will play back in their
order in the directory. Autoplay can be set with the following options:
•
•
•
•
Disabled – auto playback is off
Play all – all files in the directory will play, then stop when all files have been played
Repeat one – the selected file will play back, then continue until
Repeat all – all files in the directory will play in succession, then repeat until stopped by the
user
File Naming / Numbering
Files generated by the 722 are named using a syntax made up of four parts: scene number, take number, mono track designator (if mono file is selected), and extension.
scene
number
take
number
mono
file
designator
extension
Scene Name/Number
Scene names are made with alphanumeric characters, including “ _” and “-” can can be any length
between zero (0) and nine (9) characters in length. Scene numbers are helpful to match audio with
the corresponding scene in a production. Scene names can also be used to identify other items, including recording date, artist name, or any other descriptor as required.
Scene names are user-selected in the setup menu and do not change until changed by the user.
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722 User Guide and Technical Information
To change scene numbers:
1.
Enter the user menu and navigate to the Scene Name/Number option.
2.
Use the REW (<<) and FF (>>) soft keys to move among characters. Use the PLAY key to delete characters. Characters are entered from left to right and deleted from right to left.
3.
Use the Rotary Switch or the soft key arrows to choose characters. Press the Controller or hit the fastforward key to save the character and move to the next position.
4.
To save the scene name, press the soft check key or the Controller without selecting a character. After
the ninth character is entered, the scene name is automatically saved.
If all characters are removed, no scene name will be written to files. If Scene Folder is selected for file
management, all takes will be placed in the root of the drive.
Take Numbers
Take numbers are integers between 01 and 32000, with or without preceding zeros, which increase
by one each time a new file is recorded. Take numbers can be set with or without a take separator,
such as the character “-” or “T”. Take numbers can be overridden and a new take number can be set
in the setup menu. If the 722 detects a file with a duplicate name in the destination folder, a letter
suffix, starting with “A” is added to the file name, before the extension. Note that take number handling can be selected to reset if set in the setup menu (see File Management and Copying).
To change take numbers:
1.
Enter the user menu and navigate to the Take Name/Number option.
2.
Use the REW (<) and FF (>) soft keys to move among decimal places and to jump to the single alphanumeric take spacer character. Use the PLAY key to reset the take number to 1. Characters are entered
from left to right and deleted from right to left.
3.
The Multi-Function Controller or the soft keys are used to choose characters/numbers. Press the Controller or hit the soft check key to save the character and move to the next position.
From the user menu the action for take resetting is controlled from the following options:
•
•
•
•
30
Never – take numbers do not reset
When scene is changed – take resets when scene name is changed
When daily folder is changed – takes reset on new day
Either scene or daily– takes reset on either change
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
File Naming/Numbering
Mono Track Name Designators
When recording monophonic WAV files each track is recorded in a separate data file. To identify
each track, each file is identified by an underscore and track number suffix. The file of the first track
recorded has “_1” appended to it. Numbers don’t necessarily correspond to specific tracks, only to
the number of tracks recorded. For instance, if track B is the only track recorded, it’s designator will
still be _1.
Duplicate File Names
When the 722 detects that a duplicate file name is going to be generated in any specific folder, the 722
changes the file name by adding of a letter suffix before the extension. For instance, if take numbers
are reset but files are recorded to the same directory as previous files, a suffix “A” is added to the file.
If additional duplicate files are generated the letter suffix increments, to B, C, etc.
File Management and Copying
The 722, like a computer, writes its audio recordings to a file system. The 7-Series recorders use a
FAT32 file system. The 722 formats its internal hard drive and Compact Flash medium as single volumes named “722”. All files generated by the 722 can either be sent to a Daily Folder, a Scene Folder,
or no folder at all. If Daily Folders are selected, the 722 will generate a new folder, named by date,
each day upon power-up. If Scene Folders are selected, the 722 will generate a folder with the name
of the scene that you entered in the menu item REC: Scene Name/Number. Otherwise all recorded
files will not appear in a folder, but amongst your other folders.
A hierarchical view of files generated by the 722 is below. Notice the folders FALSETAKES, SOUNDDEV, and TRASH are default folders.
702
FALSETAKES
456C
.. 456CT0001.WAV
.. 456CT0002.WAV
SOUNDDEV
TRASH
Y06M06D01
.. S001T0001.WAV
.. S001T0002.WAV
.. S001T0003.WAV
Y06M06D02
.. S001T0004.WAV
.. S001T0005.WAV
Y06M06D03
.. S003T0001.WAV
.. S003T0002.WAV
123BT0001.WAV
123BT0002.WAV
The FALSETAKES folder is a default folder.
This folder appears when the Scene Folder is selected from the
Folder Options Menu.
The SOUNDDEV folder is a default folder.
The TRASH folder is a default folder.
These folders appear when the Daily Folder is selected from the
Folder Options Menu.
Files are placed like this if No Folder is selected from the
Folder Options Menu.
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722 User Guide and Technical Information
File Finder Navigation
Moving from file to file is similar to navigating among files on a computer.
1.
Enter the file menu by either selecting File:View Files file in the setup menu or by pressing the front
panel HDD key. By default the current record folder is opened.
2.
To move up the hierarchy scroll up to the top of the menu to “\..” .
3.
Press enter or the Multi-Function Controller button to go up one menu level.
4.
From the root menu, selecting \.. opens the media select screen.
5.
Continuing up the file hierarchy the media menu is viewable. Select either internal hard drive or CF (if
installed) and drill down through the directories of that medium to the file required.
Larger files take added time to show details; this is normal.
File Directory Screen
The file directory screen contains information about the individual audio files contained in the directory. The left side of the display shows files and folders. The top line displays the directory path in
the form of media\folder name. File names are listed in the order they were recorded.
Data files not native to the 722 will not show in the file directory view, although folders that they occupy
will be visible.
File detail is shown at the right side of the display. The center divider points to the file selected for
information viewing. Information shown includes:
• file creation date, file archive bit status, checked means the file archive bit is set, clear means
the file archive bit is cleared
• file creation time, file size
• number of tracks, bit depth, sample rate
• The length (LEN) of the file
The file directories always exit to the main screen whether entered via the menus or the HDD key.
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File Management
Setting/Clearing Flag Bits
Pressing the tone key in the file directory display opens the “Set or Clear Flag Bit” screen.
The options for setting or clearing flag bits include: set or clear the selected file, set or clear all the
files in the current folder, or set or clear all files on the volume.
All files created by the 722 have their archive bit set to on.
Automatic Flag Clearing
The 722 can be set to clear the flag bit of copied files automatically. When enabled in the
File: Copy Flag Reset menu, all files copied internally by the 722, but not via FireWire, will have
their flag bits cleared on the original file.
Folder Actions
Files generated by the 722 are placed in the root 722 folder, a “daily” sub-folder, or a Scene sub-folder. Options are chosen in the setup menu FILE: FOLDER OPTIONS from the following:
• No folder - all files are placed in a root of the card. This is appropriate for non-sync files such
as wild sounds, effects, etc. Note that if a great many files are generated, this filing action can
become cumbersome to manage and navigate.
• Daily folder - a new sub-folder is generated each calendar day. All files recorded on that day
are placed within it. The daily folder is made based on the onboard clock and used the syntax
of “YxxMxxDxx, where Y is year, M is month, and D is day. Make certain that the 722 time-ofday clock and date are properly set.
• Scene Folders - a new sub-folder is generated each time the scene name changes. All files with
a specific scene name will be place in its cooresponding scene folder.
File Time and Date
Similar to a computer file system, all files recorded by the 722 are stamped with the time and date of
file generation. To ensure that accurate time-of-day and file generation dates are written for each file,
make certain that the time-of-day clock and calendar are accurately set.
1.
Enter the TIME/DATE: Set menu.
2.
Set the current time and date using the navigation below.
soft keys increment
and decrement
time and date,
controller can be
turned, as well
advances to the
next selection
returns to the
previous setting
Once set, the time and date clock will be kept while the removable rechargeable battery is attached.
If it is removed the internal AA NiMH time-of-day battery maintains the date for up to 5 days.
File Size Maximum
The 722 data volumes (internal hard drive and CF) are formatted and write to FAT32 file structures.
This structure allows these drives to directly mount in a wide variety of computer platforms, includ-
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722 User Guide and Technical Information
ing Windows, Mac OS, and Linux. Using the FireWire connection both internal drives (internal hard
drive and CF) appear as external FAT32 volumes.
Windows XP has a limitation on FAT32 drive formatting; XP can format a FAT32 volume to a maximum
of 32 GB, however it can read FAT32 volumes as large as 2 TB.
FAT32 has a maximum file size limitation of 4 GB. While it is possible to have thousands of files on
the 722 medium(s), the largest any single file may be is 4 GB. The 722 automatically splits an audio
file before the 4 GB size is reached and begins writing to a new file. When joined in an editing program, these files match seamlessly with no samples lost. The 722 has menu-selectable file size maximums of 650 MB, 1 GB, 2 GB, and 4 GB. The 650 MB size allows the user to break an audio program
into CD-R sized files for backup to inexpensive CD-R medium.
File Copying – Between Internal Drives
Audio files are easily transferred between CF and the 722’s hard drive. File transfer is initiated with
the setup menu option File:Copy File.
The Copy File menu has four options for each media type:
Copy All [Media] > [Media]:
Copies all files from one media to the other.
Last 24Hr [Media] > [Media]:
Copies files created in the last 24 hours between media.
Last 48Hr [Media] > [Media]:
Copies files created in the last 48 hours between media.
Flagged [Media] > [Media]:
Copies all files with their archive bit set between.
Once file copying has begun, the 722 searches the source media for the selected files. The 722 will
then search the destination drive looking for duplicate file names. The LCD will report the number
of files found, the number of duplicates found and the net number of files to be copied and prompt
to continue.
Pressing the enter key or controller button begins copying. The LCD will report progress of the file
being copied and the number of files remaining to be copied. When file copy is complete, the 722 will
report the number of files successfully copies and show a progress bar showing the percentage of
files successfully copied.
Error Conditions:
If a file is to large for the destination medium, the 722 will give you the option to skip the it or cancel
copying. If an error occurs during file copying, the 722 will prompt to cancel the transfer. When the
destination medium is full, the 722 will report the error and end the transfer.
File Deletion
Any file or folder on either internal hard drive or Compact Flash can be deleted. Permanently deleting files is a two-step process. Similar to Mac OS and Windows operating systems, the 7-Series uses a
“trash” folder to temporarily hold files which have been deleted. To send a file to the trash, perform
the following:
34
1.
Press the
2.
Navigate to the file to be deleted.
3.
Press the soft key marked OPTIONS.
4.
Select DELETE.
firmware v. 1.74
HDD button to enter the File Viewer.
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
File Management
5.
You will be prompted to verify file deletion.
The file has now been moved to the trash folder and will no longer appear in the file listing. It will,
however, appear in the trash folder. Files sent the trash folder can be viewed and played.
If a file or folder has accidentally been sent to the trash the drive can be mounted to a computer via
FireWire and moved back to its original folder. Files and folders moved to the trash cannot be removed
from the trash from the 7-Series recorder.
False Take Control
To identify a take as a false take, perform the following:
1.
Press stop
to end recording.
2.
Hold down the stop key and press rewind to be prompted to delete the most recent take.
3.
Press the soft check box to delete the take.
Files that have been deleted as false takes are moved to the FALSETAKES folder. This folder sits in
the drive root. For 722 and 744T users recording to internal hard drive and Compact Flash, files from
both media will be moved to each media’s FALSETAKES folder.
False takes will remain on the drive until the FALSETAKES folder is deleted (see Emptying the Trash
and False Take Folders above).
Emptying the Trash and False Take Folders
Files that have been moved to the trash and false take folders (see below) can be permanently deleted from the recorder. Each drive has its own Trash and False Take folders and they are permantly
deleted independently.
Once the trash and False Take folders have been emptied, any files or folders they contain are permanently
deleted and cannot be recovered.
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722 User Guide and Technical Information
Take Number Incrementing
To advance to a higher take number hold the STOP button and press FastForward. The file name to
be recorded is indicated above the file time.
Indicates
active take
Indicates next
upcoming take
Take List
The take list shows a sequential listing of the last 200 recorded file, without regard to what folder
they have been recorded in. The first file in the list, marked with an * indicates the file name of the
next recorded take. Subsequent takes are listed in the order of recording from the 7-Series. Only files
recorded on the unit will appear in the take list, unlike in the File Viewer, where all valid sound files
are shown.
From the take list several controls are available. Take Number Incrementing is available, as well as
False Take deletion. Soft keys move among take numbers.
Circle Take
Take names can be altered to include the “@” symbol preceding the file name. This can be used to
highlight a take as a “circle take”. Circle takes are often used to identify good takes for transferring.
To identify a circle take, perform the following steps:
36
1.
Press stop to end recording.
2.
Hold the stop button down, then press PLAY to enter the Take List
3.
Scroll among files to highlight the file as a circle take.
4.
Hit the circle take soft button (play).
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Firmware
The file name will be altered. To remove the circle take indicate hightlight the circled file as you would
to circle it and select “uncircle”.
File Transfer – FireWire
FireWire port
FireWire cable - 744T (shown) to computer
Software revision 1.xx does not support drive mirroring to external FireWire volumes.
The 722’s FireWire (IEEE-1394) port makes transfer of recorded files to a computer quick and easy.
When connected, the internal hard drive of the 722 will mount to a Mac OS X or Windows computer
as a local, removable mass storage volume. Using Mac Finder, Windows Explorer, or any other file
utility, files can be copied, read, and deleted directly to and from the 722 hard drive.
It is best practice to copy original audio files to another volume before editing.
To mount the 722 to a computer via FireWire:
1.
Stop all playback and recording activity.
2.
Interconnect the 722 to a FireWire-enabled computer using an appropriate FireWire cable. No drivers
are required if the computer meets the requirements listed in Specifications.
3.
The 722 will now show COMPUTER CONNECTION on the LCD. When connected, all audio functionality of the 722 is defeated.
4.
Navigate the drives on the computer and copy all needed audio to local storage.
To avoid possible directory corruption on the 722 hard drive, always properly dismount the unit
from the operating system. On Mac platforms, drag the drive icons to the trash. On Windows platforms, use the “Disconnect External Media” icon in the system tray.
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722 User Guide and Technical Information
To disconnect the 722 from FireWire:
1.
Make certain that any software applications that reference the 722 drive are closed and that all file copy
functions to and from the 722 have completed.
2.
In Mac OS X highlight the drive icon on the desktop and select
drag the drive icon to the trash in the dock.
2.
In Windows, right-click the drive icon and select “eject.”
3.
The cable between the computer and 722 can now be disconnected. If a future connection is going to be
made the cable can be left connected.
-e to eject the volume. Alternatively,
If the 722 is disconnected from the computer via an eject command and the FireWire cable is still
physically connected between the computer and recorder, the data connection can be made by entering the setup menu select Firewire: Connection. Alternatively, press the STOP key and HDD
key together to begin a FireWire connection.
Different than when dismounting the 722 in Windows, with Mac OS, if a 722 is disconnected from
FireWire by pulling the FireWire cable without first dismounting the drive the following error will
appear.
While it is typically safe to disregard this message and hit the soft key X, it is best practice to
properly remove the 722 from a Macintosh by dragging the volume to the trash or by using the
keyboard shortcut -e.Do not remove the Compact Flash card while FIREWIRE CONNECTION appears in the LCD.
Storage Medium – Internal Drive
The 722’s internal hard disk drive is the 722’s primary storage medium. The large capacity and fast
data read/write speeds of hard drives are a perfect choice when long length, high data rate recording is performed. Hard drives are a good balance of speed, reliability, noise performance, and current draw. Higher speed hard drives can be used with the 722, however, they will not significantly
improve performance. High speed drives slightly increase transfer throughput with the penalty of
increased power draw (reduced battery run time).
Formatting
The drive installed in the 722 is formatted at the factory as a single-partition FAT32 volume. If a drive
with multiple partitions is installed, the 722 will only “see” the primary partion. The 722 can only
address one partition.
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Setup Menu
As a matter of routine maintenance, periodic re-formatting of the 722 hard drive is recommended.
Formatting the hard drive rebuilds the FAT (file allocation table) and erases any audio or other data
files present on the medium. This reduces possibility of directory corruption and reduces the possibility of fragmented data files.
Be certain that all files on the 722 drive have been backed up to another media before formatting. Once
formatted, all data on the drive will be erased.
To format the 722 internal hard drive:
1.
Verify that all data on the hard drive has been copied or is no longer needed.
2.
Press the Menu key.
3.
Use the Multi-Function Controller to scroll to In HDD: (Erase).
4.
Press the controller button to begin formatting.
5.
Press the controller once more to confirm the operation.
Formatting the 722 hard drive can take up to 30 seconds. When the format is completed, the 722 will
create a fresh menu hierarchy, including the daily folder, if selected. Once you exit back to the main
screen the 722 is ready for recording.
Drive Repair
Included in the on board software for the 722 is a basic drive repair utility. The utility is similar to
Windows “Scandisk” and will check for file system integrity, recover lost cluster-chains, fix or recover damaged file allocation tables (FAT), and repair corrupted WAV files. This utility should be run
after improper media removal, or in the event of a write error during recording.
When selected from the setup menu, the repair utility will scan the drive for problems, report the
number of errors and correct the errors.
Drive Type
The 722 ships with a 2.5-inch ATA-5 interface, 5400 RPM hard drive. Sound Devices has chosen the
specific mechanism for maximum vibration and shock resistance. Most 2.5 inch drives conforming
to the ATA specification can be substituted for the factory hard drive. When choosing a replacement
hard drive, note that higher RPM hard drives draw more current, reducing battery run time.
Drive Failure
Hard disk drives are mechanical devices and are susceptible to damage from physical shock. One
type of physical shock, called operating shock, occurs when the disk is in operation. During operation, the drive head is typically over the drive platters reading or writing data. When a physical
shock to the drive occurs during operation, the head and the platters can come into contact causing
both components to be damaged. The second type of shock, called non-operating shock, occurs
when the head is in the unloaded position, or not positioned over the platters. When a physical
shock occurs in the non-operating state, the head can contact the ramp it is positioned over and damage the ability of the head to read and write data to the hard disk drive. All devices with hard drives
are subject to damage from operating and non-operating shock.
The mechanical construction of the 722 is designed to minimize the transmission of shock to the
hard drive. The drive is isolated from the chassis using special shock-reducing closed-cell foam. This
material increases the amount of shock the hard drive can withstand. Additional protection can be
achieved by operating the unit in a carry case.
39
722 User Guide and Technical Information
If the recorder is used in applications subject to extreme motion, Sound Devices recommends recording to
CF medium only. The hard drive will park its write heads to reduce the chance of failure.
Like all electrical devices, the higher the ambient temperature the shorter the drive’s operational life.
Therefore, take care to observe the specified temperature rating.
There is also a risk from sudden temperature changes, which can create condensation inside the
drive. This condensation can lead to the drive’s read/write heads adhering to the disk surfaces
which will, in turn, stop the hard disk from rotating. Condensation tends to occur when the temperature inside the drive suddenly falls, for example, just after the unit is moved to a new position, or
after operation is stopped in a cold environment.
Sudden changes in temperature or air pressure can cause disk surface material to evaporate, which
can also cause the head to adhere to the disk surface. This can happen when a hard disk drive is left
unused for a long period of time.
Drive Replacement
The internal hard drive can be removed and replaced if the drive fails or if a different capacity drive
is needed. The internal hard drive is not a swappable medium. Its multi-pin connector is not rated
for repeated insertion and removal cycles and may be prone to breakage with repeated cycling.
In typical service conditions Sound Devices recommends hard drive replacement every three years.
The hard drive is mounted to the bottom-side of the recorder’s chassis and is screwdriver accessible. The drive is “suspended” in the unit with a shock isolating membrane and is attached to the
main circuit board via a “flex board”. Since the unit’s high-density circuitry and tight construction
require specific electronics knowledge, Sound Devices strongly recommends drive replacement be
performed by a qualified technician using proper ESD precautions. Drive replacement done by a
qualified technician has no warranty implications.
722 with bottom panel
removed showing hard
drive mounting location
The internal hard drive is not intended as a swappable exchange medium. Only qualified service technician using proper ESD precautions should perform drive replacement.
40
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Setup Menu
Storage Medium – Compact Flash
Compact Flash (CF) is a practical, portable storage medium for audio recording. Its speed, reliability,
and price continue to evolve to the benefit of portable recorders. The 722 can write to and read from
CF as either its sole recording medium or simultaneously with the internal hard drive.
When to Use CF
The key benefits of CF include:
•
•
•
•
wider temperature range capability than hard drives
increased shock immunity versus hard drives
convenient media insertion and removal
established workflow and ubiquitous card readers and transfer tools
Formatting
Upon insertion of an unformatted (or non-FAT32 formatted) CF medium, the 722 will prompt the
user to format the card. If the card is formatted as a FAT32 volume the card will be ready for selection as a recording volume. To reformat the CF medium, follow the same procedure as formatting
the hard drive, substituting the CF menu selection for the hard drive.
Formatting the CF rebuilds the FAT (file allocation table) and erases any audio or other data files
present on the medium. While some PC utilities can recover files immediately after formatting the
drive, consider that the files have been permanently erased. FAT32 volumes generated by the 722
may not be compatible with numerous consumer electronic devices, including entry-level digital
cameras.
After recording has stopped, it may take several seconds for the 722 to finish “housekeeping” on CF.
When preparing to remove the CF, always observe the amber activity LED for the CF medium. If it is lit,
wait until it goes out before removing the CF. If the CF is removed while the LED is lit, at the very least
the file will be corrupted and there is a possibility of FAT corruption as well.
Testing
CF cards varied widely in their write/read throughput. Later generation “24x” and greater CF cards
can reliably read and write multi-track, high sample rate audio. The 722 includes a drive speed test
to measure the throughput speed of CF medium. Measured numbers greater than 3000 KB/s can
reliably write 24/192 audio.
Not all CF medium can sustain write speeds for reliable 192 kHz recording. Use the speed test utility to
make certain that installed medium can support the selected number of tracks at 192 kHz.
41
722 User Guide and Technical Information
Drive Repair
The same drive repair utilities are available for the CF as the internal hard drive.
Qualified CF Cards
Several CF mediums have been tested and “approved” for use in the 7-Series, including Lexar Media, SanDisk, and Kingston Technology cards in capacities from 128 MB and above will successfully
operate in the 744T. The unit will support up to 2 TB of data. It is not feasible for Sound Devices to
test all available CF cards for compatibility or maximum throughput with the 722. Use the CF transfer speed test to verify that an installed card can support the needed read/write speed.
Powering
The 722 is powered from either removable, Li-ion rechargeable batteries or external DC power. The
included, removable 7.2 V Li-ion cell can be used as a primary or backup power source. The 722
automatically chooses the power source based on the voltage level of the external power supply. If
it falls below a factory-set threshold, the unit will transition to Li-ion power. The transition between
external and removable battery powering is seamless and has no affect on recording or playback
operation.
During typical operation the 722 will run for approximately four hours from the included 4800 mAh
Li-ion battery.
Lithium Ion Rechargeable Battery
The 722 is compatible with Sony-mount L- or M-type Li-ion rechargeable batteries. Numerous power
capacities are available in these battery types, ranging from 1000 mAh to 7000 mAh. The 722’s mount
accommodates unlimited battery depth. Larger amp-hour cells provide more run time.
When powered by the removable Li-ion battery the LCD displays the battery voltage. The nominal
operating voltage for Li-ion batteries is 7.2 V, with operating voltages ranging between 6.5–8.5 V.
When the battery drops to 6.5 V, the LCD voltage display and the power LED begin flashing to warn
that the battery is nearly depleted. When the voltage reaches 6.3 volts the 722 will power down—any
recordings in-process will automatically be closed (stopped).
External Powering and Battery Charging
The 722 can be powered externally from 10–18 VDC (2 amp minimum). External DC fully powers the
unit and charges an attached Li-ion battery simultaneously using the 722’s onboard Li-ion charger.
The charger circuit operates whenever the unit is powered on and optionally when the unit is off,
depending on the external power wiring (see below).
DC input uses a 4-pin Hirose connector (Part # HR10-7P4P). There are two connection options available:
External DC Input Wiring
Operation
pin-2 to negative (–)
pin-3 to positive (+)
operates the on-board Li-ion charger when the unit is both turned on and off. Use when
plugged into AC power
pin-1 to negative (–)
pin-4 to positive (+)
operates the on-board Li-ion charger only when the unit is turned on—there is no external current draw when powered off. Use when connecting to an external battery pack
Regardless of whether pins-1 and -4 or pins-2 and -3 are used, the unit will always charge the Li-ion battery when the unit is
powered on.
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firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Setup Menu
Pin-1 and pin-2 of the external DC input are at the same ground potential as chassis and signal ground.
The voltage level of the source powering the unit is shows on the LCD (
). When the 722
senses a low voltage condition from an external DC source the power LED and battery voltage display flashes, to alert the user. When the external DC reaches 9 volts, the 722 will automatically switch
over to the removable battery. If no battery is installed the unit will shut down.
The included AC-to-DC “wall-wart” power supply operates the unit and charges the removable batteries simultaneously. Pins-3 and -4 are wired to (+) and pins-1 and -2 are wired to (–).
When power is applied, the charging circuit evaluates the battery condition and supplies charging current, if necessary. When charging, the amber charge LED will flash. Once the battery is fully
charged, the charger will turn off and the amber charge LED will light solid, indicating a full charge.
Large capacity cells increase the charge time.
Charge LED Activity
Description of Activity
Off
Charger disabled
On
Completed charge / battery fully charged
1 blink
Charger enabled / battery is charging
2 blinks
No Li-ion battery attached
3 blinks
High/low internal temperature state
4 blinks
Battery level error code (>15 min. in slow mode)
5 blinks
Error - recharging has been operating for over 8 hours without full charge
If the charge LED shows anything but a successful charge, the Li-ion battery may require replacement.
Time of Day Battery
The 722 has an internal NiMH LR6 (AA) battery to power to the time-of-day clock and date. This
battery is charged simultaneously with the Li-ion battery. The AA battery holds the time of day and
date for approximately 60 days.
Auto Functions with External Powering
The 722 can perform several functions when DC power is applied to and removed from the recorder.
Options available include:
• Power on unit – unit will turn on and be ready for operation.
• Power on and begin recording – unit will power on and begin recording with the settings
used when previously powered down.
• Power on, power off unit – external DC functions as the on/off switch.
• Power on and begin recording, power off – unit will power and begin recording, then turn off
when power is removed.
These functions are useful when the unit is part of a production kit powered by a single power
source. A single power switch can be used to power on the whole kit.
In addition to the internal record timer, the auto functions (power on/begin record/power off) can
be used for more extensive unattended recording control. Using an outboard timer attached to a DC
supply the 722 can be placed and activated to record events including EFX or nature, and for surveillance applications.
43
722 User Guide and Technical Information
Firmware Upgrades
The 722 uses upgradable EEPROM (electrically erasable programmable read-only memory) to hold
the unit’s operating system software, or firmware. Firmware is the source code which controls all
aspects of the device, including: signal routing, signal processing, menu options, LED’s, controls,
and data ports.
Version Information
During manufacturing the unit’s hardware revision number and serial number are burned into a
protected area of the EEPROM. This information is not modifiable. These numbers are viewed in the
Info:Version selection of the setup menu. Info:Version also shows the firmware version of the
recorder.
The 722 firmware version and unit serial numbers are written to the data chunk of every WAV audio
file generated by the 722.
Upgrade Process
From time to time Sound Devices may issue revisions (new versions) of firmware for the 722. Firmware is user-upgradeable. To upgrade firmware follow the steps below.
1.
Download the firmware file from the Sound Devices web site.
2.
Transfer the firmware file (it will be named version _ number.prg) to the 722 internal hard drive via
FireWire or onto a CF card. If there are multiple firmware files on the media, the 722 will select the first
firmware file available. There is no provision to skip to the next file. To prevent confusion, ensure that
there is only one firmware file available on any 722 media.
3.
Enter the firmware upgrade menu. You will be prompted to search for the firmware file. If a valid
firmware file is present on either the internal hard drive or CF the recorder will prompt if the path is
the proper file to use. Press the Multi-Function Controller or the tone key to say yes. The 722 will begin
firmware upgrade and validation. Progress is indicated with a bar graph.
4.
When the upgrade and verify process is complete, power cycle the 722. On power-up the LCD will turn
solid black and the green LED next to the FireWire port will blink 20 times. When the update sequence
is complete, the 722 will reboot once again.
5.
Verify the firmware version using the Info:Software menu.
6.
Reset the time-of-day clock to the present time and date.
Firmware upgrades are designed to preserve all user menu settings. As a precaution, we recommend saving the present state as a setup file on the hard drive or CF. Once a firmware upgrade is complete, restore
settings from this file, if necessary.
44
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Setup Menu
Setup Menu Presets
Presets are useful shortcuts to speed setting the numerous parameters available in the setup menu.
The 722 has four built-in presets and unlimited user presets.
Built-In Presets
The 722 is shipped from the factory with the factory preset applied. Its settings are listed below.
Three additional presets, film, reporter, and music presets allow for quick setup of typical parameters for the defined application. Presets are applied by entering the setup menu and selecting the
preset. All previous settings are lost when a preset is applied.
Factory
Preset
Parameter
Film
Preset
Reporter
Preset
Music
Preset
Sampling rate
48 kHz
48 kHz
44.1 kHz
44.1 kHz
Bit Depth
24 bits
24 bits
16 bits
16 bits
Input 1/2 Gain Controls
Unlinked
Unlinked
Unlinked
Linked
Record Dither
Off
Off
On
On
Pre-Roll Recording Buffer Time
2
2
2
2
Input 1 Delay
0
0
0
0
Input 2 Delay
0
0
0
0
Input 3 Delay
0
0
0
0
Input 4 Delay
0
0
0
0
LED Brightness
10
10
10
10
LCD Backlight
On
On
On
On
LED Backlight Mode
Normal
Normal
Normal
Normal
LCD Contrast
50%
50%
50%
50%
Meter Ballistics
Peak-hold+VU
Peak-hold+VU
Peak-hold+VU
Peak-hold+VU
Input #3 Gain
0 dB
0 dB
0 dB
0 dB
Input #4 Gain
0 dB
0 dB
0 dB
0 dB
Input #3/4 Source
Auto
Auto
Auto
Auto
Input #1 Low Cut Filter
40 Hz,
12 dB/Oct
40 Hz,
12 dB/Oct
80 Hz,
18 dB/Oct
40 Hz,
12 dB/Oct
Input #2 Low Cut Filter
40 Hz,
12 dB/Oct
40 Hz,
12 dB/Oct
80 Hz,
18 dB/Oct
40 Hz,
12 dB/Oct
Input #1 Low Cut
Off
Off
On
On
Input #2 Low Cut
Off
Off
On
On
Limiters Enable
On
On
On
On
Transport Error Mode
Continue
Continue
Continue
Continue
Track Peak Threshold
0 dBFS
0 dBFS
0 dBFS
0 dBFS
Time Format
12 Hour
12 Hour
12 Hour
12 Hour
Date Format
MM/DD/YY
MM/DD/YY
MM/DD/YY
MM/DD/YY
Record File Format
WAV poly
WAV mono
WAV poly
WAV poly
Media Select
CF &
Hard drive
CF &
Hard drive
Hard drive
CF &
Hard drive
Marker Mode
Off
New file
New file
New file
Marker Pre-Roll
Off
Off
Off
Off
Auto File Split Size
4 GB
4 GB
4 GB
4 GB
Output Bus 1 Source
Tracks A/B
Tracks A/B
Tracks A/B
Tracks A/B
Output Bus 1 Attenuation
0 dBFS
0 dBFS
0 dBFS
0 dBFS
45
722 User Guide and Technical Information
Factory
Preset
Parameter
Film
Preset
Reporter
Preset
Music
Preset
Output Bus 2 Source
Tracks C/D
Tracks C/D
Tracks C/D
Output Bus 2 Attenuation
0 dBFS
0 dBFS
0 dBFS
Tracks C/D
0 dBFS
HPMon1
Inputs 1/2
Inputs 1/2
TracksA/B
Inputs 1/2
HPMon2
Inputs 3/4
Inputs 3/4
End-of-list
HPMon3
Tracks A/B
Tracks A/B
Tracks A/B
HPMon4
Tracks C/D
Tracks C/D
Tracks C/D
HPMon5
Input 1
Input 1
Input 1
HPMon6
Input 2
Input 2
Input 2
HPMon7
Input 3
Input 3
Input 3
HPMon8
Input 4
Input 4
Input 4
HPMon9
Mon A/B
Mon A/B
Mon A/B
HPMon10
Mon C/D
Mon C/D
Mon C/D
HPMon11
End-of-list
End-of-list
Number of HP Monitor Modes
10
10
1
10
Headphone current mode
Tracks A/B
Tracks A/B
Tracks A/B
Tracks A/B
Headphone favorite mode
Tracks A/B
Tracks A/B
Tracks A/B
Tracks A/B
Rotary Switch Function
Favorite Mode
Favorite Mode
Favorite Mode
Favorite Mode
Inputs 3/4
End-of-list
Custom Route Value
Input Routing
4 Track
4 Track
Dual Mono
Stereo
Record Folder Options
None
None
None
None
Tone Level
–20 dBFS
–20 dBFS
–12 dBFS
–12 dBFS
Tone Frequency
1 kHz
1 kHz
1 kHz
1 kHz
Tone Mode
Trks & Outs
Trks & Outs
Trks & Outs
Trks & Outs
Ch #1 Phantom
Off
On - Mic Only
On - Mic Only
On - Mic Only
Ch #2 Phantom
Off
On - Mic Only
On - Mic Only
On - Mic Only
Input #1/2 Source
Auto Select
Auto Select
Auto Select
Auto Select
Input #1/2 Control
Knobs
Knobs
Knobs
Knobs
Line Input #1 Gain
0 dB
0 dB
0 dB
0 dB
Line Input #2 Gain
0 dB
0 dB
0 dB
0 dB
External Voltage Threshold
11.0 V
11.0 V
11.0 V
11.0 V
Clear Source Flag Bit After Copy
Enabled
Enabled
Enabled
Enabled
Autoplay mode
Play All
Play All
Play All
Play All
HP Monitor Playback Mode
Tracks A,B
Tracks A,B
Tracks A,B
Tracks A,B
Record/Stop Beep
Enabled
Enabled
Enabled
Enabled
Low Battery Beep
Enabled
Enabled
Enabled
Enabled
Warning Bell Level
–30 dBFS
–30 dBFS
–30 dBFS
–30 dBFS
Mic Input #1 Gain Range
Normal
Normal
Normal
Normal
Mic Input #2 Gain Range
Normal
Normal
Normal
Normal
Take Counter Clear Mode
Never
On new daily folder
Never
Never
User Setups
All of the set parameters in the table above can be saved in a file to internal hard drive or to CF card.
By entering the Get/Save Setup Menu, the user can save or retrieve parameters to a data file. This
binary file is named 722.SUP and is saved in the SOUNDDEV directory on the selected medium.
46
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Specifications
Setup Menu
The setup menu controls a wide range of parameters for the 722, including all audio routing and recording settings. The setup menu is a single, flat architecture with no sub-menus, easing navigation.
Each setup controls a specific parameter with several selections. The chart below shows the setup
number, a description of the control, and the menu options available.
#
1
Setup Name
Quick Setup
Setup Description
Allows the user to quickly apply default menu
setups and save/retrieve user setups to disk
or CF.
Setup Parameters
• Load Factory Settings
- restores the factory default settings
• Load Film Settings
- applies typical setups for film production
• Load Music Settings
- applies typical setups for music recording
• Load User from INHDD
- applies settings saved by user to hard disk
• Load User from CF
- applies settings saved by user to CF
• Save User to INHDD
- saves present state to file on hard drive
• Save User to CF
- saves present state to file on CF
2
Rec: Sample Rate
Sets the audio sampling frequency of the 722
• 32 kHz
• 44.1 kHz
• 48 kHz
• 48.048 kHz
• 48.048F
• 88.2 kHz
3
Rec: Bit Depth
Sets the bit depth of the 722 recordings.
• 16 bit,
• 24 bit
4
File: File Type
Selects the file format type recorded to the selected medium. WAV and BWF files are identical, the only difference is the file extension.
• WAV poly
• WAV mono
• MP3 – 64 kb/s • 96 kb/s • 128 kb/s • 160 kb/s • 192
kb/s • 256 kb/s • 320 kb/s (rev 1.57 only)
5
Rec: Media Select
Selects the media used for recording. All
media are selectable even if not present.
• IN HDD Only
• CF Only
• IN HDD and CF
6
Rec: Scene Name/Number
User-defined, alpha-numeric file scene name.
<up to 9 alpha-numeric characters can be entered for
the scene name>
7
Rec: Take Name/Number
Numeric, auto-incrementing number used for
take identification.
<selectable alpha character + integers up to 32000,
with or without preceding 0’s>
8
Rec: Take Rest Mode
Defines when take numbers are reset. Reset
brings take number to <1>.
• Never
- take numbers do not reset
• 96 kHz
• 96.096 kHz
• 96.096 k F
• 174.4 kHz
• 192 kHz
Scene name can also be left blank
• When scene is changed
- take resets when scene name is changed
• When daily folder is changed
- takes reset on new day
• Either scene or daily
- takes reset on either change
9
Rec: Pre-Roll Time
Selects the amount of pre-roll time the 722 will
add to the beginning of each file.
0–10 sec. @ 48 kHz
0–5 sec. @ 88.2–96.096 kHz
0–3.5 sec. @ 192 kHz
10
Rec: Dither
Selects whether to dither is added to 24 bit
digital signals while recording 16 bit files.
• Off
• On (16 bit only)
47
722 User Guide and Technical Information
#
Setup Name
Setup Description
Setup Parameters
11
Rec: Timer Start
Sets a specific start time/date for unattended
recording. Unit must be powered.
<enter time, date>
12
Rec: Timer Stop
Set a specific time/date to stop recording.
May be used with or without the Rec: Timer
Start. May be set before the Timer Start time
to temporarily stop recording and then resume
recording with Timer Start.
<enter time, date>
13
Rec: Error Handler
Sets the behavior when a hard drive write
error occurs.
• Stop recording
• Keep Recording to New File
14
Rec: Record Indicator
Sets how the display looks when the unit
enters record.
• Normal Numbers
• Reverse Numbers
• Flash Numbers
15
Input: Routing
Allows the user to setup their routing matrix
among all available inputs and tracks. There
are four preset routings and one custom
routing available. Pressing the input select
key repeatedly will cycle through all preset
routings.
•1➞A
•1➞A/2➞B
•1➞A/1➞B
• 1 ➞ A,B / 2 ➞ A,B
• Custom Route
Primarily accessible from the Input Select Key.
16
17
Input 1: 48V Phantom
Input 2: 48V Phantom
Enables or disables 48 V phantom power on
inputs 1 and 2.
• Off
• On - Mic
• On - Mic and Line
18
Mic Inputs: Limiter
Enables or disables the analog input limiter on
input 1 and 2 mic preamps.
• Disabled
• Enabled
19
20
Mic Input 1: Low Cut
Mic Input 2: Low Cut
Enables the high-pass (low cut) filter to reduce
sensitivity to low frequencies.
• Disabled
• Enabled
21
22
Mic Input 1: Low Cut Freq
Mic Input 2: Low Cut Freq
Selection of twelve high-pass filter frequency
and slope combinations for microphone inputs.
• 40, • 80, • 160, • 240 Hz @ 12 dB/oct
• 40, • 80, • 160, • 240 Hz @ 18 dB/oct
• 40, • 80, • 160, • 240 Hz @ 24 dB/oct
23
24
Mic Input 1: Gain Range
Mic Input 2: Gain Range
Selects the sensitivity of the microphone input.
Low sensitivity is used for very loud and/or
very hot microphones.
• Normal
• Low
25
Input 1, 2: Source
Forces the inputs to analog or digital mode.
Default is auto-select.
• Auto-select
• Analog
• Digital (S/PDIF/AES)
• Disabled (Power Save)
26
Input 1,2: Linking, MS
Selects whether the input 1 & 2 levels are
controlled independently or grouped as a pair
with or without mid-side decoding.
• Unlinked
Inputs 1 and 2 operate independently
• Linked 1/2
Inputs are linked, channel 1 pot controls level, channel 2 pot controls pan
• Linked 1/2 and MS
Inputs are linked, channel. 1 pot controls level,
channel. 2 pot controls pan and are decoded for MS
stereo.
48
27
Line Input 1,2: Gain Control
When inputs 1 and 2 are in LINE input mode,
selects whether the gain setting is controlled
by the front panel knobs or by the menu
sensitivity settings below.
• Use front panel knobs
• Use sensitivity settings
28
29
Line Input 1: Gain
Line Input 2: Gain
Adjusts the input sensitivity in 0.1 dB steps –6
dB and +18 dB.
Meters show a pre-fader level of the input signal of
all two inputs on their respective meters to aid in the
adjustment.
30
31
Input 1: Delay
Input 2: Delay
Sets a digital delay for each input. Can be
used to compensate for delay in various
digital wireless microphone units or digital
processors.
0 µsec to 30,000 µsec up to 48.048 kHz Fs
0 µsec to 15,000 µsec up to 96.096 kHz Fs
0 µsec to 7,500 µsec up to 192 kHz Fs
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Recording Time
#
32
Setup Name
File: Marker Mode
Setup Description
Enables the user to set cue points on the fly
while recording by pressing the record key.
Setup Parameters
• Markers disabled
No cue marks are set.
• New Cue
Cue markers are set in one continuous file.
• New File
A new file is started with each press of the record
key, the take counter is increased by one.
33
File: Max Size
Selects the file size where the 722 will close,
then start a new file. The 722 will not record a
file larger than the selected size.
The largest file permissible with the 722’s
FAT32 file system is 4 GiB
• OFF (4 GiB)
• 4 GB
• 2 GB
• 1 GB
• 640 MB
• 3.6 GB
• 1.8 GB
• 950 MB
• 450 MB
34
File: Folder Options
Selects whether files are placed in the main
“SOUNDDEV” folder, or a new folder for each
production day.
• Single folder
• Daily folder
• Scene Folder
35
File: View Files
Enters the file directory tree for the selected
drive.
Highlight media descriptor to navigate the menu
36
File: View Take List
Allows user to view the last 200 takes. Takes
can be selected and converted to circle takes.
• Circle
37
File: Copy Files
Allows the user to select a file or a range of
files to be copied from one media to another.
Files will only be copied from their current
directory to a directory of the same name
on the other media. If a file will not fit on the
destination media, user is given the option
to skip that file and continue with the copy or
abort the copy all together. User is advised at
the end of the copy process how many files
were copied successfully.
• Copy all In HDD ➞ CF
Copies all files and directories from the internal hard
drive to the Compact Flash.
• Last 24 hr HD ➞ CF
Copies all files recorded in the last 24 hours from the
hard drive to the Compact Flash.
• Last 48 hr HD ➞ CF
Copies all files recorded in the last 48 hours from the
hard drive to the Compact Flash.
• Flagged In HD ➞ CF
Copies all files on the internal hard drive, that have
their flag bit set to Compact Flash.
All files, when recorded, automatically have their flag
bit set to “on”
• Copy All CF ➞ In HDD
Copies all files and directories on the Compact Flash
to the hard drive.
• Last 24 hr CF ➞ In HDD
Copies all files recorded in the last 24 hours from the
Compact Flash to the hard drive.
• Last 48 hr CF ➞ In HDD
Copies all files recorded in the last 48 hours from
Compact Flash to the hard drive.
• Flagged CF ➞ In HDD
Copies all files from the Compact Flash that have
their flag bit set to the hard drive.
38
File: Copy Flag Reset
Selects whether the flag bit is cleared or not
on files copied from one media to another.
39
40
Output 1 Left: Source
Output 1 Right: Source
Selects the signal source for the Master Output Bus (TA3 outputs, tape outputs).
41
Output 1 L,R: Attenuation
Selects the attenuation level of signal sent to
the Master Output Bus.
42
43
Output 2 Left: Source
Output 2 Right: Source
Selects the signal source for the Digital Output
Bus, Bus 2 (SPDIF output).
• Disabled
• Enabled
• Input 1
• Input 2
• Track A
• Track B
• Input 1+2
• Track A+B
selectable from 0 to –40 dBFS
• Input 1
• Input 2
• Track A
• Track B
• Input 1+2
• Track A+B
49
722 User Guide and Technical Information
#
Setup Name
Setup Description
44
Output 2 L,R: Attenuation
Selects the attenuation level of the signal
output to bus 2.
selectable from 0 to –40 dBFS
45
Digital Output: Mode
Selects whether the AES3id output is formatted with or without the consumer “bit” set
• Consumer
• Professional
46
Play: AutoPlay Mode
Allows user to play file(s) consecutively
from selected directory, one time through or
continuously.
• Disabled
• Play all
• Repeat one
• Repeat all
Great for playing an MP3 collection during
down time!
Setup Parameters
47
Time/Date: 12/24 Hr
Selects between 12 hour and 24 hour time.
• 12 hr
• 24 hr
48
Time/Date: Date Format
Selects the date syntax of the recorder.
• mm/dd/yy
• dd/mm/yy
49
Time/Date: Set
Sets the internal date and time of the 722.
<time, date>
Clock is not set until <done> is selected
50
LCD: Contrast
Sets the contrast level of the LCD display. In
normal operation, should only need to be set
once
0–100%
51
Meter: Ballistics
Selects among five different meter ballistics
settings
• VU only
• Peak only
• Peak-hold only
52
Meter: Peak Threshold
User-set level in dBFS where track peak
LED’s illuminate. 0 LED doubles as track peak
indicator.
0 to −20 dBFS (1 dB increments)
53
Meter: Stealth Mode
Enables LEDs to toggle on and off with the
LCD backlight key.
• Off
• On
54
HP: Rotary Switch Function
Selects the functionality of the Rotary Switch’s
button when in record and playback.
• Disabled:
push makes no change to the headphone matrix.
• Peak+VU
• Peak-hold + VU
• Selects Favorite Mode:
in record and playback modes, push will change
the headphone source immediately to the favorite
selected in HP: Favorite Mode.
• Playback/Monitor Drive Select
Selects the media source for file playback and record
monitoring
50
55
HP: Monitor Modes
Select the sequence of the modes that appear
in the Headphone Source Display on the LCD.
Up to 10 source selections can be entered, in any
order. See headphone monitor section in guide for
adjustment.
56
HP: Favorite Mode
Selects the audio source monitored when the
Multi-Function Controller is pressed during
recording or playback.
• Inputs 1, 2
• Tracks A, B
• Monitor A, B
• Input 1, 1
• Input 2, 2
• Track A, A
• Track B, B
57
HP: Playback Mode
Selects the audio source sent to headphones
upon playback.
• No change
• Same as options listed above
58
HP: Warning Bell Level
Set the output level of the multi-function warning bell.
off, −60 to –12 dBFS in 1 dB steps
59
HP: Record/Stop Bell
Alerts the user with one beep at the start of
recording and two beeps when the recording
is stopped.
• Disabled
• Enabled
60
Tone: Level
Set the output level of the reference tone
–40 to 0 dBFS in 1 dB steps
61
Tone: Frequency
Allows the user to set the frequency of the
reference tone oscillator
100–10,000 Hz in 100 Hz steps
firmware v. 1.74
• Monitor A, A
• Monitor B, B
• Inputs 1,2 (MS)
• Tracks 1,2 (MS)
• Monitor 1,2 (MS)
• Input 1+2, 1+2
• Tracks A+B, A+B
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Accessories
#
Setup Name
Setup Description
Setup Parameters
62
Tone: Mode
Select the destination of the reference tone or
to disables it completely
• disabled
• to record tracks only
• to outputs only
• to record tracks and outputs
63
In HDD: Test
Performs a write/read speed test on the
internal hard drive. Data transfer speed is
measured in KB/s.
Caution: Drive test will disable processing and mute
outputs for duration of test. Outputs will not return
until test is exited.
64
In HDD: Space
Shows the drive file system, total size, and
space remaining on the internal hard drive.
65
In HDD: (Erase)
Formats the internal hard drive.
66
In HDD: Repair
Runs a utility to repair minor errors in the
directory (FAT) of the drive.
67
In HDD: Empty Trash
Allows user to delete files previously sent to
the trash as well as false takes.
• Empty Trash
• Empty False Takes
• Empty both
68
CF: Test
Performs a speed test on the Compact Flash
media installed. Data transfer speed is measured in KB/s.
Caution: Drive test will disable processing and mute
outputs for duration of test. Outputs will not return
until test is exited.
69
CF: Space
Shows the drive file system, total size, and
space remaining on connected Compact Flash
medium.
70
CF: (Erase)
Formats the installed Compact Flash card
71
CF: Repair
Runs a utility to repair minor errors in the
directory structure of the Compact Flash.
72
CF: Empty Trash
Allows user to delete files previously sent to
the trash as well as false takes.
• Empty Trash
• Empty False Takes
• Empty both
73
Balance Cal
Calibrates the center position of the input 2
pot when used as the balance control for MS
recording.
Place balance control to center and press to select.
74
Power: Ext Low Batt Volt
Sets the voltage of the low battery alert with
an external power source. Li-ion battery warning threshold is factory set.
10.0–18.0 VDC, 0.1 V steps
75
Power: Ext Power Function
Allows the 722 to perform actions when DC
power is connected to the unit.
• Do Nothing
• Power On Unit
• Power On and Start Recording
• Power On/Off Unit
• Power On/Off Record
76
FireWire: Connection
Activates FireWire drive mode.
• Press OK to connect.
77
Info: Version
Shows the hardware revision, serial number,
and firmware version installed.
78
Update Software
Upgrade tool used to apply new firmware as
provided by Sound Devices. Will search all
available media for the firmware program file
and apply the update.
Caution, while various PC utilities are able to recover
files from a re-formatted drive, once formatted old
audio data is not accessible by the 722.
Caution, while various PC utilities are able to recover
files from re-formatted drives, once formatted, old
audio data is not accessible by the 722.
51
722 User Guide and Technical Information
Specifications
System
Sampling Frequency
internal: 32, 44.1, 48, 48.048, 88.2, 96, 96.096, 176.4, 192 kHz
external: 32–192 kHz via word clock input
Internal Data Path and
Processing
32 bit, 192 dB dynamic range
A/D, D/A Converters
24 bit, 192 kHz sample rate maximum. A/D converters on socketed, field-upgradeable
daughter board
A/D Dynamic Range
114 dB, A-weighted bandwidth
110 dB, 20 Hz – 22 kHz bandwidth
D/A Dynamic Range
112 dB, A-weighted bandwidth
108 dB, 20 Hz–22 kHz bandwidth
Metering
38-segment (2 x 19), sunlight-viewable
selectable peak, VU, or peak (with or without peak hold) with VU ballistics, variable brightness
Analog Input
(all measurements at Fs 96 kHz, 24 bit unless noted)
Frequency Response
Mic or Line: 10 Hz–40 kHz, +0.1, −0.5 dB (gain controls centered)
Equivalent Input Noise
Mic: −133 dBu max (−135 dBV), 50 ohm source, A-weighted filter
Mic: −131 dBu max (−133 dBV), 50 ohm source, 20 Hz–20 kHz BW flat filter, gain fully up
Mic: −130 dBu max (−132 dBV), 150 ohm source, A-weighted filter
Mic: −128 dBu max (−130 dBV), 150 ohm source, 20 Hz–20 kHz BW flat filter, gain fully up
THD + Noise
Mic: 0.004% max (1 kHz, 22 Hz–22 kHz BW, gain control down, −15 dBu input)
Line: 0.004% max (1 kHz, 22 Hz–22 kHz BW, gain control down, +16 dBu input)
Gain
(input dBu to −20 dBFS)
Mic (normal gain mode): 25–70 dB
Mic (low gain mode): 10–55 dB
Line: −6–18 dB, 0.1 dB increments
Input Impedance
Mic: 7.5k ohm
Line: 20k ohm
Input Clipping Level
Mic input: −5 dBu minimum (normal gain mode, gain control fully down)
Mic input: +10 dBu minimum (low gain mode, gain control fully down)
Line input: +26 dBu minimum (gain control fully down)
Input Topology
Mic and Line: fully electronically balanced, RF, ESD, short, and overload protected; pin-2 hot,
pin-3 cold
Gain Matching
Line inputs: ±0.1 dB, channel-to-channel
Common Mode Rejection
Ratio
Mic: 40 dB minimum at 80 Hz
High-Pass Filters
40, 80, 160, 240 Hz @ 12/18/24 dB/oct (all menu selectable)
Mic Powering
(each XLR selectable)
48 V phantom through 6.8k resistors, 10 mA per mic available, menu-selected per channel in mic
or line level positions
Mic Input Limiters
analog (pre-A/D converter), dual-stage optocoupler and FET,
−4 dBFS threshold, 20:1 limiting ratio, 5 mS attack time, 200 mS release time
Output Analog
52
Line Output Clipping
Level
+20 dBu minimum, 10k ohm load
Attenuation & Resolution
0–40 dB, 1 dB increments
Output Topology
Line: fully electronically-balanced, RF, ESD, short, and overload protected; pin-2 driven hot,
pin-3 driven cold; let pin-3 float for unbalanced connections.
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Warranty and Support
Inputs/Outputs – Digital
AES3-id
75 ohm, 0.5 V p-p, S/PDIF compatible with RCA adapter
Digital Storage
Internal hard drive
ATA-5 interface 1.8-in or 2.5-in hard drive 4200–7200 RPM supported, FAT32 formatted, up to 2 TB
addressable
Compact Flash
CF type I, II, and + (microdrive) compatible, FAT32 formatted, up to 2 TB addressable
File Types
WAV, mono or polyphonic, at supported Fs, 24-bit or 16-bit
MP3 @ 64, 96, 128, 240, or 320 kb/s stereo
Utilities
Format, speed test, and repair utility for internal HD and CF volumes
Data Transfer / Control
FireWire
peripheral-mode, IEEE-1394a compliant, 6-pin FireWire, Windows 2000, XP, Mac OS X only
C. Link
6-wire modular input and output, RS-232 machine control, word clock, time code transfer (744T)
Powering
Internal Voltages
±16 VDC regulated audio rails
5 VDC data
3.3 VDC data
1.5 VDC DSP core
48 VDC phantom power
Power supply (batteries)
operating cell, removable 7.2 V (nominal) Sony M- or L-type Li-ion, operational from 6–8 V
Power supply (external)
10–18 V, 1000 mA minimum, via locking 4-pin Hirose connector, use Hirose #HR10-7P-4P
(DigiKey# HR100-ND) for locking mating DC connector; pin-1 (−), pin-2 (−), pin-3 (+), pin-4 (+).
See Powering section for additional details
Environmental
Operation and Storage
Ambient temperature 5–55° C,
Relative humidity (non-condensing) <80%
Other
LCD Display
202 x 32 pixels, extended temperature, backlit display
Tone Oscillator
100 Hz–10 kHz, variable output, assigned to tracks or outputs (menu-selectable)
Quick Setups
Four factory presets, one user setup stored to CF or HD as data file
Dimensions and Weight
Size
45 mm x 209 mm x 125 mm (H x W x D)
1.8” x 8.2” x 4.9”
Mass
unpackaged: 1.2 kg, (2.6 lbs) without battery
53
722 User Guide and Technical Information
Connector Pin Assignments
Each connector type, electrical characteristics, and pin assignment is shown below.
54
Connector
Pin Assignments
Notes
XLR
(Analog Inputs)
1 – ground
2 – signal (+)
3 – signal (-)
7.5k ohm input impedance, mic level
20k ohm input impedance, line level
active-balanced
XLR
(AES Inputs)
1 – ground
2 – signal (+)
3 – signal (–)
transformer-balanced, for use 110 ohm twisted-pair
cabling, AES3 specification
TA3M
Master Output Bus
1 – ground
2 – signal (+)
3 – signal (–)
120 ohm output impedance, active balanced.
For unbalanced connection, pin-1 ground, pin-2 hot,
pin-3 not connected. Mates with Switchcraft TA3F-type
connector.
3.5 mm
Master Output Bus
tip – signal L
ring – signal R
sleeve – signal ground
Master Output Bus signal in an unbalanced, consumerelectronic level.
3.5 mm
Headphone
tip – signal L
ring – signal R
sleeve – signal ground
mates with 3.5 mm TRS jack.
AES3id (S/PDIF) Input
center pin – signal
sleeve – ground
BNC female, unbalanced, coaxial connection, 75 ohm
connectors recommended
AES3id (S/PDIF) Output
center pin – signal
sleeve – ground
BNC female, unbalanced, coaxial connection, 75 ohm
connectors recommended
Word Clock Input and
Output
center pin – signal
sleeve – ground
BNC female, unbalanced, coaxial connection, 75 ohm
connectors recommended
FireWire (-1394)
6-pin cabling
6-pin male FireWire cable,
C. Link In / Out
1 – +3.3 V
2 – Tx (output)
3 – ground
4 – Rx (input)
5 – WC in
6 – TC in
Not a telephone jack!
Hirose 4-pin
DC Input
1 – ground
2 – ground, same as pin-1
3 – DC (+) charge
4 – DC (+) operate
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Power Consumption Variables
The 722 draws power from either its on-board Li-ion battery or from external DC sources. Two factors need to be considered to calculate battery runtime—battery/power supply capacity and unit
power consumption. The best determination of your run time is to experiment with a given recording setup.
The 722 power consumption varies over a range between 4 W to 20 W, depending on active functions. The following functions have the most significant affect on power consumption:
Inputs
Active analog inputs increase power consumption. If recording from digital sources, disable
analog inputs, or inputs altogether to reduce power consumption. Analog inputs and the
microphone preamps draw current whether they are idle or active. Active inputs draw 1.5 W
compared to deactivated inputs.
Hard Drive Activity
When the unit is recording to or playing back from the internal hard drive, power consumption
raises by approximately 2 W.
Microphone Powering
Phantom powered microphones draw power for operation. Up to 1 W can be drawn from the
phantom supply.
Battery Chargers
Depending on the charge state of the on-board Li-ion and the internal AA time-of-day battery,
the charging circuit can draw ~10 W from external DC.
Sampling Rate
The 722 draws more power at higher sampling rates. Each doubling of the sampling rate adds
~1 W of power consumption.
Recording Time Calculation
The calculation of available 722 recording time involves three factors:
• track count - how many concurrent audio tracks are selected for recording.
• data rate - calculated from the sample rate and bit depth for non-compressed audio and by bit
rate for data compressed audio. Data rate determines how big the data “container” is for the
audio signal (see the calculation below for determining PCM audio).
• storage medium capacity - typically expressed in GB
Uncompressed Recording Time in Track-Hours
(1000 MB = 1 GB)
Storage in GB
Data Rate (bit depth/sample rate), one track
16/44.1
(5.05 MB/min)
16/48
(5.49 MB/min)
24/48
(8.24 MB/min)
24/96
(16.5 MB/min)
24/192
(33.0 MB/min)
1
3.30
3.03
2.02
1.01
0.51
2
6.60
6.07
4.05
2.02
1.01
4
13.2
12.1
8.09
4.05
2.02
8
26.4
24.3
16.2
8.09
4.05
15
49.5
45.5
30.3
15.2
7.59
40
132
121
80.9
40.5
20.2
60
198
182
121
60.7
30.3
100
330
303
202
101
50.6
The chart above shows recording time available with the 722. Time is expressed in hours per track
(track-hours) at the specified data rate supported by the 722. If recording two tracks, divide the track
hours figure by two. Note that the 722 supports additional sample rate/bit depth combinations,
however, only the most common are included below.
55
722 User Guide and Technical Information
Record Time
The chart shows that when recording 24-bit/48 kHz audio to a 40 GB hard drive the maximum
amount of recording time available roughly 80 track-hours. If recording a stereo two-track file, this
yields 40 stereo hours of record time.
Note that most storage mediums now quote capacity in GB using SI units, where 1000 megabytes equals
one gigabyte.
PCM Audio
Uncompressed digital audio is expressed numerically by two measurements, bit depth and sampling
frequency, such as 16-bit/48 kHz. These two numbers are used to compute the data rate of uncompressed audio.
Audio Data Rate = Bit Depth x Sampling Frequency
In the example below the data rate of a single 16-bit/48 kHz audio stream is computed in megabytes
per minute. Division by 1,048,576 converts from bits to megabits. Division by 8 converts from megabits to megabytes; multiply by 60 converts seconds to minutes.
(((16 x 48000) / 1,048,576) / 8) x 60 = 5.49 MB/min
MP3 Compressed Record Time in Hours
(1000 MB = 1 GB)
Storage in GB
MP3 Data Rate (bit depth/sample rate), stereo track
64 kb/s
96 kb/s
128 kb/s
160 kb/s
192 kb/s
256 kb/s
320 kb/s
(0.47 MB/min)
(0.70 MB/min)
(0.94 MB/min)
(1.17 MB/min)
(1.40 MB/min)
(1.86 MB/min)
(2.34 MB/min)
1
35
23
17
14
11
8
7
2
71
47
35
28
23
17
14
4
142
94
71
56
47
35
28
8
284
189
142
113
94
71
56
15
533
355
266
213
177
133
106
40
1422
948
711
568
474
355
284
60
2133
1422
1066
853
711
533
426
100
3555
2370
1777
1422
1185
888
711
The chart above shows recording time available with the 722 when recording to an MP3 file. Time is
expressed in hours at the specified MP3 supported by the 722. Note that all recordings are two-channel recordings.
Compressed Audio
When digital audio is compressed using some form of lossy, perceptual process such as MPEG2Layer3 (MP3 audio), Windows Media encoding (WMA), ATRAC encoding (used in MiniDisc), AAC
(MPEG-4 audio), or others - it can have a significant reduction in its data rate. Compressed audio has
enabled the practical distribution of audio over low speed data networks.
56
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Accessories
Included Accessories
The accessories below are included with the 722:
•
•
•
•
worldwide (100–240 VAC to 12 VDC) power supply, model XL-WPH
Li-ion rechargeable battery, 1500 mAh, model XL-B
XL-14 headphone extension cable, 3.5 mm to 1/4-inch
a nice man-bag, model XL-MAN
Optional Accessories
The above accessories are just the start of building a flexible recording kit that can accommodate
multiple types of connections. Available optional accessories to complete your recording kit include:
The above accessories are just the start of building a flexible recording kit that can accommodate
multiple types of connections. Available accessories from Sound Devices include:
•
CS-3
Production bag with shoulder strap, holds 744T and is compatible with PortaBrace RM accessories; mounts onto CS-442, CS-302, and CS4W mixer bags
•
XL-2 (sold as pair)
TA3F to XLR-M cable, used for output connection from the master analog output
•
XL-B2
removable, rechargeable, Li-ion battery; 4800 mAh battery; it’s good to have several spares
•
XL-BNC
BNC to BNC cable, to connect word clock from external sources to the 722 for synchronizing;
also used to sync external devices from the word clock of the 722
•
XL-H
Raw Hirose 4-pin mating connector for the DC input on the 722
•
XL-NPH
NP-type battery cup accepts NP rechargeable batterys; terminates in Hirose 4-pin DC connector
•
XL-WPH
power adapter included with unit; 100–240 VAC input, 12 VDC output; it’s good to have a
spare
57
722 User Guide and Technical Information
Front Panel Button Shortcuts
To speed navigation the 7-Series has numerous navigation “shortcuts”. For combinations, hold down
the first identified key and continue to hold while pressing the next keys.
Key Sequence
Action
Stop
Acts as an escape button and exits from most menus and functions immediately, holding it down shows the next file name to be recorded.
Record
Drops all functions except file copy and begins recording
Menu and HDD
Enters the time code jam menu.
+
Backlight and Tone
Press backlight then tone to lock all front panel buttons except for Record,
Stop and Play. FF and Rev are available in playback mode. Use backlight and
tone again to unlock the panel.
+
Input
Hold down and press soft buttons to mute inputs
Stop and Input
Hold down STOP and press INPUT to cycle through input routing presets. Last
preset will open the input routing menu to the custom route selection
+
+
Tone and Menu
Toggles input 1 phantom power
+
Tone and HDD
Toggles input 2 phantom power
+
Backlight and Menu
Toggles Input 1 high-pass filter
+
Backlight and HDD
Toggles Input 2 high-pass filter
Stop and HDD
Initiates FireWire connection if previously disconnected via an “eject” command
+
+
Stop and Rewind
Delete last take prompt.
+
Stop and Fast Forward
Increments take number to be recorded for next file
+
Stop and Play
Take list and circle take identifying screen
+
58
firmware v. 1.74
+
Rewind and Play and Stop
With the power off, hold down these buttons while powering the unit to enter
Flashlight mode. This illuminates all LEDs except for three. Press power again
to exit.
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Warranty and Technical Support
Warranty
Sound Devices, LLC warrants the 722 Portable Audio Recorder against defects in materials and
workmanship for a period of ONE (1) year 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). Product returned without an RMA number may experience delays in repair.
Sound Devices, LLC
Service Repair RMA #XXXXX
300 Wengel Drive
Reedsburg, WI 53959 USA
telephone: (608) 524-0625
Technical Support
For technical support on all Sound Devices products, contact:
Sound Devices, LLC
E-mail: [email protected]
web: www.sounddevices.com/contact_support.htm
Telephone: +1 (608) 524-0625 / Toll-Free in the U.S.A.: (800) 505-0625
Fax: +1 (608) 524-0655
Sound Devices cannot guarantee that a given computer, software, or operating system configuration can be used satisfactorily with the 722 based exclusively on the fact that it meets the minimum
system requirements.
59
722 User Guide and Technical Information
CE Declaration of Conformity
According to ISO/IEC Guide 22
Sound Devices, LLC
300 Wengel Drive
Reedsburg, WI 53959 USA
declares that the product, 722 Professional Digital Audio Recorder is in conformity with and passes:
EN55103-1, 1997
EMC-product family standard for audio, video, audiovisual and entertainment lighting control apparatus for
professional use. Part 1: Emissions
EN55103-2, 1997
EMC-product family standard for audio, video, audiovisual and entertainment lighting control apparatus for
professional use. Part 2: Immunity
EN55103-1 Phenomena 2, 3,
1997
Magnetic emissions at 1 meter 50 Hz – 50 kHz
EN55103-2 Phenomena 3, 1997
Magnetic immunity 50 Hz to 10 kHz
CISPR 22 (EN55022) 2003
Radiated and conducted emissions, Class B
EN61000-4-2 (2001)/
IEC61000-4-2 (2001)
ESD, ±4 kV contact, ±8 kV air discharge
EN61000-4-3 (2001)/
IEC1000-4-3 (2001)
Radiated RF immunity, 10 V/m, 80% 1 kHz amplitude
modulation
EN61000-4-4 (2001)/
IEC61000-4-4 (2001)
AC power ports: EFT Burst, I/O lines, ±0.25 kV to ±1.0
kV, power line ±0.5 kB – ±1 kV
EN61000-4-4 (2001)/
IEC61000-4-4 (2001)
EFT Burst, I/O lines, ±0.25 kV to ±1.0 kV, power line
±0.5 kB – ±1 kV
EN61000-4-5 (2001)/
IEC61000-4-5 (2001)
Surge ±1 kV differential mode (line-to-line), ±2 kV
common mode (line-to-ground)
EN61000-4-6 (2001)/
IEC61000-4-6 (2001)
Conducted RF immunity, 3 V, 80% @1 kHz amplitude
modulation
EN61000-4-11 (2002)/
IEC61000-4-11(2001)
Voltage dips and short interruptions at test voltage
level: 0% V unominal @ 70% V unominal @ 25 period
Tested by L. S. Compliance, Inc. Cedarburg, Wisconsin
November 19, 2004
Matthew Anderson
Director of Engineering
Sound Devices, LLC
60
firmware v. 1.74
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Software License
End-user license agreement for Sound Devices 7-Series 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.
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722 rev. 1.74 • Printed in U.S.A.
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