722 User Guide and Technical Information

722 User Guide and Technical Information

722

High Resolution Digital Audio Recorder

User Guide and Technical Information firmware rev. 2.67

SATA

2.5" HDD

Sound Devices, LLC

E7556 State Rd. 23/33 • Reedsburg, WI • USA

+1 (608) 524-0625 • fax: +1 (608) 524-0655

Toll-Free: (800) 505-0625 www.sounddevices.com [email protected]

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)

Digital Input – AES3

Digital Input – AES3id (S/PDIF)

Signal Presence and Peak Indicator

Input Delay

Input-to-Track Routing . . . . . . . . . . . . . . . . . . . . . . 17

Routing

Selective Input Muting

Sampling Rate and Bit Depth . . . . . . . . . . . . . . . . 19

Sampling Rate

Bit Depths

Word Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Clock Slave

C. Link – Multi-Unit Linking

Outputs – Analog and Digital . . . . . . . . . . . . . . . . 22

Analog Output Bus

Digital Output Bus

Headphone Output . . . . . . . . . . . . . . . . . . . . . . . . . 23

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 . . . . . . . . . . . . . . . . . . . . . . . 25

Output Meter

Meter Ballistics

Peak LEDs

Tone Oscillator

LCD Contrast & Backlight, LED Brightness

LCD Gain Display

Record Indication

24-Hour Time Counter . . . . . . . . . . . . . . . . . . . . . . . 28

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Recording

Pre-Record Buffer

Failure During Recording

Record Pause

Record Timer

Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

AutoPlay

Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . 32

.WAV

.FLAC

.MP2

.MP3

iXML

Recording Time Calculation . . . . . . . . . . . . . . . . . . 34

722 User Guide and Technical Information

Uncompressed Recording Time in Track-Hours

MP3 Compressed Record Time in Hours

File Naming / Numbering . . . . . . . . . . . . . . . . . . . . 35

Scene Name/Number

Take Numbers

Mono Track Name Designators

Duplicate File Names

Wave Agent Beta . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

File Management . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Folder Actions

File Viewer Screen

File Time and Date

File Size Maximum

Setting/Clearing Flag Bits

Automatic Flag Clearing

File Copying Among Available Drives

File Deletion

False Take Control

Emptying the Trash and False Take Folders

Take Number Incrementing

Take List

Take Status

Storage Medium – Internal Drive . . . . . . . . . . . . . . 44

Formatting

Drive Type

Drive Replacement

Drive Failure

Storage Medium – CompactFlash . . . . . . . . . . . . . 47

When to Use CF

Formatting

Testing

Qualified CF Cards

Storage Medium – External FireWire Drives . . . . 48

When to Use External FireWire Drives

Formatting

FireWire Bus Powering

Qualified Drives

DVD-RAM Drives

File Transfer – FireWire . . . . . . . . . . . . . . . . . . . . . 50

Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Lithium Ion Rechargeable Battery

External Powering and Battery Charging

Time of Day Battery

Auto Functions with External Powering

Power-up Messages

Power Consumption Variables

Firmware Upgrades . . . . . . . . . . . . . . . . . . . . . . . . 54

Version Information

Upgrade Process

CL-1 Remote Control and Keyboard Interface . . . 55

Connecting the CL-1

Logic Inputs and Outputs

Logic Inputs

Logic Outputs

Setup Menu Presets . . . . . . . . . . . . . . . . . . . . . . . . 58

Built-In Presets

Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Front Panel Button Shortcuts . . . . . . . . . . . . . . . . 67

Connector Pin Assignments . . . . . . . . . . . . . . . . . 68

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

CE Declaration of Conformity . . . . . . . . . . . . . . . . 73

Software License . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Limitation of Liability

Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

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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 CompactFlash 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.

It also writes and reads data compressed FLAC and audio compressed MP2 and MP3 files.

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 302 or 442.

Sound Devices took advantage of the best in professional and consumer electronics technologies to bring incredible feature depth with ease of use. Its two internal recording media (hard drive and

CompactFlash) and external FireWire storage 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.

722 Firmware Known Issues

For a complete list of known issues regarding the most current firmware please visit Sound Notes. http://www.sounddevices.com/notes/recorders/known-issues/

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.

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v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

722 User Guide and Technical Information

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 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 press the front panel key. Once in the setup menu, the following conventions are shared for navigating among selections and to select specific parameters.

• - enters setup menu

• ‡

item† - highlighted menu item

• 4 - selects highlighted item or parameter

• - moves up in menu and between menu parameters

• - moves down in menu and between menu parameters

• 8 - 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 the input key will eventually cycle to the custom routing option (see

Input to Track Routing, pg. 18

).

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 type, WAV mono or WAV poly, FLAC, MP2, or MP3.

4.

Select the storage medium (internal hard drive, CompactFlash, external drive, or any combination of the three) 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.

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 Rotary Switch, 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.

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v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

722 User Guide and Technical Information

FireWire File Transfer

Sound Devices strongly recommends shutting down equipment before connecting to or from any

FireWire device with a connection that carries power (6-pin). Reports have come to our attention of isolated problems when hot-plugging IEEE 1394 (FireWire) devices. (Hot-plugging refers to making connections when one or more of the devices—including the computer—is on.) When hot-plugging, there are rare occurrences where either the FireWire device or the FireWire port on the host computer is rendered permanently inoperable. From our experience, any FireWire connection which carries power is susceptible to this type of damage.

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 CompactFlash 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.

Initiate connection to the computer by accessing the

FireWire: Connection menu option in the

Setup Menu. Select

Computer/Connect or if this has already been selected simply hit STOP then the

HDD key to initiate a connection to the computer. The 722 will enter FireWire transfer, indicated by

FIREWIRE CONNECTION on the LCD display. All functions of the 722 are stopped while the 722 is connected to a computer through FireWire.

5.

Navigate to either the CF card or hard drive from the computer and copy all needed audio files to local storage on 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

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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

27

26

29

28

25

24 23 22 21 20 19 18 17

1)

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)

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)

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)

MENU Key

Used to access all 722 setup menu selections. When in menu mode, used to move up through the menu selections.

5)

LCD Display

Primary display of 722 status. The LCD is backlit using the LCD backlight control (#15).

16

6 7 8 9 10 11

12

15

6)

14 13

Tone Oscillator

Press to activate the tone oscillator, press and hold for two seconds or longer to latch on, press again to deactivate. Frequency, tone level, and routing are controlled in the Setup Menu. When in the

Setup Menu use the TONE key to enter

Setup Menu options and select parameters when the check mark appears in the upper right hand corner of the LCD.

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

.

9)

Level Meter LEDs

Two, 19-segment track level-meters indicate level in dBFS. Metering ballistics are selected in the setup menu. v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

10)

Power Key

Press and hold to power up the 722.

Press and hold to power down.

11)

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

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

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)

Stop/Pause Key

Press and hold this key for 150 ms to stop recording. In Record Pause mode the STOP key will pause the recording, pressing it twice will finalize the 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.

15)

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.

722 User Guide and Technical Information

16)

Fast Forward Key

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).

17)

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.

18)

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).

19)

HDD Key (File Viewer)

Press to enter the File Viewer. Any available drive, folder, and valid audio file will appear in the file listings. Selected drive is shown in white type. Press-andhold to toggle between available drives.

If only one drive is present, press-andhold is disabled.

20)

Headphone Output Peak LED

Indicates overload of the headphone amplifier. When lit, the headphone circuit is overloading. Reduce headphone level.

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 Mid-

Side (MS) pair.

23)

Media Ready LEDs

Indicates storage media is present and available to record; IN (internal hard drive), CF (CompactFlash), EX (external FireWire drive). Flashing indicates media problem.

24)

Media Activity LEDs

Indicates storage media read/write activity. IN (internal hard drive), CF

(CompactFlash), EX (external FireWire drive).

25)

High-Pass Filter LEDs

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.

26)

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).

27)

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.

29)

Input Peak (Overload) LED

Indicates analog signal is approaching clipping (–3 dBFS) on each of the two inputs. Also used to indicate that an input is muted.

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 722 displays any button lock options enabled. 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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v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

722 User Guide and Technical Information

LCD Display Descriptions

1

10

9

8

1)

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.

2)

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)

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. The

A-time and the 24-Hour Time Counter display can be exchanged if a large 24-

Hour Time Counter display is needed.

4)

Time & Date Display

Alternating display between the set date and time of the 722. 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.

2

3 4

5

6

7)

7

Headphone Source Display

Indicates the source for headphone output. Sources and selection order are user selectable in the setup menus.

8)

External Drive Status

(space remaining/record ready)

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. An asterisk next to any of the available drives indicates that it is selected as a destination for recorded audio.

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.

10)

CompactFlash Status

(space remaining/record ready)

Bar graph indicates amount of record time remaining on the CompactFlash 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 recording. Highlighted drive descriptor indicates drive selected for record monitoring, playback or file directory display.

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722 User Guide and Technical Information

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11

11)

24-Hour Time Counter

24-Hour time is displayed when the Setup Menu option

Time Counter: Mode is set to 24h.

The A-time and the 24-Hour Time

Counter display can be exchanged if a large 24-Hour Time Counter display is needed.

See 24-Hour Time Counter for details.

12)

Input 1/2 Level

When input 1 or 2 gain is turned this indicates the gain level in dB for inputs

1 and 2. Gain levels can be selected to always be displayed in the Setup Menu option

LCD: Gain Display. 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 selected or with line inputs set to menu control.

12

14

13)

Cue Marker Display

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.

14)

External Digital Clock Indicator

The 722 is locked to a valid external digital or word clock source when the L is in the display.

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v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.

722 User Guide and Technical Information

Left Panel Connectors and Controls

3 4 5 6

1 2

1)

XLR Input 1/AES3 Input 1&2

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

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)

Mic-Line-AES3 Input Switch 1

Selects the input level and mode of the input XLR 1 connector.

4)

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.

8 7

5)

TA3 Master (L/R) Analog Outputs

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 (

).

6)

Headphone Output

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.

7)

Headphone Volume

Adjusts the headphone volume. NOTE: the 722 is capable of producing ear-damaging levels in headphones.

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

1

2

3

7

1)

AES3id Input

Unbalanced digital input accepts two channel AES3 (or S/PDIF) on BNC connectors. Supports sample rates up to 200 kHz.

2)

FireWire (IEEE-1394) Port

Connection to a computer (Mac OS,

Windows 2k/XP, Vista, Linux) to access the internal hard drive and Compact-

Flash volumes as mass storage devices.

Also used to attach external FAT32formatted FireWire drives to the 722 for direct recording and copying.

3)

C. Link In/Out Ports

RS-232 protocol interface on 6-pin modular (“RJ-12”) connector for linking multiple 7-Series recorders together.

Word clock and machine transport are over C. Link.

4)

External DC In

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-1 and

2 is at the same potential as chassis and signal ground.

6

5 4

5)

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.

6)

AES3id Output

Unbalanced digital output, two-channel, for Output Bus 2. Signal source is menuselected.

7)

Rotary Switch

When in the Setup Menu, the Rotary

Switch moves among menu items; push to enter a selection or to enter data. In record and playback modes, rotate to select headphone monitor source; push action is user selectable.

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Back Panel Descriptions

722 User Guide and Technical Information

1

2

1)

Security Slot

Compatible with the Kensington

®

Security Slot specification. Useful for securing the recorder to a fixed object with a compatible computer lock.

2)

CompactFlash Slot

Accepts CompactFlash medium with the label-side up. Compatible with Type I,

Type II, and MicroDrives.

3

4

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.

4)

Battery Release Pin

Push down the pin with a long skinny object such as a key, screwdriver, or a pen. With the pin pushed in, slide the L- or M-Series battery to the right to release the battery

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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 1 and 2, on XLR connectors, are the primary connections into the recorder. These inputs accept balanced or unbalanced mic- or line-level inputs. When at mic-level, gain is controlled by the front panel potentiometers. Gain for the line level inputs can be controlled by the front panel potentiometers or 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 inputs 1 and 2. When active, phantom is indicated by front panel LEDs ( ).

Phantom power is available for both mic- and line-level inputs. Using line-level inputs with microphones is useful in high 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. Phantom power is linked when the inputs are linked.

(See Input Linking)

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

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722 User Guide and Technical Information

limiters will prevent unusually high input signal levels from clipping the analog input stage of the preamp. 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 are active 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 front panel recessed knobs. The gain control adjusts an analog gain stage and functions similarly to the input trim on a mixing console or stand-alone microphone preamplifier. Gain is controllable over two ranges, normal and low.

Gain Range (microphone-level only)

The microphone inputs operate in four gain ranges,

normal, normal fades to off, low, and

low fades to off. The normal range controls input gain from 24.3 dB to 67.4 dB of gain.

The

low range controls input gain from 9.3 dB to 52.4 dB. The low ranges are useful for high

SPL recording environments. The fade to off options allow for fader-like control of your gain.

Normal fades to off provides a gain range of off or 0 to 67.4 dB and low fades to off provides a gain range of off or 0 to 52.4 dB.

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 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 LCD backlight key and press the menu key for channel 1 high-pass. Press and hold the LCD backlight key and press the HDD key to toggle channel 2 high-pass. The high pass filters are linked when the inputs are linked.

(See Input Linking)

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 left/right 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.

When the inputs are linked, phantom power and the high pass filters also act as linked pairs. Engagging and disengaging phantom power or the high pass filters on input one will force the same func-

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722 User Guide and Technical Information

tion upon input two. Engaging or disengaging phantom power or the high pass filter on input two causes no effect on input one.

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.

Things to consider when Linking Input 1,2 as MS:

• Digital Inputs cannot be linked as an MS pair.

• If linking Line Inputs as an MS pair, the Setup Menu option

Line Input 1,2: Gain Ctrl must be set to Use Front Panel Knobs.

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.

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.

Input Delay

A digital delay is selectable on each channel of the 722. Delay time per input is selectable in tenths of a millisecond (0.1 msec) steps. The Rotary Switch and menu arrows are accelerated. The more you press or spin, the faster the time setting will increase or decrease. Delay is not set until the Rotary

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722 User Guide and Technical Information

Switch is pressed or or the check mark is selected. The amount of delay available is dependent on the sampling frequency in use.

Sample Frequency

32, 44.1, 47.952, 48, 48.048 kHz

88.2, 96, 96.096 kHz

176.4, 192 kHz

Maximum Amount of Delay Available (per input)

30 mS

15 mS

7.5 mS

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.

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

Pressing the INPUT key brings up the following menu.

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 three preset selections are

Custom Route options. 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.

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722 User Guide and Technical Information

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 (

) and scroll to the appropriate input screen.

3.

Using either the Rotary Switch or the up and down arrows, navigate to desired input-to-track combinations.

4.

When a chosen pairing is highlighted press either the

ASSIGN soft key or the Rotary Switch 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.

The input routing menu will always exit to the main screen whether entered from the input key or the menu selection.

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 amount of storage space as tracks that are assigned.

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722 User Guide and Technical Information

Sampling Rate and Bit Depth

When recording the 722 generates uncompressed PCM audio WAV files in the Broadcast Wave File format at the user-selected 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.

Relationship Between Sampling Frequency and 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.

The 722 generates the following sampling rates:

• 32 kHz

• 44.1 kHz

• 47.952 kHz

• 47.952kF - file stamped at 48 kHz

• 48 kHz

• 48.048 kHz

• 48.048kF -file stamped at 48 kHz

• 88.2 kHz

• 96 kHz

• 96.096 kHz

• 96.096kF - 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 accommodate 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.

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722 User Guide and Technical Information

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.

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.

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722 User Guide and Technical Information

C. Link – Multi-Unit Linking

The proprietary C. Link (control link) connection allows multiple 702, 702T, 722, and 744T recorders to be connected and clocked together. C. Link also enables connection to external keyboards and switch contacts using the CL-1 Remote Control and Keyboard Interface.

When linked, 7-Series recorders have a master/slave relationship. The master recorder and the slave unit will share sample accurate start and stop record times. Multiple units can be daisy-chained together to record many tracks. The C. Link protocol links carries the following data:

• word clock

• time code information (702T and 744T 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

702T and 744T recorders). 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.

Master/Slave relationships between C.Linked recorders is established immediately after the C.Link

Out to C.Link In connection is made. To reverse the Master/Slave relationship, power down all recorders, establish the new Master/Slave relationships by reconnecting the C.Link Out to C.Link In connectors in the desired sequence, then power on all units in order of their Master/Slave relationships

The master recorder in a C.Link connection can not receive wordclock sync from anywhere else. It must be the master wordclock source for all C.Link slaves.

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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722 User Guide and Technical Information

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

Input

1

Input

2

Description

Inputs are assignable for each channel of the output bus.

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 assignments and playback audio.

Track A

Track

B

Input 1,2

Track A,B

Multiple inputs are summed with these selections.

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:

Inputs

1,2

HP Sources

Tracks

A,B

Monitor

A,B

Description

Stereo monitoring of input pairs. Input 1 is assigned to left headphone output; input 2 is assigned to right headphone output.

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.

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.

Solo monitoring of selected input. This signal is sent to both sides of the headphones. Input

1, 1

Input

2, 2

Track A, A

Track B, B

Monitor A, A

Monitor B, B

Inputs 1, 2 (MS)

Solo monitoring of selected track. This signal is sent to both sides of the headphones. Upon playback, will play as track monitor.

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.

Stereo monitoring of discrete M (mid) and S (side) input pairs. Highlighted media is source of monitor program.

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722 User Guide and Technical Information

HP Sources

Tracks

A, B (MS)

Monitor A,B (MS)

Inputs

1+2, 1+2

Tracks

A+B, A+B

Description

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.

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.

Summed inputs appear in each ear for summed mono monitoring of both inputs.

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

Rotary Switch to select the source you wish to appear first in your Headphone monitor list. Once the chosen source appears, press the Rotary Switch 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 head-

phone 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, internal hard drive, and external hard drives 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

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 Bells

If the Setup Menu option

HP: Record/Stop Bell is enabled, the 722 will generate beeps to alert the user of the recorder’s current status. These beeps are only sent to the headphone monitor, these beeps are not present in the recordings or at the analog outputs.

Recording

7-Series Status HP: Bell

One 440 Hz beep

Paused (if using Rec: Record Pause)

Stopped

One 220 Hz beep

Two 220 Hz beeps

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)

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722 User Guide and Technical Information

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.

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.

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722 User Guide and Technical Information

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.

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 can be used as an aid to lining up levels. Both tone level and frequency are user selectable. Reference level is adjustable over a range of

-

40 to 0 dBFS in the Setup Menu option

Tone: Level. The tone frequency is adjustable from 100 to 10,000 Hz in increments of 10 Hz from the Setup Menu option

Tone: Frequency. 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

TONE key. Press and hold for two seconds to latch on, pressing again will deactivate the tone signal. Tone is routed where specified in the Setup

Menu option

Tone: Mode. Routing choices include: Outputs only, Outputs and Tracks, Tracks only, or no tone routing (disabled). When routed to Tracks, all selected record tracks will receive the tone signal. Changes to tone oscillator settings made while tone is latched on do not take affect until tone is turned off.

To record tone at the head of a take, activate the tone signal then press the REC key. From the factory, subsequent presses of the TONE key are locked out to prevent tone from being inadvertently recorded. Tone can be activated while recording by following these steps.

1. Enter the Setup Menu option

File: Marker Mode and set it to disabled.

2. Press the REC key to begin the recording.

3. To record tone, Press and hold down the REC key then press the TONE key. To latch tone, press and hold the Tone key for 2 seconds, press again to release. Once tone is generated the REC key can be released.

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722 User Guide and Technical Information

The tone oscillator can be activated anytime during recording by setting the

Tone: Record Lock feature in the Setup Menu. Press the Tone key anytime to generate a tone signal. Please note that when enabled, any slight press of the tone key will generate tone and override any program material where tone has been routed to, including record tracks.

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.

LCD Gain Display

By default, the 722 displays the set Bit Depth and Sampling Rate in the right-hand side of the Main

LCD Display. The gain level for inputs 1 and 2 temporarily override the Bit Depth and Sampling

Rate display while the input gain pots are in use. The LCD display can be set to always display gain by selecting Gain Only in the Setup Menu option

LCD: Gain Display.

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

24-Hour Time Counter

24-Hour Time Counter Mode is primarily used to easily identify the time-of-day that an event occurred during a recording. When the Setup Menu option

Time Counter: Mode is set to 24h, the

722 displays a 24-hour time counter on the Main LCD Display. The value of this counter is derived from the 722’s internal time-of-day clock.

Recorded files are stamped with the beginning record time in metadata. Although this is not true time code, the files are stamped in the beginning time code fields with a fixed 30 frames per second frame rate. Files recorded with 24-Hour Time Counter Mode will display the time that they were recorded when played back from the 722. The Time Counter Mode is set to off at Factory Default.

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722 User Guide and Technical Information

24-Hour Time Counter

By default, the 24-Hour Time Counter is displayed below the big A-Time. The position of the

A-time and the 24-hour time counter numbers can be exchanged in the Setup Menu option

Time Counter: Display. When Big 24h time is selected, the 24-Hour Time Counter value is displayed in the main numeric display. If Time Counter Mode is turned off, A-time is shown as large numbers, even with

Big 24h time is set.

Record Pause is not available when set to 24-Hour Time Counter Mode.

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 file-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 when the record key is pressed. When recording, the adjacent red

LED will illuminate to indicate that the unit is in record mode.

In the event that the system is not ready to begin a new file, the recorder will enter standby mode.

“REC Pending” will appear in the File Name field of the LCD display and the adjacent red LED will flash. The 722 will immediately begin recording as soon all selected media is ready.

If no inputs are routed to tracks, recording cannot take place. Make certain that at least one record track is assigned for recording.

Recording integrity is further enhanced through a process of periodic, automatic file directory and header updates written to disk during recording. This ensures file integrity in the unlikely event of a total loss of power.

The auto save feature does not apply to MP3 or FLAC recordings. If power is lost while recording to these formats the recordings maybe invalid.

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.

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722 User Guide and Technical Information

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 CompactFlash 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 PRECEDING 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 CompactFlash 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.

Record Pause

This allows a recording to be stopped then continued without creating a new take or file. Record

Pause is useful for live music recording, reporter interviews, or any other application that can benefit by stopping and starting recording without generating a new file. To use the Record Pause Feature:

1. Access the Setup Menu option REC: Record Pause and select Enabled.

The Record Pause feature does not support the 24-Hour Time Counter. If the Record Pause Enabled setting is crossed out, the Time Counter is active and must be turned off before Record Pause is available.

Navigate to the Setup Menu Option

Time Counter: Mode and set it to Off.

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722 User Guide and Technical Information

2. Press the REC key to begin recording.

3. Pause the recording at any time by pressing the STOP key once. When paused the absolute time and

Record LED will flash.

4. Press the REC key again to continue recording.

5. Press the STOP key twice will finalize the recording. At this point, the file is available for Playback and the next press of the REC key will begin recording the next incremented take.

Things to consider when using Record Pause:

• Time Counter Mode must be Off.

• Multi-unit linking using the C. Link connection is not supported.

• Pre-Roll is only added at the beginning of a file or take. Pre-Roll is not added when recording is resumed from the paused state.

Record Timer

The 722 is equipped with a record start and stop timer. This allows a user to record a take at a specific time from an unattended recorder. Set the start time in the Setup Menu option

Rec: Timer Start then set the record stop time in the Setup Menu option

Rec: Timer Stop. The 722 will only start recording if the recorder is On when the timer start time elapses.

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 MP2, MP3, FLAC, and WAV files.

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 enter the File Viewer by pressing the

HDD key. Navigate to the appropriate folder on any available storage drive. Select the file to play back with the Rotary Switch and press play.

AutoPlay

The 722 can be set to play back all (playable) audio files in a folder. Files will play back in their order in the folder. 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 stopped by the user

Repeat all – all files in the directory will play in succession, then repeat until stopped by the user

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722 User Guide and Technical Information

Audio File Formats

The 722 records audio to the industry-standard Broadcast Wave file format, either monophonic or polyphonic, MP2, MP3, or FLAC. Files created by the 722 receive the .WAV, .MP2, .MP3, .FLAC file extensions. The 722 will read files with the .BWF extension.

.WAV

The 722 has two file type options for recording WAV files, mono and poly. Select the file type in the

Setup Menu option

REC: FILE TYPE.

Monophonic

When WAV Mono is selected, the 722 will generate a separate audio file for each recorded track.

The mono files generated by the 722 have file names similar to T01_1.WAV and T01_2.WAV. The file name suffixes, _1 and _2, identify the track number of the file.

Polyphonic

When WAV Poly is selected, the 722 will generate one audio file for each take. All recorded tracks are interleaved into this single file.

Wave Agent Beta allows for the splitting (de-interleaving) of polyphonic files and combining (merging or interleaving) of monophonic sibling files into a single polyphonic file.

See Wave Agent Beta.

The 722 writes AES-31 Broadcast Wave formatted files. The audio files created by the 722 place additional information in the file header, called the Broadcast Audio Extension data chunk. Software that does not recognize this additional broadcast wave data chunk will simply ignore this added information. Among the values recorded are:

• time code stamp

• time code frame rate

• date and time of the original recording

• bit depth

• sampling rate

• originating machine serial number

.FLAC

Free Lossless Audio Codec is a lossless data compression algorithm specifically designed for audio. It is a convenient way to extend recording time with no effect on audio quality. It is suitable for recording and archiving. FLAC, in particular, offers data compression rates that range anywhere between 30% and 60%, depending on the audio program. Sound Devices Wave Agent Classic (www.

waveagent.com

) is a free Windows based software used to extract FLAC to WAV as well as combining monophonic files and splitting polyphonic files.

What to consider when recording FLAC:

• notes are currently disabled, all other metadata is stored

• limits your sampling rate to 96 kHz

• limits recording to only one storage medium at a time

• The 7-Series can play back the recorded FLAC files.

• Use Sound Devices Wave Agent Classic software (www.waveagent.com) to extract Broadcast

Wave files from 7-Series recorded FLAC files.

• Auto save feature does not apply to FLAC files, if power is lost while recording the file maybe invalid.

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722 User Guide and Technical Information

.MP2

MPEG-1 Layer II is a lossy compression algorithm often used for speech recording.

What to consider when recording to MP2:

• BEXT or iXML

• mono recordings are not allowed with bit rates above 192k

• limits your sampling rate to 48 kHz

• limits your bit depth to 16 bit

• limits recording to only one storage medium at a time

.MP3

MPEG-1 Layer III is a lossy compression algorithm often used for music.

What to consider when recording to MP3:

• No BEXT or iXML data

• limits your sampling rate to 48 kHz

• limits your bit depth to 16 bit

• limits recording to only one storage medium at a time

• Auto save feature does not apply to MP3 files, if power is lost during recording the file maybe invalid.

The chart below indicates the limitations of all file types available on the 722.

File

Format

Bit Depth

(bits)

Sampling Rate - kHz

(Bit Rate – kbps)

PCM

FLAC

16 or 24

16 or 24

MP2 (mono) 16

MP2 (stereo) 16

MP3 (mono) 16

MP3 (stereo) 16

32 to 192

32 – 96

32, 44.1, 48

(64, 96, 128, 160, 192)

32, 44.1, 48

(64, 96, 128, 160, 192, 256, 320, 384) *

32, 44.1, 48

(32, 64, 96, 128, 160, 192, 256, 320)

32, 44.1, 48

(32, 64, 96, 128, 160, 192, 256, 320) **

2

2

1

Maximum

Number of

Tracks

2

1

2

File

Extension

.WAV

.FLAC

.MP2

.MP2

.MP3

.MP3

Multi-

Medium

Recording

yes no no no no no

* For MP2-Stereo, the per-channel bit rate is half of the selected bit rate.

** MP3-Stereo uses Joint Stereo Coding, which improves per-channel resolution over MP2-Stereo but can not be quantified into a specific per-channel bit rate.

iXML

The 722 includes iXML (revision 1.5) data in addition to the broadcast wave extension data. For iXML-aware software applications this data is available. For applications that don’t recognize iXML, this information is ignored.

Notes

iXML supports notes fields. From the File Viewer select OPTIONS, then Notes.

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722 User Guide and Technical Information

Using an external keyboard via the CL-1 Remote Control and Keyboard Interface the entry of notes is much quicker than using the Rotary Switch.

Post-record metadata editing can be performed using a Mac OS or Windows based computer with Sound

Devices Wave Agent Beta. See Wave Agent Beta for more details.

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

80

100

160

1

2

4

8

16

40

60

16/44.1

(5.05 MB/min)

3.3

6.7

13.5

27

54

135.1

202.7

270.3

338

540.7

Data Rate (bit depth/sampling rate), one track

16/48

(5.49 MB/min)

3.1

24/48

(8.24 MB/min)

2:

24/96

(16.5 MB/min)

1

6.2

12.4

24.8

4.1

8:2

16.5

2

4.1

8.2

49.7

124.3

186.5

33.1

82.8

124.2

16.5

41.4

62.1

248.7

310.8

497.38

165.7

207.1

331.38

82.8

103.5

165.4

24/192

(33.0 MB/min)

0.5

1

2

4.1

8.2

20.7

31

41.4

51.7

82.8

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.

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 330 track-hours. If recording a stereo two-track file, this yields 115 stereo hours of record time.

Note that most storage mediums now quote capacity in GB using SI units, where 1000 megabytes equals one gigabyte.

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722 User Guide and Technical Information

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

8

16

40

60

80

100

160

1

2

4

32 kb/s

(0.2 MB/min)

72.8

145.6

291.2

582.5

1165

2912.7

4369

5825.4

7281.7

11650.8

64 kb/s

(0.47 MB/min)

36.4

72.8

145.6

291.2

582.5

1456.3

2184.5

2912.7

3640.8

5825.4

MP3 Data Rate (bit depth/sampling rate), stereo track

96 kb/s

(0.70 MB/min)

24.2

128 kb/s

(0.94 MB/min)

18.2

160 kb/s

(1.17 MB/min)

14.5

192 kb/s

(1.40 MB/min)

12.1

256 kb/s

(1.86 MB/min)

9.1

48.5

97

36.4

72.8

29.1

58.2

24.2

48.5

18.2

36.4

194.1

388.3

970.9

1456.3

1941.8

2427.2

3883.6

145.6

291.2

728.1

1092.2

1456.3

1820.4

2912.7

116.5

233

582.5

873.8

1165

1456.3

2330.2

97

194.1

485.4

728.1

970.9

1213.6

1941.8

72.8

145.6

364

546.1

728.1

910.2

1456.3

320 kb/s

(2.34 MB/min)

7.2

14.5

29.1

58.2

116.5

291.2

436.9

582.5

728.1

165

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 twochannel recordings.

Compressed Audio

When digital audio is compressed using some form of lossy, perceptual process such as MPEG2-

Layer3 (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.

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.

S001T01_1.WAV

extension scene number take number mono file designator

Post-record metadata editing can also be performed using a Mac OS or Windows based computer with

Sound Devices Wave Agent Beta. See Wave Agent Beta for more details.

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722 User Guide and Technical Information

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.

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.

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722 User Guide and Technical Information

3. The Rotary Switch 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:

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

Mono Track Name Designators

When recording monophonic Broadcast 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 folder 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.

Wave Agent Beta

Wave Agent Beta is a WAV file librarian for Mac OS and Windows computers. Designed for Production Sound Mixers and Post Production Editors, Wave Agent provides a comprehensive and indispensable range of tools for preparing audio files for problem-free passage through complex production workflows.

Wave Agent is an essential, time-saving tool for anyone working in Production Sound. It allows for the following;

• Playback of polyphonic and monophonic WAV and Broadcast Wave files from any source

• Viewing and editing file metadata

• Changing of sampling rate, frame rate, and start time code metadata stamps

• Splitting and combining polyphonic and monophonic files with selectable track assignments

• Batch editing

• Generating customized PDF and CSV Sound Reports

• Large time code display

• Monitor mixer with faders, pans, solos, mutes, and meters

• Drag-and-drop operation

• Comprehensive keyboard shortcuts for accelerated operation

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722 User Guide and Technical Information

• Mac OS and Windows compatible

Wave Agent is available as a no-charge software download for either Mac OS or Windows.

http://www.sounddevices.com/download/waveagent.html

File Management

The 722, like a computer, saves audio recordings to a file system containing files and folders. The 722 formats its internal hard drive, CompactFlash medium, and attached external drives as single drives named “

722 INDD”, “722 CF”, and “722 EXTHDD,” respectively. All files generated by the 722 can be saved to the Root Folder, a Daily Folder, or a Scene Folder.

Folder Actions

All files generated by the 722 can be saved to the Root directory, a Project Folder, a Daily (Roll)

Folder, or a Scene Folder (Files are saved to the Root directory by default). File organization is managed in the Setup Menu option

FILE: FOLDER OPTIONS. Folder choices include

TOP-LEVEL, MID-LEVEL, and BOTTOM LEVEL FOLDERS. Folders are created when the record key is pressed. This reduces the likelihood of empty folders.

Top-Level folder - is a root-level folder and can be set with a user-selected name. The Top-

Level folder can also be de-activated by selecting <

None> from the Setup Menu. If the Top-

Level folder is not used then the next lower-level folder will reside at the drive’s root. If the

Top-Level folder is active then the Mid-Level and Bottom-Level folders will be its subfolders.

Mid-Level /Daily folder - can be selected as a <

Daily> folder, a folder with a user-selected name, or not used. If a

Top-Level folder is in use, the Mid-Level folder will be a sub-folder of the

Top-Level folder. If no Top-Level folder is used the Mid-Level folder will reside at the drive’s root. If set to <

Daily> a new folder will be created daily. When recording past midnight the 722 will prompt to make to a new daily folder.

Bottom-Level /Scene Folders - can be selected as a <

Scene> folder which will use the name generated from

Rec: Scene Name/Number Setup Menu, as a user-selected name, or not used at all. If no upper-level folder is in use, the

Bottom-Level folder will reside at drive’s root. If the

Mid-Level and/or Top-Level are in use the Bottom-Level folder will be a subfolder.

Example: If a daily Folder is desired, set the

Top-Level to <None>, the Mid-Level folder to

<Daily>, and the Bottom-Level to <None>. This will generate a Daily Folder in the root directory with it’s files directly inside the folder.

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A hierarchical view of files generated by the 722 is below.

722

1

FALSETAKES

The FALSETAKES, SOUNDDEV, and TRASH folders are automatically generated. SOUNDDEV is not viewable from the 722 File Viewer.

1

SOUNDDEV

1

TRASH

A TOP-LEVEL folder sits in the root directory. This folder can be negated by choosing <None> in the menu File: Folder Options.

1

TOP-LEVEL

1

MID-LEVEL

A MID-LEVEL folder can be used as a sub-folder. This folder can be selected to be a <Daily> folder in the menu File: Folder Options.

1

BOTTOM-LEVEL

Example:

A BOTTOM-LEVEL folder could also be used as a sub-folder. This folder can be selected to be a <Scene> folder in the menu

File: Folder Options.

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1

FALSETAKES

1

SOUNDDEV

1

TRASH

1

PROJECT

1

07Y01M15

1

SCENE

NAMET01.WAV

NAMET02.WAV

This is a TOP-LEVEL folder named PROJECT activated in the menu File:

Folder Options.

This is a MID-LEVEL folder set to <Daily> from the menu

File: Folder Options.

This is a BOTTOM-LEVEL folder set to <Scene> from the menu

File: Folder Options.

These two files are title NAME in the menu

Rec: Scene Name/Number.

File Viewer 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 Rotary Switch 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 Viewer Screen

The file list screen contains information about the individual audio files contained in the folder. The left side of the display shows files and folders. The top line displays the folder 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 Viewer, although folders that they occupy will be visible.

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722 User Guide and Technical Information

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.

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, including 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 512 MB, 1 GB, 2 GB, and 4 GB. The factory default setting for maximum file size is 2

GB. Some applications will not properly import audio files above 2 GB. The 512 MB size allows the user to break an audio program into CD-R sized files for backup to inexpensive CD-R medium.

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Setting/Clearing Flag Bits

Pressing the tone key in the File Viewer 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 recorder can be set to clear the flag bit of copied files automatically. When enabled in the Setup

Menu option

File: Copy Flag Reset, all files copied internally by the recorder will have their flag bits cleared on the original file. Flags are not cleared when copying to a computer over FireWire.

File Copying Among Available 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.

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722 User Guide and Technical Information

File Deletion

Any file or folder on either internal hard drive or CompactFlash 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:

1. Press the HDD button to enter the File Viewer.

2. Navigate to the file to be deleted.

3. Press the soft key marked

OPTIONS.

4. Select

DELETE.

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. Wait for the file to finish writing, the activity LED will turn off

3. Hold down the stop key and press rewind to be prompted to delete the most recent take.

4. Press the soft check box to delete the take

Files that have been deleted as false takes are moved to the

FALSETAKES folder and the file’s metadata False Takes flag is set to true. The False Takes folder sits in the drive root. When recording to

CompactFlash and external FireWire storage devices files from each 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.

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 permanently 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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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 files, 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. Takes can also be marked as No Good or

Circled.

See Take Status for details.

Take Status

Takes recorded by the 722 can be marked as Circled or as No Good. Take Status is used to mark the quality of the take so that post can quickly identify which takes to use. The Take Status of the last take recorded can be quickly changed in the Take Status Menu. Any take recorded prior to that must be changed in the Take List. Take Status changes are applied to all available media that recorded the selected take. If one of the media has been removed and a Take Status change is performed, the 722 reports “Warning: Media Not Open”.

Circle Take

Circled Takes are generally the best quality or “print” take. Takes are marked as circled so that post is quickly able to identify which take to use.

Takes that are circled are renamed to include the “@” symbol preceding the file name. Additionally,

Circled Takes are tagged <CIRCLE>= TRUE in the iXML chunk.

No Good

No Good or NG takes are generally takes that have useful material but are not the best take recorded. Takes are marked as No Good so that the Dialog Editor is able to quickly find alternate takes that may have useful material.

Takes that are marked as No Good are renamed to include the “$” symbol preceding the file name.

Additionally, No Good Takes are tagged <NO_GOOD>= TRUE in the iXML chunk.

Takes are either No Good or Circled, they cannot be marked as both.

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722 User Guide and Technical Information

To quickly identify the last recorded take as Circled or as No Good, perform the following steps:

1. Press the STOP key to end recording.

2. Press and hold the STOP key down, then press the LCD Backlight key to enter the Take Status Menu.

3. Press the soft Circle (Menu) key to mark the take as Circled or press the soft No Good (HDD) key to mark the take as No Good. The check mark appears in the selected box and the 722 automatically returns to the Main Display.

To identify any take in the Take List as Circled or No Good, perform the following steps:

1. Press the STOP key to end recording.

2. Press and hold the STOP key down, then press PLAY to enter the Take List. The Take List can also be accessed via the Setup Menu option

File: View Take List.

3. Scroll among files to find the take that is to have its status changed.

4. Press the soft No Good (Rewind) key or the soft Circle (Fast Forward) key.

To remove the take status indication, highlight the No Good or Circled file and select “No Good” or “Circle” again.

5. Press the soft X (LCD Backlight) key or Stop key to exit the Take List.

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).

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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 partition. The 722 can only address one partition.

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 corruption and reduces the possibility of fragmented audio 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 Rotary Switch to scroll to

In HDD: Erase / Format.

4.

To verify that a non-recoverable format of the storage device is desired two keys must be pressed to begin formatting. Press and hold down the play key to enable the check mark. Hit the tone key (check mark) to begin formatting.

Press and hold down the play key

Hit the tone key to begin formatting

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. Dynamic lists such as track names, scene names, folder options, etc... will be saved.

Drive Type

The 722 ships with a 2.5-inch SATA 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 SATA specification can be substituted for the factory hard drive.

Units with serial numbers below 471309092000 have a 2.5-inch ATA-5 interface, 5400 RPM hard drive.

Most 2.5 inch drives conforming to the ATA specification can be substituted for the factory hard drive.

When choosing a substitute hard drive, note that higher RPM hard drives draw more current, reducing battery run time. Higher speed drives may be used with the 722, however they will not significantly improve performance. They will slightly increase transfer throughput with the penalty of increased current draw and reduced battery run time. The 722 can address drives with capacities up to 2 TB.

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722 User Guide and Technical Information

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.

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.

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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.

Storage Medium – CompactFlash

CompactFlash (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

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722 User Guide and Technical Information

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.

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 722. 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.

Storage Medium – External FireWire Drives

The FireWire port on the 722 can function in either “host” mode or “drive” mode (see

File Transfer

Using FireWire

for additional information on drive mode). In host mode an attached FireWire storage volume such as a hard drive or DVD-RAM can be used to record and play back audio files. To activate host mode select

External Drive via the Setup Menu item FireWire: Connection.

Because the 7-Series can write to all available mediums simultaneously the abilility to write to an external drive reduces the need for post-record copying of sound files.

External hard drive is attached and is selected as the recording destination

External FireWire drives require 2.0-ready 722 hardware. Only recorders specifically labeled 2.0 ready are able to connect to external FireWire drives as an available storage medium.

When to Use External FireWire Drives

The key benefits of recording to external drives include:

• the choice of drive types include DVD-RAM optical drive or hard drive

• near limitless recording capacity when a large volume external hard drive is attached (up to 2

TB)

• fast, no-waiting simultaneous record option

• post-record copying to quickly back up internal hard drive or CF medium

Formatting

Identical to both the internal hard drive and CompactFlash, attached FireWire drives are formatted as FAT32 volumes. Upon connection to an unformatted (or non-FAT32 formatted) external drive, the

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722 will prompt the user to format the drive. If the drive is already formatted as a FAT32 volume the drive will be ready to be selected as a storage medium. The front panel drive LED will illuminate to show which drives are available for recording. To reformat an attached drive, follow the same procedure as formatting the internal hard drive, substituting the external drive menu selection for the internal hard drive.

After recording to an external drive has stopped, it may take several seconds for the 722 to finish “housekeeping” on drive. This is especially true when recording to DVD-RAM disks, which generally have slower throughput than hard drives. When preparing to disconnect a FireWire drive, always observe the amber activity LED labeled EXT. If it is lit, wait until it is off before disconnecting the drive. If the drive is disconnected while the LED is on, there is a high likelihood that the file being written will be unusable and there is a possibility of FAT corruption on the drive.

FireWire Bus Powering

The six-pin FireWire port on the 722 provides power for bus-powered FireWire drives. The following conditions should be observed when connecting to bus-powered drives.

• Bus powering a drive requires external DC powering of the 722. The 722 cannot operate buspowered drives from an attached Li-ion battery.

• When recording in realtime to bus-powered FireWire drives the XL-1394 FireWire Power Filter is recommended. This filter network isolates the electrical noise in bus-powered drives from the 722.

• While hot-swapping FireWire cables is possible it is recommended to attach bus-powered drives with the recorder turned off.

Qualified Drives

External FireWire storage volumes that can be formatted and addressed as FAT32 can be used with the 722. These include:

• external hard drives, bus-powered or mains powered. Drives as large as 2 TB can be addressed,

• FireWire CompactFlash card readers,

• DVD-RAM drives.

FireWire drives use a variety of chipsets to perform conversion from the drive’s native format (i.e.

IDE) to FireWire. Sound Devices has tested and qualified enclosures and card readers which use the

Oxford 911, Oxford 922, PL3507, GL711, and FW912 chipsets. Other chipsets may operate, but Sound

Devices does not officially support them. To check for compatibility with the 722 attach a FireWire drive and run the media speed test selected from the User Menu. This will write, then read a file to the drive. If the drive can perform this test then it can be used to record audio.

DVD-RAM Drives

DVD-RAM drives are essentially optical hard drives. Revision 2.00 firmware supports recording to and playing back from DVD-RAM drives when formatted as FAT32 volumes.

When recording to DVD-RAM drives in realtime it is important to note the following:

1. Keep sampling rates below 48048.

2. Record to polyphonic file formats.

3. Use DVD-RAM drive mechanisms and media that support 3X recording speeds.

Post-record copying from internal hard drive (or CF) to external drives is recommended with material recorded at high sampling rates.

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File Transfer – FireWire

FireWire port

FireWire cable - 744T to computer

The 722’s FireWire (IEEE-1394) port makes transferring of recorded files to a computer quick and easy. When connected to a computer, the internal hard drive and CompactFlash card 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 from the original recorded medium 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. Make certain that within the

Firewire: Connection

setup menu option

Computer/Connect

has been selected.

4. The 722 will now show the screen below when successfully connected via FireWire. When connected, all audio functionality of the 722 is defeated.

5. Navigate the drives on the computer and copy all needed audio to local storage.

To avoid possible 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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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 -e to eject the volume. Alternatively, 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.

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.

Do not remove the CompactFlash card while

FIREWIRE: CONNECTION appears in the LCD.

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

).

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DC input uses a 4-pin Hirose connector (Part # HR10-7P4P). There are two connection options available.

External DC Input Wiring

pin-2 to negative (–) pin-3 to positive (+) pin-1 to negative (–) pin-4 to positive (+)

Operation operates the on-board Li-ion charger when the unit is both turned on and off. Use when plugged into AC power 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.

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 displayed on the main LCD screen in the upper left-hand corner ( ). 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 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

Blinking

Completed charge / battery fully charged

Charger enabled / battery is charging

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.

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722 User Guide and Technical Information

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.

Pin-3 (+) of the external DC input must be wired in order for the External Power Functions to operate.

Power-up Messages

This Setup Menu option provides a choice of whether or not the 7-Series displays messages upon boot up. It is best practice to set

Power: Power-up Messages to disabled when using the external power functions to activate recording. This prevents power up messages, such as daily folder prompts, output attenuation notices, and time and date setting notices, from prohibiting the 7-Series from beginning a recording

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 (12 volts), depending on active functions. The following functions have the most significant affect on power consumption:

Inputs

Microphone Powering

Battery Chargers

Sampling Rate

Active analog inputs increase power consumption. If recording from digital sources, disable analog inputs, or inputs altogether to reduce power consumption. If recording solely to inputs 1 and 2, disable inputs 3 and 4 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.

Phantom powered microphones draw power for operation. Up to 1 W can be drawn from the phantom supply.

Depending on the charge state of the on-board Li-ion and the internal AA time code battery, the charging circuit can draw ~10 W from external DC.

The 722 draws more power at higher sampling rates. Each doubling of the sampling rate adds ~1 W of power consumption.

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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 current firmware revision number is also displayed on the bottom right-hand corner of the

Sound Devices splash screen at boot up (v2.65+). 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 Rotary Switch 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:Version 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.

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722 User Guide and Technical Information

CL-1 Remote Control and Keyboard Interface

The CL-1 Remote Control and Keyboard Interface is an available hardware accessory to interface with PS/2 compliant computer keyboards and enable external devices to control the 722. When using the CL-1, front panel controls and menu selections on the 722 can be mapped to keyboard shortcuts, allowing for full keyboard control of the recorder. Additionally the CL-1 has contact closures for programming remote inputs or outputs. These are commonly used for machine control and “remote rolling” using a mixing console with transport controls.

Connecting the CL-1

1. Connect the included C. Link cable to the 722’s C. Link Input connector.

2. Connect the opposite end of the C. Link cable to the CL-1’s C. Link connector.

3. Connect a PS/2 keyboard to the PS/2 connector on the CL-1.

4. Connect switches between assigned pins 1-6, pin-7 (ground), and pin-8 (+5V) on the CL-1. (

See

Logic

Inputs and Outputs

)

The C. Link port on the 722 provides power for CL-1 operation.

Keyboard Assignments

Standard keyboard shortcuts have been pre-assigned and are listed below.

Menu Keys

Shortcut Key

Space Bar

Escape

Enter

Up Arrow

Down Arrow

Left Arrow

Right Arrow

CTRL + Up Arrow

CTRL + Down Arrow

Page Up

Page Down

Menu

Home

Function

Enters Playback Mode

Pauses take in Playback Mode

Cancel – Exits without saving in all menus

Ok – Exits with saving in all menus (Check Mark or Edit)

Mirrors the LCD Up Arrow in all menus

Mirrors the LCD Down Arrow in all menus

Mirrors the LCD RWD Arrow in all menus

Custom Route User Interface – Un-assign Route

Time Menu – Moves to previous field

Mirrors the LCD FFWD Arrow in all menus

Custom Route User Interface – Assign Route.

InRoute User Interface – Edit if on ‘Custom Route’

File User Interface – Selects Options for Folders/Files when displayed

Shortcut Edit User Interface – Edit shortcut if on shortcut number

Scene/Track Lists – Edits (Same as hitting Play button)

Time Menu – Moves to next field.

Setup User Interface Menu - Moves to the previous category

Setup User Interface Menu - Moves to the next category

Setup User Interface Menu - Moves to the previous category or marker

Setup User Interface Menu - Moves to the next category or marker

Shortcut Edit User Interface Menu – Same as Enter

Enters the Setup Menu

Setup User Interface Menu - Moves to the top of the list.

File User Interface – Moves to the top of the list

Shortcut Edit User Interface – Goes to first shortcut number or Hot Key

String User Interface – Goes to the beginning of the string

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722 User Guide and Technical Information

End

Delete

Insert

Setup User Interface Menu - Moves to the bottom of the list.

Shortcut Edit User Interface – Goes to last shortcut number or Hot Key

String User Interface – Goes to the end of the string being edited

Scene/Track Lists – Deletes entry when permitted

String User Interface – Deletes character when permitted

Setup User Interface Menu - Toggles Markers

String User Interface – Inserts a space when permitted

Custom Assignment

“Hot Key”

Shortcut Edit User Interface Menu - Selects Hot Key In Set Key Mode

Global - Executes Command if function is assigned to Hot Key

01 - 99 (number sequence)

Setup User Interface Menu – Jumps to menu list number.

Shortcut User Interface Menu – Jumps to shortcut number.

String Edits & Take Name/Number (Renaming & Notes)

Hot Key

ASCII Characters

Function

Scene – Prints Character and moves to next character.

Take – ‘0-9’ – Prints Number, ‘A-Z’ – Prints Spacer

Backspace

Delete

Enter

Deletes previous character and moves one character to the left

Deletes currently selected character

Take – Same as ‘Reset’ (Play Button)

Carriage Return if permitted, otherwise

Ok – Exits with saving

Ok – Exits with saving. (Only when Carriage Return is permitted.)

Inserts a space when permitted

CTRL + Enter

Insert

Escape

Up Arrow

Down Arrow

Left Arrow

Right Arrow

Home

End

Cancel – Exits without saving in both menus

Increment Character in both menus

Decrement Character in both menus

Previous Character in both menus

Next Character in both menus

Goes to the beginning of string being edited

Goes to the end of the string being edited

Assignable Shortcuts

Keyboard shortcuts can be programmed to control nearly every function on the 722. Shortcuts can select and change menu items with a simple key strokes. Combinations of computer keyboard function keys, along with Control-, Alt-, and Shift- can also be programmed. The following chart shows what keys are programmable.

F1-F12

0-9

A-Z

Logic In 1-6

Hot Key Key ShiftCtrl-

X

-

-

X -

-

-

X X

X

X

-

To program a shortcut perform the following steps:

1. Enter the External Keyboard Assignment Setup Menu selection.

Alt-

X

X

X

-

Shortcut number. Up to 50 shortcuts can be programmed

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722 User Guide and Technical Information

2. Select an unassigned shortcut number for programming. If a duplicate key sequence is selected the lowest shortcut number action takes place. The example below shows the F1 key being reprogrammed.

3. After selecting a key sequence select the desired Setup Menu item or action. The example below shows the reprogramming of the F1 key to change the sampling rate to 48048.

Specific Setup Menu options can be programmed if multiple options are available.

If a single key or key combination is programmed for multiple shortcuts, the shortcut with the lowest number will take precedence.

Shortcut List Functionality

The shortcut list is a user definable list of keyboard keys/Logic In that perform specified actions.

The actions that a keyboard key can perform are listed in the below table. Macros are currently not implemented.

Action

Momentary Button

Toggle Button

Open Menu

Cycle Settings

Set Settings

Open Time Code Menu

Jam Time Code Item

Edit Time Code Item

Function

Logic In only. Simulates selected button. Can simulate in any menu

Logic In only. Toggles state of selected button. Play and Record are supported

Opens a SetupUI Menu

Cycles a SetupUI parameter to the next setting and saves it

Sets a SetupUI parameter to the given setting and saves it

Opens the TimeCode: Jam Menu and goes to the given parameter

Jams given TimeCode parameter

Opens the TimeCode: Jam Menu Edit screen for the given parameter

Button Shortcuts

Simulates a front panel button shortcut. Ex: (Stop+Play) opens TakeList Menu

Logic Inputs and Outputs

Identical to shortcuts assigned to computer keyboard key sequences, the CL-1 has six contacts that can be programmed to perform Setup Menu items or control the record, play, and stop functions of the recorder. A switch connected between the assigned pin and ground (pin-7) will form a circuit.

Closing the circuit will activate the programmed action.

The Logic pins on the CL-1 can be set individually as either a switch-closure input or a switch closure output. The inputs and outputs are “logic low” devices, meaning that to turn “on” an input, it must be connected to ground (zero volts). Likewise, when an output is “on”, it puts out 0 volts and when it is “off”, it puts out +5 volts.

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722 User Guide and Technical Information

Logic Inputs

Configured as a switch-closure input, a pin can be connected to a switch that a user has wired to assigned contact. This switch can then trigger the 744T to begin recording. Other functions can be assigned as well from the Setup Menu. The switch-closure on a given pin of the CL-1 can be thought of as just another key on the keyboard. Anything that can be assigned to a key can also be assigned to a switch.

To configure a pin as an input, navigate to

Ext Keyboard Assign in the Setup Menu. Select a new

Shortcut number, then locate the Login inputs amongst the assignable keys. Choosing

Logic In 1 would correspond to pin 1 on the CL-1, Logic In 2 would correspond to pin 2 on the CL-1, and so on. After a Logic input is chosen assign the desired action that the Logic input will control.

Logic Outputs

Configured as a switch-closure output, the CL-1 can drive LEDs, relays, or any other sort of device which will accept a TTL-level or similar input. For example, the CL-1 can drive a big red LED connected via a series resistor between the +5V output and a switch-closure output and light up whenever the recorder is put into record mode.

To configure a pin as an output, go to

CL-1: Logic Out Assign in the Setup Menu. The Logic

Pin number is on the left hand side (“00”, “01”, etc). Each of these pins can be assigned to undefined, Stop, Play, Record, or Pause. Note that if a pin is assigned to be both an input (via the

Ext Keyboard Assign Setup Menu) and an output (via the CL-1: Logic Out Assign Setup

Menu), the pin will automatically default to an output.

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 one user preset per media.

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.

722 Presets

Rec: FireWire Connection

Rec: Sampling rate

Rec: Bit Depth

Rec: File Type

Rec: Media Select

Rec: Scene Name/Number

Rec: Track Names

Rec: Take Name/Number

Rec: Take Reset Mode

Factory Preset

External Drive

48 kHz

24 bits

.wav poly

EXHDD and INHDD and CF

None

Track A: Track A

Track B: Track B

T 01

When Scene is changed

Film

Preset

External Drive

48 kHz

24 bits

.wav mono

EXHDD and INHDD and CF

None

Track A: Track A

Track B: Track B

T 01

Reporter

Preset

Computer Connect

44.1 kHz

16 bits

.wav mono

INHDD only

None

Track A: Track A

Track B: Track B

T 01

Music

Preset

Computer Connect

44.1 kHz

16 bits

.wav poly

INHDD only

None

Track A: Track A

Track B: Track B

T 01

When Scene is changed When Scene is changed When Scene is changed

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722 User Guide and Technical Information

File: Folder Options

File: Copy Files

File: Copy Flag Reset

Time Counter: Display

Time Counter: Mode

Output1 Left: Source

Output1 Right: Source

Output1 L,R: Attenuation

Output2 Left: Source

Output2 Right: Source

Output2 L,R: Attenuation

Digital Output: Mode

Play: AutoPlay Mode

Time/Date: 12/24 Hr

Time/Date: Date Format

LCD Contrast

LCD: Gain Display

LCD: Scrolling Direction

Meter: Ballistics

Meter: Peak Threshold

722 Presets Factory Preset

2 Sec

Off

Disabled

Film

Preset

2 Sec

Reporter

Preset

On

Disabled

2 Sec

On

Disabled

Music

Preset

Rec: Pre-Roll Time

Rec: Dither

Rec: Timer Start

Rec: Timer Stop

Rec: Record Indicator

Rec: Record Pause

Input: Routing

Input 1: 48V Phantom

Input 2: 48V Phantom

Mic Inputs: Limiter

2 Sec

Off

Disabled

Disabled

Normal Numbers

Disabled

1->A / 2->B

Off

Off

Enabled

Disabled

Normal Numbers

Disabled

1->A / 2->B

On - Mic

On - Mic

Enabled

Disabled

Normal Numbers

Disabled

1->A,B / 2->A,B

On - Mic

On - Mic

Enabled

Disabled

Normal Numbers

Disabled

1->A / 2->B

On - Mic

On - Mic

Enabled

Mic Input 1: Low Cut

Mic Input 2: Low Cut

Disabled

Disabled

Mic Input 1: Low Cut Frequency 40 Hz, 12 dB/oct

Mic Input 2: Low Cut Frequency 40 Hz, 12 dB/oct

Mic Input 1: Gain Range Normal

Mic Input 2: Gain Range Normal

Input 1,2: Source

Input 1,2: Linking, MS

Line Input 1,2: Gain Ctrl

Input 1: Delay

Input 2: Delay

File: Marker Mode

File: Max Size

Auto Select

Unlinked

Use Front Panel Knobs

0 mS

0 mS

New File

2G CF (1.8 GB)

Disabled

Disabled

40 Hz, 12 dB/oct

40 Hz, 12 dB/oct

Normal

Normal

Auto Select

Unlinked

Use Front Panel Knobs

0 mS

0 mS

New File

2G CF (1.8 GB)

Enabled

Enabled

40 Hz, 24 dB/oct

40 Hz, 24 dB/oct

Normal

Normal

Auto Select

Unlinked

Use Front Panel Knobs

0 mS

0 mS

New File

2G CF (1.8 GB)

Disabled

Disabled

40 Hz, 12 dB/oct

40 Hz, 12 dB/oct

Normal

Normal

Auto Select

Linked 1,2

Use Front Panel Knobs

0 mS

0 mS

New File

2G CF (1.8 GB)

None

Copy all INHDD> CF

Enabled

Big A-Time

Off

Track A

Track B

0 dB

Track A

Track B

0 dB

Consumer

Play All

12 Hr

MM/DD/YY

50%

Bit Depth, SR & Gain

Normal

Peak Hold + VU

0 dBFS

None

Copy all INHDD > CF

Enabled

Big A-Time

Off

Track A

Track B

0 dB

Track A

Track B

0 dB

Consumer

Play All

12 Hr

MM/DD/YY

50%

Bit Depth, SR & Gain

Normal

Peak Hold + VU

0 dBFS

None

Copy all INHDD > CF

Enabled

Big A-Time

Off

Track A

Track B

0 dB

Track A

Track B

0 dB

Consumer

Play All

12 Hr

MM/DD/YY

50%

Bit Depth, SR & Gain

Normal

Peak Hold + VU

0 dBFS

None

Copy all INHDD > CF

Enabled

Big A-Time

Off

Track A

Track B

0 dB

Track A

Track B

0 dB

Consumer

Play All

12 Hr

MM/DD/YY

50%

Bit Depth, SR & Gain

Normal

Peak Hold + VU

0 dBFS

59

722 User Guide and Technical Information

722 Presets

Meter: Stealth Mode

HP: Rotary Sw Function

HP: Monitor Modes

HP: Favorite Mode

HP: Playback Mode

HP: Warning Bell

HP: Record/Stop Bell

Tone: Level

Tone: Frequency

Tone: Mode

Tone: Record Lock

INHDD: Empty Trash

CF: Empty Trash

EXHDD: Empty Trash

Power: Ext Low Batt Volt

Power: Ext Power Function

Power: Power-up Messages

Ext Keyboard: Assign

Ext Keyboard: Langauge

CL-1: Re-Program

CL-1: Logic Out Assign

Factory Preset

Film

Preset

Off Off

Selects Favorite Mode Selects Favorite Mode

01> Inputs 1,2

02> Tracks A,B

03> Input 1,1

04> Input 2,2

05> Monitor A,B

01> Inputs 1,2

02> Tracks A,B

03> Input 1,1

04> Input 2,2

05> Monitor A,B

Reporter

Preset

Off

Selects Favorite Mode

01> Tracks A,B

Music

Preset

Off

Selects Favorite Mode

01> Inputs 1,2

02> Tracks A,B

03> Input 1,1

04> Input 2,2

05> Monitor A,B

Tracks A,B

Tracks A,B

-30 dBFS

Disabled

Tracks A,B

Tracks A,B

-30 dBFS

Disabled

Tracks A,B

Tracks A,B

-30 dBFS

Disabled

Tracks A,B

Tracks A,B

-20 dBFS

Disabled

-20 dBFS

1000 Hz

To Rec Tracks and

Outputs

-20 dBFS

1000 Hz

To Rec Tracks and

Outputs

-20 dBFS

1000 Hz

To Rec Tracks and

Outputs

-12 dBFS

1000 Hz

To Rec Tracks and

Outputs

Locked while Recording Locked while Recording Locked while Recording Locked while Recording

Empty Trash Empty Trash Empty Trash Empty Trash

Empty Trash

Empty Trash

11.0 volts

Empty Trash

Empty Trash

11.0 volts

Empty Trash

Empty Trash

11.0 volts

Empty Trash

Empty Trash

11.0 volts

Do Nothing

Enabled

F1 > Record

F2 > Stop Button

F5 > Rewind Button

F6 > Play Button

F7 > Fast Forward

Button

CTRL + C > File: Copy

Files Last 24Hr CF >

EXHDD

CTRL + H > File: Copy

Files Last 24Hr INHDD

> EXHDD

English

CL-1 Module

(Undefined)

Do Nothing

Enabled

F1 > Record

F2 > Stop Button

F5 > Rewind Button

F6 > Play Button

F7 > Fast Forward

Button

CTRL + C > File: Copy

Files Last 24Hr CF >

EXHDD

CTRL + H > File: Copy

Files Last 24Hr INHDD >

EXHDD

English

CL-1 Module

(Undefined)

Do Nothing

Enabled

F1 > Record

F2 > Stop Button

F5 > Rewind Button

F6 > Play Button

F7 > Fast Forward

Button

CTRL + C > File: Copy

Files Last 24Hr CF >

EXHDD

CTRL + H > File: Copy

Files Last 24Hr INHDD

> EXHDD

English

CL-1 Module

(Undefined)

Do Nothing

Enabled

F1 > Record

F2 > Stop Button

F5 > Rewind Button

F6 > Play Button

F7 > Fast Forward

Button

CTRL + C > File: Copy

Files Last 24Hr CF >

EXHDD

CTRL + H > File: Copy

Files Last 24Hr INHDD

> EXHDD

English

CL-1 Module

(Undefined)

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 folder on the selected medium.

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722 User Guide and Technical Information

Setup Menu

8

9

2

3

4

1

#

5

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.

Setup Name

Quick Setup

Setup Description

Allows the user to quickly apply default menu setups and save/retrieve user setups to disk or CF.

FireWire: Connection

Rec: Sample Rate

Rec: Bit Depth

Rec: File Type

Activates FireWire drive mode.

Sets the audio sampling frequency of the 722

Sets the bit depth of the 722 recordings.

Selects the file format (type) recorded to the selected medium.

• 32 kHz

• 44.1 kHz

• 47.952 kHz

• 47.952k F

• 48 kHz

• 48.048 kHz

• 48.048k F

• 16 bit,

• 24 bit

• .wav poly

• .wav mono

• .flac

• .MP3 32 kb/s

• .MP3 64 kb/s

• .MP3 96 kb/s

• .MP3 128 kb/s

• .MP3 160 kb/s

• .MP3 192 kb/s

• .MP3 256 kb/s

Setup Options

• Load Factory Settings

- restores the factory default settings

• Load Film Settings

- applies typical setups for film production

• Load Reporter Settings

- applies typical setups for voice recording

• 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

• Computer/Connect (STOP+HDD buttons)

• External Drive

• 88.2 kHz

• 96 kHz

• 96.096 kHz

• 96.096 k F

• 176.4 kHz

• 192 kHz

• .MP3 320 kb/s

• .MP2 64 kb/s

• .MP2 96 kb/s

• .MP2 128 kb/s

• .MP2 160 kb/s

• .MP2 192 kb/s

• .MP2 256 kb/s

• .MP2 320 kb/s

• .MP2 384 kb/s

6

Rec: Media Select

Selects the storage media used for recording. Media is selectable even if it is not present.

• INHDD Only

• CF Only

• EXHDD Only

• INHDD and CF

• EXHDD and INHDD

• EXHDD and CF

• EXHDD and INHDD and CF

7

Rec: Scene Name/Number

Rec: Track Names

Rec: Take Name/Number

User-defined, alpha-numeric file scene names can be pre-set and selected from a list. Scene name lists can be saved to hard drive. used to identify a track name which shows up in iXML and BWF metadata

Numeric, auto-incrementing number used for take identification.

<up to 9 alpha-numeric characters can be entered for the scene name>

Scene name can also be left blank

Track A

Track B

Track C

Track D

• Mix

• Boom

• <Add New Entry>

• <Load List From INHDD>

• <Save List From INHDD>

<selectable alpha character + integers up to

32000, with or without preceding 0’s>

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722 User Guide and Technical Information

10

11

12

13

14

15

16

17

# Setup Name

Rec: Take Reset Mode

Rec: Pre-Roll Time

Rec: Dither

Rec: Timer Start

Rec: Timer Stop

Rec: Record Indicator

Rec: Record Pause

Input: Routing

18

19

Input 1: 48V Phantom

Input 2: 48V Phantom

20

Mic Inputs: Limiter

21

22

23

24

Mic Input 1: Low Cut

Mic Input 2: Low Cut

Mic Input 1: Low Cut Freq

Mic Input 2: Low Cut Freq

25

26

Mic Input 1: Gain Range

Mic Input 2: Gain Range

27

28

Input 1, 2: Source

Input 1,2: Linking, MS

Setup Description

Defines when take numbers are reset. Reset brings take number to <1>.

Selects the amount of pre-roll time the 722 will add to the beginning of each file.

Setup Options

• Never

- take numbers do not reset

• When scene is changed

- take resets when scene name is changed

• When daily folder changes

- takes reset on new day

• Either scene or daily

- takes reset on either change

0–10 sec. @ 48 kHz

0–5 sec. @ 88.2–96.096 kHz

0–2 sec. @ >96.096–192 kHz

• Off

• On (16 bit only)

<enter time, date>

Selects whether to dither is added to 24 bit digital signals while recording 16 bit files.

Sets a specific start time/date for unattended recording. Unit must be powered.

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.

Sets how the large display looks when the unit enters record.

Allows a recording to be stopped then continued without creating a new take or file. Time Counter Mode must be set to Off to enable Record Pause.

Allows the user to setup their routing matrix among all available inputs and tracks. There are preset routings and three custom routings available. Pressing the input select key repeatedly will cycle through all preset routings.

Primarily accessible from the Input Select Key.

Enables or disables 48 V phantom power on inputs 1 and 2.

Enables or disables the analog input limiter on input 1 and 2 mic preamps.

Enables the high-pass (low cut) filter to reduce sensitivity to low frequencies.

Selection of twelve high-pass filter frequency and slope combinations for microphone inputs.

Selects the sensitivity of the microphone input. Low sensitivity is used for very loud and/or very hot microphones.

Forces the inputs to analog or digital mode.

Selects whether the input 1 & 2 levels are controlled independently or grouped as a pair with or without mid-side decoding.

<enter time, date>

• Normal Numbers

• Reverse Numbers

• Flash Numbers

• Disabled

• Enabled

• 1  A

• 1  A / 2  B

• 1  A / 1  B

• 1  A,B / 2  A,B

• Custom Route 1

• Custom Route 2

• Custom Route 3

• Off

• On - Mic

• On - Mic and Line

• Disabled

• Enabled

• Disabled

• Enabled

• 40, • 80, • 160, • 240 Hz @ 12 dB/oct

• 40, • 80, • 160, • 240 Hz @ 18 dB/oct

• 40, • 80, • 160, • 240 Hz @ 24 dB/oct

• Normal

• Low

• Normal, fades to off

• Low, fades to off

• Auto-select

• Analog

• Digital (S/PDIF/AES)

• Disabled (Power Save)

• 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.

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Setup Name Setup Description

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.

Line Input 1: Gain

Line Input 2: Gain

Input 1: Delay

Input 2: Delay

Adjusts the input sensitivity of line-level inputs when set to Use Sensitivity Settings.

Sets a digital delay for each input. Can be used to compensate for delay in various digital wireless microphone units or digital processors.

File: Marker Mode

File: Max Size

File: Folder Options

Setup Options

• Use front panel knobs

• Use sensitivity settings

Adjustable from -6 dB to +18 dB in 0.1 dB steps.

Enables the user to set cue points on the fly while recording by pressing the record key.

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 GB

Allows user to organize files in root and sub-folders. To not use any folders select <None> on every level.

0 to 30 milliseconds, 0.1 mS increments

0 mS to 30,000 mS up to 48.048 kHz Fs

0 mS to 15,000 mS up to 96.096 kHz Fs

0 mS to 7,500 mS up to 192 kHz Fs

• Markers disabled

No cue marks are set.

• New Cue

Cue markers will be set within one contiguous file.

• New File

A new file is started with each press of the record key, the take counter is increased by one.

• 4 GB CF (3.6 GB)

• 2 GB CF (1.8 GB)

• 1 GB CF (950 MB)

• 512MB CF (450 MB)

• TOP-LEVEL

• MID-LEVEL

• BOTTOM-LEVEL

<None>, <Add new entry>

<None>,<Add new entry>, <Daily>

<None>, <Add new entry>, <Scene>

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41

42

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39

43

44

File: View Files

File: View Take List

File: Copy Files

File: Copy Flag Reset

Time Counter: Display

Time Counter: Mode

Output 1 Left: Source

Output 1 Right: Source

45

Output 1 L,R: Attenuation

Enters the file directory tree for the selected drive.

Allows user to view the last 200 takes. Takes can be selected and converted to circle takes.

Allows the user to select a file or a range of files to be copied from one storage 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.

Selects whether the flag bit is cleared or not on files copied from one media to another.

Sets the numbers of the large numerical display.

Highlight media descriptor to navigate the menu

• Circle

• Copy all {drive}  {drive}

• Last 24 hr {drive}  {drive}

• Last 48 hr {drive}  {drive}

• Flagged {drive}  {drive}

All files, when recorded, automatically have their flag bit set to “on”

• Disabled

• Enabled

• Big A-time

• Big 24 hour time

• Off

• 24 hour

When set to 24 hour, the time counter is displayed on the main LCD display. The time counter value is derived from the 722 time of date clock. Recorded files are stamped in metadata according to that value.

Selects the signal source for the Master Output Bus

(TA3 Outputs and Tape Outputs).

Selects the attenuation level of signal sent to the

Master Output Bus.

• Input 1

• Input 2

• Track A

• Track B

• Input 1+2

• Track A+B

Selectable from 0 to

-40 dBFS

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48

49

50

51

52

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57

58

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60

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Setup Name

Output 2 Left: Source

Output 2 Right: Source

Setup Description

Selects the signal source for output bus 2 sent to digital output bus 2.

Setup Options

• Input 1

• Input 2

• Track A

• Track B

• Input 1+2

• Track A+B

Selectable from 0 to –40 dBFS

Output 2 L,R: Attenuation

Digital Output: Mode

Play: AutoPlay Mode

Time/Date: 12/24 Hr

Time/Date: Date Format

Time/Date: Set

LCD: Contrast

LCD: Gain Display

LCD: Scrolling Direction

Meter: Ballistics

Selects the attenuation level of the signal output to bus 2.

Selects whether or not the consumer SPDIF bit is applied or not in the AES3id output.

Allows user to play file(s) consecutively from selected directory, one time through or continuously.

Great for playing an MP3 collection during down time!

Selects between 12 hour and 24 hour time.

Selects the date syntax of the recorder.

Sets the internal date and time of the 722.

Resetting the time re-jams the internal time code generator to the set time. Setting the internal clock during a production day will require time code devices to be re-jammed.

Adjusts the contrast level of the LCD display.

Sets the Main LCD Display to show the gain values of inputs 1 and 2 always or to show Bit Depth and

Sample Rate and Gain of input 1 and 2 only when attenuated.

Defines the direction in which the Multi-Function

Rotary Switch will navigate throughout the 722.

Selects among five different meter ballistics settings

Meter: Peak Threshold

Meter: Stealth Mode

User-set level in dBFS where track peak LED’s illuminate. 0 LED doubles as track peak indicator.

Enables LEDs to toggle on and off with the LCD backlight key.

HP: Rotary Switch Function

Selects the functionality of the Rotary Switch’s button when in record and playback.

• Consumer

• Professional

• Disabled

• Play all

• Repeat one

• Repeat all

• 12 hr

• 24 hr

• mm/dd/yy

• dd/mm/yy

<time, date>

Clock is not set until <done> is selected

0–100%

• Bit Depth, SR & Gain

• Gain Only

• Normal

• Reverse

• VU only

• Peak only

• Peak-hold only

• Peak+VU

• Peak-hold + VU

0 to

-20 dBFS (1 dB increments)

HP: Monitor Modes

Select the sequence of the modes that appear in the

Headphone Source Display on the LCD.

• Off

• On

• Disabled: push makes no change to the headphone matrix.

• 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

Up to 20 source selections can be entered in any order. See headphone monitor section in guide for adjustment and Favorite Mode below for list of headphone selections.

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# Setup Name

HP: Favorite Mode

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HP: Playback Mode

HP: Warning Bell Level

HP: Rec/Stop Bell

Tone: Level

Tone: Frequency

Tone: Mode

69

70

Tone: Record Lock

Drive: Speed Tests

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INHDD: Space

INHDD: Erase / Format

73

74

INHDD: Empty Trash

CF: Space

75

CF: Erase / Format)

76

CF: Empty Trash

77

EXHDD: Space

78

EXHDD: Erase / Format

Setup Description Setup Options

Selects the audio source monitored when the Rotary

Switch 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

Monitor A,A

Monitor B,B

Inputs 1,2 (MS)

Tracks A,B (MS)

Monitor A,B (MS)

Inputs 1+2,1+2

Tracks A+B,A+B

Selects the audio source sent to headphones upon playback.

• No change

• Same as options listed above

Set the output level of the multi-function warning bell. Off,

-60 to –12 dBFS in 1 dB steps

Alerts the user with one beep at the start of recording and two beeps when the recording is stopped

Set the output level of the reference tone

• Disabled

• Enabled

-40 to 0 dBFS in 1 dB steps

100–10,000 Hz in 10 Hz steps Allows the user to set the frequency of the reference tone oscillator

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

Sets the Tone key to be either available or locked while in Record Mode.

Performs a write/read speed test on the internal hard drive, CompactFlash, and external drives. Data transfer speed is measured in KB/s.

Shows the drive file system, total size, and space remaining on the internal hard drive.

Formats the internal hard drive.

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.

Allows user to delete files previously sent to the trash as well as false takes.

Shows the drive file system, total size, and space remaining on connected CompactFlash medium.

• Enabled While Recording

• Locked While Recording

Caution: Drive test will disable processing and mute outputs for duration of test. Outputs will not return until test is exited.

• Empty Trash

• Empty False Takes

• Empty both

Formats installed CompactFlash medium

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.

Allows user to delete files previously sent to the trash as well as false takes.

• Empty Trash

• Empty False Takes

• Empty both

Shows the drive file system, total size, and space remaining on connected Compact Flash medium.

Formats attached FireWire storage volume

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.

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# Setup Name

EXHDD: Empty Trash

80

Balance Cal

Setup Description

Allows user to delete files previously sent to the trash as well as false takes.

Calibrates the center position of the input 2 pot when used as the balance control for MS recording.

Setup Options

• Empty Trash

• Empty False Takes

• Empty both

Place balance control to center and press to select.

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Power: Ext Low Batt Volt

Power: Ext Power Function

Sets the warning voltage of the low battery alert with an external power source. Internal battery warning threshold is factory set.

Controls the behavior of the unit when power is applied to the external DC jack.

Pin-3 (+) of the external DC input must be wired in order for the External Power Functions to operate.

Power: Power-up Messages

Enables or disables the notifications that appear upon boot up (daily folder prompt, output attenuation notice, and set time and date message). Disabling these messages is useful when using the External Power

Functions to power on and start recording and the

Record Start and Stop Timer.

Ext Keyboard: Assign

Ext Keyboard: Language

Enter to setup keyboard shortcuts when using the

CL-1 keyboard interface

Select the language of the keyboard attached to the

CL-1.

10.0–18.0 VDC, 0.1 V steps

• Do Nothing

• Power On Unit

• Power On and Start Record

• Power On/Off unit

• Power On/Off unit and Record

• Disabled

• Enabled

• English

• German

• French

CL-1: Re-program

The CL-1 has its own firmware which is supplied from the 722. This utility updates the CL-1 firmware.

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CL-1: Logic Out Assign

Each logic output pin can be assigned to go high when the unit is in the selected mode. Logic input overrides logic output selection.

• Undefined

• Stop

• Play

• Pause

• Record

Info: Button Shortcuts

Info: Version

Update Software

An informative menu showing the available keyboard shortcuts.

Shows the hardware revision, serial number, and firmware version of the unit.

Upgrade tool used to apply new firmware. It will search all connected storage for the firmware file and prompt to update.

Setup Menu Shortcuts

The Setup Menu can be quickly navigated using the Rotary Switch to move up and down through the menu. Additionally, shortcuts, or “breadcrumbs” can be placed on often-used menu items. A breadcrumb is set by holding the play button when at a selected menu item. A small dot is shown to the left of the setup number. Any number of breadcrumbs can be set, but their utility is reduced with too many applied. toggles among menu bread crumbs to lower numbered items with no bread crumbs placed, moves to a previous general menu section press and hold to set or remove a menu crumb; single press navigates to menu item #1 toggles among menu bread crumbs to higher numbered items with no bread crumbs placed, moves to the next general menu section

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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.

Function

Record Tone

Key Sequence

Jam Menu

Button Lock

Input Mutes

Input

Routing

Phantom #1

Phantom #2

Low-cut #1

Low-cut #2

Connect

FireWire

Take Status

Menu

False

Take

Increase

Take

+

+

+

+

+

+

+

+

+

+

+

+

Action

Record and Tone

In the menu File: Marker Mode must be set to Markers Disabled. While recording hold the REC button and press the tone button. Tone will be active as long as the tone button is held.

Menu and HDD

Enters the time code jam menu. (702T &744T Only)

Backlight and Tone

Press backlight then tone to lock all front panel buttons except for Record, Stop and Play. FF and Rew 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. Phantom 1 & 2 are linked when Inputs 1 & 2 are linked.

Tone and HDD

Toggles Input 2 phantom power

Backlight and Menu

Toggles Input 1 high-pass filter. Low-cuts 1 & 2 are linked when Inputs 1 & 2 are linked.

Backlight and HDD

Toggles Input 2 high-pass filter

Stop and HDD

Initiates FireWire connection if previously disconnected via an “eject” command

Stop and Backlight

Enters Take Status Menu. From this menu mark the last recorded take as

Circled or No Good

Stop and Rewind

Delete last take prompt.

Stop and Fast Forward

Increments take number to be recorded for next file

Take

List

+

Stop and Play

Take list and take status identifying screen

Toggle

Drives

LED Level

Flashlight

Mode

+ Rotary Switch

+

+

HDD

Hold HDD button down for 1 second to toggle between viewable drives.

Backlight and Rotary Switch

Adjusts level of LED brightness.

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.

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Connector Pin Assignments

Each connector type, electrical characteristics, and pin assignment is shown below.

Connector

XLR

(Analog Inputs)

Pin Assignments

1 – ground

2 – signal (+)

3 – signal (-)

Notes

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

3 .5 mm

Master Output Bus

3 .5 mm

Headphone

AES3id (S/PDIF) Input

AES3id (S/PDIF) Output

Word Clock Input and Output

FireWire (-1394)

C . Link In / Out

Hirose 4-pin

DC Input

1 – ground

2 – signal (+)

3 – signal (–) tip – signal L ring – signal R sleeve – signal ground tip – signal L ring – signal R sleeve – signal ground center pin – signal sleeve – ground center pin – signal sleeve – ground center pin – signal sleeve – ground

6-pin cabling

1 – +3.3 V

2 – Tx (output)

3 – ground

4 – Rx (input)

5 – WC in

6 – TC in

1 – ground

2 – ground, same as pin-1

3 – DC (+) charge

4 – DC (+) operate

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.

Master Output Bus signal in an unbalanced, consumer-electronic level. mates with 3.5 mm TRS jack.

BNC female, unbalanced, coaxial connection, 75 ohm connectors recommended

BNC female, unbalanced, coaxial connection, 75 ohm connectors recommended

BNC female, unbalanced, coaxial connection, 75 ohm connectors recommended

6-pin male FireWire cable, provides bus power at 12 volts when the unit is powered from external DC sources.

Not a telephone jack!

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722 User Guide and Technical Information

Specifications

System

Sampling Frequency internal: 32, 44.1, 47.952, 48, 48.048, 88.2, 96, 96.096, 176.4, 192 kHz external: 32–192 kHz via word clock input

32 bit, 192 dB dynamic range

Internal Data Path and

Processing

A/D, D/A Converters

A/D Dynamic Range

D/A Dynamic Range

Metering

24 bit, 192 kHz sample rate maximum. A/D converters on socketed, field-upgradeable daughter board

114 dB, A-weighted bandwidth

110 dB, 20 Hz – 22 kHz bandwidth

112 dB, A-weighted bandwidth

108 dB, 20 Hz–22 kHz bandwidth

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

Equivalent Input Noise

THD + Noise

Gain

(input dBu to

-20 dBFS)

Input Impedance

Input Clipping Level

Input Topology

Mic or Line: 10 Hz–40 kHz, +0.1,

-0.5 dB (gain controls centered)

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

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)

Mic (normal gain mode): 24.3–67.4 dB

Mic (low gain mode): 9.3–52.4 dB

Mic (normal, fades to off gain mode): off (0)–67.4 dB

Mic (low, fades to off gain mode): off (0)–52.4 dB

Line:

-6–18 dB, 0.1 dB increments

Mic: 7.5k ohm

Line: 20k ohm

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)

Mic and Line: fully electronically balanced, RF, ESD, short, and overload protected; pin-2 hot, pin-3 cold

Gain Matching

Common Mode Rejection

Ratio

High-Pass Filters

Mic Powering

(each XLR selectable)

Mic Input Limiters

Line inputs: ±0.1 dB, channel-to-channel

Mic: 40 dB minimum at 80 Hz

40, 80, 160, 240 Hz @ 12/18/24 dB/oct (all menu selectable)

48 V phantom through 6.8k resistors, 10 mA per mic available, menu-selected per channel in mic or line level positions 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

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.

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Inputs/Outputs – Digital

AES3-id

75 ohm, 0.5 V p-p, S/PDIF compatible with RCA adapter

Digital Storage

Internal hard drive

CompactFlash

File Types

SATA interface 2.5-in hard drive 4200–7200 RPM supported, FAT32 formatted, up to 2 TB addressable serial numbers below 471309092000 use

ATA-5 interface 1.8-in or 2.5-in hard drive 4200–7200 RPM supported, FAT32 formatted, up to 2 TB addressable

CF type I, II, and + (microdrive) compatible, FAT32 formatted, up to 2 TB addressable

WAV (AES-31 format), mono or polyphonic, at supported Fs, 24-bit or 16-bit

FLAC, (Free Lossless Audio Codec)

MP3 @ 32, 64, 96, 128, 160, 192, 256, or 320 kb/s stereo

MP2 @ 64, 96, 128, 160, 192, 256, or 320, 384 kb/s stereo format and speed test for internal HD, CF, and external drive volumes Utilities

Data Transfer / Control

FireWire

C . Link

peripheral-mode, IEEE-1394a compliant, 6-pin FireWire, Windows 2000, XP, Vista, Mac OS X only

6-wire modular input and output, RS-232 machine control, word clock, time code transfer (744T)

Powering

Internal Voltages

Power supply (batteries)

Power supply (external)

±16 VDC regulated audio rails

5 VDC data

3.3 VDC data

1.5 VDC DSP core

48 VDC phantom power operating cell, removable 7.2 V (nominal) Sony M- or L-type Li-ion, operational from 6–8 V

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

Tone Oscillator

202 x 32 pixels, extended temperature, backlit display

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

Mass

45 mm x 209 mm x 125 mm (H x W x D)

1.8” x 8.2” x 4.9” unpackaged: 1.2 kg, (2.6 lbs) without battery

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722 User Guide and Technical Information

Accessories

Included Accessories

The accessories below are included with the 722:

• Universal In-Line Power Supply, 100–240 VAC input, 12 VDC, 45 W output (XL-WPH3)

• Li-ion removable rechargeable battery, 4600 mAh

• 3.5 mm to 1/4-inch jack for headphone output extension (XL-14)

• C. Link cable for unit-to-unit linking (XL-RJ)

• Padded man-bag (XL-MAN)

• FireWire Power conditioner (XL-1394)

Optional Accessories

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:

CL-1

Remote Control and Keyboard Interface used to control the 722 with an external keyboard.

XL-1B

XL-2

XL-B2

XL-4

XL-14

XL-BNC

CS-3

CS- MAN

Wave Agent Beta

XL-1394

Production case with high-quality strap for use with 302, 7-Series recorders and MixPre; NP-type battery compartment and accessory pouch for wireless. Built for Sound Devices by CamRade.

Convenient, padded carry/storage case with handles, handy to store wallets, keys and mobile phones; handcrafted in China.

WAV file librarian for Mac OS and Windows computers. Wave Agent provides a comprehensive and indispensable range of tools for preparing audio files for problem-free passage through complex production workflows.

The XL-1394 Power Filter is used when connecting bus-powered disk drives, DVD-RAM and hard drive, to the 7-Series recorders. The XL-1394 filters power supply noise generated by these consumer devices from inducing noise into the analog preamplifiers of 7-Series recorders. The filter is powered by the 7-Series

TA3F to TA3F cable, used to connect the line outputs of the 722 to other

TA3 input sources, 12-inch.

TA3F to XLR-M cable, used to connect analog outputs to third-party devices with XLR-F inputs, 25-inch; package of two.

Removable, rechargeable, Li-ion battery; 7.2 V, 4600 mAh battery; good to have several spares.

Bag of four (4) TA3-F-type connectors.

3.5 mm right-angle TRS to 1/4-inch female TRS for headphone extension,

12-inch.

BNC to BNC cable for word clock and AES3id interconnection, 24-inch.

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XL-DVDRAM

XL-H

XL-LCD

XL-NPH

XL-RJ

XL-SATA

XL-WPH3

An external bus-powered FireWire DVD Multi-drive. Based on the slotloading Panasonic UJ-85 drive mechanism, the XL-DVDRAM is used with a 7-Series recorder to record directly to optical disk or as a post-record storage volume.

Bare Hirose 4-pin locking DC connector (HR10-7P-4P).

Protective, clear Lexan LCD cover for 7-Series Digital Recorders. Protects the LCD glass from scratches and water. Kit of four covers.

NP-type battery cup with 24-inch cable terminated in Hirose 4-pin locking

DC connector (HR10-7P-4P) at equipment end.

RJ-12 to RJ-12 for C.Link to C.Link 702, 702T, 722, and 744T recorder linking, 12-inch.

SATA Drive Interface provides an internal connection to 2.5-inch SATA

(Serial ATA) hard drives for 722 originally equipped with PATA / IDE internal hard drives. Drive not included.

AC to DC Power Supply (in-line) 100 - 240V 50/60 Hz input, 12 VDC 3.75

A (45 W) output, Hirose 4-pin DC plug. Supplied with 3-pin IEC cord for use in North America and Japan. It is always good to have a spare.

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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:

89/336/EEC

EN55103-1, 1997

EN55103-2, 1997

EMC Directive

EMC-product family standard for audio, video, audiovisual and entertainment lighting control apparatus for professional use. Part 1: Emissions

EMC-product family standard for audio, video, audiovisual and entertainment lighting control apparatus for professional use. Part 2: Immunity

Magnetic emissions at 1 meter 50 Hz – 50 kHz EN55103-1 Phenomena 2, 3,

1997

EN55103-2 Phenomena 3, 1997

CISPR 22 (EN55022) 2003

EN61000-4-2 (2001)/

IEC61000-4-2 (2001)

EN61000-4-3 (2001)/

IEC1000-4-3 (2001)

EN61000-4-4 (2001)/

IEC61000-4-4 (2001)

EN61000-4-4 (2001)/

IEC61000-4-4 (2001)

EN61000-4-5 (2001)/

IEC61000-4-5 (2001)

EN61000-4-6 (2001)/

IEC61000-4-6 (2001)

EN61000-4-11 (2002)/

IEC61000-4-11(2001)

Magnetic immunity 50 Hz to 10 kHz

Radiated and conducted emissions, Class B

ESD, ±4 kV contact, ±8 kV air discharge

Radiated RF immunity, 10 V/m, 80% 1 kHz amplitude modulation

AC power ports: EFT Burst, I/O lines, ±0.25 kV to ±1.0 kV, power line ±0.5 kB – ±1 kV

EFT Burst, I/O lines, ±0.25 kV to ±1.0 kV, power line

±0.5 kB – ±1 kV

Surge ±1 kV differential mode (line-to-line), ±2 kV common mode (line-to-ground)

Conducted RF immunity, 3 V, 80% @1 kHz amplitude modulation

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

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722 User Guide and Technical Information

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.

Warranty and Technical Support

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722 User Guide and Technical Information

Limitation of Liability

LIMITATION ON SOUND DEVICES’ LIABILITY. 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 PAR-

TIES 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. TO THE FULLEST EXTENT PERMITTED BY LAW, SOUND DEVICES SHALL HAVE NO LIABILITY

TO THE END USER OR ANY OTHER PERSON FOR COSTS, EXPENSES, DIRECT DAMAGES, INCIDENTAL DAMAGES, PUNITIVE

DAMAGES, SPECIAL DAMAGES, CONSEQUENTIAL DAMAGES OR OTHER DAMAGES OF ANY KIND OR NATURE WHATSOEVER

ARISING OUT OF OR RELATING TO THE PRODUCTS, THESE TERMS AND CONDITIONS OR THE PARTIES’ RELATIONSHIP,

INCLUDING, WITHOUT LIMITATION, DAMAGES RESULTING FROM OR RELATED TO THE DELETION OR OTHER LOSS OF AUDIO

OR VIDEO RECORDINGS OR DATA, REDUCED OR DIMINISHED AUDIO OR VIDEO QUALITY OR OTHER SIMILAR AUDIO OR

VIDEO DEFECTS ARISING FROM, RELATED TO OR OTHERWISE ATTRIBUTABLE TO THE PRODUCTS OR THE END USER’S USE

OR OPERATION THEREOF, REGARDLESS OF WHETHER SUCH DAMAGES ARE CLAIMED UNDER CONTRACT, TORT OR ANY

OTHER THEORY. “CONSEQUENTIAL DAMAGES” FOR WHICH SOUND DEVICES SHALL NOT BE LIABLE SHALL INCLUDE, WITH-

OUT LIMITATION, LOST PROFITS, PENALTIES, DELAY DAMAGES, LIQUIDATED DAMAGES AND OTHER DAMAGES AND LIABILI-

TIES WHICH END USER SHALL BE OBLIGATED TO PAY OR WHICH END USER OR ANY OTHER PARTY MAY INCUR RELATED TO

OR ARISING OUT OF ITS CONTRACTS WITH ITS CUSTOMERS OR OTHER THIRD PARTIES. NOTWITHSTANDING AND WITHOUT

LIMITING THE FOREGOING, IN NO EVENT SHALL SOUND DEVICES BE LIABLE FOR ANY AMOUNT OF DAMAGES IN EXCESS

OF AMOUNTS PAID BY THE END USER FOR THE PRODUCTS AS TO WHICH ANY LIABILITY HAS BEEN DETERMINED TO EXIST.

SOUND DEVICES AND END USER EXPRESSLY AGREE THAT THE PRICE FOR THE PRODUCTS WAS DETERMINED IN CONSID-

ERATION OF THE LIMITATION ON LIABILITY AND DAMAGES SET FORTH HEREIN AND SUCH LIMITATION HAS BEEN SPECIFI-

CALLY BARGAINED FOR AND CONSTITUTES AN AGREED ALLOCATION OF RISK WHICH SHALL SURVIVE THE DETERMINATION

OF ANY COURT OF COMPETENT JURISDICTION THAT ANY REMEDY HEREIN FAILS OF ITS ESSENTIAL PURPOSE.

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722 User Guide and Technical Information

Warranty

Sound Devices, LLC warrants the 722 Portable Audio Recorder against defects in materials and workmanship for a period of TWO (2) year from date of original retail purchase. This is a nontransferable 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 PARTICU-

LAR 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/Bug Reports

For technical support and bug reporting 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 hosts a support forum for 7-Series recorders. The URL is:

http://forums.sounddevices.com

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 our minimum system requirements.

Please check with your software editing application to make certain that it is compatible with the file type selected.

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722 rev. 2.67 - Printed in U.S.A.

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