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744t obsolete?


ChrisH

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Having used an SQN for many many years, I know that limiter distortion has never, ever caused me a problem, since I started recording on a 744T, the same applies, whether that's good mixing on my part, or good equipment that I'm using, you decide, all I know is, you don't need a Nomad to record clean sound.

All this Nomad propaganda has really, really put me off buying one, you see the way some manufacturers handle themselves on here and think fair play, you're supporting your product and providing an excellent service, then you see the Nomad propaganda and think, Hmmmm, think I'll stick with what I know!

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I don't know if it's Nomad "propaganda" so much as a really really proud Nomad enthusiast participating in a much welcome 2-way conversation about his product. I would certainly filter the words coming from a company man different than from an end user. I have bit my tongue for the most part, but I have come to realize that I have a deep divergent opinion of what is good interface design (for me) versus some manufacturers. The fact is that Nomad has come barreling through and captured a lot of interest and real world sales with it's cheaper price and technically better performance, and even inventing a few features that didn't exist before from any manufacturer. Glenn is sort of like the Charles of the Charles and Ray Eames team of the audio world in that respect. Sound Devices has the benefit of being the incumbent mixer champion and a major player for recorders, if not the dominant player in non-major-motion picture productions - showing itself quite well there too. I look at Nomad and all its features and think it is an outstanding product. Do I "need" to upgrade now? No, I don't, but when I do, I'll take a look at my budget and tech requirements at that time and I would be hard pressed to not choose a Nomad or Nomad like product at that time... probably a couple of years out. All I know is that Sound Devices must be looking at this new development and the seemingly fantastic Nomad sales and figuring out their next move - NAB perhaps? All in all, a good time for mixers, as competition spurs innovation.

***greedily waiting for a recording version of the 302 or a 3 channel Nomadic, Zoom SuperDuper Pro, or what have you***

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Great company, very reliable... fantastic machine that I really enjoy using. Not at all obslete...

Obslete if you work on a reality show chasing 8 mind stubs around a beach home... But, for a great deal of work that is still done out there, a wonderful machine that just plain WORKS!!!! As long as it nicely records those BWF wav files, and your job does NOT require high track counts, not a damn thing wrong with it...

Would I run out a buy a new one? Probably not at this time... But if you have one, use it....

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@Chris Harris,

Battery consumption is not what you think as per your original post. The 788T is hungry for power compared to the 744T. When I had my 442/744T set up, I was able to get a whole day powering the 744T with 1 x Sony NPF970 battery. As the battery got older/more used, I could only make it through till about an hour or so before wrap and I'm talking big 10 - 12 hour days with the 744T powered on all day except for lunch break. An IDX NPL7S Lion NP1 powered everyhting else in the bag for up to 2 days. Thats the 442, 3-4 Lectro RX's, a Zaxcom TRX900AA/STA100 cam link TX and phantom powering a Senn 416.

Now with my 788T/CL8 set up, I have a dedicated IDX NPL7S for the 788 and another for everything else in the bag as mentioned above (plus some more Lectro RX's at times).

The 788 goes through 2 x NPL7S batts a day, thats roughly 5 hrs per batt depending on how many tracks are armed etc etc.

So as you can see, the 788 does not have lower power usage than the 744. If you try running the 788 with a NPF970 battery, you wont last very long at all.

FYI, the 744 will seamlessly switch to the onboard battery power if the external power is depleted or disconnected just like the 788, so no worries there.

The 442 or 552/744Tis a great set up. I actually loved the fact that when I was doing a mixer only shoot, I could easily take out the 744T by simply disconnecting the 4 direct cables from the 442 and the stereo mini jack to stereo mini jack cable for monitoring in return B of the mixer, and pack it in its Peli case until the next hard drive shoot. I never used external power for my 744T so no power to disconnect either. No rebuilding bags, just slip the 744 in or out as required.

Now I have a bag for my 788T/CL8 and another for my 552. I find myslef moving RX's etc from bag to bag depending on the job. I still prefer to use the 552 for mixer only shoots because the 788 set up is overkill and the 552 bag lasts alot longer on a single NP1, sometimes 3 or 4 days. This way, my NP1's have a longer life too rather than charging every night. ( I have 8 x NPL7S batts so sometimes I dont charge batts for ages!!) In future, I aim to have the 2 bags set up complete with radio mics and links so I dont have to rebuild as often.

@Philip Perkins,

Can threads that don't start with specifically Nomad-oriented questions not turn into Nomad advertisements please?

I agree

@ Jon Gilbert,

All this Nomad propaganda has really, really put me off buying one, you see the way some manufacturers handle themselves on here and think fair play, you're supporting your product and providing an excellent service, then you see the Nomad propaganda and think, Hmmmm, think I'll stick with what I know!

I have to admit, I pretty much feel the same way.

There is absolutely no doubt the Nomad is an amazing machine and I own Zaxcom TRX900AA/STA100 and RX900S which I depend upon daily but I too have been put off by it all, sorry Zaxcom.

Cheers

Peter Mega

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the 744T is done and useless and probably a burden to you. it probably ruins your day making envy your monkey.

not to mention it's so 2009.

please send me an IM so I can relieve you of it and use it in a aural sculpture I am pondering.

Scott Harber

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I understand that if you own either the 744t or the 552 then it is cheaper to buy the other corresponding piece instead of a whole new package, but as a package deal for mixing the 744t is dead.

Not if you got a deal on the 744/552. Used, it might go for less. Mine cost much less than $6000 + cables. I may switch over to Nomad at some point, may go with a 788... lots of choices to weigh. Choices are good, and I think we'll have more in six weeks at NAB.

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I just mixed an independent feature in December with my 442/744t combo. Only a handful of times did I wish I had one or two more recording channels. It's amazing what you can do with just four channels.

That being said, I was hoping my Nomad would arrive during the entire shoot. It came last week...

Mark

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It's amazing what I was able to do with just four channels and one track on over 50 feature films. I know, it's the new world... sort of sad.

There you have it.

This proves how the 744T is NOT obsolete.

Imagine how one would feel just graduating from a film school and getting their hands on a 744T. Would that person think its obsolete?

I think not.

Need we say more?

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Interviews, or anything I am booming myself... 744T all by itself in a PortaBrace with a cable in from the mic and a cable/wireless out to a camera, if required.

Simple, efficient, and incredible sounding. Rock solid. Why bring anything else? It's also my back-up recorder, sending a mono mix to its internal hard drive.

I suppose a 702T can do all of the above, but without the security of an internal hard drive.

I imagine stereo effect recordists also have plently to say about using a 744T.

Robert

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Thankyou Pete Mega, for reminding how excited I was to get out of film school and land a great deal on a 744T. I still have it, it's still my primary recorder, it still records flawlessly and still sounds amazing. I'm in the process of getting a 552 to go in front of it (yes, it's a really great price).

Yes, I will probably get a nomad in the future, as it would open up a lot of functionality in my Zax radios.

I'll probably never sell the 744T. Partially due to being 'my first', partially because it's a damn fine machine.

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Thankyou Pete Mega, for reminding how excited I was to get out of film school and land a great deal on a 744T. I still have it, it's still my primary recorder, it still records flawlessly and still sounds amazing. I'm in the process of getting a 552 to go in front of it (yes, it's a really great price).

Yes, I will probably get a nomad in the future, as it would open up a lot of functionality in my Zax radios.

I'll probably never sell the 744T. Partially due to being 'my first', partially because it's a damn fine machine.

No worries Justin, you never forget your "first".. haha.

At times, I kinda wish I never sold my 744T, but I guess its being used more than if I had kept it. I'm sure the machine itself is happier that way!!!

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It's amazing what I was able to do with just four channels and one track on over 50 feature films.

Man, I've told so many people: "do you know how many thousands of movies were recorded in mono? And they sounded great, made lots of money, and won tons of awards?"

Realistically, a decent mixer like the 552 and the 744 can handle 90% of most of the situations I encounter. But I concede that track counts these days are going up (yet again), as are producers' expectations.

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Man, I've told so many people: "do you know how many thousands of movies were recorded in mono? And they sounded great, made lots of money, and won tons of awards?"

Realistically, a decent mixer like the 552 and the 744 can handle 90% of most of the situations I encounter. But I concede that track counts these days are going up (yet again), as are producers' expectations.

Yes absolutely, the 744t is not obsolete of you already own one or find a great deal n a used one, if you already own that or 552 then buying the other piece will greatly enhance your kit.

My point is if you are buying brand new and you have nothing right now it is cheaper and gives you way more power for a lower price to buy the 788t/cl8.

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I prefer the 744t over 788, Albeit the extra tracks and the colors (:))

The limiters are better. Much better. That's the main reason.

Then there's the power consumption and the sense of obesity over the 788. I don't know any other way to describe it than that :/

One main thing with "only" four tracks is you have to think ahead, and that makes you a better mixer IMHO. If you could have every track isolated there's be no need for a mixer, just a lot of metadata and input levels, labs to check and.. Yeah. Lots of work. Four tracks is a challenge and a relief in select situations.

On the nomad bit: it's all stirring up emotions and we all have our feelings about it. Revolutions are meant to do that ;) (and yes, revolutions have infancies as well)

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First off there are different worlds of what we do. Scripted films versus crazy reality versus corporate interviews. Single person talking head interviews, maybe shot on a 5D, would make a 744T seem like overkill.

Track count is not everything, but it helps. For run+gun mixers/recordists working on doc style reality TV, there are other things that make our lives easier (for post as well). It is the UI that finishes off the device. I'm using a 552/744T on a job right now and wish I had my Fusion with me. I've had to hot swap XLR inputs a few times while recording because a boom and 3 lavs are just not enough. There are times where the "AC/Jr op" is shooting different action than A camera and they will need the iso recordings from my recorder to have any audio. If they were shooting full time, they would have a mixer with them, but it's off and on (and sometimes just cross coverage). We shoot in crowded locations where I just can't boom, especially when there are 2 cameras covering the action. I would also like a faster way to enter track names. With 4 tracks, I would not record a mix track (which I would with a Fusion or 788T). My mix goes to the cameras and over the Comteks. Not sure of the post workflow and if they would ever use it anyway, but some jobs definitely use my mix track on run+gun reality madness.

If I was on a scripted job, had a boom op and rehearsals, then sure I could work with a single record track. I mixed a few films to a FR-2. I used to mix 2-8 people discussion public affairs shows down to a 2 track Tascam reel to reel. Unfortunately that's not what a lot of us are doing today.

A used 744T might be a good deal, especially if you already own a 442 or 552, but I would not buy one new at this point.... especially with NAB coming up soon. For the physical size and weight of the 552+744T, you can have a 788T, or go even smaller with a Nomad. Your back will thank you. Yes, the RXs will add up to more weight, but people are doing interesting things with a Nomad and Lectro SR receivers.

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  • 3 weeks later...

I, like many others am waiting for NAB to see what hit the market. My hope is that something amazing comes out and a bunch of you guys decide to ditch your 744t's. Which I will then buy one of.

I had previously intended on a Nomad, but with previous supply/demand problems, previous software glitches and a host of other complaints from users, I'll be waiting to purchase a Nomad.

Yeah, the 744t is added weight, takes up space and the rest, but I've been reading many of your posts from active users of the machine and I'm ready to go that route when the price is right.

"Edited to show Nomad had previous issues. Contact Zaxcom if you're interested in current status of the machine."

Edited by Toy Robot
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I, like many others am waiting for NAB to see what hit the market. My hope is that something amazing comes out and a bunch of you guys decide to ditch your 744t's. Which I will then buy one of.

I had previously intended on a Nomad, but with supply/demand problems, software glitches and a host of other complaints from users, I'll be waiting until the Nomad is a refined machine a year or five from now.

Yeah, the 744t is added weight, takes up space and the rest, but I've been reading many of your posts from active users of the machine and I'm ready to go that route when the price is right.

What specific issues with the Nomad are you referring to?

www.matthewfreed.com

Production Sound Mixing for TV, Films, and Commercials

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Toy Robot - The thing is if you see something unveiled at NAB, it probably won't ship for months (minimum). Some things demo'd at NAB take years to come out, if ever. Might be frustrating to us, but often they get a ton of feedback from real world users and modify the product based on that info. Offhand I don't recall what SoundDevices has done in the past, but they don't show off something you can buy the following week. I'm only saying SoundDevices because I take it that is the company you are expecting to knock your socks off.

To be honest, isn't the 788T kind of the replacement for the 744T? If you do a 5D shoot, the 552 will record audio, if you need to iso, the 788T/CL8 is there. The 552 is a little under $3,000. The 788T is $6,000 (+$900 for the CL8?). Sure there could be room for something in between, but is it necessary? If I was going to take a stab in the dark, a replacement for the 744T would have to fit in that gap, and maybe be smaller than the current one? The 744T kind of requires a 442/552 as is... but from a business standpoint, you never want to confuse consumers and offer too many products that do very similar things.

If anything, I bet (hope) there is an update to the 302 coming. I LOVE my 302, but I could see some tweaks coming to it based on what happened to the 442 and MixPre. There is nothing wrong with the 302 as is, but an update wouldn't surprise me.

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I had previously intended on a Nomad, but with supply/demand problems, software glitches and a host of other complaints from users, I'll be waiting until the Nomad is a refined machine a year or five from now.

I believe that Zaxcom has made headways regarding supply - and as far as I know there are even dealers who have machines in stock.

I'm also curious what are the software glitches and host of complaints you are referring to?

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