Sound Devices 744T User manual
744T
High Resolution Digital Audio Recorder with Time Code
User Guide and Technical Information
fi rmware rev. 2.67
S ATA
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
support@sounddevices.com
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 to Computer
Front Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Panel Lock
LCD Display Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Left Panel Connectors and Controls . . . . . . . . . . . . . . . . . 11
Right Panel Connectors and Controls . . . . . . . . . . . . . . . . 12
Back Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Input Setup and Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Input Source Selection
Analog Inputs 1 and 2
Input Linking (Stereo or MS Decoding)
Analog Inputs 3 & 4
Digital Inputs – AES3
Digital Inputs – AES3id (S/PDIF)
Signal Presence and Peak Indicator
Input Delay
Input-to-Track Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Selective Input Muting
Sampling Rate and Bit Depth . . . . . . . . . . . . . . . . . . . . . . . 19
Sampling Rate
Bit Depths
Word Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Clock Master
Clock Slave
Multi-Unit Linking Via C. Link
Outputs – Analog and Digital . . . . . . . . . . . . . . . . . . . . . . . 22
Master Output Bus
Output Bus 2
Headphone Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Selecting Headphone Sources
Setting Headphone Source Options
MS Stereo Monitoring
SoundField B-Format Surround Monitoring
Rotary Switch Behavior
Headphone Favorite Selection
Headphone Playback Mode
Headphone Warning Tones
Metering and Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Output Meter
Meter Ballistics
Peak LEDs
Tone Oscillator
LCD Contrast & Backlight, LED Brightness
LCD Gain Display
Record Indication
Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Frame Rate
F Sampling Rate Modes
Time Code Modes
Time Code Hold Off
Jam Menu
User Bits
NTSC Standard Def Video Production
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Recording
Pre-Record Buffer
Failure During Recording
Record Pause
Record Timer
Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
AutoPlay
Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
.WAV
.FLAC
.MP2
.MP3
iXML
Recording Time Calculation . . . . . . . . . . . . . . . . . . . . . . . . . 41
Uncompressed Recording Time in Track-Hours
MP3 Compressed Record Time in Hours
File Naming / Numbering . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Scene Name/Numbering
Mono Track Name Designators
Duplicate File Names
Wave Agent Beta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
File Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Folder Actions
File Viewer 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 Incrementing
Take List
Take Status
Storage Medium – Internal Hard Drive . . . . . . . . . . . . . . . . 52
Formatting
Drive Type
Drive Replacement
Drive Failure
Storage Medium – Removable CompactFlash . . . . . . . . . . 55
When to Use CF
Formatting
Speed Testing
Qualifi ed CF Cards
Storage Medium – External FireWire Drives . . . . . . . . . . . . 56
When to Use External FireWire Drives
Formatting
FireWire Bus Powering
Qualifi ed Drives
DVD-RAM Drives
File Transfer Using FireWire . . . . . . . . . . . . . . . . . . . . . . . . 58
Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Version Information
Upgrading Firmware
CL-1 Remote Control and Keyboard Interface . . . . . . . . . . 63
Connecting the CL-1
Logic Inputs
Logic Outputs
Setup Menu Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Built-In Presets
User Setup Data File
Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Setup Menu Shortcuts
Front Panel Button Shortcuts . . . . . . . . . . . . . . . . . . . . . . . 77
Connector Pin Assignments . . . . . . . . . . . . . . . . . . . . . . . . 78
Specifi cations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
CE Declaration of Conformity . . . . . . . . . . . . . . . . . . . . . . . 83
Software License . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Warranty and Technical Support . . . . . . . . . . . . . . . . . . . . . 85
1
744T User Guide and Technical Information
Welcome
Thank you for purchasing the 744T. The ultra-compact 744T records and plays back audio to and
from its internal hard drive, CompactFlash, or external drives, making fi eld 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 fi les. The time code implementation makes the 744T ready for any recording job—from overthe-shoulder to cart-based production.
The 744T implements a no-compromise audio path that includes Sound Devices’ next generation
microphone preamplifi ers. Designed specifi cally 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 mixing engineers in mind, the 744T 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 744T 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. Hard drive and CompactFlash are highly reliable,
industry standard, and easily obtainable. With the ability to write to an external drive, a low-cost,
portable medium can be turned in to post production. The removable, rechargeable battery is a
standard Sony-compatible Li-ion camcorder cell. The 744T interconnects with Windows and Mac OS
computers for convenient data transfer and backup.
744T Firmware Known Issues
For a complete list of known issues regarding the most current fi rmware 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 modifi cations, 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.
Quick Start Guide
The 744T is an extremely powerful and fl exible portable audio recorder. Before recording, please
familiarize yourself with the product. Several settings should be verifi ed 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 key to turn on the unit. Press and hold the power key to turn off the unit.
If this is the fi rst time the recorder has been powered, or if it has been without a battery for an extended period, the date and time may need to be set.
Charge the included Li-ion battery for 6 hours prior to initial use.
Menu Navigation Basics
The setup menu provides options for recording, routing, and control parameters. The single layer
menu structure allows for very quick navigation and selection of functions. To enter the setup menu
press the front panel
navigating among selections and to select specifi c parameters.
• - enters setup menu
• ITEM - highlighted menu item
• - selects highlighted item or parameter
• - moves up in menu and between menu parameters
• - moves down in menu and between menu parameters
• - exits the selected menu or menu altogether
• The stop key will exit from any menu and cancel any changes. Use it to escape out of the
setup menus.
The right panel Rotary Switch (labeled “Select”) is a convenient control to quickly navigate among
menu items and item options. Its push-to-select function duplicates the check mark in most menus.
key. Once in the setup menu, the following conventions are shared for
Connecting Audio Sources
1. Connect audio sources, either analog or digital, to the appropriate input connector.
2. When using either input XLR, set the appropriate input level—mic, line, or digital—with the adjacent
slide switch.
3. If mic-level inputs are used on XLR input 1 or XLR input 2, make certain that phantom power, input
limiters, and high-pass fi lters are activated as required.
4. When using inputs 3 or 4, set gain levels in the setup menu.
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744T User Guide and Technical Information
Routing Inputs to Tracks
Before recording, inputs must be assigned to tracks. Each of the 744T’s four inputs (1, 2, 3, 4) can be
assigned to any of the four tracks (A, B, C, D). These 256 possible routing combinations are shown on
the front panel with 16 blue LEDs. Illuminated LEDs indicate input-to-track assignment.
1. Press and hold the STOP key then press the INPUT key to cycle through factory routing pre-
sets. The 744T has six often-used presets for quick setup of input-to-track routing combinations. Note
the routing combinations on the blue LEDs with each successive press.
2. If none of the preset routing combinations are suitable, assign a custom routing. Sequential presses of
the input key will eventually cycle to the custom routing option (see Input to Track Routing, pg. 18).
From the custom input routing menu any input can be assigned to any track, including multiple inputs
assigned to a single track.
3. Press EXIT to leave input routing mode.
If no input is assigned to a track the 744T will not record.
Selecting Recording Parameters and File Destination
For most productions, the general recording parameters of bit depth, sampling rate, media selection,
and fi le 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 fi le type, WAV mono or WAV poly, FLAC, MP2, or MP3.
4. Select the storage medium(s) (Internal hard drive, CompactFlash, External drive, or any combinations
of the three drives) for recording.
Time Code Setup
When using a time code workfl ow, proper time code setup is essential for accuracy. Skip this section
if time code is not being used.
1. Select a time code frame rate appropriate for your project. For fi lm production, typical the time code
rates are 30 fps non-drop (US) or 25 fps (EU). For standard defi nition video projects, use either 29.97 or
29.97 non-drop. For high-defi nition projects, use either 23.976 or 29.97.
2. Select the time code run mode: free run, record run, 24 hr. run, or one of the external run modes.
3. Use the 744T as the master clock source and jam time code to all other recording devices. This will
assure that every device is using the same time reference. (See Time Code for additional information on
time code setup).
Recording
With fi le parameters set, you are ready to begin recording. The 744T is a record-priority device—
pressing the record key cancels all functions, except fi le-based operations, and immediately begins
recording a new fi le. When record is pressed, the red record LED illuminates to confi rm record
mode. The fi lename on the LCD display shows the currently recorded fi le. Push and hold the
STOP key to end recording.
Playback
When recording is stopped, the most recently recorded fi le is immediately available for playback.
Press the
4
v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
key to begin fi le playback from the beginning of the fi le.
To select a fi le for playback:
1. Press and hold the File Viewer key to select a drive and folder (directory) for playback. The last
fi le recorded is the default fi le ready for playback. The default playback source is the storage volume
highlighted on the LCD display.
2. Use the Rotary Switch, or the arrow soft-keys, to navigate through the File Viewer.
3. Once a fi le is highlighted, press the play key to begin playback.
When playback has fi nished, the fi lename will begin fl ashing. Use the fast-forward key or
rewind key to step through fi les in the folder, or press the stop key to exit playback mode.
FireWire File Transfer to Computer
Sound Devices strongly recommends shutting down equipment before connecting to or from any
FireWire device with a connection that carries power (6-pin). Reports have come to our attention of
isolated problems when hot-plugging IEEE 1394 (FireWire) devices. (Hot-plugging refers to making connections when one or more of the devices—including the computer—is on.) When hot-plugging, there are
rare occurrences where either the FireWire device or the FireWire port on the host computer is rendered
permanently inoperable. From our experience, any FireWire connection which carries power is susceptible
to this type of damage.
When connected via FireWire (IEEE-1394a) to a Mac OS or Windows OS computer (see Specifi cations
for computer requirements), the internal hard drive and CF card mount onto a computer as “letter”
accessible mass storage volume. Use the appropriate FireWire cable (6-pin to 4-pin or 6-pin to 6-pin)
for interconnection. Files on the 744T can be treated as if they are local fi les, including renaming fi les,
copying, deleting and playing directly from the 744T hard drive.
In general, it is good practice to copy audio fi les from the 744T to a computer before any processing is
performed on the fi les.
To connect the 744T for FireWire computer transfer:
1. Stop all playback and recording activity.
2. Make certain the 744T battery is fully charged, or connect to external DC.
3. Connect the 744T to the host computer with a FireWire cable.
4. Initiate connection to the computer by accessing the FIREWIRE: CONNECTION menu option in the
Setup Menu. Select COMPUTER/CONNECT or if this has already been selected simply hit STOP then the
HDD key to initiate a connection to the computer. The 744T will enter FireWire transfer, indicated by
FIREWIRE CONNECTION on the LCD display. All functions of the 744T are stopped while the 744T is
connected to a computer through FireWire.
5. Navigate to either the CF card or hard drive from the computer and copy all needed audio fi les to local
storage on the computer.
To avoid any possible directory corruption on the 744T do not interrupt the connection process and
always properly dismount the drives from the operating system. On Mac OS platforms, drag the drive
icons to the trash. On Windows platforms, use the “Disconnect External Media” icon in the system tray.
Dismount the 744T after fi le 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 744T volume from the computer to maintain
fi le integrity (see FireWire File Transfer).
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744T User Guide and Technical Information
Front Panel Descriptions
All 744T settings 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 fi eld mixers and wireless transmitters and receivers.
29
28
27
26
25
23 24
Digital Input LEDs
1)
2 1
4
3
20
21 22
Indicates the presence of digital signal
on the respective input. When fl ashing,
indicates that digital input is selected
but no valid digital clock signal is present.
2) Input 1 Gain
Controls the analog gain (input trim) of
the channel 1 input. Normal mic input
range is from 25 dB to 70 dB, low gain
mic range is from 10 dB to 55 dB, line
input range is from −6 dB to 18 dB. For
line-level inputs, this control can be
defeated and gain can be setup menucontrolled. If the LCD display shows
“locked” when the pot is turned, gain
control of the line-level input is menucontrolled. When inputs are linked as
a stereo pair, Input 1 Gain controls the
gain of both inputs.
3) Input 2 Gain
Controls input 2 gain, as in #2 above.
When inputs are linked as a stereo pair,
Input 2 Gain controls left-to-right balance.
4) MENU Key
Used to access all 744T setup menu
selections. When in menu mode, used to
move up through the menu selections.
Pressing the HDD and MENU keys
simultaneously brings up the time code
jam menu.
5 6
17 18 19
16
5) LCD Display
6) Tone Oscillator
7)
8)
15
7 8
14
9
744T
10
13
11
Primary display of 744T status. 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.
Input-to-Track Matrix LEDs
Blue LEDs indicate inputs (1, 2, 3, 4)
enabled for recording to tracks (A, B, C,
D). A solid blue LED indicates an input
is routed to a track. A fl ashing LED during “custom” routing mode shows the
selected input/track combination.
INPUT Select Key
Pressing the INPUT key brings up the
input muting and routing menu. Hold
down the INPUT key and press one
of the four indicated soft keys to mute
inputs. Pressing the STOP key and the
INPUT select key cycles through the
six factory preset input-to-track routing
combinations plus the custom routing
menu. In the custom routing menu any
input can be routed to any track. (See
Input-to-Track Routing)
12
6
v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
9) Level Meter LEDs
Four, 19-segment track level-meters indicate level in dBFS. Metering ballistics
are selected in the setup menu.
10) Power Key
Press and hold to power up the 744T.
Press and hold to power down.
11) Charge LED
Indicates the charge status of the onboard battery charger. LED fl ashes when
external power is connected and the removable battery is charging; illuminates
solid when battery is fully charged.
12) Power LED
Indicates the 744T is powered and available for operation. LED fl ashes when the
removable battery or external DC is in a
low-voltage state.
13) Record Key
Press to record. The 744T is a recordpriority device; pressing this key starts
recording and discontinues all other
functions, except fi le operations. Pressing key during recording can set a cue
marker or start a new fi le, as selected in
the setup menu.
14) Stop/Pause Key
Press and hold this key for 150 ms to
stop recording. In Record Pause mode
the STOP key will pause the recording,
pressing it twice will fi nalize 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 fi les for playback from the
current directory. One more press of the
key exits playback mode. In the setup
menu the stop key is also used to exit
from any menu, returning to the main
display.
15) LCD Backlight Key
Press to toggle LCD and keyboard
backlighting. Hold the key and turn the
Rotary Switch to adjust the brightness of
LEDs. In menu mode, functions as the
cancel key.
16) Fast-Forward Key
Performs fast-forward (FF) scrubbing
through the played fi le when pressed in
playback and play-pause mode. Playpause indicated by fl ashing A-time on
LCD. Fast forward rate increases the longer the key is held. In play-stop mode
(indicated by fl ashing fi lename on LCD)
selects the next fi le in the record folder
(either daily folder or main folder).
17) Play Key
Plays back the fi le displayed in the LCD.
If pressed immediately after recording is
stopped, the most recently recorded fi le
is played back.
18) Rewind Key
Performs reverse (REW) scrubbing
through the played fi le when pressed in
playback and play-pause mode. Playpause indicated by fl ashing A-time on
LCD. Reverse playback rate increases
the longer the key is held. In play-stop
mode (indicated by fl ashing fi lename
on LCD) selects the previous fi le in the
record folder (either daily folder or main
folder).
19) HDD (File Viewer) Key
Press to enter the File Viewer. The
selected medium shown in white type
will be the destination when the button is pressed. Press-and-hold to toggle
between available media. If only one
media is present, press-and-hold is
disabled. Pressing simultaneously with
MENU opens the time code jam menu.
20) Headphone Output Peak LED
Indicates overload of the headphone
amplifi er. When lit, the headphone circuit is overloading. Reduce headphone
level.
21)
LIM LED
Indicates that the microphone input
limiters are engaged. This LED does not
show input limiting activity (see descrip-
tor #27, Microphone Input Limiter LEDs).
7
744T User Guide and Technical Information
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.
23) Media Ready LEDs
Indicates storage media is present and
available to record; IN (internal hard
drive), CF (CompactFlash), EX (external FireWire device). Flashing indicates
media problem.
24) Media Activity LEDs
Indicates storage media read/write
activity. IN (internal hard drive), CF
(CompactFlash), EX (external FireWire
device).
25) High-Pass Filter LEDs
Indicates that the high-pass (low-cut)
fi lter 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 four
inputs. Also used to indicate that an
input is muted.
Panel Lock
Press and hold the backlight key then the tone key to bring up the front panel Button Lock Screen.
Button lock prevents unintentional changing of settings or record status.The 744T 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 keys are locked except the Record key. The Record key is kept active so the user can initiate recording after entering this mode and enter cue markers. To stop
recording in this mode, you must disengage the panel lock and hit the stop key.
8
v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
LCD Display Descriptions
1
12
11
10
1) Battery Level Indicator
Shows voltage level of the removable
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 fi le name actively being recorded
or played back. In playback-stop mode,
fl ashing fi le name indicates that the fastforward and rewind keys can be used to
step through fi les in the current playback directory.
3) Absolute Time (A-time) Display
Shows the elapsed time of the fi le 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 fl ash during recording. Flashes
in playback-pause mode.
4) Time & Date Display
Alternating display between the set date
and time of the 744T. This information is
written as the creation and modifi cation
date for generated audio fi les.
5) Bit Depth Indicator
Shows the set record bit depth. In playback, shows the fi le bit depth.
4 2 3
5
6
9
8 7
7) Time Code Rate
Shows the set time code frame rate. If a
fi le has time code information embedded, the playback frame rate is indicated. If external time code is connected
and the external rate differs from the
rate set internally, the time code rate will
fl ash.
8) Headphone Source Display
Indicates the source for headphone output. Sources and selection order are user
selectable in the setup menus.
9) Time Code Display
In stop and record, shows the time code
generated or received by the 744T. In
play mode, the display shows the play
fi le’s time code information (if available). If non-time code fi les are playing,
the display shows dashes. The time code
display can be exchanged with the Atime display via a user menu selection.
10) External Media Space Status
(space remaining/record ready)
If a drive is not attached the indicator
shows dashed lines. 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 fi le type.
6) Sample Rate Indicator
Shows the set record sampling rate. In
playback shows the fi le sampling rate.
9
744T User Guide and Technical Information
1
12
11
11) 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 fi le type.
12) CompactFlash Status
(space remaining/record ready)
Bar graph indicates amount of record
time remaining on the CompactFlash
media. Numbers show time in hours
and minutes based on the presently selected number of record tracks, sample
frequency, bit rate, and fi le 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 fi le directory display.
4 2 3
5
6
9 10
13
8 7
note the white-on-black number option
to indicate recording (menu-selectable)
14
15
13) 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 D ISP LAY . 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.
14) Cue Marker Display
In record mode, indicates when cue
markers are set. Markers set by pressing
the record key (option must be selected
in setup menu). In playback mode, displays cue points numerically as they are
reached in a fi le.
15) External Digital Clock Indicator
The 744T is locked to a valid external
digital or word clock source for recording when the L is in the display.
10
v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Left Panel Connectors and Controls
1
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/AES3 Input 3&4
Dual function input connection. Input
type set with switch above. Active-balanced analog microphone- or line-level
input for input 2. Transformer-balanced
two-channel AES3 input (3 and 4).
3) Mic-Line-AES3 Input Switch
Selects the input level and mode of the
associated XLR input connector.
3
2
4
8 7
5
6
5) 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 (–).
6) Headphone Output
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.
7) Headphone Volume
Adjusts the headphone volume. NOTE:
the 744T is capable of producing eardamaging levels in headphones.
4) TA3 Channel 3&4 Line Inputs
Active-balanced line-level input connectors. Pin-1 ground, pin-2 (+), pin-3 (−).
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, sleeveground.
11
744T User Guide and Technical Information
Right Panel Connectors and Controls
1
9
1) Time Code Multi-Pin
Time code input and output on 5-pin
LEMO® connector.
2) AES3id Inputs 1/2 and 3/4
Unbalanced digital input accepts two
channel AES3 (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 internal hard drive and CompactFlash volumes as mass storage devices.
Also used to attach external FAT32-formatted FireWire drives to the 744T for
direct recording and copying.
8 7
3 2
4
6 5
6) Word Clock Input and Out
Provides clock input and output for the
744T. Word input accepts sampling rates
between 32 kHz and 192 kHz. Word
clock output is the rate that box is running. There is no sample rate conversion
onboard the 744T.
7) AES3id Output Bus 2
Unbalanced digital output, two-channel,
for Output Bus 2. Signal source is menuselected.
8) 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.
12
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.
9) Multi-Function Rotary Switch
When in the setup menu, the rotary
switch moves between menu selections;
push to enter selection or enter data.
In record and playback modes, selects
headphone monitor source; push action
is user selectable.
5) External DC In
Accepts sources of 10–18 volts DC for
unit powering and removable Li-ion
battery charging. The Hirose 4-pin connector is wired pin-1 negative (−), pin-4
positive (+). Pin-2 (−) and pin-3 (+) are
used to charge the removable Li-ion
battery. DC ground at both pins-1 and
2 is at the same potential as chassis and
signal ground.
v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Back Panel Descriptions
1 3
Security Slot
1)
Compatible with the Kensington® Security Slot specifi cation. Useful for securing the recorder to a fi xed object with a
compatible computer lock.
2)
CompactFlash Slot
Accepts CompactFlash medium with the
label-side up. Compatible with Type I,
Type II, and MicroDrives.
2
4
Battery Mount
3)
Accepts Sony® InfoLithium L- or MSeries batteries. Also accepts batteries
conforming to this mount. Numerous
capacities, from 1500 mAh to 7000 mAh
are available.
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.
13
744T User Guide and Technical Information
Input Setup and Control
The 744T has four inputs and four record tracks. Inputs can be analog or digital sources. Analog
inputs 1 and 2 use XLR connectors; inputs 3 and 4 use TA3 connections. Digital inputs can be either
AES3 (balanced at the XLR) or AES3id (on BNC) inputs.
One analog pair and one digital pair can be used simultaneously.
Input Source Selection
Input sources are selected in pairs, 1, 2 and 3, 4. Each input pair (1, 2 and 3, 4) accepts analog or
digital audio. The input signal type is selected using slide switch above the XLR input connector. The
setup menu has additional input control.
Manually selecting the audio source is used to force the inputs to analog while using an AES3 or
AES3id input to lock the 744T to an external sampling 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 and
INPUT 3,4:SOURCE. For most situations the appropriate setting is auto select—the 744T will choose
the input type based on signal present.
The 744T is capable of off-speed sampling 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 an input pair to reduce power draw and extend battery runtime. When an input pair is
disabled, the digital input LEDs associated with the pair will slowly fl ash. In playback-only applications, both input pairs can be shut down to maximize power-effi ciency and battery runtime.
Analog Inputs 1 and 2
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 ( ).
14
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.
v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
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
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
preamplifi er. 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 F ADES TO O FF provides a gain range of off or 0 to 52.4 dB.
High-Pass Filters (microphone-level only)
The high pass fi lters on the microphone inputs use a combination of analog and digital fi lters 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 fi rst pole of the high-pass circuit is an analog fi lter
at 40 Hz, 6 dB per octave and is part of the microphone preamplifi er circuit. Additional poles of
high-pass fi ltering are done in DSP.
Several frequency and slope combinations are selectable, including corner frequencies of 40, 80, 160,
or 240 Hz, and fi lter slopes of 12 dB, 18 dB, or 24 dB per octave. The high-pass is selected for each
input independently.
Shortcut: The fi lters 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 fi lters 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.
15
744T User Guide and Technical Information
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 fi lters also act as linked pairs. Engaging and disengaging phantom power or the high pass fi lters on input one will force the same function upon input two. Engaging or disengaging phantom power or the high pass fi lter 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.
Analog Inputs 3 & 4
Appearing on Switchcraft TA3 connectors, inputs 3 and 4 accept balanced or unbalanced linelevel signals. These inputs have few controls and are typically fed from the output of a mixer or
preamplifi er.
Gain (sensitivity) for inputs 3 & 4 is controlled in the setup menu. Gain resolution is in 0.1 dB
increments.
Analog Line Input Sensitivity
Input level sensitivity for the line-level inputs is adjustable, in 0.1 dB steps, from –6 dBu to +18 dBu.
While adjusting the input sensitivity, the meters will show the relative signal level present on each
input on the meters.
While channel 1 and 2 levels can be controlled by either the menu settings or the front panel pots,
channels 3 and 4 are adjusted only in the setup menu.
Digital Inputs – AES3
The 744T accepts AES3 (AES/EBU) balanced digital at the XLR connectors. Digital inputs are in
pairs—AES3 signals on XLR-1 appear at inputs 1 and 2, AES3 signals input to XLR-2 appear at inputs 3 and 4. To use the AES3 inputs, the input mode-select switch must be set to AES/EBU.
The front panel digital input LEDs will illuminate when digital input is selected for the in-
dicated track(s). If the LED is fl ashing, digital input is selected but a no valid digital clock is received.
16
v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Digital Inputs – AES3id (S/PDIF)
The 744T accepts AES3id and S/PDIF unbalanced digital signals at the BNC connectors. The 744T
will auto detect the type of digital signal and adjust accordingly. Input signals are in pairs, signals on
BNC 1 appear at inputs 1 and 2, signals on BNC 2 appear at inputs 3 and 4.
AES3id inputs override analog signals present at the XLR inputs. To input analog audio while using
the AES3id signal as a digital clock source, you must select analog in the input source menu selection
for the appropriate inputs.
When a digital signal is present, the 744T will lock its sampling rate to the source frequency. This is
indicated by a highlighted block on the main LCD display to the right of the bit depth and sampling rate indicators. Recording bit depth is not affected by the external digital source.
If you are locking the 744T to an external digital signal, be certain the source is stable. Loss of the
digital signal will cause the 744T to revert to its internally set sampling rate, even while recording.
The portion of the fi le 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 sampling rate of the 744T.
The 744T clocks itself to the fi rst digital signal presented to it. If the 744T 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
fi rst digital signal is removed.
Signal Presence and Peak Indicator
The four 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 744T. 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
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)
17
744T User Guide and Technical Information
Input-to-Track Routing
The 744T uses a fl exible 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 4-by-4 blue LED matrix makes it easy to view the set routing. A solid blue LED indicates an
input is assigned to a record track.
any combination of
the four inputs can
be routed to any of
the four tracks
Pressing the
INPUT key brings up the following menu.
Routing
Hold down the STOP key then press the key to cycle through the six preset input-to-track routing combinations. These presets are factory set and cannot be changed. The last three preset selections are CUST OM ROUTE options. Press the EDIT soft key to enter the custom routing menu. Custom
routing allows any input to be assigned to any record track. In the menu, highlighted input and track
combination are displayed in white text. The four inputs are shown on the left; the four record tracks
are shown on the right.
To assign custom input routings:
1. Press the input key until INPUT ROUTING is displayed on 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
2. Press the ED I T soft button (
3. Using either the Rotary Switch or the up and down arrows, navigate to desired input-to-track combina-
tions.
4. When a chosen pairing is highlighted press either the ASSI GN soft key or the Rotary Switch to assign the
combination. Assigned tracks are noted on the screen by the addition of an arrow pointing to the record
track. The LED routing matrix will also show a fl ashing blue LED for the currently selected input-totrack combination.
5. Once a track is assigned move to the next input-to-track combination desired.
) and scroll to the appropriate input screen.
select to remove
input assignment
18
v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
6. To remove an input-to-track combination assignment, navigate that combination and press the
UNASSIGN soft key or Rotary Switch.
7. Exit and complete the assignment by pressing the check mark soft key.
The input routing menu will always exit to the main screen whether entered from the input key or the
menu selection.
Selective Input Muting
When the INPUT key is pressed, individual input muting is available. This feature can be used to
quickly mute microphones while maintaining their respective track assignments.
Indicates that an input is
available for routing.
No indication here shows
that an input is muted.
A solidly lit input Peak LED indicates that an input is muted.
A solid illuminated
Peak LED indicates
that an input is muted
Mono- and polyphonic fi les behave differently when selective muting is applied When monophonic
fi les are selected, fi les from tracks A, B, C, and D are named with the suffi x “_1, _2, _3, and _4” respectively. If, for instance, track B is muted but tracks A, C, and D are still selected, the resulting fi les
will be named “_1, _3, and _4” and track B will not be recorded, saving storage space.
When polyphonic fi les are selected a four track fi le will be generated with track B being a blank
track. Blank tracks in polyphonic fi les take up the same amount of storage space as tracks that are
assigned.
Sampling Rate and Bit Depth
When recording the 744T generates uncompressed PCM audio WAV fi les in the Broadcast Wave File
format at the user-selected sampling rate and bit depth. The 744T LCD calculates available recording
time based on the sampling rate, bit depth, number of tracks set for recording and the selected storage media available capacity. See the Calculating Recording Time later in this guide to estimate record
time.
Sampling Rate
When a sampling rate is selected for recording, all tracks are recorded at the selected sampling
rate. Sampling rates are selected among common rates from 32 kHz to 192 kHz. Additionally, nonstandard sampling rates can be applied when the 744T is word clocked from an external source
(clock sources between 32 kHz and 192 kHz). When recording off-speed sampling rates fi les will be
stamped with the rate closest to an internally generated frequency.
19
744T User Guide and Technical Information
Relationship Between Sampling Frequency and Audio Bandwidth
The sampling frequency is expressed in samples per second (in hertz) and defi nes the number of
times in a second that the analog audio signal has been measured. Sampling frequency determines
the audio bandwidth, or frequency response, that can be represented by the digital signal. A quick
estimate of the maximum bandwidth capable of being represented at a given sampling rate is maximum analog frequency = sampling frequency/2. Higher sampling frequencies allow for wider audio
bandwidth.
The 744T generates the following sampling rates:
• 32 kHz
• 44.1 kHz
• 47.952 kHz
• 47.952kF - fi le stamped at 48 kHz
• 48 kHz
• 48.048 kHz
• 48.048kF -fi 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 - fi le stamped at 96 kHz
• 176.4 kHz
• 192 kHz
Bit Depths
The 744T 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 signifi cant benefi t for fi eld production audio tracks.
Bit Depth = Available Dynamic Range
Bit depth defi nes 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 fi eld recording is done with 16-bit audio, therefore, each sample is represented by a digital word of 2^16 (65,536) possible values. 24-bit audio has a word length of 2^24
(16.7 million) possible values per sample.
The 744T has 24 bit analog-to-digital converters. To obtain 16 bit recording the 744T can be set to
dither 24 bit digital signals to 16 bit. The 744T 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 signifi cant 8 bits are discarded.
Once a fi le is recorded its sampling rate and bit depth can not be changed in the recorder. The 744T
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.
20
v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Word Clock
A stable word clock source is essential for high quality digital audio. The 744T uses a rock-stable
time code crystal to generate its internal word clock frequencies. The 744T can clock external devices
from its word clock and accept and lock to external clock sources for recording.
The 744T disregards external clock, both AES and word clock, during playback.
Clock Master
When sending digital audio to several devices, one unit is designated as the word clock master and
the others as slaves. Generally, the device with the analog-to-digital converter is designated as the
word clock master.
The 744T can function as an A/D converter and can be used as the master word clock source. Slaved
digital devices 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 744T generates word
clock whether or not audio is sent. If devices use separate word clock sources unpredictable behavior
will result.
Clock Slave
When connecting digital audio sources to the 744T inputs, the recorder will derive its clock signal
from the AES (S/PDIF) stream. It will slave to the external device. 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 744T from more than one digital device, you must word clock
theses sources together, otherwise variations between the sources will render their signals unusable.
If the 744T is slaved to external word clock, be certain that the source is stable. Loss of the word clock
signal during recording can cause the 744T to revert back to its internally set sampling frequency.
If this occurs, the portion of the fi le recorded after the loss of word clock may not play back at the
proper speed. For reliability, we recommend you set the 744T to the same sample frequency as the
word clock source. Loss of the word clock signal in this case will most likely cause a glitch in the fi le,
but the fi le may still be usable.
Multi-Unit Linking Via C. Link
The proprietary C. Link (control link) connection enables multiple 744T, 722, 702T, and 702 recorders to be connected for recordings requiring high track counts. C. Link also enables connection to the
CL-1 Remote Control and Keyboard Interface.
When linked, the 7-Series recorders have a master/slave relationship. The master recorder and the
slave unit will share sample accurate start and stop record times. Multiple units can be daisy-chained
together to record nearly unlimited tracks. The C. Link protocol links carries the following data:
• word clock
• time code information (744T, 702T only)
• RS-232 machine transport data
21
744T User Guide and Technical Information
master
unit
slave
unit
slave
unit
To link units:
1. Connect multiple units as shown in the illustration above.
2. Set all linked recorders to the same sampling rate, bit depth, fi le format, and time code frame rate (if
used). This will ensure that all fi les generated are compatible.
3. If time code is being used, set slave units to External time code mode so that they will follow the master
recorder’s time code generator.
4. Set scene names on each of the units for easy identifi cation in post production. Take numbers should be
set to the same on all linked recorders if take numbers are reset before recording. There is no fi le name
synchronization with multiple unit linking.
When linked, record start and stop on slave units will not affect units “above” 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.
22
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 to the recorder could result.
Outputs – Analog and Digital
The 744T has two two-channel output buses , the Master Output Bus and Output Bus 2. Each of these
buses is assigned audio sources independently, enabling the 744T to feed multiple outputs with
unique program.
The chart below shows the audio sources available for the each channel of the Master Output Bus
and Output Bus 2 connections. The audio sources for each output bus are selected in the Setup
Menu.
v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
Available Output Sources Description
Input 1
Input 2
Input 3
Input 4
Track A
Track B
Track C
Track D
Input 1,2
Input 3,4
Input 1,3
Input 2,4
Input 1,2,3
Input 2,3,4
Input 1,2,3,4
Track A,B
Track C,D
Track A,C
Track B,D
Track A,B,C
Track B,C,D
Track A,B,C,D
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 audio at the outputs.
Multiple inputs are summed with these selections.
Multiple track assignments are summed with these selections.
Master Output Bus
Audio signals routed to the Master Output Bus are sent to three output connections:
• analog line out, 2 x TA3, two-channel
• analog tape out, 3.5 mm TRS, two-channel
• digital 1, AES3id, BNC connection, two-channel
Analog Line Out L, R
The analog line outputs are active-balanced line-level signals on Switchcraft TA3M locking connectors. The output level is a nominally 0 dBu at −20 dBFS. The level of the line output can be attenuated
in the setup menu by up to 40 dB in 1 dB increments. Attenuation is done as an output pair.
Analog Tape Output
The tape output connection is stereo, unbalanced consumer output level (–10 dBV) on a TRS 3.5 mm
connector. Output attenuation affects this output level.
Digital AES3id Output
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.
Attenuation to the Master Output Bus affects both analog and digital signals.
Output Bus 2
Just as with the Master Output Bus, Output Bus 2 can be assigned signal sources from inputs or
tracks. Sources assigned to Output Bus 2 are exclusive and do not affect the assignments to the Master Output Bus or headphone assignments. The same signal sources available for the Master Output
Bus are available for Output Bus 2 (see chart above).
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744T User Guide and Technical Information
Digital AES3id Output 2
Output Bus 2 appears solely on the AES3id BNC output connector. There is no analog output connections for Output Bus 2. 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 744T headphone output is a fl exible tool for monitoring audio in the fi eld. The 744T allows the
user to monitor inputs, tracks, and post-record tracks in a number of combinations. MS stereo and
B-format surround decoding are 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 744T 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 744T 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 (Confi dence Monitoring)
The 744T can monitor actual recorded audio written to the internal hard drive or CompactFlash during recording. This is commonly referred to as “confi dence monitoring”. To monitor recorded tracks,
during recording select one of the track monitor modes. Because of the record buffering topology of
the 744T, a delay of up to 12 seconds can be expected before recorded audio appears at the output.
The 744T will play back recorded audio from the media highlighted on the LCD panel (see File Man-
agement and Copying for more information on selecting and highlighting storage medium).
Setting Headphone Source Options
In addition to the 10 preset headphone routings, a total of 20 available “slots” can be fi lled in a user
defi ned order. Headphone monitoring sources can be set from various combinations of inputs,
tracks, and post-record tracks, including stereo MS decoding, and SoundField B-Format surround
decoding. The order of headphone selections is user selectable. Available audio sources for headphone monitoring include:
HP Sources Description
Inputs 1,2
Inputs 3,4
Tracks A,B
Tracks C,D
Monitor A,B
Monitor C,D
Stereo monitoring of input pairs. Inputs 1 and 3 are assigned to left headphone output;
inputs 2 and 4 are assigned to right headphone output.
Stereo monitoring of track pairs. Tracks 1 and 3 are assigned to left headphone output;
tracks 2 and 4 are assigned to right headphone output. Upon playback, will play as track
monitor.
Stereo monitoring of playback (post-record) track pairs. Tracks 1 and 3 are assigned to left
headphone output; tracks 2 and 4 are 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.
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v. 2.67 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.
HP Sources Description
Input 1, 1
Input 2, 2
Input 3, 3
Input 4, 4
Track A, A
Track B, B
Track C, C
Track D, D
Monitor A, A
Monitor B, B
Monitor C, C
Monitor D, D
Inputs 1, 2 (MS)
Inputs 3, 4 (MS)
Tracks A, B (MS)
Tracks C, D (MS)
Track A, B (MS): C, C
Track A, B (MS): D, D
Track A, B (MS): CD, CD
Monitor A,B (MS)
Monitor C,D (MS)
Inputs 1+2+3+4
Inputs 1, 2+3+4
Inputs 1+2, 1+2
Inputs 1+3, 1+3
Inputs 2+4, 2+4
Inputs 3+4, 3+4
Inputs 1+2, 3+4
Inputs 1+3, 2+4
Tracks A+B+C+D
Tracks A, B+C+D
Tracks A+B, A+B
Tracks A+C, A+C
Tracks B+D, B+D
Tracks C+D,C+D
Tracks A+B, C+D
Tracks A+C, B+D
Tracks A+C, A+D
B+C, B+D
Tracks
Tracks A+B+C, A+B+D
Inputs B-format stereo
Tracks B-format stereo
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.
Stereo monitoring of discrete M (mid) and S (side) input pairs. Highlighted media is source
of monitor program.
Stereo monitoring of discrete M (mid) and S (side) track pairs. Highlighted media is source
of monitor program. Upon playback will function as MS track monitor.
Stereo monitoring of playback (post-record) discrete M (mid) and S (side) track pairs.
Highlighted media is source of monitor program. When not in playback, headphones have
no program.
Combinations of summed inputs appear in each ear. The first selection is summed mono
monitoring of all four inputs.
Combinations of summed tracks appear in each ear. The first selection is summed mono
monitoring of all four tracks.
The built-in SoundField B-format decoder uses three input or record tracks to build a left/
right stereo signal for monitoring.
When tracks (A, B, C, or D) 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:
1. Enter the HP : MONITOR modes menu. Once you enter the Monitor Modes menu you will immediately be
in slot-1.
2. Turn the Rotary Switch to select the source you wish to appear fi rst in your Headphone monitor list.
3. Once the chosen source appears, press the Rotary Switch or the soft key ENTER (tone) key to move to
the next slot.
4. Continue down the list to select the source for each slot in the list.
5. Once all sources have been chosen, select DONE and press ENTER. 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.
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