Topic: the new 722 (the 702)

[Bob S]

so sound devices is going to release a new digital recorder without the hard drive
its flash card only.
im guessing this will help with the heat issue?

same box as far as i know minus the hard drive and about 500$ less.

any opinions on how much of an issue the heat really is in a stealth application?
and for those of you with flash cards, is 2 gigs enough?

[nickgregory]

they announce this at NAB? 

The 722 gets hot, and definitely couldnt be a in the wasteband type of stealth application, but have not had an issue with any performance issues as a result of the heat. 

2 Gbs is enough for 16/44, but for 24/96 it is a little less than an hour

[JasonR]

I can't imagine they'll sell a lot of units if it's the same machine minus the hard drive.  Figure if you're gonna spend almost $1900 on a recorder, you'll at least splurge and get a 4GB CF card.  Then the savings vs. the 722 is only around $350.  If I'm spending that much on the recorder, I'd spend a little extra and have the hard drive for those times when it will come in handy.

Heat hasn't been an issue for me when stealthing in a very small fanny pack, but I haven't done so outdoors yet.  You can record to the CF-only if you want now, but I believe the HD still spins up and will generate some heat.  Even if I had a big CF card that I used for stealthing in the 7-series, I think the feature I'd want is the ability to power down the hard drive, not have a slightly cheaper unit without the drive installed.


- Jason

[ianstone]

I kinda expected this..  I wonder if the new unit will be smaller?

The hard drive only spins up at boot to check the size and free space.  It does not run if you are recording to flash.  I think the manual mentions removing it, or possibly a menu option, to prevent the boot up check entirely.

FWIW, there's no way I'm ready to go to flash only on my 722. I dig having a real hard drive in there that doesn't fill up quickly, etc.  I usually transfer after every show but I don't format until much later. That leaves me the original on the 722 and the copy I've made.   So there is some recourse if there is a problem with the transfer, etc.

I stealth the 722 often with nothing but a t-shirt between it and my ribs. That could be a problem in the summer but not now. I have some ideas about a very low-pro fan cooling system. I'll do that if it becomes a prob.  I wouldn't want to stealth it against my crotch but even that would probably be fine if there was some insulation between it and your body and some air movement.

bingo, i was going to say the same thing. i like having the hard drive  and leaving stuff there until i HAVE to delete it. its pretty nice.

and you can upgrade the hard drive if you want..

[Sanjay]

doesn't seem to make much sense, the HD is such a good option to have.  You can transfer you CF to it, use it for longer uses.  No brainer. 

Now if they'd just make a 722 to with a 5 pin binder plug for my KCY cable, i'd be the happiest tapir..

[Bob S]

i was told the box would be the same dimensions.

[Bob S]

Now if they'd just make a 722 to with a 5 pin binder plug for my KCY cable, i'd be the happiest tapir..

i thought the 722 will not work with active cables and capsules. only with "microphones" (ccms or full body mics)

[Sanjay]

Now if they'd just make a 722 to with a 5 pin binder plug for my KCY cable, i'd be the happiest tapir..

i thought the 722 will not work with active cables and capsules. only with "microphones" (ccms or full body mics)

currently it doesn't, you'd need to do like what sonosax did with the sx-m2, put adapters inside

[BayTaynt3d]

doesn't seem to make much sense, the HD is such a good option to have.  You can transfer you CF to it, use it for longer uses.  No brainer. 

Now if they'd just make a 722 to with a 5 pin binder plug for my KCY cable, i'd be the happiest tapir..

The thing to remember here guys is that I'm betting the majority of people using 722/744 aren't recording music with them, they are doing sound for film/video. Maybe I'm wrong, but I straddle both worlds, and I'm betting that's the case. For that type of work, the recording time isn't nearly an issue, and being flash-only might make the unit more bombproof while doing boompole work. And more importantly, I think they said there would be a 702T model which would have timecode. If that is true, it just goes to show who is really using these things. Jam-sync'able SMTPE timecode is a HUGE feature for people doing film/video work. Did the 722 have SMTPE timecode? If not, that feature alone is a MASSIVE UPGRADE for certain users, and well worth the money. Anyway, I thought I'd just share another perspective on this.

[BayTaynt3d]

One more point... There are actually opportunities to use timcode in the taper realm too. Could you imagine a group of 4-5 tapers all jam-syncing their units at the start of a show -- you take the right flank, I'll take the left flank, you take FOB, someone else take stage lip, you run hypers, I'll run omnis, etc. Ah man, the post-matrix possibilities would be AWESOME!!!

[jpschust]

on a related note, has anyone discussed the possabilities of opening up the 722 to put a larger hd in it?

[sygdwm]

on a related note, has anyone discussed the possabilities of opening up the 722 to put a larger hd in it?

i was under the impression this^^^ has been done before.

[nickgregory]

on a related note, has anyone discussed the possabilities of opening up the 722 to put a larger hd in it?

already been done by a few owners when the units first arrived...threads should be in recording devices section

[scb]

that's the first thing i did when i got mine.  i put an 80 gig in it

http://taperssection.com/index.php?topic=36009.0

[JasonR]

One more point... There are actually opportunities to use timcode in the taper realm too. Could you imagine a group of 4-5 tapers all jam-syncing their units at the start of a show -- you take the right flank, I'll take the left flank, you take FOB, someone else take stage lip, you run hypers, I'll run omnis, etc. Ah man, the post-matrix possibilities would be AWESOME!!!

I just got my 744T in the last few days, and have barely had time to examine what's different over my 722.  If I understand what you're saying, we could take a pair of time-code enabled recorders like the 744T, jam-sync them before the show, and then run our rigs while not connected by any cabling and keep in time?  If that's the case, that's freakin' cool!

Any time-code enabled tapers in NYC care to experiment at some point?

- Jason

[chun]

My GF lives in Brooklyn.  I'll meet up at a show and give it a shot with ya.

I have a 744.

I removed the 40 GB drive and threw in a 100 GB 5400 RPM w/ power conditioning the drives uses a 4400 RPM amount of power.

Working like a champ and now I have 25+ hours of 4 chan 24/96 time......

[mmedley.]

I would imagine the size is the same. I seriously doubt they would re-engineer and have all new parts manufactured just to remove a HD and use CF only. I personally find no benefit to this since you will spend more on multiple CFs and have to keep track of them. I am eventually going to throw in a 100gig drive as well, but right now not at the top of my priority list since I have yet to even fill the stock drive halfway and my festy days are numbered.

I really wish I could still go to the NAB shows. They were a blast!

[spyder9]

doesn't seem to make much sense, the HD is such a good option to have.  You can transfer you CF to it, use it for longer uses.  No brainer. 

Now if they'd just make a 722 to with a 5 pin binder plug for my KCY cable, i'd be the happiest tapir..

The thing to remember here guys is that I'm betting the majority of people using 722/744 aren't recording music with them, they are doing sound for film/video. Maybe I'm wrong, but I straddle both worlds, and I'm betting that's the case. For that type of work, the recording time isn't nearly an issue, and being flash-only might make the unit more bombproof while doing boompole work. And more importantly, I think they said there would be a 702T model which would have timecode. If that is true, it just goes to show who is really using these things. Jam-sync'able SMTPE timecode is a HUGE feature for people doing film/video work. Did the 722 have SMTPE timecode? If not, that feature alone is a MASSIVE UPGRADE for certain users, and well worth the money. Anyway, I thought I'd just share another perspective on this.

I think a 702T would be a dud.  The Tascam HD-P2 has SMPTE timecode and retails for $989.00, $1,000 less than a possible 702T.  Perfect audio quality is not the a big thing for video guys.     

[BayTaynt3d]

One more point... There are actually opportunities to use timcode in the taper realm too. Could you imagine a group of 4-5 tapers all jam-syncing their units at the start of a show -- you take the right flank, I'll take the left flank, you take FOB, someone else take stage lip, you run hypers, I'll run omnis, etc. Ah man, the post-matrix possibilities would be AWESOME!!!

I just got my 744T in the last few days, and have barely had time to examine what's different over my 722.  If I understand what you're saying, we could take a pair of time-code enabled recorders like the 744T, jam-sync them before the show, and then run our rigs while not connected by any cabling and keep in time?  If that's the case, that's freakin' cool!

Any time-code enabled tapers in NYC care to experiment at some point?

- Jason

I have never personally used one but I believe the 744T can send and receive timecode and can be jammed to each other and other devices like a timecode slate. Sometimes, the units can only jam TO a timecode generator, but I think the 744 can actually output timecode itself. There are many different ways to do it, including some that require the boxes to be physically daisy-chained. However, with the 744T, I think you can do soemthing like this (you need a special cord to go in the timecode port):

1. Set one 744T into "Free Run Timcode" mode
2. Then jam sync the second (or third or fourth, etc.) 744T to the first one by using "Free Run Jam Once"
3. Make sure you are using the same "frame rate" (doesn't really matter unless you are syncing to video, just make sure everyone is using same rate)
4. Make sure you are using the same format (i.e., 24/96)

Then in post, you'll need an editor that can read the timecode in the header, you can use the timecode to sync the two recordings, and they shouldn't drift very much at all (but the longer in a single record, the more likely you'll see some drift, but the 744T has crystal to keep sync).

Like I said before, I'm not sure about the 744T in particular, but I believe this would be doable with those units.

[BayTaynt3d]

doesn't seem to make much sense, the HD is such a good option to have.  You can transfer you CF to it, use it for longer uses.  No brainer. 

Now if they'd just make a 722 to with a 5 pin binder plug for my KCY cable, i'd be the happiest tapir..

The thing to remember here guys is that I'm betting the majority of people using 722/744 aren't recording music with them, they are doing sound for film/video. Maybe I'm wrong, but I straddle both worlds, and I'm betting that's the case. For that type of work, the recording time isn't nearly an issue, and being flash-only might make the unit more bombproof while doing boompole work. And more importantly, I think they said there would be a 702T model which would have timecode. If that is true, it just goes to show who is really using these things. Jam-sync'able SMTPE timecode is a HUGE feature for people doing film/video work. Did the 722 have SMTPE timecode? If not, that feature alone is a MASSIVE UPGRADE for certain users, and well worth the money. Anyway, I thought I'd just share another perspective on this.

I think a 702T would be a dud.  The Tascam HD-P2 has SMPTE timecode and retails for $989.00, $1,000 less than a possible 702T.  Perfect audio quality is not the a big thing for video guys.     

Not 100% sure of this, but I'll bet good money the HD-P2 only takes INCOMING timecode and can't generate it's own, which means you can't sync it with anything unless you have a TC generator. Worse yet, I think that unit can't be jam-synced and untethered in free run mode, which means it always has to be connected to the TC generator (does it have a crystal?). Not sure of that last part, but those are two big downsides with respect to TC if they are true. And your comment about quality for video guys is laughable, maybe in the amateur ranks, but in the pro film/video world they'd get a real kick out of that. My guess is the fact that some of these units EVEN EXIST (for your AUD pleasures) is because of the audio for film/video/ambient side of things in field location recording.

[Sanjay]

I realize the main use is video, I figured that it might be in demand for that too, you've got two MK41 mics on a boompole, run with actives less stuff.  Just a thought.

[ianstone]

doesn't seem to make much sense, the HD is such a good option to have.  You can transfer you CF to it, use it for longer uses.  No brainer. 

Now if they'd just make a 722 to with a 5 pin binder plug for my KCY cable, i'd be the happiest tapir..

The thing to remember here guys is that I'm betting the majority of people using 722/744 aren't recording music with them, they are doing sound for film/video. Maybe I'm wrong, but I straddle both worlds, and I'm betting that's the case. For that type of work, the recording time isn't nearly an issue, and being flash-only might make the unit more bombproof while doing boompole work. And more importantly, I think they said there would be a 702T model which would have timecode. If that is true, it just goes to show who is really using these things. Jam-sync'able SMTPE timecode is a HUGE feature for people doing film/video work. Did the 722 have SMTPE timecode? If not, that feature alone is a MASSIVE UPGRADE for certain users, and well worth the money. Anyway, I thought I'd just share another perspective on this.

I think a 702T would be a dud.  The Tascam HD-P2 has SMPTE timecode and retails for $989.00, $1,000 less than a possible 702T.  Perfect audio quality is not the a big thing for video guys.     

also - to play devils advocate here...

does the tascam have phantom power/preamp?

[wbrisette]

However, with the 744T, I think you can do something like this (you need a special cord to go in the timecode port):

This would be the only drawback, folks would need to run a cable to all their positions to jam the TC.

The only other thing I'll add to the great info that is being shared here, is that just because you have more mics in the air doesn't mean you'll end up with a better recording. It's still all about positioning, mics & preamps, and all the other things we take for granted. The only thing the TC will do is help you in post. Layering 4 or 5 sets of mics on top of each other won't necessarily get you that top notch recording.

Wayne

[spyder9]

doesn't seem to make much sense, the HD is such a good option to have.  You can transfer you CF to it, use it for longer uses.  No brainer. 

Now if they'd just make a 722 to with a 5 pin binder plug for my KCY cable, i'd be the happiest tapir..

The thing to remember here guys is that I'm betting the majority of people using 722/744 aren't recording music with them, they are doing sound for film/video. Maybe I'm wrong, but I straddle both worlds, and I'm betting that's the case. For that type of work, the recording time isn't nearly an issue, and being flash-only might make the unit more bombproof while doing boompole work. And more importantly, I think they said there would be a 702T model which would have timecode. If that is true, it just goes to show who is really using these things. Jam-sync'able SMTPE timecode is a HUGE feature for people doing film/video work. Did the 722 have SMTPE timecode? If not, that feature alone is a MASSIVE UPGRADE for certain users, and well worth the money. Anyway, I thought I'd just share another perspective on this.

I think a 702T would be a dud.  The Tascam HD-P2 has SMPTE timecode and retails for $989.00, $1,000 less than a possible 702T.  Perfect audio quality is not the a big thing for video guys.     

also - to play devils advocate here...

does the tascam have phantom power/preamp?

yes.

[spyder9]

doesn't seem to make much sense, the HD is such a good option to have.  You can transfer you CF to it, use it for longer uses.  No brainer. 

Now if they'd just make a 722 to with a 5 pin binder plug for my KCY cable, i'd be the happiest tapir..

The thing to remember here guys is that I'm betting the majority of people using 722/744 aren't recording music with them, they are doing sound for film/video. Maybe I'm wrong, but I straddle both worlds, and I'm betting that's the case. For that type of work, the recording time isn't nearly an issue, and being flash-only might make the unit more bombproof while doing boompole work. And more importantly, I think they said there would be a 702T model which would have timecode. If that is true, it just goes to show who is really using these things. Jam-sync'able SMTPE timecode is a HUGE feature for people doing film/video work. Did the 722 have SMTPE timecode? If not, that feature alone is a MASSIVE UPGRADE for certain users, and well worth the money. Anyway, I thought I'd just share another perspective on this.

I think a 702T would be a dud.  The Tascam HD-P2 has SMPTE timecode and retails for $989.00, $1,000 less than a possible 702T.  Perfect audio quality is not the a big thing for video guys.     

Not 100% sure of this, but I'll bet good money the HD-P2 only takes INCOMING timecode and can't generate it's own, which means you can't sync it with anything unless you have a TC generator. Worse yet, I think that unit can't be jam-synced and untethered in free run mode, which means it always has to be connected to the TC generator (does it have a crystal?). Not sure of that last part, but those are two big downsides with respect to TC if they are true. And your comment about quality for video guys is laughable, maybe in the amateur ranks, but in the pro film/video world they'd get a real kick out of that. My guess is the fact that some of these units EVEN EXIST (for your AUD pleasures) is because of the audio for film/video/ambient side of things in field location recording.

agreed on the incoming.  But if the 702T can generate its own timecode, it would be safe to assume that this unit would have a price higher than a regular 722.

agreed on pro film/video guys.  But there are alot of amateur film/video guys.  A lot.  If their marketing plan is strictly the Pro field, then that narrows the competition, and creates their own niche.  Just like the 722 did and reflects in their build quality and asking price.  The price go towards paying R&D and get the most $ out of their smaller consumer group.  Tascam's marketing plan was to the masses.  That was my main point on the 702T being a dud.  Masses.

[BayTaynt3d]

However, with the 744T, I think you can do something like this (you need a special cord to go in the timecode port):

This would be the only drawback, folks would need to run a cable to all their positions to jam the TC.

The only other thing I'll add to the great info that is being shared here, is that just because you have more mics in the air doesn't mean you'll end up with a better recording. It's still all about positioning, mics & preamps, and all the other things we take for granted. The only thing the TC will do is help you in post. Layering 4 or 5 sets of mics on top of each other won't necessarily get you that top notch recording.

Wayne

Nope, you've got that WRONG. That's what jam-syncing does. You link up the two 744t's together, jam-sync them, then disconnect them, and if they are in FREE RUN mode they will continue to be in-sync for long-periods of time WITHOUT being connected to each other at all. That's the whole point of jam-sync. Again, I'm not claiming this can be done specifically with the 744T, but it can be with loads of other gear, and it is my understanding that it is totally possible to jam-sync multiple 744t's together in FREE RUN mode. You only jam-sync once, then disconnect. (There are other ways, which involves a constant physical connection, but that's not what I'm talking about -- check your manuals for FREE RUN JAM ONCE or something like that).

And, I totally agree about more mics does not equal better sound. BUT, if you were strategic about it, you could get way more COVERAGE (video term again, LOL!). How many times have you recorded AUD and then later wished you used a different set of mics or were in a different location? Plenty I bet. Well, get four guys to jam sync and then try four different things -- different locations and different mics and different stereo configs. Then in post, maybe you only use one source, maybe you mix two, maybe they all suck. But you have options that you wouldn't have had otherwise, and thus more coverage.

Also, this is more than just being about syncing multiple sources, this is about STAYING IN SYNC TOO (aka drift)! Those 744T's have high-end crystals in them people, and once in free run mode locked to a certain frame rate, the odds are WAY BETTER you'll stay in sync over time. In fact that is the main benefit, anyone can sync up the start of the show, it's KEEPING SYNC at high quality without having to stretch that is the benefit of jam-sync.

[jpschust]

However, with the 744T, I think you can do something like this (you need a special cord to go in the timecode port):

This would be the only drawback, folks would need to run a cable to all their positions to jam the TC.

The only other thing I'll add to the great info that is being shared here, is that just because you have more mics in the air doesn't mean you'll end up with a better recording. It's still all about positioning, mics & preamps, and all the other things we take for granted. The only thing the TC will do is help you in post. Layering 4 or 5 sets of mics on top of each other won't necessarily get you that top notch recording.

Wayne

Nope, you've got that WRONG. That's what jam-syncing does. You link up the two 744t's together, jam-sync them, then disconnect them, and if they are in FREE RUN mode they will continue to be in-sync for long-periods of time WITHOUT being connected to each other at all. That's the whole point of jam-sync. Again, I'm not claiming this can be done specifically with the 744T, but it can be with loads of other gear, and it is my understanding that it is totally possible to jam-sync multiple 744t's together in FREE RUN mode. You only jam-sync once, then disconnect. (There are other ways, which involves a constant physical connection, but that's not what I'm talking about -- check your manuals for FREE RUN JAM ONCE or something like that).

And, I totally agree about more mics does not equal better sound. BUT, if you were strategic about it, you could get way more COVERAGE (video term again, LOL!). How many times have you recorded AUD and then later wished you used a different set of mics or were in a different location? Plenty I bet. Well, get four guys to jam sync and then try four different things -- different locations and different mics and different stereo configs. Then in post, maybe you only use one source, maybe you mix two, maybe they all suck. But you have options that you wouldn't have had otherwise, and thus more coverage.

Also, this is more than just being about syncing multiple sources, this is about STAYING IN SYNC TOO (aka drift)! Those 744T's have high-end crystals in them people, and once in free run mode locked to a certain frame rate, the odds are WAY BETTER you'll stay in sync over time. In fact that is the main benefit, anyone can sync up the start of the show, it's KEEPING SYNC at high quality without having to stretch that is the benefit of jam-sync.

ok so it's certainly convenient to be able to start both and have them synced from the get go, but with stable seemingly equal time clocks would it even matter?  i'd think you could pretty easily sync the files from a single point without worrrying about drift. 

i'm not sure tmecode syncing really has a TON of application in our practice

[newblue]

However, with the 744T, I think you can do something like this (you need a special cord to go in the timecode port):

This would be the only drawback, folks would need to run a cable to all their positions to jam the TC.

The only other thing I'll add to the great info that is being shared here, is that just because you have more mics in the air doesn't mean you'll end up with a better recording. It's still all about positioning, mics & preamps, and all the other things we take for granted. The only thing the TC will do is help you in post. Layering 4 or 5 sets of mics on top of each other won't necessarily get you that top notch recording.

Wayne

Nope, you've got that WRONG. That's what jam-syncing does. You link up the two 744t's together, jam-sync them, then disconnect them, and if they are in FREE RUN mode they will continue to be in-sync for long-periods of time WITHOUT being connected to each other at all. That's the whole point of jam-sync. Again, I'm not claiming this can be done specifically with the 744T, but it can be with loads of other gear, and it is my understanding that it is totally possible to jam-sync multiple 744t's together in FREE RUN mode. You only jam-sync once, then disconnect. (There are other ways, which involves a constant physical connection, but that's not what I'm talking about -- check your manuals for FREE RUN JAM ONCE or something like that).

And, I totally agree about more mics does not equal better sound. BUT, if you were strategic about it, you could get way more COVERAGE (video term again, LOL!). How many times have you recorded AUD and then later wished you used a different set of mics or were in a different location? Plenty I bet. Well, get four guys to jam sync and then try four different things -- different locations and different mics and different stereo configs. Then in post, maybe you only use one source, maybe you mix two, maybe they all suck. But you have options that you wouldn't have had otherwise, and thus more coverage.

Also, this is more than just being about syncing multiple sources, this is about STAYING IN SYNC TOO (aka drift)! Those 744T's have high-end crystals in them people, and once in free run mode locked to a certain frame rate, the odds are WAY BETTER you'll stay in sync over time. In fact that is the main benefit, anyone can sync up the start of the show, it's KEEPING SYNC at high quality without having to stretch that is the benefit of jam-sync.

Something that this would allow (that I always would like try) would be to split up two sets of omnis (or other pick-up patterns) linked to two 744Ts that are jam-sync'd.  Trade files, split the channels and reassemble the two correct mic channels in one stereo recording and the other set of mics the same way.  You could make the ultimate split omni recording(s) w/o having drift between the two channels.  There are certian situations where this would be really sweet.  You could even add a third or fourth set of mics in the back of a hall or venue to complete a matrix.  It would seem to me that this would actually provide the beginnings to making real 5.1 channel surround DAUD recordings if you could get some cooperation.

[wbrisette]

i'm not sure tmecode syncing really has a TON of application in our practice

If the application supports timecode, then this is huge. It cuts down the amount of time screwing around with stuff by a factor of 10.

The problem is TC is such a b*tch, even for the guys working with it daily. A lot of questions the sound mixers have on the Deva list deal with TC and how to set it up to work so post is happy with it.

Wayne

[spreetaper]

speaking of flash... in another 10 years all new computers will be sold with flash drives only...
so making a flash device isnt all that bad.. they will just be ahead of their time 

32 gig flash drive just announced the other day that will just like regula Cf start out pricey but over time will come down quickly
http://www.newsfactor.com/news/Samsung-Launches-32-GB-Flash-Drive-/story.xhtml?story_id=11300B406KT1

[mmedley.]

Just asked if the 702 or 702T will be able to support an internal HDD and the answer is NO!

No. There will be no way to add a HDD to a 702 or 702T as a bunch of the circuitry is missing and the chassis is slightly different internally.

[CQBert]

With the space they are saving internally it would have been nice to add as second Memory Slot with an auto rollover feature for extended continuous recording.....  since it will not accept a hard drive this would overcome the issues of smaller Flash Cards currently available cheaply and high-res recording memory demands.

CQBert

[RebelRebel]

tascam does not generate time code..called and asked.

[jmerin]

the price for the 702 is $2175   and that is according to the sound device website

[fozzy]

the price for the 702 is $2175   and that is according to the sound device website

That makes street ~ 1950-2000 

[jpschust]

i'm not sure tmecode syncing really has a TON of application in our practice

If the application supports timecode, then this is huge. It cuts down the amount of time screwing around with stuff by a factor of 10.

The problem is TC is such a b*tch, even for the guys working with it daily. A lot of questions the sound mixers have on the Deva list deal with TC and how to set it up to work so post is happy with it.

Wayne

the best way i have seen time code handled in a studio setting has been by using a master clock.  it keeps everything together nice and tight. 

[spyder9]

Best price for those who have it listed: Taia Audio  in Connecticut  702  MSRP:  $1850.00

http://www.taiaudio.com/catalog/product_info.php?products_id=1429

Locationsound has it for $2175.00   

[BayTaynt3d]

tascam does not generate time code..called and asked.

Not that it matters to tapers really, but I'm pretty sure it also requires being "tethered" with a physical connection to the timecode generator (i.e., it can't be jam-synced and disconnected). The 744t and 702t can do both (and a lot more including sync to just about every format of framerate possible, including drop-frame, non-drop, 24/25/29/30 fps).

[ghellquist]

Why all the discussion about time code? For tapers I would expect it to have absolutely no relevance.

Time code is a great time saver in video post production, when you run several cameras and sound recordings together. Once back at base you simple import the files and they align on the time line. We are talking the hours/ minuts/seconds/video frame timing here. A vide frame is about 1/25 of a second, which is the limit of resolution for time code. This is perfectly good for sound/video synch.

In the digital world (generally, there are variations) time code only affects the start of each segment (each recording). This is perfectly good for video where you make a lot of short takes, starting and stopping cameras.

But it is NOT sample accurate the way you need sound to be. For sound the resolution needs to be  sample, that is about 1/44.100 of a second.  And time code does not help with long (tens of minutes) recordings as for digital recorders generally resynch is not done while recording is running.

If you want to comibine sound from several recorders and mix together the only sure solution is word clock. This makes for sample accurate recording on several machines at the same. This sample accuracy allows you to mix the sound from two different recorders and not add any timing errors.

If you run two machines not connected with word-clock they can stay in synch for a while. How long they stay in synch depends on a lot of things, the temperature of the crystal is one important parameter. Often you can run for several minutes with similar units.

But multiple recordings can be done with free running recorders. You simply have to resynch now and then in postproduction. Not too difficult to do on song starts or on some specific drum hit. Very tedious though, but it can be done.

You could possibly send time code on radio if you want to stay synched. I thing I remember having seen something like that, not cheap though.

Gunnar

[RebelRebel]

I venture to guess because it is a discussion board. Stab in the dark here...

Why all the discussion about time code? For tapers I would expect it to have absolutely no relevance.
Gunnar

[BayTaynt3d]

The reason it started really was because someone said why would anyone in their right mind buy a 702T for that price when they could get the 722 for not much more. Then I said, that timecode feature is a big deal for video work, big enough that people would pay for it. And, I added, that the majority of people using something like the 702T are probably people doing sound for film/video work. Then we went off on the topic for a while just for the fun of it.

[wbrisette]

Why all the discussion about time code? For tapers I would expect it to have absolutely no relevance.

I would also point out that just because there are folks on this board that do music recording, I have been asked numerous times to help with video shoots. Also timecode has saved my bacon with running 6-8 channels and being able to simply drop the audio into an application and aligning all the segments based on the timecode saves me a ton of time, something I'm usually in short supply of...

but, as tainted pointed out folks were trying to figure out why this version of the 702, and that's the why...

Wayne

[ford prefect]

I wonder if the lack of a hard drive means it's significantly easier to power these.  Will the 702 last much longer on the same size batteries.

[MattD]

It should. I think the 722 lasts longer if you record to CF only.

[ford prefect]

The hard drive only spins up at boot to check the size and free space.  It does not run if you are recording to flash.  I think the manual mentions removing it, or possibly a menu option, to prevent the boot up check entirely.

Just read this, so I imagine power consumption won't be too different unless you are using the HDD as the recording media.  I'm trying to like this thing, but I just can't find a way that it's better than a 722 for what I would use it for.