Sound Devices difference

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movieman1005

As I'm browsing through different audio recorders I noticed something about a few particular models from Sound Devices. The 722 apparently has 2 channels (with 2 xlr inputs), yet the 744 says it has 4 channels (but it still says only 2 xlr inputs). The price difference between these 2 is about 1600. If one would primarily be using the xlr inputs on the recorder, is there still any significant advantage to getting the 744 over the 722? Also I know that some recorders have manual controls that don't make a mixer necessary. Does that apply to these models? Thanks in advance!

722- http://www.bhphotovideo.com/c/produ...2_722_2_Channel_High_Resolution_Portable.html


744- http://www.bhphotovideo.com/c/produ...vices_744T_744T_4_Channel_Portable_Audio.html
 
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The two main are differences are that the 744T has four discrete channels of recording (as opposed to two on the 722) and real Time Code sync (not just word clock). (Time Code sync is has a specific time stamp [like 01:07:29.13]; word clock is everything running at the same speed. Attention geeks: Yes, this is an overly simplified explanation.) The 744T also has more analog and digital routing capabilities.

You have to keep in mind that professional production sound mixers are using these units as recorders only as a part of an integrated system, NOT as mixers. They are usually pairing them up in a bag with mixers like the 302 or 552, or a "cart" mixer like the PSC Solice.

I would not recommend using the 722 or 744T as a mixer/recorder. If you want to go that route get the 522 - five inputs, two channels of recording; then you can back end in a 744T or a Zaxcom Deva later on.
 
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Remember that the 744T is a specialized audio recording device, not a mixer. You won't have any physical knobs to control volume. And how often are you going to be working with time code? So no; in my opinion it would not be practical.

You should take a look at the Roland/Edirol R-4 Pro - four channels, time code and physical knobs. It's also less expensive. If I ever decide to buy rather than rent that would be one of my choices. More likely I would get the R-44 since I don't need the time code for collecting sound FX, but I have a different mission than a production sound mixer. Another option is to get a great mixer (like the Sound Devices 302) and a recorder like the Marantz PMD-661, the Fostex FR-2 or the Tascam HD-P2; you can always get a better recorder (like the 744T) later on. Since you seem to have the budget the Sound Devices 552 mixer/recorder would also be a nice option; like I said, you can back-end in a multi-channel recorder in the future.

What exactly are your needs and your goals? Are you doing production sound? Collecting sound FX? Recording bands? What kind of mics and pertinent accessories (boom-pole, shock-mount, wind protection) do you have? Do you have at least two really good wireless systems and some great lavs to go with them? There's a lot more to doing production sound than a recorder and/or a mixer. If you fill us all in a little better we can assist you with making a more informed decision.
 
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I went for the 744t as I believed the post guys would appreciate discreet channels instead of a mix done in less that perfect conditions (I tend to work on low budget shorts with a one man sound team) At the time I only owned one mic so it is all pretty redundant but would rather spend on a recorder once and avoid step by step upgrades.
As Alcove mentioned it should really be coupled with a mixer (hence having only two mic inputs) and that is definitely a future purchase.
I found it particularly nice for recording small live events, you can take in the desk output and add an ambient mic or two for the crowd or room.
Was thinking about the 552 for a long while and maybe I should of went with that but ultimately I was shopping for the kit I wanted in 5 years time not the unpaid short next week.
 
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Well the thing is that I've recently been aware of a company that I had money invested in (my brother's teaching me a lot, but is still running it all for me) that is getting bought out, and the return is supposed to be quite great. Granted my brother told me this is extremely rare which is evident compared to the other returns I have gotten on other stocks. But it looks like it will be way higher than I would have ever imagined, and if using some of that money for a good sound equipment system, it would only be a fraction of the return (brother's estimates are conservative and say that the 8000 could turn into 90-some). The buyout hasn't happened yet and likely won't until early 2012, s we'll see on exacts.

But it seems I will have the budget to get some of the better equipment out there soon, and I just feel maybe it would be best to go on the high end right away instead of spending more money and working up. My uses would be for film production (dialogue, ambience, fx). I already have a ntg-2, but I've definitely come to the point where I would want to upgrade anyway. I recently bought some pro co cables (thanks to Alcove's help) and so far using them and twisting them on a painters' pole has worked quite well. I also already have a pair of sony mdr-7506. After looking/researching for a while I've been looking at these items:

mics: http://www.bhphotovideo.com/c/product/583840-REG/Schoeps_CMIT_WS4_SET_CMIT_WS4_SET.html

http://www.bhphotovideo.com/c/produ...CMC641_SET_Colette_Series_Microphone_Set.html


sound devices recorder and mixer (744 or 788? and 302 or 552)

portabrace or other bag for equip.

boompole: http://www.bhphotovideo.com/c/produ...G_150CC_KEG_150CC_Avalon_Series_Graphite.html


I've looked at the lavs somewhat, but it didn't seem that they would provide much use specifically for film production; or at least for all the extra cost. Maybe in the future if there would be more needs/purposes. IDK if I'm just being ignorant of their importance, but how often would they be useful compared to their cost? I guess I can't see them being useful when I could just do ADR or use some other solution



Now I would definitely wait until everything went through and I got the return on the money, but I'm trying to figure out what I would possible get and doing some research now while I wait.
 
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Would it work just as well as a mixer for the 788t vs. using something like the 552 with the 788t? It looks like you can control 8 inputs on the device vs. only being able to control 5 on the 552
 
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The CL-8 is not a mixer, it is a controller for the 788T, it does not have any preamps. All it does is control the volume levels, it does not have trim capabilities nor the extensive routing capabilities of a mixer. The 788T has only four (4) XLR inputs and four (4) TA3 inputs. However, it is a nice compromise over a full blown mixer.
 
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