Sound Devices 702T User manual

702T

High Resolution Digital Audio Recorder with Time Code
User Guide and Technical Information
firmware rev. 2.67

Sound Devices, LLC

E7556 State Rd. 23/33 • Reedsburg, WI • USA
[phone] • fax: [phone]
Toll-Free: [phone]
www.sounddevices.com
[e-mail]

backside - front cover

Table of Contents

Quick Start Guide .................................3

Powering the Unit
Menu Navigation Basics
Connecting Audio Sources
Routing Inputs to Tracks
Selecting Recording Parameters and File Destination
Time Code Setup
Recording
Playback
FireWire File Transfer

Front Panel Descriptions ...........................6

Panel Button Lock

LCD Display Descriptions ..........................9

Back Panel Descriptions ..........................10

Left Panel Connectors and Controls ................11

Right Panel Connectors and Controls ...............12

Input Setup and Control ...........................13

Input Source Selection
Analog Inputs
Input Linking (Stereo or MS Decoding)
Digital Input – AES3
Digital Input – AES3id (S/PDIF)
Signal Presence and Peak Indicator
Input Delay

Input-to-Track Routing ............................16

Routing
Selective Input Muting

Sampling Rate and Bit Depth ......................18

Sampling Rate

Word Clock .....................................19

Clock Master
Clock Slave
C. Link – Multi-Unit Linking

Outputs – Analog and Digital ......................21

Master Output Bus
Digital Output Bus

Headphone Output ...............................22

Selecting Headphone Sources
Setting Headphone Source Options
MS Stereo Monitoring
Rotary Switch Behavior
Headphone Favorite Selection
Headphone Playback Mode
Headphone Warning Tones

Metering and Display .............................24

Output Meter
Meter Ballistics
Peak LEDs
Tone Oscillator
LCD Contrast & Backlight, LED Brightness
LCD Gain Display
Record Indication

Time Code ......................................27

Frame Rate
F Sampling Rate Modes
Time Code Modes
Time Code Hold Off
Jam Menu
User Bits
NTSC Standard Definition (SD) Video Production

Recording ......................................33

Recording
Pre-Record Buffer
Failure During Recording
Record Pause
Record Timer

Playback ........................................35

AutoPlay

Audio File Formats ...............................36

702T User Guide and Technical Information

.WAV
.FLAC
.MP2
.MP3
iXML

Recording Time Calculation . . . . . . . . . . . . . . . . . . . . . . . .38

Uncompressed Recording Time in Track-Hours
MP3 Compressed Record Time in Hours

File Naming / Numbering ..........................39

Scene Name/Numbering
Take Numbers
Mono Track Name Designators
Duplicate File Names

Wave Agent Beta .................................41

File Management ................................42

Folder Actions
File Finder Navigation
File Viewer Screen
File Time and Date
File Size Maximum
Setting/Clearing Flag Bits
Automatic Flag Clearing
File Copying Among Available Drives
File Deletion
False Take Control
Emptying the Trash and False Take Folders
Take Number Increments
Take List
Take Status

CompactFlash Recording Media ....................48

Formatting
Speed Testing
Qualified CF Cards

Storage Medium – External FireWire Drives ..........50

When to Use External FireWire Drives
Formatting
FireWire Bus Powering
Qualified Drives
DVD-RAM Drives

File Transfer – FireWire ...........................52

Powering .......................................53

Lithium Ion Rechargeable Battery
External Powering and Battery Charging
Time Code Clock Battery
Auto Functions with External Powering
Power-up Messages
Power Consumption Variables

Firmware Upgrades ..............................56

Version Information
Upgrading Firmware

CL-1 Remote Control and Keyboard Interface .........57

Connecting the CL-1
Keyboard Assignments
Logic Inputs and Outputs
Logic Inputs
Logic Outputs

Setup Presets ...................................60

Built-In Presets
User Setup Data File

Setup Menu .....................................63

Setup Menu Shortcuts

Front Panel Button Shortcuts ......................70

Connector Pin Assignments .......................71

Specifications ...................................72

Accessories ....................................74

CE Declaration of Conformity ......................76

Software License ................................77

Warranty & Service ...............................78

1

702T User Guide and Technical Information

Welcome

Thank you for purchasing the 702T digital recorder. The super-compact 702T records and plays
back audio to and from CompactFlash, making field recording simple and fast. It writes and reads
uncompressed PCM audio at 16 or 24 bits with sampling rates between 32 kHz and 192 kHz. It also
writes and reads data compressed FLAC and audio compressed MP2 and MP3 files. The time code
implementation on the 702T extends its usefulness in audio-for-picture applications—from over-the­shoulder to cart-based production.

The 702T implements a no-compromise audio path that includes Sound Devices’ high-resolution,
discrete 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 sound engineers in mind, the 702T 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 702T 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. CompactFlash media is highly reliable, industry
standard, and easily obtainable. The removable, rechargeable battery is a standard Sony-compatible
Li-ion camcorder cell. The 702T interconnects with Windows and Mac OS computers via FireWire for
convenient data transfer and backup.

702T Firmware Known Issues

For a complete list of known issues regarding the most current firmware please visit Sound Notes.

http://www.sounddevices.com/notes/recorders/known-issues/

Copyright Notice and Release

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording, or otherwise, without the expressed written permission of SOUND DEVICES,
LLC. SOUND DEVICES is not responsible for any use of this information.

SOUND DEVICES, LLC shall not be liable to the purchaser of this product or third parties for damages, losses, costs, or expenses
incurred by purchaser or third parties as a result of: accident, misuse, or abuse of this product or unauthorized modifications, repairs, or
alterations to this product, or failure to strictly comply with SOUND DEVICES, LLC’s operating and installation instructions.

Microsoft Windows is registered trademarks of Microsoft Corporation. Macintosh is a registered trademark of Apple Computer. Other
product and company names mentioned herein may be the trademarks of their respective owners.

The sound waves logo is a registered trademark of Sound Devices, LLC.

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

702T User Guide and Technical Information

Quick Start Guide

The 702T is an extremely powerful and flexible portable audio recorder. Before recording, please
familiarize yourself with the product. Several settings should be verified or set based on individual
recording needs.

Powering the Unit

1. Apply power to the unit by attaching 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 battery.

2. Press and hold the power button to turn on the unit. Press and hold the power button to turn off the
unit.

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. The single layer menu struc­ture allows for very quick navigation and function selection. To enter the Setup Menu press the front
panel Menu button. Once in the Setup Menu, the following conventions are shared for navigat­ing among selections and to select specific parameters.

• Menu Button- enters Setup Menu

• ITEM - highlighted menu item

• 4 - selects highlighted item or parameter

• - moves up in menu and between menu parameters

• - moves down in menu and between menu parameters

• 8 - exits the selected function or Setup Menu altogether

• The Stop button will exit from any menu and cancel any changes. Use it to escape out of

the Setup Menu.

The right panel Rotary Switch (labeled “Select”) is a convenient control to quickly navigate among
menu items and item options. Its push-to-select function duplicates the check mark in most menus.

Connecting Audio Sources

1. Connect audio sources, either analog or digital, to the appropriate input connector.

2. Set the appropriate input level—mic, line, or digital (input 1)—with the adjacent slide switch.

3. If mic-level inputs are used make certain that phantom power, input limiters, and high-pass filters are

activated as required.

Routing Inputs to Tracks

Before recording, inputs must be assigned to tracks. Each 702T input (1 and 2) can be assigned to the
two recorded tracks (A and B). These 16 possible routing combinations are shown on the front panel
with 4 blue LEDs. Illuminated LEDs indicate input-to-track assignment.

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702T User Guide and Technical Information

1. Press and hold the STOP button then press the INPUT button to cycle through factory rout-
ing presets. The 702T has several often-used presets for quick setup of input-to-track routing combina­tions. Note the routing combinations on the blue LEDs with each successive press.

2. If none of the preset routing combinations are suitable, assign a custom routing. Sequential presses of
the input button will eventually cycle to the custom routing option (see Input to Track Routing, pg.

18). From the custom input routing menu any input can be assigned to any track, including multiple

inputs assigned to a single track.

3. Press EXIT to leave input routing mode.

If no input is assigned to a track the 702T will not record.

Selecting Recording Parameters and File Destination

For most productions, the general recording parameters of bit depth, sampling rate, and file format
are infrequently changed. Enter the Setup Menu to verify recording settings. Bit depth and sampling
rate are displayed on the LCD panel.

1. Select the bit depth as needed.

2. Set the sampling rate as needed.

3. Select the file type, WAV mono or WAV poly, FLAC, MP2, or MP3.

4. Select the storage volume(s) (CompactFlash, External drive, or any combinations of the two drives) for

recording.

Time Code Setup

When using a time code workflow, proper time code setup is essential for accurate sync of picture
and sound. Skip this section if time code is not being used.

1. Select a time code frame rate appropriate for your project. For film production, typical the time code
rates are 30 fps non-drop (NTSC) or 25 fps (PAL). For standard definition video projects, use either 29.97
or 29.97 non-drop. For high-definition projects, use either 23.98 or 29.97, depending on what post work­flow or format is used.

2. Select the time code run mode: free run, record run, 24 hr. run, or one of the external run modes.

3. Typically, the 702T is used as the master clock source and all other cameras and slates are jammed to it.

This will assure that every device is using the same time reference. (See Time Code for additional infor-
mation on time code setup).

Recording

With file parameters set, the 702T is ready to record. The 702T is a record-priority device—pressing
the record button cancels all functions, except file-based operations, and immediately begins record­ing a new sound file. When record is pressed, the red record LED illuminates to confirm that the unit
is recording. The file name on the LCD display shows the currently recorded sound file. Press and
hold the STOP button to end recording.

Playback

When recording is stopped, the most recently recorded file is immediately available for playback.
Press the button to start file playback from the beginning of the file.

To select files for playback:

1. Press and hold the button to enter the File Viewer and navigate among sound files and folders

for playback. The folder of where the most recent file was recorded is opened when the button is
pressed.

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

702T User Guide and Technical Information

2. Use either the Rotary Switch or the arrow soft-buttons, to navigate through file folders.

3. Once a file is highlighted, press the play button to begin playback.

When playback has finished, the filename will flash on the LCD display. Use the fast-forward
button or rewind button to step through files in the folder, or press the stop button to exit
playback mode.

FireWire File Transfer

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

When connected via FireWire (IEEE-1394a) to a Mac OS or Windows OS computer (see Specifications

for computer requirements), the CompactFlash card mounts onto a computer as “letter” accessible,

removable storage media. This effectively makes the 702T a card reader for CompactFlash cards.
Use the appropriate FireWire cable (6-pin to 4-pin or 6-pin to 6-pin) for interconnection. From the
computer files on the 702T CF card can be treated as if they are local files, including renaming files,
copying, deleting and playing directly through the 702T.

In general, it is good practice to transfer sound files from the 702T to a computer before any processing is
performed on the files.

To connect the 702T for FireWire transfer:

1. Stop all playback and recording, then shut down the recorder

2. Make certain the 702T battery is fully charged, or that the unit is connected to external DC.

3. Connect the 702T to the host computer with a FireWire cable.

4. Power the 702T.

5. Initiate connection to the computer by accessing the FIREWIRE: CONNECTION menu option in the
Setup Menu. Select COMPUTER/CONNECT or if this has already been selected simply hit STOP then the
HDD key to initiate a connection to the computer. The 702T will enter FireWire transfer, indicated by
FIREWIRE CONNECTION on the LCD display. All functions of the 702T are stopped while the 702T is
connected to a computer through FireWire.

6. Navigate to the attached drive from the computer and copy all needed sound files to local storage on
the computer.

To avoid possible corruption of data on the CompactFlash card, do not interrupt the connection process
and always properly dismount (eject) the drives from the operating system. On Mac OS platforms, drag
the drive icons to the trash. On Windows platforms, right-click the 702T volume and choose eject.

Dismount the 702T after file transfer by “ejecting” the volume from the computer. In Mac OS, drag
the disk icon from the desktop to the trash or hit -e. In Windows OS, highlight the disk icon, right­click, and select “eject”. It is best practice to “eject” the 702T volume from the computer to maintain
file integrity (see FireWire File Transfer).

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702T User Guide and Technical Information

Front Panel Descriptions

All 702T settings can be accessed and monitored through the front panel LCD and navigation but­tons. This allows the unit to be placed in a production bag along with field mixers, wireless transmit­ters, and wireless receivers.

2

22 23 24

4

27

26

28

29

25

1

1) Digital Input LEDs

Indicates the presence of AES or SPDIF­digital signal on the respective input.
When flashing, indicates that digital in­put is selected but no valid digital word
clock signal is present.

2) Input 1 Gain

Controls the analog gain (input trim) of
the channel 1 input. Normal mic input
range is from 25 dB to 70 dB, low gain
mic range is from 10 dB to 55 dB, line
input range is from -6 dB to 18 dB. For
line-level inputs, this control can be de­feated for setup-menu-controlled gain. If
the LCD display shows “locked” when
the control is rotated, gain control of
the line-level input is menu-controlled.
When inputs are linked as a stereo pair,
Input 1 Gain controls the gain of both
inputs.

3) Input 2 Gain

Controls input 2 gain, as in #2 above.
When inputs are linked as a stereo pair,
Input 2 Gain adjusts left-to-right bal­ance.

4) MENU Button

Used to access all 702T Setup Menu
selections. When in menu mode, used to
move up through the menu selections.
Pressing the HDD and MENU buttons
simultaneously brings up the time code
jam menu (702T).

5 6

17 18 19

5) LCD Display

6) Tone Oscillator

7) Input-to-Track Matrix LEDs

8) INPUT Select Button

13

10

11

7 8 9 3

702

15 16

14 20 21

Primary display of the 702T. The LCD is
backlit using the LCD backlight control
(#15).

Press to activate the tone oscillator, press
and hold for two seconds or longer to
latch on, press again to deactivate. Fre­quency, tone level, and routing are con­trolled in the Setup Menu. When in the
Setup Menu use the TONE key to enter
Setup Menu options and select parame­ters when the check mark appears in the
upper right hand corner of the LCD.

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.

Pressing the INPUT button brings up
the input muting and routing menu.
Hold down the INPUT button and press
one of the indicated soft buttons to mute
inputs. Pressing the STOP button and
the INPUT select button cycles 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.

12

6

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

702T User Guide and Technical Information

9) Level Meter LEDs

Two 19-segment track level-meters indi­cate level in dBFS. Metering ballistics are
selected in the Setup Menu.

10) Power Button

Press and hold to power up the 702T.
Press and hold to power down.

11) Charge LED

Indicates the charge status of the on­board battery charger. LED flashes when
external power is connected and the re­movable battery is charging; illuminates
solid when battery is fully charged.

12) Power LED

Indicates the 702T is powered and avail­able for operation. LED flashes when the
removable battery or external DC is in a
low-voltage condition.

Record Button

13)
Press to record. The 702T is a record­priority device; pressing this button
starts recording and discontinues all
other functions, except file operations.
Pressing button during recording can
set a cue marker or start a new file, as
selected in the Setup Menu.

14)

Stop/Pause Button

Press and hold this key for 150 ms to
stop recording. In Record Pause mode
the STOP key will pause the recording,
pressing it twice will finalize the record­ing. In playback mode, a single press
pauses playback (play-pause), allowing
audio scrubbing with the FF and REW
keys. Another press of the key enters
play-stop mode where the FF and REW
keys select files for playback from the
current directory. One more press of the
key exits playback mode. In the setup
menu the stop key is also used to exit
from any menu, returning to the main
display.

LCD Backlight Button

15)
Press to toggle LCD and button board
backlighting. Hold the button and turn
the Rotary Switch to adjust the bright­ness of LEDs. In menu mode, functions
as the soft-button to cancel a selection.

16)

Fast-Forward Button

Performs fast-forward (FF) scrubbing
through a playing sound file when
pressed in playback and play-pause
mode. Play-pause indicated by flash­ing A-time on LCD. Fast forward rate
increases the longer the button is held.
In play-stop mode (indicated by flashing
filename on LCD) selects the next file in
the record folder (either daily folder or
main folder).

17) Play Button

Plays the sound file displayed in the
LCD. If pressed immediately after
recording is stopped, the most recently
recorded file is begins playback.

18) Rewind Button

Performs reverse (REW) scrubbing
through a playing sound file when
pressed in playback and play-pause
mode. Play-pause indicated by flashing
A-time on LCD. Reverse playback rate
increases the longer the button is held.
In play-stop mode (indicated by flash­ing filename on LCD) selects the previ­ous file in the record folder (either daily
folder or main folder).

19) HDD (File Viewer) Button

Press to enter the File Viewer. Pressing
simultaneously with the MENU button
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.

21) LIM LED

Indicates that the microphone input
limiters are on. This LED does not show
input limiting activity (see descriptor #27,

Microphone Input Limiter LEDs).

22) Link LED

Indicates that channels 1 and 2 are
linked as a stereo pair. In link mode in­put 1 potentiometer controls gain, input
2 potentiometer controls left-to-right
balance. Inputs can be linked as either a
stereo L/R pair or as a a Mid-Side (MS)
pair.

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702T User Guide and Technical Information

23) Media Ready LEDs
Indicates storage media is present and
available to record; CF (CompactFlash),
EX (external FireWire device) [EX

requires 2.0-ready hardware]. Flashing

indicates media problem.

24) Media Activity LEDs
Indicates storage media read/write ac­tivity. CF (CompactFlash), EX (external
FireWire device) [EX requires 2.0-ready

hardware]. Do not remove power until all

media activity LED’s are off.

25) High-Pass Filter LEDs
Indicates that the high-pass (low-cut)
filter is active for the input. High-pass
only operates when the input is set to
microphone level.

26) Phantom Power LEDs
Indicates that phantom power (48 volts)
is active for the individual input. Phan­tom can be applied to microphone or
line-level signals (menu-selected).

27) Microphone Input Limiter LEDs

Illuminates orange when limiting is oc­curring on the microphone input. If con­stantly lit, the microphone input is being
hit with too “hot” of a signal. Reduce 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 inputs.
Additionally, flashes to indicate that an
input is muted.

Panel Button Lock

Press and hold the backlight button then the tone button to bring up the Button Lock screen. Button
Lock prevents accidental changes to settings or record status. The 702T displays any button lock
options enabled.

select the soft buttons to
activate the appropriate
button lock mode

There are three modes:

• Unlocked – all buttons are accessible and operate normally.

• Non-Transport Lock – All front panel controls are locked except the Record, Stop, Play, Re-

wind and Fast Forward.

• Lock All – All front panel buttons are locked except the Record button. The Record button is
kept active so the user can initiate recording after entering this mode and enter cue markers.
To stop recording in this mode, you must disengage the panel lock and hit the stop button.

8

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

LCD Display Descriptions

702T User Guide and Technical Information

1

11

1) Battery Level Indicator

Shows the voltage level of either the re­movable Li-ion battery or external pow­er sources. External power overrides
battery power when present. Graphical
bar for relative level and numeric indica­tor for precise voltage measurement.

2) File Name Display

Shows the file name actively being re­corded or played back. In playback-stop
mode, a flashing file name indicates that
the fast-forward and rewind buttons can
be used to step through files in the cur­rent playback folder.

3) Absolute Time (A-time) Display

Shows the elapsed time of the file be­ing recorded or played back in hours,
minutes, seconds, and tenths. The A­time and the time code display can be
exchanged if a large time code display
is needed. This display can be set to re­verse or flash during recording. Flashes
in playback-pause mode.

4) Time & Date Display

Alternating display between the set date
and time of the 702T. This information is
written as the creation and modification
date for recorded sound files.

2 3

9 10

7) Time Code Rate

8) Headphone Source Display

9) Time Code Display

10) External Media Space Status

4

5

6

8

7

Shows the set time code frame rate. If
a sound file has time code information,
the playback frame rate is shown. If
external time code is connected and the
external rate differs from the rate set
internally, the time code rate will flash.

Indicates the source for headphone out­put. Sources and selection order are user
selectable in the Setup Menu.

In stop and record, shows the time
code generated or received by the 702T.
In play mode, the display shows the
played file’s time code information (if
available). If non-time code files are
playing, the display shows dashes. The
time code display can be exchanged
with the A-time display from a Setup
Menu selection.

Bar graph indicates amount of record
time remaining on external FireWire me­dia. Numbers show time in hours and
minutes based on the presently selected
number of record tracks, sample fre­quency, bit rate, and file type.

5) Bit Depth Indicator

Shows the set record bit depth. In play­back, shows the file bit depth.

11) CompactFlash Status

Bar graph indicates amount of record
time remaining on the inserted Com­pactFlash card. Time remaining is

6) Sampling Rate Indicator

Shows the set record sampling rate. In
playback shows the file sampling rate.

shown in hours and minutes based on
the presently selected number of record
tracks, sampling rate, bit depth, and file
type.

For both media types, an asterisk in front of the media indicates that it is selected for recording. High­lighted volume indicates media selected for record monitoring, playback or file folder display.

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702T User Guide and Technical Information

702T

12

13

14

12) Input 1/2 Level

When input 1 or 2 gain is turned this
indicates the gain level in dB for inputs
1 and 2. Gain levels can be selected to
always be displayed in the Setup Menu
option LCD: GAIN DISPLAY. Normal
mic input gain range is from 26 dB to
70 dB, low gain mic range is from 10 dB
to 50 dB, line input range is from -6 dB
to 18 dB. “Locked” will be displayed
on the LCD when the pot is turned
with digital inputs selected or with line
inputs set to menu control.

Back Panel Descriptions

13) Cue Marker Display

In record mode, indicates when cue
markers are set. Markers are set by
pressing the record button (this option
must be selected in Setup Menu). In
playback mode, displays cue points nu­merically as they are reached in a file.

14) External Digital Clock Indicator

Indicates that the 702T is locked to a
valid external AES or word clock source.

10

1 3

2

1) Security Slot

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

3) Battery Mount

Accepts Sony® InfoLithium L- or M­Series removable batteries. Also accepts
batteries conforming to this mount. Vari­ous capacities, from 1500 mAh to 7000

4

mAh are available.

2) CompactFlash Slot

Accepts CompactFlash cards with the
label-side up. Compatible with Type I,
Type II, and MicroDrives.

4) Battery Release Pin

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

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

Left Panel Connectors and Controls

702T User Guide and Technical Information

3

1 7 6

1) XLR Input 1/AES3 Input 1&2

Dual function input connection. Input
type set with switch above. Active-bal­anced analog microphone- or line-level
input for input 1. Transformer-balanced
two-channel AES3 input (1 and 2).

2) XLR Input 2

Active-balanced analog microphone- or
line-level input for input 2.

3) Mic-Line Input Switch

Selects the input level and mode of the
associated XLR input connector. Input 1
also can be selected for AES3 input.

4) TA3 Master (L/R) Analog Outputs

Active-balanced, line-level analog L/R
outputs for the Master Output Bus. Pro­gram source and attenuation level are
user selectable. Pin-1 ground, pin-2 (+),
pin-3 (–).

4

2

5) Headphone Output

6) Headphone Level

7) Tape Output

5

3.5 mm TRS stereo headphone connec­tor. Can drive headphones from 8 to
1000 ohm impedances to very high lev­els. Tip-left, ring-right, sleeve-ground.

Adjusts the headphone output level.
NOTE: the 702T is capable of producing
ear-damaging levels in headphones.

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, sleeve­ground.

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702T User Guide and Technical Information

702T

Right Panel Connectors and Controls

1

8

1) Time Code Multi-Pin

Time code input and output on 5-pin
LEMO® connector.

2) AES3id Input 1/2

Unbalanced digital input accepts two
channel AES3id (or S/PDIF) on BNC
connectors. Supports sample rates up to
200 kHz.

3) FireWire (IEEE-1394) Port

Connection to a computer (Mac OS,
Windows 2k/XP, Vista, Linux) to access
the CompactFlash volume as a mass
storage devices. Also used to attach ex­ternal FAT32-formatted FireWire drives
to the 702T for direct recording and
copying.

4) C. Link In/Out

RS-232 protocol interface on 6-pin
modular (“RJ-12”) connector for link­ing multiple 7-Series recorders together.
Word clock, machine transport, and time
code are carried on the C. Link connec­tor. Additionally, C. Link accessories
connect through this connector.

3 2

7 6 5

6) Word Clock Input and Out

Provides clock input and output for the
702T. Word input accepts sampling rates
from 32 kHz to 192 kHz. Word clock out­put is the rate that box is running. There
is no sample rate conversion onboard
the 702T.

7) AES3id Master Output Bus

Unbalanced digital output, two-channel,
for the Master Output Bus. Signal source
is menu-selected and is identical to the
Analog Master Output Bus signal.

8) Rotary Switch

In record and playback modes, selects
the headphone monitor source; push
action is user selectable. When in the
Setup Menu, the Rotary Switch moves
between menu selections; push to select
or enter data.

4

12

5) External DC In

Accepts power sources of 10–18 volts
DC for unit powering and removable
Li-ion battery charging. The Hirose
4-pin connector is wired pin-1 negative
(-), pin-4 positive (+). Pin-2 (-) and pin-3
(+) are used to charge the removable
Li-ion battery. DC ground at both pins-1
and 2 is at the same potential as chassis
and signal ground.

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

702T User Guide and Technical Information

Input Setup and Control

The 702T 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 702T 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 702T will choose the input type based on signal present.

The 702T is capable of off-speed sample rates when clocked from either external digital inputs or the
word clock input.

Input sources can be set to “disabled (power save)”. This option shuts down all circuitry associated
with the inputs to reduce power draw and extend battery runtime during playback. When an input
pair is disabled, the digital input LEDs associated with the pair will flash.

Analog Inputs

Analog inputs 1 and 2, on XLR connectors, are the primary connections into the recorder. These
inputs accept balanced or unbalanced mic- or line-level inputs. When at mic-level, gain is controlled
by the front panel potentiometers. Gain for the line level inputs can be controlled by the front panel
potentiometers or menu settings. Line input gain is controlled in 0.1 dB steps.

A digital input present on the BNC inputs will override an analog signal present on the XLR inputs un­less the input source is set to analog in the setup menu.

In the setup menu, the following functions can be controlled for analog inputs 1 and 2:

Phantom Power

Phantom power (48 volts) can be activated for inputs 1 and 2. When active, phantom is indicated by
front panel LEDs ( ).

Phantom power is available for both mic- and line-level inputs. Using line-level inputs with microphones
is useful in high SPL environments such as concert recording. Make certain to turn off phantom power
with line level output devices susceptible to damage from DC.

Shortcut: To toggle phantom power without entering the menus, press and hold the tone key then

press the menu key for channel 1. Channel 2 phantom can be toggled by pressing the tone key then
pressing the HDD key. If the inputs are in line level mode, phantom power will not activate from the
shortcut keys and must be activated from the menus. Phantom power is linked when the inputs are
linked. (See Input Linking)

Input Limiters (mic-level only)

Microphone inputs 1 and 2 each have a limiter circuit designed to prevent input overload. In nor­mal operation, with proper gain settings, the limiters should rarely engage. When activated, these

13

702T User Guide and Technical Information

limiters will prevent unusually high input signal levels from clipping the analog input stage of
the preamp. The front panel LIM LED ( ) shows that the limiter is engaged. Limiter activity is
indicated by additional front panel LEDs, one for each input channel ( ). The input limiters are
active only with mic-level inputs. The limiters are engaged by (factory) default.

When limiters are engaged, audio on channels 1 and 2 is limited to -6 dBFS.

Microphone Level Control

Microphone gain is controlled by the front panel recessed knobs. The gain control adjusts an analog
gain stage and functions similarly to the input trim on a mixing console or stand-alone microphone
preamplifier. Gain is controllable over two ranges, normal and low.

Gain Range (microphone-level only)

The microphone inputs operate in four gain ranges, NORMAL, NORMAL FADES TO OFF, LOW, and
LOW FADES TO OFF. The NORMAL range controls input gain from 24.3 dB to 67.4 dB of gain.

The LOW range controls input gain from 9.3 dB to 52.4 dB. The LOW ranges are useful for high
SPL recording environments. The fade to off options allow for fader-like control of your gain.
NORMAL FADES TO OFF provides a gain range of off or 0 to 67.4 dB and LOW FADES TO OFF pro­vides a gain range of off or 0 to 52.4 dB.

High-Pass Filters (microphone-level only)

The high pass filters on the microphone inputs use a combination of analog and digital filters to re­duce sensitivity to low frequency signals. When the high-pass is engaged on an input, its front-panel
LED illuminates to indicate it is active ( ). The first pole of the high-pass circuit is an analog filter
at 40 Hz, 6 dB per octave and is part of the microphone preamplifier circuit. Additional poles of
high-pass filtering are done in DSP.

Several frequency and slope combinations are selectable, including corner frequencies of 40, 80, 160,
or 240 Hz, and filter slopes of 12 dB, 18 dB, or 24 dB per octave. The high-pass is selected for each
input independently.

Shortcut: The filters can be toggled with a two-key combination. Press and hold the LCD back-

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

Line-Level Gain Control

When in line-level position, the gain for inputs 1 and 2 is controlled by the front panel recessed
potentiometers or by a menu sensitivity setting. When set for front panel control in the user menu,
LINE INPUT 1: GAIN and LINE INPUT 2: GAIN controls in the user menu are lined out and not acces­sible.

Input Linking (Stereo or MS Decoding)

Analog inputs 1 and 2 can be linked as a stereo pair. When linked, the channel 1 front panel potenti­ometer controls the signal level of both inputs, and the channel 2 pot controls the left-to-right balance
of the pair. When the inputs are linked, their peak limiters are linked, as well.

When set to link as an MS pair, the inputs are decoded as left/right stereo, where the gain and bal­ance for the pair work the same as stereo linking above. Input 1 is for Mid signal, input 2 for Side
signal.

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

14

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

702T User Guide and Technical Information

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

If MS stereo linking is selected for inputs, program sent to tracks and headphones will be L/R stereo pro­gram. To record discrete M and S signals, do not link for MS, but monitor the MS signal in headphones.

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

• Digital Inputs cannot be linked as an MS pair.

• If linking Line Inputs as an MS pair, the Setup Menu option LINE INPUT 1,2: GAIN CTRL

must be set to Use Front Panel Knobs.

Digital Input – AES3

The 702T accepts AES3 (AES/EBU) balanced digital at the input 1 XLR connector. Digital input is
two-channel—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 702T accepts AES3id and S/PDIF unbalanced digital signals on the BNC connector. The 702T
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 702T 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 702T to an external digital signal, be certain the source is stable. Loss of digital sig­nal will cause the 702T 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 button has been
pressed will not be recorded or affect the sample rate of the 702T.

The 702T clocks itself to the first digital signal presented to it. If the 702T detects a digital signal on the
BNC inputs and locks to that signal, a digital signal applied to the XLR input will be ignored until the
first digital signal is removed.

Signal Presence and Peak Indicator

The signal presence and peak indicators show audio activity before input-to-track routing. In­put signal presence LED’s illuminate when a –50 dBFS or greater signal is present. Input signal peak
LEDs illuminate when signal levels reach –3 dBFS or greater.

Input Delay

A digital delay is selectable on each channel of the 702T. Delay time per input is selectable in tenths
of a millisecond (0.1 msec) steps. The Rotary Switch and menu arrows are accelerated. The more you
press or spin, the faster the time setting will increase or decrease. Delay is not set until the Rotary

15

702T User Guide and Technical Information

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

Sample Frequency

32, 44.1, 47.952, 48, 48.048 kHz 30 mS

88.2, 96, 96.096 kHz 15 mS

176.4, 192 kHz 7.5 mS

Input delay can be useful for time aligning input signals from differing sources. For example, digital
wireless mics that have a processing delay in their outputs. In addition, all digital conversion stages
have delay.

Maximum Amount of Delay Available (per input)

Input-to-Track Routing

The 702T uses a flexible routing scheme to assign inputs and tracks for recording. The input matrix
allows any input to be routed to any recording track. Multiple inputs can be routed to a single track
to create mono-mixed recordings.

The 2-by-2 blue LED matrix makes it easy to view the set routing. A solid blue LED indicates an
input is assigned to a record track.

inputs can be routed
to tracks in any of
sixteen possible
combinations

Pressing the INPUT key brings up the following menu.

Routing

Hold down the STOP button then press the INPUT button to cycle through the four preset
input-to-track routing combinations. These presets are factory set and cannot be changed. The last
three preset selections are CUSTO M ROU TE options. Press the EDIT soft button to enter the custom rout­ing menu. Custom routing allows any input to be assigned to any record track. In the menu, high­lighted input and track combination are displayed in white text. The two inputs are shown on the
left; the two record tracks are shown on the right.

To assign custom input routings:

1. Press and hold the Stop button, then press the INPUT button successively until INPUT ROUTING is
displayed in the LCD display.

2. Use either the soft buttons for up and down or the Rotary switch to select CUSTOM ROUTING.Press the
EDIT soft button ( ).

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

702T User Guide and Technical Information

arrow indicates high­lighted input is assigned
to highlighted track

select to exit menu and
apply selected routing

selet to move up
and down menu

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

4. When a chosen pairing is highlighted press either the ASSIG N soft button or the Rotary Switch to as-
sign 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 button.

7. Exit and complete the assignment by pressing the check mark soft button.

select to remove
input assignment

The input routing menu will always exit to the main screen whether entered from the INPUT button or
the Setup Menu.

Selective Input Muting

When the INPUT button is pressed, individual input muting is available. This feature can be used to
quickly mute microphones while maintaining their respective track assignments.

Indicates that an input is
available for routing.

No indication here shows
that an input is muted.

A solidly lit input Peak LED indicates that an input is muted.

A solid illuminated
Peak LED indicates
that an input is muted

Mono- and polyphonic files behave differently when selective muting is applied. When monophonic
files are selected, files from tracks A and B are named with the suffix “_1 and _2” respectively. If, for
instance, track A is muted but trackB is still selected, the resulting file will be named with the suffix
“_2” and track A will not be recorded, saving storage space.

When polyphonic file type is selected in the same scenario as above with track A muted, the result­ing data file will be a two-track file with track A being a blank track. Blank tracks in polyphonic files
take up the same amount of storage space as tracks that are assigned.

17

702T User Guide and Technical Information

Sampling Rate and Bit Depth

When recording the 702T generates uncompressed PCM audio WAV files in the Broadcast Wave File
format at the user-selected sampling rate and bit depth. The 702T LCD calculates available recording
time based on the sampling rate, bit depth, number of tracks armed for recording and the storage
media’s available capacity. See the Calculating Recording Time later in this guide to estimate record
time.

Sampling Rate

When a sampling rate is selected for recording, all tracks are recorded at the selected sampling
rate. Sampling rates are selected among common rates from 32 kHz to 192 kHz. Additionally, non­standard sampling rates can be applied when the 702T is word clocked from an external source
(clock sources between 32 kHz and 192 kHz). When recording off-speed sampling rates files will be
stamped with the rate closest to an internally generated frequency.

Relationship Between Sampling Frequency and Audio Bandwidth

The sampling frequency is expressed in samples per second (in hertz) and defines the number of
times in a second that the analog audio signal has been measured. Sampling frequency determines
the audio bandwidth, or frequency response, that can be represented by the digital signal. A quick
estimate of the maximum bandwidth capable of being represented at a given sampling rate is
maximum analog frequency = sampling frequency/2. Higher sampling frequencies allow for greater
audio bandwidth.

The 702T generates the following sampling rates:

• 32 kHz

• 44.1 kHz

• 47.952 kHz

• 47.952kF - le stamped at 48 kHz

• 48 kHz

• 48.048 kHz

• 48.048kF -le stamped at 48 kHz

See Time Code section for more information about the 48.048F, 47.952F, and 96.096F rates.

• 88.2 kHz

• 96 kHz

• 96.096 kHz

• 96.096kF - le stamped at 96 kHz

• 176.4 kHz

• 192 kHz

Bit Depths

The 702T records at bit depths of either 16 or 24 bit. 24 bit recording provides greater dynamic range
and addition headroom for signal peaks relative to 16 bit recordings. 24 bit recording (versus 16 bit)
is a significant benefit for field production audio tracks.

Bit Depth = Available Dynamic Range

Bit depth defines the digital “word length” used to represent a given sample. Bit depth correlates to
the maximum dynamic range that can be represented by the digital signal. Larger bit depths accom­modate more dynamic range. A quick estimate of maximum dynamic range capable of being rep­resented by a given word length is dynamic range ~= no. of bits x 6 dB. Bit depth is an exponential
measure (exponent of 2), so as bit depth increases, the amount of data it represents increases expo­nentially. The majority of field recording is done with 16-bit audio, therefore, each sample is rep-

18

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

702T User Guide and Technical Information

resented 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 702T has 24 bit analog-to-digital converters. To obtain 16 bit recording the 702T can be set to
dither the 24 bit digital signals output from the analog-to-digital converter to 16 bit. The 702T uses a
proprietary pseudo-random dither routine for accurate bit rate reduction. Dither can be defeated in
the user menu. Without dither, 24 bit audio is truncated to 16 bit, meaning the least significant 8 bits
are discarded.

Once a file is recorded its sampling rate and bit depth can not be changed in the recorder. The 702T
does not perform sample rate conversion or bit depth changes. File conversion must be done in another
environment, such as an audio workstation. Alternatively, a real-time analog transfer is often performed
instead of sample rate conversion.

Word Clock

Stable word clock is fundamental to a high quality digital audio signal. The 702T uses a highly-stable
crystal to generate its internal word clock. The 702T can clock external devices from its word clock
and accept external clock sources for recording.

The 702T 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 702T can function as an analog-to-digital converter and can be used as a 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 702T
generates word clock whether or not audio is sent.

Clock Slave

When using an external digital preamplifier connected to the 702T 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 702T (if the external device has word clock input or accepts clock from the
702T’s digital output). For example, if you are using a wireless receiver with a digital output, it may
not have an external word clock input, and must be the word clock master.

If digital audio is connected to the 702T 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 702T is slaved to external word clock, be certain that the source is stable. Loss of the word clock
signal during recording can cause the 702T 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 702T 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.

19

702T User Guide and Technical Information

C. Link – Multi-Unit Linking

The proprietary C. Link (control link) connection allows multiple 702T, 702T, 722, and 744T recorders
to be connected and clocked together. The C. Link also enables the CL-1 Remote Control and Key­board interface to control the 702T with an attached keyboard or via switch closures.

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

• word clock

• time code information (702T and 744T only)

• RS-232 machine transport data

master

unit

slave

unit

slave

unit

To link units:

1. Connect multiple units as shown in the illustration.

2. Set all linked recorders to the same sample rate, bit depth, file format, and time code frame rate (for

702T and 744T units used). This will ensure that all files generated are compatible.

3. Set scene and take numbers on all linked recorders to the same starting file name. There is no file name
synchronization with multiple unit linking.

When linked, record start and stop on slave units will not affect units “above” it in the linked chain.
This makes it possible for units to get out of synchronization if a unit other than the master is set to
record or stop. Using the master unit will assure that all machines begin and end recording together.

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

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

20

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 may result.

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

702T User Guide and Technical Information

Outputs – Analog and Digital

The 702T has two independent output buses , the Analog Output Bus (Bus 1) and the Digital Output
Bus (Bus 2). Each side (left and right) of the two-channel buses are assigned audio sources indepen­dently, allowing the 702T to feed multiple audio devices with unique program content.

The chart below shows the audio sources available for the analog and digital output buses. The au­dio source for each output is selected in the Setup Menu.

Available Output Sources Description

Input 1
Input 2

Track A
Track B

Input 1,2 Multiple inputs are summed with these selections.

Track A,B Multiple track assignments are summed with these selections.

Master Output Bus

Inputs are assignable for each channel of the output bus.

When inputs are selected as the source for the outputs, the state of recording or playback activity has no

effect on the output signal. This allow uninterrupted input audio at the output.

Track assignments and playback audio.

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 output level can be attenuated from the
Setup Menu by up to 40 dB in 1 dB increments. Both left and right outputs are attenuated equally.

Analog Tape Output

The tape output connection is stereo, unbalanced consumer output level (–10 dBV) on a TRS 3.5 mm
connector. Output attenuation affects this output level.

Digital Output Bus

Just as with the Analog Output Bus, the Digital Output Bus (Bus 2) can be assigned signal sources
from inputs or tracks. Sources assigned to the Digital Output Bus are exclusive and do not affect the
assignments to the Analog Output Bus or headphone assignments. The same signal sources available
for the Analog Output Bus are available for Digital Output Bus (see chart above).

The Digital Output Bus appears solely on the AES3id BNC output connector. The unbalanced
AES3id output is directly compatible with most S/PDIF inputs.

The format for the AES3id output is selectable between professional AES and SPDIF. In either case
the SCMS bit is not set.

The maximum output level is 0 dBFS and can be attenuated in the Setup Menu in 1 dB increments by
40 dB.

21

702T User Guide and Technical Information

Headphone Output

The 702T headphone output is a flexible tool for monitoring audio in the field. The 702T allows the
user to monitor inputs, tracks, and post-record tracks in a number of combinations. MS stereo moni­toring is also available in headphones.

The headphone output is independent of the Master Output Bus and the Output Bus 2—audio
sources can be routed to headphones independent of routing assignments to output buses.

The 702T is capable of driving headphones to extremely high sound pressure levels. Hearing experts
advise against exposure to high sound pressure levels for extended periods.

Selecting Headphone Sources

The headphone source display on the main LCD screen ( ) shows the audio sources sent to
headphones. The 702T comes from the factory with several preset headphone audio source selections
available on the Rotary Switch. These selections include inputs, tracks and track monitors. Turn the
Rotary Switch to select among the available headphone monitoring sources.

Track Monitoring While Recording (Confidence Monitoring)

The 702T can monitor actual recorded audio written to the Compact Flash card during recording.
This is commonly referred to as “confidence monitoring”. To monitor recorded tracks, during record­ing select one of the track monitor modes. Because of the record buffering topology of the 702T, a
delay of up to 12 seconds can be expected before recorded audio appears at the output. The 702T will
play back recorded audio from the media highlighted on the LCD panel (see File Management and

Copying for more information on selecting and highlighting storage medium).

Setting Headphone Source Options

In addition to the 5 preset headphone routings, a total of 20 available “slots” can be filled in a user
defined order. Headphone monitoring sources are selected from combinations of inputs, tracks, and
post-record tracks, including stereo and MS decoding. The order of headphone selections is user­selectable. Available sources for headphone monitoring include:

HP Sources Description

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

Tracks A,B Stereo monitoring of track pairs. Track 1 is assigned to left headphone output; track 2 is

Monitor A,B Stereo monitoring of playback (post-record) track pairs. Track 1 is assigned to left head-

Input 1, 1
Input 2, 2

Track A, A
Track B, B

Monitor A, A
Monitor B, B

Inputs 1, 2 (MS) Stereo monitoring of discrete M (mid) and S (side) input pairs. Highlighted media is source

assigned to right headphone output.

assigned to right headphone output. Upon playback, will play as track monitor.

phone output; track 2 is assigned to right headphone output.

When using the recorded track monitor selection, there is a sample rate dependent delay in the signal. At 48

kHz sampling, the delay is approximately 12 seconds. This delay is due to the record buffering topology. Audio

can not be monitored until it has left the record buffer and written to the recording media.

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

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

Solo monitoring of playback (post-record) track. Highlighted media is source of moni­tor program. This signal is sent to both sides of the headphones. When not in playback,
headphones have no program.

of monitor program.

22

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702T User Guide and Technical Information

HP Sources Description

Tracks A, B (MS) Stereo monitoring of discrete M (mid) and S (side) track pairs. Highlighted media is source

Monitor A,B (MS) Stereo monitoring of playback (post-record) discrete M (mid) and S (side) track pairs.

Inputs 1+2, 1+2 Summed inputs appear in each ear for summed mono monitoring of both inputs.

Tracks A+B, A+B Summed tracks appear in each ear for summed mono monitoring of both tracks.

When tracks (A or B) are monitored in headphones, audio assigned to the tracks is heard in headphones
during recording. During playback the recorded track audio is heard in headphones.

To set the available headphone source options for headphone monitoring enter H P: M O N IT O R from
the Setup Menu. In the Monitor Modes menu you will immediately be in slot-1. Turn the Rotary
Switch to select the source you wish to appear first in your Headphone monitor list. Once the chosen
source appears, press the Rotary Switch or the soft button ENTER (tone) button 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) button at any time.

of monitor program. Upon playback will function as MS track monitor.

Highlighted media is source of monitor program. When not in playback, headphones have
no program.

If DONE is pressed in the first headphone slot, the 702T will select a single option (Tracks A, B) for head­phone monitoring. The 10 factory presets will be erased.

MS Stereo Monitoring

The MS stereo mode decodes discrete Mid-Side stereo signals to a left/right stereo signal for moni­toring purposes. This allows for a proper stereo signal to be monitored in the field while discrete
M and S signals are recorded for later post production. For the MS decoder to operate properly, the
Mid signal is connected to input 1 and the Side signal is connected to input 2. The amount of stereo
“spread” is fixed to a 50/50 percentage from Mid to Side signal.

If MS is selected for input linking, do not use MS stereo monitoring. This would result in two MS decod­ers being inserted in the signal path. The resulting audio in the headphones would be the discrete M and
S signals!

Rotary Switch Behavior

The action of the Rotary Switch during recording and playback is set from among the three available
options:

• Disabled: pressing the Rotary Switch has no effect.

• Selects Favorite Mode: places the headphone source into the mode selected in the HP Favorite

menu.

• Playback/Monitor Drive Select: pushing the Rotary Switch toggles between CompactFlash,

and external hard drives for playback and monitoring while recording.

Headphone Favorite Selection

If “SELECTS FAVORITE MODE” is selected from the choices above, pushing the Rotary Switch selects
the assigned “Headphone Favorite” source. This feature is helpful to quickly return to a selected
headphone monitoring selection while recording or playing. One of the available headphone selec­tion can be selected as the headphone favorite.

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