722 User Guide and Technical Documentation

722 User Guide and Technical Documentation
722
High Resolution Digital Audio Recorder
User Guide and Technical Information
firmware rev. 1.24
1.8" HDD
2.5" HDD
Sound Devices, LLC
300 Wengel Drive • Reedsburg, WI • USA
+1 (608) 524-0625 • fax: +1 (608) 524-0655
Toll-Free: (800) 505-0625
www.sounddevices.com
Introduction
Table of Contents
Quick Start Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Powering the Unit
Menu Navigation Basics
Connecting Audio Sources
Routing Inputs to Tracks
Recording Parameter Setup
Recording
Playback
FireWire File Transfer
Front Panel Descriptions . . . . . . . . . . . . . . . . . . . . . 6
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
Signal Presence and Peak Indicator
Digital Input – AES3
Digital Input – AES3id (S/PDIF)
Input Delay
Word Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Clock Master
Clock Slave
C. Link – Multi-Unit Linking
Input-to-Track Routing . . . . . . . . . . . . . . . . . . . . . . 18
Outputs – Analog and Digital . . . . . . . . . . . . . . . . 19
Analog Output Bus
Digital Output Bus
Headphone Output . . . . . . . . . . . . . . . . . . . . . . . . . 20
Choosing Headphone Sources
Setting Headphone Source Options
Multi-Function Controller (Encoder) Behavior
Headphone Favorite Selection
Headphone Playback Mode
Warning Tones
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Output Meter
Meter Ballistics
Peak LEDs
Tone Oscillator
LCD Contrast & Backlight, LED Brightness
Sample Rate and Bit Depth . . . . . . . . . . . . . . . . . . 24
Sample Rates
Bit Depths
Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . 25
WAV
MP3 – MPEG Layer 3
Recording and Playback . . . . . . . . . . . . . . . . . . . . 25
Recording
Playback
AutoPlay
Storage Medium – Internal Drive . . . . . . . . . . . . . . 27
Formatting
Drive Repair
Drive Type
Drive Failure
Drive Replacement
Storage Medium – Compact Flash . . . . . . . . . . . . 29
When to Use CF
Formatting
Testing
Drive Repair
Qualified CF Cards
File Naming / Numbering . . . . . . . . . . . . . . . . . . . . 30
Scene Name/Number
File Management and Copying . . . . . . . . . . . . . . . 32
File Finder Navigation
File Directory Screen
Setting/Clearing Flag Bits
Automatic Flag Clearing
Folders
File Time and Date
File Size Maximum
File Copying – Between Internal Drives
File Transfer – FireWire
Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Lithium Ion Rechargeable Battery
External Powering
Charging
Firmware Upgrades . . . . . . . . . . . . . . . . . . . . . . . . 37
Version Information
Upgrade Process
Setup Menu Presets . . . . . . . . . . . . . . . . . . . . . . . . 38
Built-In Presets
User Setups
Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Connector Pin Assignments . . . . . . . . . . . . . . . . . 47
Power Consumption Variables . . . . . . . . . . . . . . . 48
Recording Time Calculation . . . . . . . . . . . . . . . . . 48
Uncompressed Recording Time in Track-Hours
MP3 Compressed Record Time in Hours
Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Menu Navigation Shortcuts . . . . . . . . . . . . . . . . . . 51
Warranty and Technical Support . . . . . . . . . . . . . . 52
Software License . . . . . . . . . . . . . . . . . . . . . . . . . . 53
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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 Compact Flash medium, making field recording simple and fast. It writes
and reads uncompressed PCM audio at 16 or 24 bits with sample rates between 32 kHz and 192 kHz.
Compressed (MP3) audio playback and recording are also supported.
The 722 implements a no-compromise audio path that includes Sound Devices’ next generation
microphone preamplifiers. Designed specifically for high bandwidth, high bit rate digital recording,
these preamps set a new standard for frequency response linearity, low distortion performance, and
low noise.
With documentary and ENG recording engineers in mind, the 722 is very small, while still being feature-rich. No other recorder on the market matches its size and feature set. In addition, its learning
curve is quite short—powerful does not mean complicated. While the 722 is a very capable recorder
by itself, it truly excels when used in conjunction with an outboard audio mixer such as Sound
Devices’ own 442 or 302.
Sound Devices took advantage of the best in professional and consumer electronics technologies to
bring incredible feature depth with ease of use. Its two recording media (hard drive and Compact
Flash) are highly reliable, industry standard, and easily obtainable. The removable, rechargeable battery is a standard Sony-compatible Li-ion camcorder cell. The 722 interconnects with Windows and
Mac OS computers for convenient data transfer and backup.
Copyright Notice and Release
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording, or otherwise, without the expressed written permission of SOUND DEVICES,
LLC. SOUND DEVICES is not responsible for any use of this information.
SOUND DEVICES, LLC shall not be liable to the purchaser of this product or third parties for damages, losses, costs, or expenses
incurred by purchaser or third parties as a result of: accident, misuse, or abuse of this product or unauthorized modifications, repairs, or
alterations to this product, or failure to strictly comply with SOUND DEVICES, LLC’s operating and installation instructions.
Microsoft Windows is registered trademarks of Microsoft Corporation. Macintosh is a registered trademark of Apple Computer. Other
product and company names mentioned herein may be the trademarks of their respective owners.
The sound waves logo is a registered trademark of Sound Devices, LLC.
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firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Quick Start Guide
Quick Start Guide
The 722 is an extremely powerful and flexible portable audio recorder. Before recording, familiarity
with the product is essential. Several settings should be verified or set based on individual recording
needs.
Powering the Unit
1.
Apply power to the unit by connecting the (included) removable, rechargeable Li-ion (lithium ion) battery to the back panel battery mount. The metal tabs on the mount line up with the electrical contacts
on the battery. From the factory, the battery may not have a charge, so external DC may be needed for
initial operation and charging. Connect the included AC-to-DC power adapter to the DC input plug to
power and charge the removable Li-ion battery.
2.
Press and hold the power key (150 ms) to power up the unit. To power down the unit the power button
must be held for one second.
If this is the first time the recorder has been powered, or if it has been without a battery for an extended period, the date and time may need to be set.
Charge the included Li-ion battery for 6 hours prior to initial use.
Menu Navigation Basics
The setup menu provides options for recording, routing, and control parameters. The single layer
menu structure allows for very quick navigation and selection of functions. To enter the setup menu
key. Once in the setup menu, the following conventions are shared for
press the front panel
navigating among selections and to select specific parameters.
•
•
•
•
•
•
•
- enters setup menu
❯item❮ - highlighted menu item
✔ - selects highlighted item or parameter
- moves up in menu and between menu parameters
- moves down in menu and between menu parameters
✘ - exits the selected menu or menu altogether
The
stop key will exit from any menu and cancel any changes. Use it to escape out of the
setup menus.
The right panel Multi-Function Controller (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 the
input key to cycle through factory routing presets. The 722 has four often-used presets
for quick setup of input-to-track routing combinations. Note the routing combinations on the blue LEDs
with each successive press.
2.
If none of the preset routing combinations are suitable, assign a custom routing. Sequential presses of
input key will eventually cycle to the custom routing option (see Input to Track Routing, pg. 18).
the
From the custom input routing menu any input can be assigned to any track, including multiple inputs
assigned to a single track.
3.
Press Exit to leave input routing mode.
If no input is assigned to a track the 722 will not enter recording mode.
Recording Parameter Setup
For most productions, the general recording parameters of sample rate, bit depth, media selection,
and file format are changed infrequently. Enter the setup menu to verify recording settings. Sample
rate and bit depth are displayed on the LCD panel.
1.
Select the bit depth as needed.
2.
Set the sample rate as needed.
3.
Select the file format for recorded files.
4.
Select the storage medium (internal hard drive, Compact Flash, or both) for recording.
Recording
Now that file basics are set, you are ready to begin recording. The 722 is a record-priority box. Pressing the record key cancels all functions—except file operations—and immediately starts recording
a new file. When record is pressed, the red record LED illuminates to confirm record mode. The
filename in the LCD display shows the currently recorded file. Push the
stop (150 ms) key to
end recording.
Playback
When recording is stopped, the most recently recorded file is immediately available for playback.
Press the
key to begin file playback from the beginning of the file.
To select a file for playback:
1.
Press and hold the
key to select the folder (directory) for playback, either internal hard drive or
Compact Flash. The default playback directory is the volume being recorded.
2.
Use the Multi-Function Controller, or the arrow soft-keys, to navigate through the file directory.
3.
Once a file is highlighted, press the
play key to begin playback.
When playback has finished, the filename will begin flashing. Use the
fast-forward key or
rewind key to step through files in the folder, or press the
stop key to exit playback mode.
FireWire File Transfer
When connected via FireWire (IEEE-1394a) to a Mac OS or Windows OS computer (see Specifications
for computer requirements), the internal hard drive and connected Compact Flash storage mediums are
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firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Quick Start Guide
mounted onto the computer as “letter” accessible drives. Use the appropriate FireWire cable, either
6-pin to 4-pin or 6-pin to 6-pin, for interconnection. Files on the 722 can be treated as if they are local
files, including renaming files, copying, and playing directly from the 722 storage medium. No drivers are required with operating systems meeting the specifications.
In general, it is good practice to copy all needed audio files from the 722 to a computer before any processing is performed on the files.
To connect the 722 for FireWire transfer:
1.
Stop all playback and recording activity.
2.
Make certain the 722 battery is fully charged, or connect to external DC.
3.
Connect the 722 to the host computer with a FireWire cable.
4.
The 722 will enter FireWire transfer, indicated by COMPUTER CONNECTION in the LCD display. All functions of the 722 are stopped while the 722 is connected to a computer through FireWire.
5.
Navigate the drives on the computer and copy all needed audio files to the computer.
To avoid possible directory corruption on the 722 internal media, do not interrupt the connection process
during transfer 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.
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722 User Guide and Technical Information
Front Panel Descriptions
All settings of the 722 can be accessed and monitored through the front panel LCD and navigation
keys. This allows the unit to be placed in a production bag along with field mixers and wireless
transmitters and receivers.
1
2
3
4
5
6
7
8
9
10
11
12
29
28
27
26
25
24
1)
23
22
21
20
19
18
17
Digital Input LEDs
Indicates the presence of digital signal
on the respective input. When flashing,
indicates that digital input is selected
but no valid digital clock signal is present.
2)
MENU Key
Used to access all 722 setup menu selections. When in menu mode, used to
move up through the menu selections.
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13
LCD Display
Primary display of 722 status. The LCD
is backlit using the LCD backlight control (#15).
6)
Tone Oscillator Key
Used to activate the tone oscillator. Tone
frequency, tone level, and routing are
controlled in the setup menu. Press and
hold to activate.
7)
Input-to-Track Matrix LEDs
Blue LEDs indicate inputs (1 and 2)
enabled for recording to tracks (A and
B). A solid blue LED indicates an input
is routed to a track. A flashing LED during “custom” routing mode shows the
selected input/track combination.
8)
INPUT Select Key
Used to cycle through the four factory
preset input-to-track routing combinations plus the custom routing menu. In
the custom routing menu any input can
be routed to any track. See Input-to-Track
Routing, page 18.
Input 2 Gain
Controls input 2 gain, as in #2 above.
When inputs are linked as a stereo pair,
Input 2 Gain controls left-to-right balance.
4)
15
Input 1 Gain
Controls the analog gain (input trim) of
the channel 1 input. Normal mic input
range is from 25 dB to 70 dB, low gain
mic range is from 10 dB to 55 dB, line
input range is from −6 dB to 18 dB. For
line-level inputs, this control can be
defeated and gain can be setup menucontrolled. If the LCD display shows
“locked” when the pot is turned, gain
control of the line-level input is menucontrolled. When inputs are linked as
a stereo pair, Input 1 Gain controls the
gain of both inputs.
3)
16
9)
Level Meter LEDs
Two, 19-segment track level-meters indicate level in dBFS. Metering ballistics are
selected in the setup menu.
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Hardware Descriptions
10)
Power Key
16)
Used to power up and power down the
722. When off, press and hold (150 ms)
to power. When on, press and hold (1
second) to power down.
11)
12)
17)
18)
Stop/Pause Key
Press (hold for 150 ms) to stop
recording.
In playback mode, a single press pauses
playback (play-pause), allowing audio
scrubbing with the FF and REW keys.
Another press of the key enters playstop 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 exit from any
menu, returning to the main display.
15)
19)
HDD Key
Press to enter the directory listing of the
selected storage medium (either internal
hard drive or CF). Selected medium is
shown in white type. Press-and-hold to
toggle between available mediums. If
only one media is present, press-andhold is disabled.
Pressing simultaneously with MENU
opens the time code jam menu.
20)
Headphone Output Peak LED
Indicates overload of the headphone
amplifier. When lit, the headphone circuit is overloading. Reduce headphone
level.
LCD Backlight Key
Toggles LCD and key backlighting. Hold
down and turn the Multi-Function Controller to vary the brightness of LEDs. In
menu mode, functions as the cancel key.
Rewind Key
Performs reverse (REW) scrubbing
through the played file when pressed in
playback and play-pause mode. Playpause indicated by flashing A-time on
LCD. Reverse playback rate increases
the longer the key is held. In play-stop
mode (indicated by flashing filename
on LCD) selects the previous file in the
record folder (either daily folder or main
folder).
Record Key
Used to start recording. The 722 is a
record-priority device, pressing this key
activates 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)
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.
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)
Performs fast-forward (FF) scrubbing
through the played file when pressed in
playback and play-pause mode. Playpause indicated by flashing A-time on
LCD. Fast forward rate increases the longer the key is held. In play-stop mode
(indicated by flashing filename on LCD)
selects the next file in the record folder
(either daily folder or main folder).
Charge LED
Indicates the status of the onboard
battery charger. Flashes when external power is connected and battery is
charging; solid when battery is fully
charged.
Fast Forward Key
21)
LIM LED
Indicates that the microphone input
limiters are engaged. This LED does not
show input limiting activity (see descriptor #27, Microphone Input Limiter LEDs).
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722 User Guide and Technical Information
22)
Link LED
Indicates that channels 1 and 2 are
linked as a stereo pair. In link mode the
channel 1 potentiometer controls gain,
channel 2 potentiometer controls leftto-right balance. Inputs can be linked as
either a stereo L/R pair or as a a MidSide (MS) pair.
23)
Media Ready LEDs
Indicates storage media is present and
available to record; IN (internal hard
drive), CF (Compact Flash), EX (external Firewire device) [EX not available in
firmware version 1.x]. Flashing indicates
media problem.
24)
Media Activity LEDs
Indicates storage media read/write
activity. IN (internal hard drive), CF
(Compact Flash), EX (external Firewire
device) [EX not available in firmware version 1.xx].
25)
High-Pass Filter LEDs (mic-level only)
Indicates that the high-pass (low-cut)
filter is active for the individual channel.
26)
Phantom Power LEDs
Indicates phantom power (48 V) is active for the individual channel.
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 four inputs.
29)
Input Peak (Overload) LED
Indicates analog signal is approaching
clipping (–3 dBFS) on each of the two
inputs.
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firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Hardware Descriptions
LCD Display Descriptions
1
2
3
4
5
10
6
9
8
7
11
12
1)
2)
Battery Level Indicator
6)
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.
7)
File Name Display
8)
Shows the set record sample rate. In
playback, shows the file sample rate.
4)
Time & Date Display
Alternating display between the set date
and time of the 722. This information is
written as the creation date for generated audio files.
5)
External Media Space Status
(space remaining/record ready)
Not available on version 1.xx firmware. Bar
graph indicates amount of record time
remaining on the external FireWire volume. Numbers show time in hours and
minutes based on the presently selected
number of record tracks, sample frequency, bit rate, and file type.
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.
Headphone Source Display
Indicates the source for headphone output. Sources and selection order are user
selectable in the setup menus.
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)
Sample Rate Indicator
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.
Bit Depth Indicator
Shows the set record bit depth. In playback, shows the file bit depth.
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722 User Guide and Technical Information
10)
Compact Flash Status
(space remaining/record ready)
Bar graph indicates amount of record
time remaining on the Compact Flash
media. Numbers show time in hours
and minutes based on the presently selected number of record tracks, sample
frequency, bit rate, and file type.
For all three media types, an asterisk in front
of the media descriptor indicates that the media is selected for record. Highlighted media
descriptor indicates media selected for record
monitoring, playback or file directory display.
11)
Input 1/2 Level
When control knobs are adjusted, indicates the gain level in dB for each analog
input gain control. Top display is input
1, bottom display is input 2. Normal mic
input gain range is from 26 dB to 70 dB,
low gain mic range is from 10 dB to 50
dB, line input range is from −6 dB to 18
dB. “LOCKED” will be displayed on the
LCD when the pot is turned with digital
inputs, and with line inputs with menu
control.
12)
External Digital Clock Indicator
The 722 is locked to a valid external
digital or word clock source when the L
is in the display.
Cue Marker Display (not shown)
In record mode, indicates when cue
markers are set. Markers set by pressing
the record key (option must be selected
in setup menu). In playback mode, displays cue points numerically as they are
reached in a file.
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firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Hardware Descriptions
Left Panel Connectors and Controls
3
1
1)
4
2
XLR Input 1/AES3 Input 1&2
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)
5
8
7)
6
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.
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.
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.
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722 User Guide and Technical Information
Right Panel Connectors and Controls
2
1
7
1)
AES3id Input
6
5
6)
Unbalanced digital input accepta 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 to access the
internal hard drive and Compact Flash
volumes as mass storage devices. Direct
connection to Mac OS (10.2+) and Windows (XP- and 2000-only) computers.
3)
3
4
AES3id Output Bus 2
Unbalanced digital output, two-channel,
for Output Bus 2. Signal source is menuselected.
7)
Multi-Function Controller
When in the setup menu, the controller
scrolls between menu selections; push
enters selection or enters data. In record
and playback modes, selects headphone
monitor source; push action user selectable.
C. Link In/Out Ports
RS-232 protocol interface on 6-pin
modular (“RJ-12”) connector for linking
multiple 722’s together. Word clock and
machine transport are over C. Link.
4)
External DC In
Accepts sources of 10–18 volts DC for
unit powering and removable Li-ion
battery charging. The Hirose 4-pin connector is wired pin-1 negative (−), pin-4
positive (+). Pin-2 (−) and pin-3 (+) are
used to charge the removable Li-ion
battery. DC ground at both pins-2 and
3 is at the same potential as chassis and
signal ground.
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.
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Hardware Descriptions
Back Panel Descriptions
1
1)
2
3
Security Slot
Compatible with the Kensington® Security Slot specification. Useful for securing the recorder to a fixed object with a
compatible computer lock.
2)
Compact Flash Slot
Accepts Compact Flash medium with
the label-side up. Compatible with Type
I, Type II, and MicroDrives.
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
6000 mAh are accommodated.
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722 User Guide and Technical Information
Input Setup and Control
The 722 has two inputs and two record tracks. Inputs are selectable between analog or digital sources. Analog inputs are connected with the balanced XLR connectors; digital inputs can be connected
to either XLR Input 1 (AES3) or the BNC input (AES3id).
Input Source Selection
Input types are selected in pairs. Each input pair accepts analog or digital audio. The XLR input
signal is selected with slide switch above the connector.
Manually selecting the audio source is used to force the inputs to analog while using an AES3 or
AES3id input to lock the 722 to an external sample rate.
Digital sources connected to AES3id BNC inputs override analog signals on the corresponding XLR
input. The BNC input signal type is set in the menu settings Input 1,2: Source. For most situations
the appropriate setting is auto select—the 722 will choose the input type based on signal present.
The 722 is capable of off-speed sample rates when clocked from either external digital inputs or the
word clock input.
Input sources can be set to “disabled (power save)”. This option shuts down all circuitry associated
with the inputs to reduce power draw and extend battery runtime during playback. When an input
pair is disabled, the digital input LEDs associated with the pair will flash.
Analog Inputs
Analog inputs on XLR connectors, are the primary connection into the recorder. These inputs accept
balanced or unbalanced mic- or line-level signals. Gain control for mic inputs 1 and 2 is adjusted
solely by the front panel push knobs. Gain for the line-level inputs can be controlled by the front
panel potentiometers or via menu settings. Line input gain is controlled in 0.1 dB steps.
A digital input present on the BNC inputs will override an analog signal present on the XLR inputs unless the input source is set to analog in the setup menu.
In the setup menu, the following functions can be controlled for analog inputs 1 and 2:
Phantom Power (mic- and line-level inputs)
Phantom power (48 volts) can be activated for analog inputs. When active, phantom is indicated by
).
the illuminated front panel LEDs (
Phantom power can be applied to both mic- and line-level inputs. Using the line-level input setting with
microphones is useful in extreme SPL environments such as concert recording. Make certain to turn off
phantom power with line level output devices susceptible to damage from DC.
Shortcut: To toggle phantom power without entering the menus, press and hold the tone key then
press the menu key for channel 1. Channel 2 phantom can be toggled by pressing the tone key then
pressing the HDD key. If the inputs are in line level mode, phantom power will not activate from the
shortcut keys and must be activated from the menus.
Input Limiters (mic-level only)
Microphone inputs 1 and 2 each have a limiter circuit designed to prevent input overload. In normal
operation, with proper gain settings, the limiters should rarely engage. When activated, these limiters will prevent unusually high input signal levels from clipping the analog input stage of the pre-
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Input Setup and Control
amp. The front panel LIM LED (
) shows that the limiter is engaged. Limiter activity is indicated
by additional front panel LEDs, one for each input channel (
). The input limiters activate only
with mic-level inputs. The limiters are engaged by (factory) default.
When limiters are engaged, audio on channels 1 and 2 is limited to −6 dBFS.
Microphone-Level Control
Microphone gain is controlled by the recessed front-panel knobs. The gain control adjusts an analog
gain stage and is identical to the input trim on a mixing console or stand-alone microphone preamplifier.
Even with the gain controls fully counter-clockwise, there is gain, and consequently audio passing
through the recorder. The front panel gain controls do not function as faders.
Line-Level Gain Control
When in line-level position, the gain for inputs 1 and 2 is controlled by the recessed front panel
knobs or by a menu sensitivity setting. When set for front panel control, the user menu selection for
input 1 and 2 line input sensitivity are lined out and not accessible.
Input Linking (analog)
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. Input gain is calibrated to match from input to input.When inputs are linked, their peak
limiters are linked, as well.
When set as an MS (mid-side) pair, the inputs gain and balance for the pair work the same as stereo
linking.
High-Pass Filters (microphone-level only)
The high-pass filters on the microphone inputs use a combination of analog and digital filters to
reduce sensitivity to low frequency signals. When the high-pass is engaged on an input, its blue
front-panel LED illuminates to indicate it is active (
). The first pole of the high-pass circuit is an
analog filter at 40 Hz, 6 dB per octave and is part of the microphone preamplifier circuit. Additional
poles of high-pass filtering are done in DSP.
Several frequency and slope combinations are selectable, including corner frequencies of 40, 80, 160,
or 240 Hz, and filter slopes of 12 dB, 18 dB, or 24 dB per octave. The high-pass is selected for each
input independently.
Shortcut: The filters can be toggled with a two-key combination. Press and hold the
light key and press the
menu key for channel 1 high-pass. Press and hold the
key and press the
HDD key to toggle channel 2 high-pass.
LCD backLCD backlight
Gain Range (microphone-level only)
The microphone inputs operate in two gain ranges, normal and low. The normal range is from 25 dB
to 70 dB of gain. The low range is from 10 dB to 55 dB. The low range is useful for high SPL recording environments.
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.
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722 User Guide and Technical Information
Digital Input – AES3
The 722 accepts AES3 (AES/EBU) balanced digital at the input 1 XLR connector. Digital input is twochannel—AES3 signals on XLR-1 appear at inputs 1 and 2. To use the AES3 input, the input mode-select switch must be set to AES/EBU. There is no level control for AES inputs.
The front panel digital input LEDs illuminate when digital signal is selected as input. If the
LED is flashing, digital input is selected but a no valid digital clock is being received.
Digital Input – AES3id (S/PDIF)
The 722 accepts AES3id and S/PDIF unbalanced digital signals on the BNC connector. The 722 will
auto detect the type of digital signal and adjust accordingly. Like AES3 signals, this is two channel
input. There is no level control for AES3id inputs.
AES3id inputs override analog signals present at the XLR inputs. To use analog sources while using
the AES3id signal as a digital clock source, select analog in the input source menu selection.
When a digital signal is present, the 722 locks its sample rate to its source frequency. This lock is indicated by a highlighted block on the main LCD display to the right of the bit depth and sample rate
indicators. Recording bit depth is independent of the external digital source.
When locking the 722 to an external digital signal, be certain the source is stable. Loss of digital
signal will cause the 722 to revert to its internally set sample rate, even while recording. The portion
of the file recorded after the loss of signal may not play back properly. Once recording has begun,
unused digital inputs are muted, digital signals that appear on them after the record key has been
pressed will not be recorded or affect the sample rate of the 722.
The 722 clocks itself to the first digital signal presented to it. If the 722 detects a digital signal on the
BNC inputs and locks to that signal, a digital signal applied to the XLR input will be ignored until the
first digital signal is removed.
Input Delay
A digital delay is selectable on each channel of the 722 in one microsecond (µS) steps. 1,000 microseconds equals 1 millisecond (ms). The Multi-Function Controller and menu arrows are accelerated. The
more you press or spin, the faster the delay setting will increment or decrement. Delay is not set until
enter is pressed. The amount of delay available is dependent on the sampling frequency in use.
Sample Frequency
Maximum Amount of Delay Available (per input)
32, 44.1, 48, 48.048 kHz
30,000 µS
88.2, 96, 96.096 kHz
15,000 µS
176.4, 192 kHz
7,500 µS
Input delay can be useful for time-aligning input signals from differing sources. For example, digital
wireless mics that have a processing delay in their outputs. In addition, all digital conversion stages
have delay.
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
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Word Clock
word clock and accept external clock sources for recording. The 722 ignores 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.
C. Link – Multi-Unit Linking
The proprietary C. Link (control link) connection allows multiple 722’s and 744T recorders to be connected and clocked together. When linked, the 722 units have a master/slave relationship. When the
master recorder enteres record, the slave unit will roll, as well. Multiple units can be daisy-chained
together to record many tracks. The C. Link protocol links carries the following data:
• word clock
• time code information (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
744T units used). This will ensure that all files generated are compatible.
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722 User Guide and Technical Information
3.
Set scene and take numbers on all linked recorders to the same starting file name. There is no file name
synchronization with multiple unit linking.
When linked, record start and stop on slave units will not affect units “above” it in the linked chain.
This makes it possible for units to get out of synchronization if a unit other than the master is set to
record or stop. Using the master unit will assure that all machines begin and end recording together.
The C. Link jack is a proprietary RS-232 port. Under no circumstances should analog or digital telephone lines be connected to either jack. Serious damage could result.
Input-to-Track Routing
The 722 uses a simple, yet powerful routing scheme. The routing matrix allows each input to be
routed to any track. Inputs can be routed to a single track to create mono-mixed recordings.
The 2 by 2 blue LED matrix makes it easy to check the set routing at a glance. 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
Regardless of which tracks are assigned for recording, monophonic file numbering always starts with 1,
i.e., if only track B is selected for recording in a monophonic .WAV file, the resulting filename will have a
_1 suffix, not _2.
Use the Input:Routing selection in the menu to enter input select mode. Alternatively, press the
input key to cycle through the six preset input routing combinations.
The last selection in the list is Custom Route. Press the EDIT soft key to enter custom routing mode.
Custom routing allows any input to be assigned to any record track. When assigning customer routing, active input and track combination are displayed in white text. The four inputs are shown on the
left; the four record tracks are shown on the right.
To assign custom input routing:
1.
Press the
input key until Input Routing is displayed in the LCD display.
arrow indicates highlighted input is assigned
to highlighted track
select to exit menu and
apply selected routing
selet to move up
and down menu
select to remove
input assignment
2.
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Press the EDIT soft button (
firmware v. 1.24
) and scroll to the appropriate input screen.
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Input-to-Track Routing
3.
Using either the Multi-Function Controller or the up and down arrows, navigate to desired input-totrack combinations.
4.
When a chosen pairing is highlighted press either the ASSIGN soft key or the Multi-Function Controller
to assign the combination. Assigned tracks are noted on the screen by the addition of an arrow pointing
to the record track. The LED routing matrix will also show a flashing blue LED for the currently selected
input-to-track combination.
5.
Once a track is assigned move to the next input-to-track combination desired.
6.
To remove an input-to-track combination assignment, navigate that combination and press the
UNASSIGN soft key.
7.
Exit and complete the assignment by pressing the check mark soft key.
The input routing menu will always exit to the main screen whether entered from the input key or the
menu selection.
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 of these two-channel buses are assigned their audio sources independently, enabling
the 722 to feed multiple sources with unique two-channel program.
The chart below shows the audio sources available for the analog and digital output buses. The audio sources for each output bus are selected in the setup menu.
Analog Output
Bus, Digital Output Bus Sources
Description
Stereo input pairs. Input 1 is assigned to left output; input 2 is assigned to right output.
Inputs 1,2
When inputs are selected as the source for the outputs, the state of recording or playback
activity has no effect on the output signal. This allow uninterrupted audio at the outputs.
Tracks A,B
Stereo track pairs. Track 1 is assigned to the left output; track 2 is assigned to right output. On
playback, will play as track monitor.
Monitor A,B
Stereo monitoring of playback (post-record) track pairs. Highlighted media is source of monitor
program. Track 1 is assigned to left output; track 2 is assigned to right output. When not playing or
recording there is no output. There is significant delay in the monitor signal while recording due to
the record buffer topology.
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.
Analog Tape Output
The tape output connection is stereo, unbalanced consumer output level (–10 dBV) on a TRS 3.5 mm
connector. Output attenuation does not affect this output level.
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722 User Guide and Technical Information
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 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 maximum output level is 0 dBFS
and can be attenuated in the setup menu in 1 dB increments by 40 dB.
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, or post-record tracks. The headphone output is independent of the Master
Output Bus and 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.
Choosing 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 10 preset headphone audio source selections available on the Multi Function Controller. These selections include inputs, tracks and track monitors.
Turn the Multi-Function Controller on the right panel when at the main LCD screen to select among
the available headphone monitoring sources.
Track Monitor
Headphones can be sent post- audio from either the internal hard drive or Compact Flash during
recording. To monitor recorded tracks, select one of the track modes with an “m” following the track
designations. Because of the record buffering of the 722, a delay of up to 12 seconds can be expected
before recorded audio appears in headphones. The 722 plays back recorded audio from the media
highlighted in the LCD panel (see File Management and Copying for more information on selecting
and highlighting recording medium).
When using the recorded track monitor selection, the selected sample rate defines the delay from input to
monitoring. 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, is written to the recording media, then read.
Setting Headphone Source Options
In addition to the 10 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:
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Headphone Output
HP Sources
Description
Inputs 1,2
Stereo monitoring of input pairs. Inputs1 is assigned to left headphone output; input 2 is assigned to
right headphone output.
Tracks A,B
Stereo monitoring of track pairs. Track 1 is assigned to left headphone output; track 2 is assigned to
right headphone output. Upon playback, will play as track monitor.
Monitor A,B
Stereo monitoring of playback (post-record) track pairs. Tracks 1 is assigned to left headphone
output; track 2 is assigned to right headphone output.
Input 1
Input 2
Solo monitoring of selected input. This signal is sent to both sides of the headphones.
Track A
Track B
Solo monitoring of selected track. This signal is sent to both sides of the headphones. Upon playback, will play as track monitor.
Monitor Am
Monitor Bm
Solo monitoring of playback (post-record) track. Highlighted media is source of monitor program.
This signal is sent to both sides of the headphones. When not in playback, headphones have no
program.
Inputs 1,2 MS
Stereo monitoring of discrete M (mid) and S (side) input pairs. Highlighted media is source of monitor program.
Tracks A,B MS
Stereo monitoring of discrete M (mid) and S (side) track pairs. Highlighted media is source of monitor program. Upon playback will function as MS track monitor.
Monitor A,B MSm
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.
When tracks (A or B) are assigned to headphones, audio assigned to the tracks appear in headphones during recording whereas the recorded track audio appear in headphones during playback.
To set the available headphone source options for headphone monitoring enter the HP: Monitor
modes menu. Once you enter the Monitor Modes menu you will immediately be in slot-1. Rotate the
Multi-Function Controller to select the source you wish to appear first in your Headphone monitor list. Once the chosen source appears, press the Multi-Function Controller or the soft key ENTER
(tone) key to move to the next slot. Continue down the list to select the source for each slot in the list.
Once all sources have been chosen, press (done). This will exit the headphone monitor mode setup.
You can exit the selection process by pressing the stop or cancel (backlight) key at any time.
If DONE is pressed in the first headphone slot, the 722 will select a single option (Tracks A, B) for headphone monitoring. The 10 factory presets will be erased.
Multi-Function Controller (Encoder) Behavior
The action of the Multi-Function Controller during recording and playback is set from among the
four available options:
• Disabled: pushing the controller 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 controller toggles between the available media to
select the drive available for playback and track monitor while recording.
Headphone Favorite Selection
If “Selects Favorite Mode” (above) is selected, a press of the Multi-Function Controller selects the
assigned “Headphone Favorite” audio source. This feature is helpful to quickly return to a selected
headphone monitoring source while recording or playing. All possible headphone sources are available to choose as the Headphone Favorite. The Headphone Favorite is selected in setup menu.
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722 User Guide and Technical Information
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.
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 setup menu #62.
Metering
The 722 features a 38-segment LED (2 x 19) signal level meter. The DSP-controlled meter provides
a selection of ballistics and lighting intensities. In addition, peak indicators on input channels show
overload activity.
Output Meter
0 dBFS track LEDs are programmable
as peak LEDs
(0 dBFS to −20 dBFS)
The meter uses energy efficient LEDs viewable in full sunlight. The 722 output meter is unaffected
by shock or extremes in temperature and humidity. Meter ballistics are setup menu selectable among
VU, Peak, Peak-Hold, VU + Peak and VU + PeakHold.
The meter uses a compound metering scale which increases meter resolution in the most important
part of the scale. From −50 to −40 dBFS, each LED segment equals approximately 10 dB. From −40 to
−12 dBFS, each segment equals 2 dB. From −12 to 0 dBFS each segment equals 4 dB.
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 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 with –20 dBFS cooresponding to 0 VU.
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Metering
Peak
Peak-reading ballistics correspond to actual signal maximums. 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 mandatory 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; the peak level indication will hold for the peak level indication for several seconds. Peak-hold indicators are useful for metering in applications when an overload condition is unacceptable.
Peak/VU
The meter can simultaneously display VU and Peak level information. In this mode the perceived
loudness (VU) is displayed on a bar graph, and the Peak signal on a dot above the VU. With this
combination the user gets the best of both VU and Peak metering by seeing both the “loudness” of
the signal and the peaks at the same time. Peak/VU is the factory default.
Peak Hold/VU
Similar to VU/Peak mode, this mode holds the peak level indication for several seconds before
releasing. Peak Hold indicators are useful for metering in applications when an overload condition is
unacceptable.
Peak LEDs
input peak LEDs
input signal present LEDs
headphone peak LED
In addition to the main LED output meter, peak LEDs show input peaks, track peaks, and headphone peaks.
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.
Track Peak
The 0 dBFS LED on each track can also function as a track peak indicator. The user can select a signal
threshold in the setup menu 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 because headphones can often overload before the recorder overloads. Monitoring without a
visual indication of headphone clipping may mislead the operator into thinking that the output or
return tracks are distorting.
Tone Oscillator
The tone oscillator level and frequency are user selectable. Tone level is adjustable over a range of
−40 to 0 dBFS. Tone frequency is adjustable from 100 to 10,000 Hz. Standard tone levels vary accord-
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722 User Guide and Technical Information
ing to the practices and needs of production and post-production, but are generally in the –20 to −12
dBFS range.
key. Tone will active only while the
The tone oscillator is activated by pressing the front panel
tone key is pressed. Tone is routed where specified in the setup menu. Routing choices include: outputs, outputs and tracks, tracks only, or no tone routing (disabled). Tone can only be recorded to the
head of an audio file. To record tone, press the tone key and continue to hold it down while starting
to record. Subsequent presses of the tone key are locked out to prevent tone from inadvertently being
recorded.
LCD Contrast & Backlight, LED Brightness
LCD
LCD contrast is setup menu controlled. From the factory the contrast is set to 20%, suitable for most
viewing conditions. Contrast can be increased or decreased.
The front panel
no-light recording.
key toggles the LCD and key backlight. Backlighting is suitable for low- and
key
LED brightness is continuously adjustable from low to high brightness. Hold down the
and turn the Multi-Function Controller to change brightness levels. All LED intensities are adjusted.
In stealth mode (setup menu selected) the LEDs are toggled on and off with the brightness key.
Sample Rate and Bit Depth
When recording to WAV files the 722 generates uncompressed, PCM audio files at the user-selected
sample rates and bit depths. The 722 LCD indicates available recording time based on the sample
rate, bit depth, and number of tracks set for recording. See the Calculating Recording Time later in this
guide to estimate record time.
Sample Rates
When a sample rate is selected for recording, all tracks are recorded at the selected sample rate.
Sample rates are selected among common rates from 32 kHz to 192 kHz. Additionally, non-standard
sample rates can be applied when the 722 is word clocked from external sources.
Sampling Frequency = Available Audio Bandwidth
The sampling frequency is expressed in samples per second (in hertz) and defines the number of
times in a second that the analog audio signal has been measured. Sampling frequency determines
the audio bandwidth (frequency response) that can be represented by the digital signal. A quick estimate of the maximum bandwidth capable of being represented at a given sample rate is maximum
analog frequency = sampling frequency/2. Higher sampling frequencies allow for greater audio
bandwidth.
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 acquisition is a significant
benefit for field production audio tracks.
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firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Sample and Bit Rate
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 theoretically yield 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. With 16-bit audio each sample is represented by a digital word of 2^16 (65,536) possible
values. 24-bit audio has a word length of 2^24 (16.7 million) possible values per sample.
The 722 has 24 bit analog-to-digital converters. To obtain 16 bit recording the 722 can be set to dither
24 bit digital signals to 16 bit. The 722 uses a proprietary pseudo-random dither routine for accurate
bit rate reduction. Dither can be defeated in the user menu. Without dither 24 bit audio is truncated
to 16 bit, meaning the least significant 8 bits are discarded.
Once a file is recorded its sample 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.
Audio File Formats
The 722 records audio to industry-standard file formats—Windows Wave (WAV monaural or polyphonic) and MPEG Layer 3 (MP3). The 722 can write only one file type at a time, either WAV or MP3.
There is no provision to write different formats to different recording mediums.
WAV
The 722 adheres to Windows standard WAV audio file specification. The filename extension is .WAV.
The WAV files created by the 722 contain production information in its file header data chunk.
Among the values recorded are:
•
•
•
•
date and time of the original recording
bit depth
sample rate
number of tracks
All of the information contained in this chunk is available for post-production.
MP3 – MPEG Layer 3
For music and voice recording applications where compressed audio is acceptable, the 722 can
record to industry standard MPEG Layer 3 (MP3) audio files. These data-compressed files are generated using a high-quality MP3 codec. Numerous data rates are available.
The 722 can play back MP3 files, as well as record them. This is very useful on-set to play a personal
MP3 audio library during downtime.
Recording and Playback
Recording and playback of audio are unquestionably the most important functions of the 722. The
user interface of the product has been designed similar to a “tape recorder” so that the unit is easily
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722 User Guide and Technical Information
understood. Recording and playback controls are similar to those on tape-based machines, however
the nature of a non-linear recording medium provides additional control not possible with tapebased recorders.
Recording
The largest, most easily accessed control on the 722 is the record key. Recording takes
priority over all activity except for disk formatting, disk speed tests, and file transfers. The 722 will
immediately enter record mode whenever the record key is pressed. When recording, the adjacent
red LED will illuminate to indicate that the unit is in record mode.
If no inputs are routed to tracks or if no mdium is selected for recording, recording cannot take place.
Make certain that at least one record track is assigned for recording.
While recording, the power, ff, rew, input, tone, and drive keys are disabled. Recording is stopped by
pressing and holding the STOP key. The Stop key must be held for 150 ms or greater to end recording. Although the setup menu can be viewed during recording, menu items affecting recording are
lined out in the menu list.
During recording, subsequent presses of the record key can perform one of three setup-menu-selected actions:
• no action,
• new cue - cue markers are set within the file being written,
• new file - a new file is started with each press of the record key, the take counter is increased by
one.
Playback
Just like a “tape recorder”, pressing play begins file 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 all uncompressed and MP3 files. In addition, files placed on the 722 recording
mediums via FireWire transfer can be played back. This is useful when using the 722 as a portable,
high-resolution playback device.
The 722 plays back the last recorded audio file unless another file is selected. There are two ways to
select files for playback. To select another file in the current record directory, push either the FastForward or reverse key to put the 722 in to play-stop mode. The filename display will begin flashing
and the FastForward and Reverse keys are used to step through files available in the current record
directory. To select a file in an alternate directory, press the HDD key to enter the media directories.
Navigate to the appropriate directory. Select the file that to play back with the Multi-Function Controller and press play.
If the stop key is pressed while playing files from an alternate directory, the 722 will revert to the current daily directory.
AutoPlay
The 722 can be set to play back all (playable) audio files in a directory. Files will play back in their
order in the directory. Autoplay can be set with the following options:
•
•
•
•
26
Disabled – auto playback is off
Play all – all files in the directory will play, then stop when all files have been played
Repeat one – the selected file will play back, then continue until
Repeat all – all files in the directory will play in succession, then repeat until stopped by the
user
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Storage Medium
Storage Medium – Internal Drive
The 722’s internal hard disk drive is the 722’s primary storage medium. The large capacity and fast
data read/write speeds of hard drives are a perfect choice when long length, high data rate recording is performed. Hard drives are a good balance of speed, reliability, noise performance, and current draw. Higher speed hard drives can be used with the 722, however, they will not significantly
improve performance. High speed drives slightly increase transfer throughput with the penalty of
increased power draw (reduced battery run time).
Formatting
The drive installed in the 722 is formatted at the factory as a single-partition FAT32 volume. If a drive
with multiple partitions is installed, the 722 will only “see” the primary partion. The 722 can only
address one partition.
As a matter of routine maintenance, periodic re-formatting of the 722 hard drive is recommended.
Formatting the hard drive rebuilds the FAT (file allocation table) and erases any audio or other data
files present on the medium. This reduces possibility of directory corruption and reduces the possibility of fragmented data files.
Be certain that all files on the 722 drive have been backed up to another media before formatting. Once
formatted, all data on the drive will be erased.
To format the 722 internal hard drive:
1.
Verify that all data on the hard drive has been copied or is no longer needed.
2.
Press the Menu key.
3.
Use the Multi-Function Controller to scroll to In HDD: (Erase).
4.
Press the controller button to begin formatting.
5.
Press the controller once more to confirm the operation.
Formatting the 722 hard drive can take up to 30 seconds. When the format is completed, the 722 will
create a fresh menu hierarchy, including the daily folder, if selected. Once you exit back to the main
screen the 722 is ready for recording.
Drive Repair
Included in the on board software for the 722 is a basic drive repair utility. The utility is similar to
Windows “Scandisk” and will check for file system integrity, recover lost cluster-chains, fix or recover damaged file allocation tables (FAT), and repair corrupted WAV files. This utility should be run
after improper media removal, or in the event of a write error during recording.
When selected from the setup menu, the repair utility will scan the drive for problems, report the
number of errors and correct the errors.
Drive Type
The 722 ships with a 2.5-inch ATA-5 interface, 5400 RPM hard drive. Sound Devices has chosen the
specific mechanism for maximum vibration and shock resistance. Most 2.5 inch drives conforming
to the ATA specification can be substituted for the factory hard drive. When choosing a replacement
hard drive, note that higher RPM hard drives draw more current, reducing battery run time.
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722 User Guide and Technical Information
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.
If the recorder is used in applications subject to extreme motion, Sound Devices recommends recording to
CF medium only. The hard drive will park its write heads to reduce the chance of failure.
Like all electrical devices, the higher the ambient temperature the shorter the drive’s operational life.
Therefore, take care to observe the specified temperature rating.
There is also a risk from sudden temperature changes, which can create condensation inside the
drive. This condensation can lead to the drive’s read/write heads adhering to the disk surfaces
which will, in turn, stop the hard disk from rotating. Condensation tends to occur when the temperature inside the drive suddenly falls, for example, just after the unit is moved to a new position, or
after operation is stopped in a cold environment.
Sudden changes in temperature or air pressure can cause disk surface material to evaporate, which
can also cause the head to adhere to the disk surface. This can happen when a hard disk drive is left
unused for a long period of time.
Drive Replacement
The internal hard drive can be removed and replaced if the drive fails or if a different capacity drive
is needed. The internal hard drive is not a swappable medium. Its multi-pin connector is not rated
for repeated insertion and removal cycles and may be prone to breakage with repeated cycling.
In typical service conditions Sound Devices recommends hard drive replacement every three years.
The hard drive is mounted to the bottom-side of the recorder’s chassis and is screwdriver accessible. The drive is “suspended” in the unit with a shock isolating membrane and is attached to the
main circuit board via a “flex board”. Since the unit’s high-density circuitry and tight construction
require specific electronics knowledge, Sound Devices strongly recommends drive replacement be
performed by a qualified technician using proper ESD precautions. Drive replacement done by a
qualified technician has no warranty implications.
28
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Storage Medium
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.
Storage Medium – Compact Flash
Compact Flash (CF) is a practical, portable storage medium for audio recording. Its speed, reliability,
and price continue to evolve to the benefit of portable recorders. The 722 can write to and read from
CF as either its sole recording medium or simultaneously with the internal hard drive.
When to Use CF
The key benefits of CF include:
•
•
•
•
wider temperature range capability than hard drives
increased shock immunity versus hard drives
convenient media insertion and removal
established workflow and ubiquitous card readers and transfer tools
Formatting
Upon insertion of an unformatted (or non-FAT32 formatted) CF medium, the 722 will prompt the
user to format the card. If the card is formatted as a FAT32 volume the card will be ready for selection as a recording volume. To reformat the CF medium, follow the same procedure as formatting
the hard drive, substituting the CF menu selection for the hard drive.
Formatting the CF rebuilds the FAT (file allocation table) and erases any audio or other data files
present on the medium. While some PC utilities can recover files immediately after formatting the
drive, consider that the files have been permanently erased. FAT32 volumes generated by the 722
may not be compatible with numerous consumer electronic devices, including entry-level digital
cameras.
After recording has stopped, it may take several seconds for the 722 to finish “housekeeping” on CF.
When preparing to remove the CF, always observe the amber activity LED for the CF medium. If it is lit,
wait until it goes out before removing the CF. If the CF is removed while the LED is lit, at the very least
the file will be corrupted and there is a possibility of FAT corruption as well.
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722 User Guide and Technical Information
Testing
CF cards varied widely in their write/read throughput. Later generation “24x” and greater CF cards
can reliably read and write multi-track, high sample rate audio. The 722 includes a drive speed test
to measure the throughput speed of CF medium. Measured numbers greater than 3000 KB/s can
reliably write 24/192 audio.
Not all CF medium can sustain write speeds for reliable 192 kHz recording. Use the speed test utility to
make certain that installed medium can support the selected number of tracks at 192 kHz.
Drive Repair
The same drive repair utilities are available for the CF as the internal hard drive.
Qualified CF Cards
Several CF mediums have been tested and “approved” for use in the 7-Series, including Lexar
Media, SanDisk, and Kingston Technology cards in capacities ranging from 512 MB to 4 GB. 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.
File Naming / Numbering
Files generated by the 722 are named using a syntax made up of four parts: scene number, take number, mono track designator (if mono file is selected), and extension.
scene
number
take
number
mono
file
designator
extension
Scene Name/Number
Scene names are made with alphanumeric characters, including “_” and “-” can can be any length
between zero (0) and nine (9) characters in length. Scene numbers are helpful to match audio with
the corresponding scene in a production. Scene names can also be used to identify other items, including recording date, artist name, or any other descriptor as required.
Scene names are user-selected in the setup menu and do not change until changed by the user.
30
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
File Management
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.
The Multi-Function Controller or the soft keys are used to choose characters. Press the Controller or hit
the soft check key to save the character and move to the next position.
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 SOUNDDEV folder.
Take Numbers
Take numbers are integers between 1 and 32000, with or without preceding zeros, which increase
by one each time a new file is recorded. Take numbers can be set with or without a take separator,
such as the character “-” or “T”. Take numbers can be overridden and a new take number can be set
in the setup menu. If the 722 detects a file with a duplicate name in the destination folder, a letter
suffix, starting with “A” is added to the file name, before the extension. Note that take number handling can be selected to reset if set in the setup menu (see File Management and Copying).
To change take numbers:
1.
Enter the user menu and navigate to the Take Name/Number option.
2.
Use the REW (<) and FF (>) soft keys to move among decimal places and to jump to the single alphanumeric take spacer character. Use the PLAY key to reset the take number to 1. Characters are entered
from left to right and deleted from right to left.
3.
The Multi-Function Controller or the soft keys are used to choose characters/numbers. Press the Controller or hit the soft check key to save the character and move to the next position.
From the user menu the action for take resetting is controlled from the following options:
•
•
•
•
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
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722 User Guide and Technical Information
File Management and Copying
The 722, like a computer, writes its audio recordings to a file system. That system is FAT32. The 722
formats its internal hard drive and Compact Flash medium as single volumes named “722”. All files
generated by the 722 are placed in the folder (directory) named SOUNDDEV. The 722 does not write
to the root of the volume. If Daily Folders are selected, the 722 will generate a new folder, named by
date, each day upon power-up. Otherwise all recorded files will be stored directly in the SOUNDDEV directory.
A hierarchical view of files generated by the 722 is below. Notice the volume name, SOUNDDEV
folder, and daily folders, along with files contained within the folders.
722
SOUNDDEV
Y04M06D01
.. S001T0001.WAV
.. S001T0002.WAV
.. S001T0003.WAV
Y04M06D02
.. S001T0004.WAV
.. S001T0005.WAV
Y04M06D02
.. S002T0001.WAV
.. S002T0002.WAV
......S999T0001.MP3
......S999T0002.MP3
File Finder Navigation
Moving from file to file is similar to navigating among files on a computer.
1.
Enter the file menu by either selecting File:View Files file in the setup menu or by pressing the front
panel HDD key. By default the current record folder is opened.
2.
To move up the hierarchy scroll up to the top of the menu to “\..” .
3.
Press enter or the Multi-Function Controller button to go up one menu level.
4.
From the root menu, selecting \.. opens the media select screen.
5.
Continuing up the file hierarchy the media menu is viewable. Select either internal hard drive or CF (if
installed) and drill down through the directories of that medium to the file required.
Larger files take added time to show details; this is normal.
File Directory Screen
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firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
File Management
The file directory screen contains information about the individual audio files contained in the directory. The left side of the display shows files and folders. The top line displays the directory path in
the form of media\folder name. File names are listed in the order they were recorded.
Data files not native to the 722 will not show in the file directory view, although folders that they occupy
will be visible.
File detail is shown at the right side of the display. The center divider points to the file selected for
information viewing. Information shown includes:
• file creation date, file archive bit status, checked means the file archive bit is set, clear means
the file archive bit is cleared
• file creation time, file size
• number of tracks, bit depth, sample rate
• The length (LEN) of the file
The file directories always exit to the main screen whether entered via the menus or the HDD key.
Setting/Clearing Flag Bits
Pressing the tone key in the file directory display opens the “Set or Clear Flag Bit” screen.
The options for setting or clearing flag bits include: set or clear the selected file, set or clear all the
files in the current folder, or set or clear all files on the volume.
All files created by the 722 have their archive bit set to on.
Automatic Flag Clearing
The 722 can be set to clear the flag bit of copied files automatically. When enabled in the
File: Copy Flag Control menu, all files copied internally by the 722, but not via FireWire, will
have their flag bits cleared on the original file.
Folders
Files generated by the 722 are placed in either the root SOUNDDEV folder, a “daily” sub-folder within
the SOUNDDEV folder, or a Scene sub-folder within SOUNDDEV. Options are chosen in the setup menu
from the following:
• Single folder - all files are placed in a SOUNDDEV folder. This is appropriate for non-sync files
such as wild sounds, effects, etc. Note that if many many files are generated, this filing action
can become cumbersome to manage and navigate.
• Daily folder - a new sub-folder is generated in the SOUNDDEV folder each calendar day. All
files recorded on that day are placed within it. The daily folder is made based on the onboard
clock and used the syntax of “YxxMxxDxx, where Y is year, M is month, and D is day. Make
certain that the 722 time-of-day clock and date are properly set.
• Scene Folders - a new sub-folder is generated in the SOUNDDEV folder each time the scene
name changes. All files with a specific scene name will be place in its cooresponding scene
folder.
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722 User Guide and Technical Information
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 and file generation date are written with each file, make
certain that the system time and date 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 code 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 650 MB, 1 GB, 2 GB, and 4 GB. The 650 MB size allows the user to break an audio program
into CD-R sized files for backup to inexpensive CD-R medium.
File Copying – Between Internal Drives
Audio files are easily transferred between CF and the 722’s hard drive. File transfer is initiated with
the setup menu option File:Copy File Select.
The Copy File Select 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.
34
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Powering
Pressing the enter key or controller button begins copying. The LCD will report progress of the file
being copied and the number of files remaining to be copied. When file copy is complete, the 722 will
report the number of files successfully copies and show a progress bar showing the percentage of
files successfully copied.
Error Conditions:
If a file is to large for the destination medium, the 722 will give you the option to skip the it or cancel
copying. If an error occurs during file copying, the 722 will prompt to cancel the transfer. When the
destination medium is full, the 722 will report the error and end the transfer.
File Transfer – FireWire
722 Connection is identical to the 744T
shown in the illustration.
FireWire port
FireWire cable - 744T to computer
Software revision 1.xx does not support drive mirroring to external FireWire volumes.
The 722’s FireWire (IEEE-1394) port makes transfer of recorded files to a delivery medium quick and
easy. When connected via a 6-pin Firewire cable, the internal media of the 722 will mount to the Mac
or Windows platform as local drives. Using Windows Explorer, Mac Finder or any other file utility,
files can be copied from the 722 directly to an edit system or to a host system for transfer to a removeable delivery medium.
CompactFlash media must be present in the 722 upon FireWire connection to be properly mounted by the
host computer. CF media may not be “hot-swapped” after mounting—directory corruption may occur. If
the CF slot is empty when the 722 is connected to the host system, a drive letter will still be assigned, but
will not be accessible.
To connect the 722 for FireWire transfer:
1.
Stop all playback and recording activity.
2.
Interconnect the 722 to the host computer.
3.
The 722 will now show COMPUTER CONNECTION in the LCD. While audio will still pass through the
722, no recording or playback is possible.
4.
Navigate the drives on the computer and copy all needed audio to local storage.
To avoid possible directory corruption on the 722 internal media, always properly dismount the
drives 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.
35
722 User Guide and Technical Information
Powering
The 722 is powered from either a removable, rechargeable Li-ion battery or external DC power. The
included 7.2 V Li-ion cell can be used as either primary or backup power. The unit automatically
chooses the power source depending on the voltage levels of the removable battery and external
sources. The switch between external and removable battery is seamless and does not affect recording or playback.
One of the hallmarks of Sound Devices’ equipment is its power efficiency. During normal operation
using the rechargeable cell the 722 will run for approximately two hours (1500 mAh Li-ion battery).
Lithium Ion Rechargeable Battery
The 722 is powered from Sony-compatible L- or M-type Li-ion battery cells. Numerous battery capacities are available in these battery mounts, ranging from 1000 mAh to 6000 mAh. The 722’s mount
can accommodate a variety of cells since the back panel mount accommodates unlimited battery
depth. Larger amp-hour cells provide more run time.
When powered by the removable rechargeable battery, the LCD display shows the battery voltage
level. The nominal operating voltage for the rechargeable battery is 7.2 V, with operating voltages
from 6.5–8.5 V. When the battery drops to 6.5 V, battery voltage display in the LCD and the power
LED begins flashing, warning that the battery is nearly exhausted. When the voltage reaches 6.3
volts the 722 will power down—any recordings in-process will automatically stop.
External Powering
The 722 can be powered from clean DC power sources within a range of 10–18 VDC, 12 watts minimum. Connection to the 722 is through the 4-pin Hirose connector (Part # HR10-7P4P). Pin-1 of the
connector is negative (−) and pin-4 is positive (+). Additionally, pin-2 (−) and pin-3 (+) are used to
supply current to the charging circuitry for the removable Li-ion cell.
Pin-1 and pin-2 of the external DC input are at the same ground potential as chassis ground and signal
ground.
). When the 722
The voltage level of the source powering the unit is shows on the LCD (
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 its removable battery. If no battery is installed the unit will shut down.
The included AC-to-DC power supply can run the unit and charge removable batteries simultaneously.
Charging
The 722 has a battery charger for the Li-ion battery. The charger is active when 10–18 VDC is applied
to pins 2 (–) and 3 (+) of the Hirose connector. 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 enter a trickle mode to maintain
36
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Firmware
the battery. The charge LED flashes to indicate the status of the charging circuit. The chart below
describes the different flashes and their meanings:
Charge LED Activity
Description of Activity
Off
Charger disabled
On
Completed charge / battery fully charged
1 blink
Charger enabled / battery is charging
2 blinks
No Li-ion battery attached
3 blinks
High/low internal temperature state
4 blinks
Battery level error code (>15 min. in slow mode)
5 blinks
Error - recharging has been operating for over 8 hours
If the charge LED shows anything but a successful charge, the Li-ion battery may require replacement.
Firmware Upgrades
The 722 uses upgradable EEPROM (electrically erasable programmable read-only memory) to hold
the unit’s operating system software, or firmware. Firmware is the source code which controls all
aspects of the device, including: signal routing, signal processing, menu options, LED’s, controls,
and data ports.
Version Information
During manufacturing the unit’s hardware revision number and serial number are burned into a
protected area of the EEPROM. This information is not modifiable. These numbers are viewed in the
Info:Version selection of the setup menu. Info:Version also shows the firmware version of the
recorder.
The 722 firmware version and unit serial numbers are written to the data chunk of every WAV audio
file generated by the 722.
Upgrade Process
From time to time Sound Devices may issue revisions (new versions) of firmware for the 722. Firmware is user-upgradeable. To upgrade firmware follow the steps below.
1.
Download the firmware file from the Sound Devices web site or obtain it on disk.
2.
Transfer the firmware file (it will be named version_number.prg) to the 722 internal hard drive via
FireWire or onto a CF card. If there are multiple firmware files on the media, the 722 will select the first
firmware file available. There is no provision to skip to the next file. To prevent confusion, ensure that
there is only one firmware file available on any 722 media.
3.
Enter the firmware upgrade menu. You will be prompted to search for the firmware file. If a valid
firmware file is present on either the internal hard drive or CF the recorder will prompt if the path is
the proper file to use. Press the Multi-Function Controller or the tone key to say yes. The 722 will begin
firmware upgrade and validation. Progress is indicated with a bar graph.
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722 User Guide and Technical Information
4.
When the upgrade and verify process is complete, power cycle the 722. On power-up the LCD will turn
solid black and the green LED next to the FireWire port will blink 20 times. When the update sequence
is complete, the 722 will reboot once again.
5.
Verify the firmware version using the Info:Software menu.
6.
Reset the time-of-day clock to the present time and date.
Firmware upgrades are designed to preserve all user menu settings. As a precaution, we recommend saving the present state as a setup file on the hard drive or CF. Once a firmware upgrade is complete, restore
settings from this file, if necessary.
Setup Menu Presets
Presets are useful shortcuts to speed setting the numerous parameters available in the setup menu.
The 722 has four built-in presets and unlimited user presets.
Built-In Presets
The 722 is shipped from the factory with the factory preset applied. Its settings are listed below.
Three additional presets, film, reporter, and music presets allow for quick setup of typical parameters for the defined application. Presets are applied by entering the setup menu and selecting the
preset. All previous settings are lost when a preset is applied.
38
Parameter
Factory
Preset
Film
Preset
Reporter
Preset
Music
Preset
Sample Rate
48 kHz
48 kHz
44.1 kHz
44.1 kHz
Bit Depth
Input 1,2 Gain Controls
Record Dither
Pre-Record Buffer Time
Input 1 Delay
Input 2 Delay
LED Brightness
LCD Backlight Enable
LCD Backlight Mode
LCD Contrast
Meter Ballistics
Input #1 Low-cut mode
Input #2 Low-cut mode
Limiter Enable
Input Peak LED Threshold
Track Peak LED Threshold
24 bit
unlinked
off
0
0
0
10
enabled
normal
50
Peak+VU
0
0
on
−3 dBFS
0
24 bit
unlinked
off
2
0
0
10
enabled
normal
50
Peak+VU
0
0
on
−3 dBFS
0
16 bit
unlinked
on
2
0
0
10
enabled
normal
50
Peak+VU
80 Hz, 18 dB/oct.
80 Hz, 18 dB/oct.
on
−3 dBFS
0
16 bit
linked
on
2
0
0
10
enabled
normal
50
Peak+VU
0
0
off
−3 dBFS
0
Time Format
Date Format
Record Timer Enable
12 hour
MM/DD/YYYYY
Off
12 hour
MM/DD/YYYY
off
12 hour
MM/DD/YYYY
off
12 hour
MM/DD/YYYY
off
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Setup Menu
Parameter
Factory
Preset
Film
Preset
Reporter
Preset
Music
Preset
Start Timer enable
Record Take Count
Record File Format
Media Select
Marker Mode
Marker Pre-roll
Auto-file-split Size
Digital Output Source
Digital Output Attenuation
Line Output Source
Line Output Attenuation
HPMon1
HPMon2
HPMon3
HPMon4
HPMon5
HPMon6
HPMon7
HPMon8
HPMon9
Number of HP Monitor Modes
Current HP Monitor Mode
HP Monitor Favorite Mode
Headphone Monitor Controller Sw. Function
Input Routing Selection
Record Folder Option
Tone Level (relative to 0 dBFS)
Tone Frequency
Tone Mode
Channel #1 Phantom Power
Channel #2 Phantom Power
Input 1/2 Source
Input 1/2 Control
Input 1 Gain
Input 2 Gain
External Voltage Threshold
Clear Source Flag Bit after File Copy
Auto-Play mode
Off
1
poly WAV
CF & hard drive
Off
disabled
4 GB
Tr A/B
0 dB
Tr A/B
0
inputs1/2
tracks A/B
input 1
input 2
mon A/B
end of list
10
Tr A/B
Tr A/B
fav. mode
4-track
daily
−20
1 kHz
Tr & outs
off
off
auto
knobs
20 dB
20 dB
11 VDC
enabled
play all
off
1
mono WAV
CF & hard drive
new file
disabled
4 GB
Tr A/B
0 dB
Tr A/B
0
inputs1/2
tracks A/B
input 1
input 2
mon A/B
end of list
10
Tr A/B
Tr A/B
fav. mode
4-track
take clear
−20
1 kHz
Tr & outs
on
on
auto
knobs
20 dB
20 dB
11 VDC
enabled
play all
off
1
MP3 128
hard drive
new file
disabled
4 GB
Tr A/B
0 dB
Tr A/B
0
inputs1/2
tracks A/B
input 1
input 2
mon A/B
end of list
10
Tr A/B
Tr A/B
fav. mode
mono 2
daily
−12
1 kHz
Tr & outs
on
on
auto
knobs
20 dB
20 dB
11 VDC
enabled
play all
off
1
poly WAV
CF & hard drive
new file
disabled
4 GB
Tr A/B
0 dB
Tr A/B
0
inputs1/2
tracks A/B
input 1
input 2
mon A/B
end of list
10
Tr A/B
Tr A/B
fav. mode
stereo
daily
−12
1 kHz
Tr & outs
on
on
auto
knobs
20 dB
20 dB
11 VDC
enabled
play all
User Setups
All of the set parameters in the table above can be saved in a file to internal hard drive or to CF card.
By entering the Get/Save Setup Menu, the user can save or retrieve parameters to a data file. This
binary file is named 722.SUP and is saved in the SOUNDDEV directory on the selected medium.
39
722 User Guide and Technical Information
Setup Menu
The setup menu controls a wide range of parameters for the 722, including all audio routing and recording settings. The setup menu is a single, flat architecture with no sub-menus, easing navigation.
Each setup controls a specific parameter with several selections. The chart below shows the setup
number, a description of the control, and the menu options available.
#
40
Setup Name
Setup Description
Setup Parameters
1
Quick Setup
Allows the user to quickly apply default
menu setups and save/retrieve user
setups to disk or CF.
• Load Factory Settings
- restores the factory default settings
• Load Film Settings
- applies typical setups for film production
• Load Music Settings
- applies typical setups for music recording
• Load User from INHDD
- applies settings saved by user to hard disk
• Load User from CF
- applies settings saved by user to CF
• Save User to INHDD
- saves present state to file on hard drive
• Save User to CF
- saves present state to file on CF
2
Rec: Sample Rate
Sets the audio sampling frequency of
the 722
• 32 kHz
• 44.1 kHz
• 48 kHz
• 48.048 kHz
• 88.2 kHz
3
Rec: Bit Depth
Sets the bit depth of the 722 recordings.
• 16 bit,
• 24 bit
4
File: Format
Selects the file format type recorded to
the selected medium. WAV and BWF files
are identical, the only difference is the
file extension.
• WAV poly
• WAV mono
• MP3 – 64 kb/s • 96 kb/s • 128 kb/s • 160 kb/s
• 192 kb/s • 256 kb/s • 320 kb/s
5
Rec: Media Select
Selects the media used for recording. All
media are selectable even if not present.
• IN HDD Only
• CF Only
• IN HDD and CF
6
Rec: Scene Name/Number
Reset-able numeric counter that increments every time record is pushed. Used
to create unique file names.
<number>
7
Rec: Take Name/Number
Numeric scene number used for file
naming.
<number>
8
Rec: Take Rest Mode
9
Rec: Pre-Roll Time
Selects the amount of pre-roll time the
722 will add to the beginning of each file.
0–10 sec. @ 48 kHz
0–5 sec. @ 88.2–96.096 kHz
0–3.5 sec. @ 192 kHz
10
Rec: Dither
Selects whether to dither is added to 24
bit digital signals while recording 16 bit
files.
• Off
• On (16 bit only)
11
Rec: Timer Start
Sets a specific start time/date for unattended recording. Unit must be powered.
<enter time, date>
firmware v. 1.24
• 96 kHz
• 96.096 kHz
• 174.4 kHz
• 192 kHz
Never
When Scene is changed
When Daily folder Changes
Either Scene or Daily
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Setup Menu
#
Setup Name
Setup Description
Setup Parameters
12
Rec: Timer Stop
Set a specific time/date to stop recording. May be used with or without the Rec:
Timer Start. May be set before the Timer
Start time to temporarily stop recording
and then resume recording with Timer
Start.
<enter time, date>
13
Rec: Error Handler
Sets the behavior when a hard drive
write error occurs.
• Stop recording
• Keep Recording to New File
14
Input: Routing
Allows the user to setup their routing
matrix among all available inputs and
tracks. There are four preset routings and
one custom routing available. Pressing
the input select key repeatedly will cycle
through all preset routings.
•1➞A
•1➞A/2➞B
•1➞A/1➞B
• 1 ➞ A,B / 2 ➞ A,B
• Custom Route
Primarily accessible from the Input
Select Key.
15
16
Input 1: 48V Phantom
Input 2: 48V Phantom
Enables or disables 48 V phantom power
on inputs 1 and 2.
• Off
• On - Mic
• On - Mic and Line
17
Mic Inputs: Limiter
Enables or disables the analog input
limiter on input 1 and 2 mic preamps.
• Disabled
• Enabled
18
19
Mic Input 1: Low Cut
Mic Input 2: Low Cut
Enables the high-pass (low cut) filter to
reduce sensitivity to low frequencies.
• Disabled
• Enabled
20
21
Mic Input 1: Low Cut Freq
Mic Input 2: Low Cut Freq
Selection of twelve high-pass filter
frequency and slope combinations for
microphone inputs.
• 40, • 80, • 160, • 240 Hz @ 12 dB/oct
• 40, • 80, • 160, • 240 Hz @ 18 dB/oct
• 40, • 80, • 160, • 240 Hz @ 24 dB/oct
22
23
Mic Input 1: Gain Range
Mic Input 2: Gain Range
Selects the sensitivity of the microphone
input. Low sensitivity is used for very
loud and/or very hot microphones.
• Normal
• Low
24
Input 1, 2: Source
Forces the inputs to analog or digital
mode. Default is auto-select.
• Auto-select
• Analog
• Digital (S/PDIF/AES)
• Disabled (Power Save)
25
Input 1,2: Linking, MS
Selects whether the input 1 & 2 levels are • Unlinked
controlled independently or grouped as a
Inputs 1 and 2 operate independently
pair with or without mid-side decoding.
• 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.
26
Line Input 1,2: Gain Control
When inputs 1 and 2 are in LINE input
mode, selects whether the gain setting is
controlled by the front panel knobs or by
the menu sensitivity settings below.
• Use front panel knobs
• Use sensitivity settings
27
28
Line Input 1: Gain
Line Input 2: Gain
Adjusts the input sensitivity in 0.1 dB
steps –6 dB and +18 dB.
Meters show a pre-fader level of the input signal of all four inputs on their respective meters
to aid in the adjustment.
29
30
Input 1: Delay
Input 2: Delay
Sets a digital delay for each input. Can
be used to compensate for delay in various digital wireless microphone units or
digital processors.
0 µsec to 30,000 µsec up to 48.048 kHz Fs
0 µsec to 15,000 µsec up to 96.096 kHz Fs
0 µsec to 7,500 µsec up to 192 kHz Fs
41
722 User Guide and Technical Information
#
Setup Name
Setup Description
Setup Parameters
31
File: Marker Mode
Enables the user to set cue points on
the fly while recording by pressing the
record key.
• Markers disabled
No cue marks are set.
• New Cue
Cue markers are set in one continuous file.
• New File
A new file is started with each press of the
record key, the take counter is increased by
one.
32
File: Marker Pre-roll
New files created when a new file is
opened when record is pressed can have
the selected amount of pre-roll appended
to the beginning of each file.
• Disabled
• Enabled
33
File: Max Size
Selects the file size where the 722 will
close, then start a new file. The 722 will
not record a file larger than the selected
size.
The largest file permissible with the
722’s FAT32 file system is 4 GiB
• OFF (4 GiB)
• 4 GB
• 2 GB
• 1 GB
• 640 MB
• 3.6 GB
• 1.8 GB
• 950 MB
• 450 MB
34
File: Folder Options
Selects whether files are placed in the
main “SOUNDDEV” folder, or a new
folder for each production day.
• Single folder
• Daily folder
• Scene Folder
35
File: View Files
Enters the file directory tree for the
selected drive.
Highlight media descriptor to navigate the
menu
36
File: Copy File Select
Allows the user to select a file or a range
of files to be copied from one media to
another. Files will only be copied from
their current directory to a directory of
the same name on the other media. If a
file will not fit on the destination media,
user is given the option to skip that file
and continue with the copy or abort the
copy all together. User is advised at the
end of the copy process how many files
were copied successfully.
• Copy all In HDD ➞ CF
Copies all files and directories from the
internal hard drive to the Compact Flash.
• Last 24 hr HD ➞ CF
Copies all files recorded in the last 24 hours
from the hard drive to the Compact Flash.
• Last 48 hr HD ➞ CF
Copies all files recorded in the last 48 hours
from the hard drive to the Compact Flash.
• Flagged In HD ➞ CF
Copies all files on the internal hard drive,
that have their flag bit set to Compact Flash.
All files, when recorded, automatically
have their flag bit set to “on”
• Copy All CF ➞ In HDD
Copies all files and directories on the Compact Flash to the hard drive.
• Last 24 hr CF ➞ In HDD
Copies all files recorded in the last 24 hours
from the Compact Flash to the hard drive.
• Last 48 hr CF ➞ In HDD
Copies all files recorded in the last 48 hours
from Compact Flash to the hard drive.
• Flagged CF ➞ In HDD
Copies all files from the Compact Flash that
have their flag bit set to the hard drive.
42
37
File: Copy Flag Control
Selects whether the flag bit is cleared
or not on files copied from one media to
another.
• Disabled
• Enabled
38
Output 1 L,R: Source
Selects the signal source for the Master
Output Bus (TA3 outputs, tape outputs,
and digital 1 outputs.
• inputs 1 / 2
• tracks A / B
• monitor A / B (post-record monitor)
39
Output 1 L,R: Attenuation
Selects the attenuation level of signal
sent to the Master Output Bus.
selectable from 0 to –40 dBFS
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Setup Menu
#
Setup Name
Setup Description
Setup Parameters
40
Output 2 L,R: Source
Selects the signal source for output bus 2
sent to digital output bus 2.
• inputs 1 / 2
• tracks A / B
• monitor A / B (post-record monitor)
41
Output 2 L,R: Attenuation
Selects the attenuation level of the signal
output to bus 2.
selectable from 0 to –40 dBFS
42
Play: AutoPlay Mode
Allows user to play file(s) consecutively
from selected directory, one time through
or continuously.
• Disabled
• Play all
• Repeat one
• Repeat all
Great for playing an MP3 collection
during down time!
43
Time/Date: 12/24 Hr
Selects between 12 hour and 24 hour
time.
• 12 hr
• 24 hr
44
Time/Date: Date Format
Selects the date syntax of the recorder.
• mm/dd/yy
• dd/mm/yy
45
Time/Date: Set
Sets the internal date and time of the
722.
<time, date>
Clock is not set until <done> is selected
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.
46
LCD: Contrast
Sets the contrast level of the LCD display. 0–100%
In normal operation, should only need to
be set once
47
Meter: Ballistics
Selects among five different meter ballistics settings
• VU only
• Peak only
• Peak-hold only
48
Meter: Peak Threshold
User-set level in dBFS where track peak
LED’s illuminate. 0 LED doubles as track
peak indicator.
0 to −20 dBFS (1 dB increments)
49
Meter: Stealth Mode
Enables LEDs to toggle on and off with
the LCD backlight key.
• Off
• On
50
HP: Encoder Switch Function
Selects the functionality of the MultiFunction Controller’s button when in
record and playback.
• 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
51
HP: Monitor Modes
Select the sequence of the modes that
appear in the Headphone Source Display
on the LCD.
Up to 10 source selections can be entered, in
any order. See headphone monitor section in
guide for adjustment.
52
HP: Favorite Mode
Selects the audio source monitored when
the Multi-Function Controller is pressed
during recording or playback.
• inputs 1 / 2
• tracks A / B
• monitor A / B
• input 1
• input 2
• track A
• Peak+VU
• Peak-hold + VU
• track B
• monitor A
• monitor B
• inputs 1,2 (MS)
• tracks 1,2 (MS)
• monitor 1,2 (MS)
43
722 User Guide and Technical Information
#
44
Setup Name
Setup Description
Setup Parameters
53
HP: Playback Mode
Selects the audio source sent to headphones upon playback.
54
HP: Warning Bell Level
Set the output level of the multi-function
warning bell.
off, −60 to –12 dBFS in 1 dB steps
55
Tone: Level
Set the output level of the reference tone
–40 to 0 dBFS in 1 dB steps
56
Tone: Frequency
Allows the user to set the frequency of
the reference tone oscillator
100–10,000 Hz in 100 Hz steps
57
Tone: Mode
Select the destination of the reference
tone or to disables it completely
• disabled
• to record tracks only
• to outputs only
• to record tracks and outputs
58
In HDD: Test
Performs a write/read speed test on the
internal hard drive. Data transfer speed is
measured in KB/s.
59
In HDD: Space
Shows the drive file system, total size,
and space remaining on the internal hard
drive.
60
In HDD: (Erase)
Formats the internal hard drive.
61
In HDD: Repair
Runs a utility to repair minor errors in the
directory (FAT) of the drive.
62
CF: Test
Performs a speed test on the Compact
Flash media installed. Data transfer
speed is measured in KB/s.
63
CF: Space
Shows the drive file system, total size,
and space remaining on connected
Compact Flash medium.
64
CF: (Erase)
Formats the installed Compact Flash
card
65
CF: Repair
Runs a utility to repair minor errors in the
directory structure of the Compact Flash.
66
Balance Cal
Calibrates the center position of the input
2 pot when used as the balance control
for MS recording.
Place balance control to center and press to
select.
67
Power: Ext Low Batt Volt
Sets the voltage of the low battery alert
with an external power source. Li-ion battery warning threshold is factory set.
10.0–18.0 VDC, 0.1 V steps
68
Info: Version
Shows the hardware revision, serial number, and firmware version installed.
69
Update Software
Upgrade tool used to apply new firmware
as provided by Sound Devices. Will
search all available media for the firmware program file and apply the update.
firmware v. 1.24
• no change
• inputs 1 / 2
• tracks A / B
• monitor A / B
• input 1
• input 2
• track A
• track B
• monitor A
• monitor B
• inputs 1,2 (MS)
• tracks 1,2 (MS)
• monitor 1,2 (MS)
Caution: Drive test will disable processing and mute outputs for duration of test.
Outputs will not return until test is exited.
Caution, while various PC utilities are able
to recover files from a re-formatted drive,
once formatted old audio data is not accessible by the 722.
Caution: Drive test will disable processing and mute outputs for duration of test.
Outputs will not return until test is exited.
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.
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Specifications
Specifications
System
Sampling Frequency
internal: 32, 44.1, 48, 48.048, 88.2, 96, 96.096, 176.4, 192 kHz
external: 32–192 kHz via word clock input
Internal Data Path and
Processing
32 bit, 192 dB dynamic range
A/D, D/A Converters
24 bit, 192 kHz sample rate maximum. A/D converters on socketed, field-upgradeable
daughter board
A/D Dynamic Range
114 dB, A-weighted bandwidth
110 dB, 20 Hz – 22 kHz bandwidth
D/A Dynamic Range
112 dB, A-weighted bandwidth
108 dB, 20 Hz–22 kHz bandwidth
Metering
38-segment (2 x 19), sunlight-viewable
selectable peak, VU, or peak (with or without peak hold) with VU ballistics, variable brightness
Analog Input
(all measurements at Fs 96 kHz, 24 bit unless noted)
Frequency Response
Mic or Line: 10 Hz–40 kHz, +0.1, −0.5 dB (gain controls centered)
Equivalent Input Noise
Mic: −133 dBu max (−135 dBV), 50 ohm source, A-weighted filter
Mic: −131 dBu max (−133 dBV), 50 ohm source, 20 Hz–20 kHz BW flat filter, gain fully up
Mic: −130 dBu max (−132 dBV), 150 ohm source, A-weighted filter
Mic: −128 dBu max (−130 dBV), 150 ohm source, 20 Hz–20 kHz BW flat filter, gain fully up
THD + Noise
Mic: 0.004% max (1 kHz, 22 Hz–22 kHz BW, gain control down, −15 dBu input)
Line: 0.004% max (1 kHz, 22 Hz–22 kHz BW, gain control down, +16 dBu input)
Gain
(input dBu to −20 dBFS)
Mic (normal gain mode): 25–70 dB
Mic (low gain mode): 10–55 dB
Line: −6–18 dB, 0.1 dB increments
Input Impedance
Mic: 4k ohm
Line: 20k ohm
Input Clipping Level
Mic input: −5 dBu minimum (normal gain mode, gain control fully down)
Mic input: +10 dBu minimum (low gain mode, gain control fully down)
Line input: +26 dBu minimum (gain control fully down)
Input Topology
Mic and Line: fully electronically balanced, RF, ESD, short, and overload protected; pin-2 hot,
pin-3 cold
Gain Matching
Line inputs: ±0.1 dB, channel-to-channel
Common Mode Rejection
Ratio
Mic: 40 dB minimum at 80 Hz
High-Pass Filters
40, 80, 160, 240 Hz @ 12/18/24 dB/oct (all menu selectable)
Mic Powering
(each XLR selectable)
48 V phantom through 6.8k resistors, 10 mA per mic available, menu-selected per channel in mic
or line level positions
Mic Input Limiters
analog (pre-A/D converter), dual-stage optocoupler and FET,
−4 dBFS threshold, 20:1 limiting ratio, 5 mS attack time, 200 mS release time
Output Analog
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.
45
722 User Guide and Technical Information
Inputs/Outputs – Digital
AES3-id
75 ohm, 0.5 V p-p, S/PDIF compatible with RCA adapter
Digital Storage
Internal hard drive
ATA-5 interface 1.8-in or 2.5-in hard drive 4200–7200 RPM supported, FAT32 formatted, up to 2 TB
addressable
Compact Flash
CF type I, II, and + (microdrive) compatible, FAT32 formatted, up to 2 TB addressable
File Types
WAV, mono or polyphonic, at supported Fs, 24-bit or 16-bit
MP3 @ 64, 96, 128, 240, or 320 kb/s stereo
Utilities
Format, speed test, and repair utility for internal HD and CF volumes
Data Transfer / Control
FireWire
peripheral-mode, IEEE-1394a compliant, 6-pin FireWire, Windows 2000, XP, Mac OS X only
C. Link
6-wire modular input and output, RS-232 machine control, word clock, time code transfer (744T)
Powering
Internal Voltages
±16 VDC regulated audio rails
5 VDC data
3.3 VDC data
1.5 VDC DSP core
48 VDC phantom power
Power supply (batteries)
operating cell, removable 7.2 V (nominal) Sony M- or L-type Li-ion, operational from 6–8 V
Power supply (external)
10–18 V, 1000 mA minimum, via locking 4-pin Hirose connector, use Hirose #HR10-7P-4P
(DigiKey# HR100-ND) for locking mating DC connector; pin-1 (−), pin-2 (−), pin-3 (+), pin-4 (+).
See Powering section for additional details
Environmental
Operation and Storage
Ambient temperature 5–55° C,
Relative humidity (non-condensing) <80%
Other
LCD Display
202 x 32 pixels, extended temperature, backlit display
Tone Oscillator
100 Hz–10 kHz, variable output, assigned to tracks or outputs (menu-selectable)
Quick Setups
Four factory presets, one user setup stored to CF or HD as data file
Dimensions and Weight
46
Size
45 mm x 209 mm x 125 mm (H x W x D)
1.8” x 8.2” x 4.9”
Mass
unpackaged: 1.2 kg, (2.6 lbs) without battery
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Specifications
Connector Pin Assignments
Each connector type, electrical characteristics, and pin assignment is shown below.
Connector
Pin Assignments
Notes
XLR
(Analog Inputs)
1 – ground
2 – signal (+)
3 – signal (-)
4000 ohm input impedance, mic level
20k ohm input impedance, line level
active-balanced
XLR
(AES Inputs)
1 – ground
2 – signal (+)
3 – signal (–)
transformer-balanced, for use 110 ohm twisted-pair
cabling, AES3 specification
TA3M
Master Output Bus
1 – ground
2 – signal (+)
3 – signal (–)
120 ohm output impedance, active balanced.
For unbalanced connection, pin-1 ground, pin-2 hot,
pin-3 not connected. Mates with Switchcraft TA3F-type
connector.
3.5 mm
Master Output Bus
tip – signal L
ring – signal R
sleeve – signal ground
Master Output Bus signal in an unbalanced, consumerelectronic level.
3.5 mm
Headphone
tip – signal L
ring – signal R
sleeve – signal ground
mates with 3.5 mm TRS jack.
AES3id (S/PDIF) Input
center pin – signal
sleeve – ground
BNC female, unbalanced, coaxial connection, 75 ohm
connectors recommended
AES3id (S/PDIF) Output
center pin – signal
sleeve – ground
BNC female, unbalanced, coaxial connection, 75 ohm
connectors recommended
Word Clock Input and
Output
center pin – signal
sleeve – ground
BNC female, unbalanced, coaxial connection, 75 ohm
connectors recommended
FireWire (-1394)
6-pin cabling
6-pin male FireWire cable,
C. Link In / Out
1 – +3.3 V
2 – Tx (output)
3 – ground
4 – Rx (input)
5 – WC in
6 – TC in
Not a telephone jack!
Hirose 4-pin
DC Input
1 – ground
2 – ground, same as pin-1
3 – DC (+) charge
4 – DC (+) operate
47
722 User Guide and Technical Information
Power Consumption Variables
The 722 draws power from either its on-board Li-ion battery or from external DC sources. Two factors need to be considered to calculate battery runtime—battery/power supply capacity and unit
power consumption. The best determination of your run time is to experiment with a given recording setup.
The 722 power consumption varies over a range between 4 W to 20 W, depending on active functions. The following functions have the most significant affect on power consumption:
Inputs
Active analog inputs increase power consumption. If recording from digital sources, disable
analog inputs, or inputs altogether to reduce power consumption. Analog inputs and the
microphone preamps draw current whether they are idle or active. Active inputs draw 1.5 W
compared to deactivated inputs.
Hard Drive Activity
When the unit is recording to or playing back from the internal hard drive, power consumption
raises by approximately 2 W.
Microphone Powering
Phantom powered microphones draw power for operation. Up to 1 W can be drawn from the
phantom supply.
Battery Chargers
Depending on the charge state of the on-board Li-ion and the internal AA time-of-day battery,
the charging circuit can draw ~10 W from external DC.
Sampling Rate
The 722 draws more power at higher sampling rates. Each doubling of the sampling rate adds
~1 W of power consumption.
Recording Time Calculation
The calculation of available 722 recording time involves three factors:
• track count - how many concurrent audio tracks are selected for recording.
• data rate - calculated from the sample rate and bit depth for non-compressed audio and by bit
rate for data compressed audio. Data rate determines how big the data “container” is for the
audio signal (see the calculation below for determining PCM audio).
• storage medium capacity - typically expressed in GB
Uncompressed Recording Time in Track-Hours
(1000 MB = 1 GB)
Storage in GB
Data Rate (bit depth/sample rate), one track
16/44.1
(5.05 MB/min)
16/48
(5.49 MB/min)
24/48
(8.24 MB/min)
24/96
(16.5 MB/min)
24/192
(33.0 MB/min)
1
3.30
3.03
2.02
1.01
0.51
2
6.60
6.07
4.05
2.02
1.01
4
13.2
12.1
8.09
4.05
2.02
8
26.4
24.3
16.2
8.09
4.05
15
49.5
45.5
30.3
15.2
7.59
40
132
121
80.9
40.5
20.2
60
198
182
121
60.7
30.3
100
330
303
202
101
50.6
The chart above shows recording time available with the 722. Time is expressed in hours per track
(track-hours) at the specified data rate supported by the 722. If recording two tracks, divide the track
hours figure by two. Note that the 722 supports additional sample rate/bit depth combinations,
however, only the most common are included below.
48
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Recording Time
Record Time
The chart shows that when recording 24-bit/48 kHz audio to a 40 GB hard drive the maximum
amount of recording time available roughly 80 track-hours. If recording a stereo two-track file, this
yields 40 stereo hours of record time.
Note that most storage mediums now quote capacity in GB using SI units, where 1000 megabytes equals
one gigabyte.
PCM Audio
Uncompressed digital audio is expressed numerically by two measurements, bit depth and sampling
frequency, such as 16-bit/48 kHz. These two numbers are used to compute the data rate of uncompressed audio.
Audio Data Rate = Bit Depth x Sampling Frequency
In the example below the data rate of a single 16-bit/48 kHz audio stream is computed in megabytes
per minute. Division by 1,048,576 converts from bits to megabits. Division by 8 converts from megabits to megabytes; multiply by 60 converts seconds to minutes.
(((16 x 48000) / 1,048,576) / 8) x 60 = 5.49 MB/min
MP3 Compressed Record Time in Hours
(1000 MB = 1 GB)
Storage in GB
MP3 Data Rate (bit depth/sample rate), stereo track
64 kb/s
96 kb/s
128 kb/s
160 kb/s
192 kb/s
256 kb/s
320 kb/s
(0.47 MB/min)
(0.70 MB/min)
(0.94 MB/min)
(1.17 MB/min)
(1.40 MB/min)
(1.86 MB/min)
(2.34 MB/min)
1
35
23
17
14
11
8
7
2
71
47
35
28
23
17
14
4
142
94
71
56
47
35
28
8
284
189
142
113
94
71
56
15
533
355
266
213
177
133
106
40
1422
948
711
568
474
355
284
60
2133
1422
1066
853
711
533
426
100
3555
2370
1777
1422
1185
888
711
The chart above shows recording time available with the 722 when recording to an MP3 file. Time is
expressed in hours at the specified MP3 supported by the 722. Note that all recordings are two-channel recordings.
Compressed Audio
When digital audio is compressed using some form of lossy, perceptual process such as MPEG2Layer3 (MP3 audio), Windows Media encoding (WMA), ATRAC encoding (used in MiniDisc), AAC
(MPEG-4 audio), or others - it can have a significant reduction in its data rate. Compressed audio has
enabled the practical distribution of audio over low speed data networks.
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722 User Guide and Technical Information
Accessories
Included Accessories
The accessories below are included with the 722:
•
•
•
•
worldwide (100–240 VAC to 12 VDC) power supply
Li-ion rechargeable battery, 1500 mAh
XL-14 headphone extension cable, 3.5 mm to 1/4-inch
a nice man-bag
Optional Accessories
The above accessories are just the start of building a flexible recording kit that can accommodate
multiple types of connections. Available optional accessories to complete your recording kit include:
The above accessories are just the start of building a flexible recording kit that can accommodate
multiple types of connections. Available accessories from Sound Devices include:
•
CS-7
PortaBrace bag with shoulder strap, holds 722 or 744T and RM accessories; mounts onto CS442 and CS-302 mixer bags
•
XL-2 (sold as pair)
TA3F to XLR-M cable, used for output connection from the master analog output
•
XL-B
removable, rechargeable, Li-ion battery; 1500 mAh battery; it’s good to have several spare
•
XL-BNC
BNC to BNC cable, to connect word clock from external sources to the 722 for synchronizing;
also used to sync external devices from the word clock of the 722
•
XL-H
Raw Hirose 4-pin mating connector for the DC input on the 722
•
XL-NPH
NP-type battery cup accepts NP rechargeable batterys; terminates in Hirose 4-pin DC connector
•
XL-WPH
power adapter included with unit; 100–240 VAC input, 12 VDC output; it’s good to have a
spare
50
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Menu Shortcuts
Menu Navigation Shortcuts
To speed navigation the 722 has numerous navigation “shortcuts”. The following is a complete list.
acts as an escape key and exits from most menus and functions immediately
drops all functions except file copy and begins recording
+
press simultaneously to enter the time code jam menu
+
press backlight then tone to lock all front panel buttons except for Record, Stop and Play. FF
and Rev are available in playback mode. Use backlight and tone again to unlock the panel.
press repeatedly to cycle through input routing presets. Last preset will open the input routing
menu to the custom route selection
+
toggles input 1 phantom power
+
toggles input 2 phantom power
+
toggles input 2 high-pass
+
toggles input 2 high-pass
51
722 User Guide and Technical Information
Warranty and Technical Support
Warranty
Sound Devices, LLC warrants the 722 Portable Audio Recorder against defects in materials and
workmanship for a period of ONE (1) year from date of original retail purchase. This is a non-transferable warranty that extends only to the original purchaser. Sound Devices, LLC will repair or
replace the product at its discretion at no charge. Warranty claims due to severe service conditions
will be addressed on an individual basis. THE WARRANTY AND REMEDIES SET FORTH ABOVE
ARE EXCLUSIVE. SOUND DEVICES, LLC DISCLAIMS ALL OTHER WARRANTIES, EXPRESS OR
IMPLIED, INCLUDING WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. SOUND DEVICES, LLC IS NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES ARISING FROM ANY BREACH OF WARRANTY OR UNDER ANY
OTHER LEGAL THEORY. Because some jurisdictions do not permit the exclusion or limitations set
forth above, they may not apply in all cases.
For all service, including warranty repair, please contact Sound Devices for an RMA (return merchandise authorization). Product returned without an RMA number may experience delays in repair.
Sound Devices, LLC
Service Repair RMA #XXXXX
300 Wengel Drive
Reedsburg, WI 53959 USA
telephone: (608) 524-0625
Technical Support
For technical support on all Sound Devices products, contact:
Sound Devices, LLC
E-mail: [email protected]
web: www.sounddevices.com/contact_support.htm
Telephone: +1 (608) 524-0625 / Toll-Free in the U.S.A.: (800) 505-0625
Fax: +1 (608) 524-0655
Sound Devices cannot guarantee that a given computer, software, or operating system configuration can be used satisfactorily with the 722 based exclusively on the fact that it meets the minimum
system requirements.
52
firmware v. 1.24
Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Software License
Software License
End-user license agreement for Sound Devices 7-Series Embedded Software / Firmware
Important Read carefully: This Sound Devices, LLC end-user license agreement (“EULA”) is a legal agreement between you (either
an individual or a single entity) and Sound Devices, LLC for the Sound Devices, LLC software product identified above, which includes
computer software, embedded software, and may include associated media, printed materials, and “online” or electronic documentation
(“SOFTWARE PRODUCT”). By using, installing, or copying the SOFTWARE PRODUCT, you agree to be bound by the terms of this
EULA. If you do not agree to the terms of this EULA, do not use or install the SOFTWARE PRODUCT.
Software Product License
The SOFTWARE PRODUCT is protected by copyright laws and international copyright treaties, as well as other intellectual property laws
and treaties. The SOFTWARE PRODUCT is licensed, not sold.
Grant of license. This EULA grants you the following limited, non-exclusive rights: In consideration of payment of the licensee fee, Sound
Devices, LLC, as licensor, grants to you, the licensee, a non-exclusive right to use this copy of a Sound Devices, LLC software program
(hereinafter the “SOFTWARE”) on a single product and/or computer. All rights not expressly granted to licensee are reserved to Sound
Devices, LLC.
Software ownership. As the licensee, you own the hardware on which the SOFTWARE is recorded or fixed. Sound Devices, LLC shall
retain full and complete title to the SOFTWARE and all subsequent copies of the SOFTWARE, regardless of the media or form on or in
which the original copies may exist. The license is not a sale of the original SOFTWARE.
Copyright. All rights, title, and copyrights in and to the SOFTWARE PRODUCT (including, but not limited to, any images, photographs,
animations, video, audio, music, text, and “applets” incorporated into the SOFTWARE PRODUCT) and any copies of the SOFTWARE
PRODUCT are owned by Sound Devices, LLC or its suppliers. The SOFTWARE PRODUCT is protected by copyright laws and international treaty provisions. Therefore, you must treat the SOFTWARE PRODUCT like any other copyrighted material, except that you may
make copies as only provided below. You may not copy the printed materials accompanying the SOFTWARE PRODUCT.
Restrictions on use. Licensee may not distribute copies of the SOFTWARE or accompanying materials to others. Licensee may not
modify, adapt, translate, reverse engineer, decompile, disassemble, or create derivative works based on the SOFTWARE or its accompanying printed or written materials.
Transfer restrictions. Licensee shall not assign, rent, lease, sell, sublicense, or otherwise transfer the SOFTWARE to another party without prior written consent of Sound Devices, LLC. Any party authorized by Sound Devices, LLC to receive the SOFTWARE must agree to
be bound by the terms and conditions of this agreement.
Termination. Without prejudice to any other rights, Sound Devices, LLC may terminate this EULA if you fail to comply with the terms and
conditions of this EULA. In such event, you must destroy all copies of the SOFTWARE PRODUCT and all of its component parts.
Limited Warranty
No warranties. Sound Devices, LLC expressly disclaims any warranty for the SOFTWARE PRODUCT. The SOFTWARE PRODUCT and
any related documentation is provided “as is” without warranty or condition of any kind, either express or implied, including, without limitation, the implied warranties and conditions of merchantability, fitness for a particular purpose, or non-infringement. The entire risk arising
out of use or performance of the SOFTWARE PRODUCT remains with you.
No liability for damages. In no event shall Sound Devices, LLC or its suppliers be liable for any damages whatsoever (including, without
limitation, damages for loss of business profits, business interruption, loss of business information, or any other pecuniary loss) arising
out of the use of or inability to use this Sound Devices, LLC product, even if Sound Devices, LLC has been advised of the possibility of
such damages. In any case, Sound Devices, LLC’s entire liability under any provision of this evaluation license shall be limited to the
greater of the amount actually paid by you for the SOFTWARE PRODUCT or U.S. $5.00. Because some states/jurisdictions do not allow
the exclusion or limitation of liability for consequential or incidental damages, the above limitation may not apply to you.
Governing Law
This agreement and limited warranty are governed by the laws of the state of Wisconsin.
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722 rev. 1.24
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