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Sony DMX-R100 Quick Reference

Sony DMX-R100 Quick Reference

Digital audio mixer
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DIGITAL AUDIO MIXER
DMX-R100

Quick Reference

Revision 1.0
Applies to version 1.16 software
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Summary of Contents for Sony DMX-R100

  • Page 1: Quick Reference

    DIGITAL AUDIO MIXER DMX-R100 Quick Reference Revision 1.0 Applies to version 1.16 software...
  • Page 2 Introduction Welcome to the Sony DMX-R100 Quick Reference! This guidebook is designed to supplement the DMX-R100 Operating Instructions provided with your console, not to replace it. In these pages are presented detailed operating procedures for most common operations, along with basic tutorials for tracking and mixing (both manual and automated).

  • Page 3: Table Of Contents

    Channel Windows ........................1-25 Monitoring ..........................1-29 Metering ..........................1-30 Chapter 2 Machine Control and MIDI Functions Controlling Pro Tools® From The DMX-R100 ..............2-3 Autolocating Within Pro Tools® .....................2-4 Using 9-Pin Machine Control ....................2-5 Using MIDI Machine Control ....................2-6 Slaving The DMX-R100 ......................2-7 Other MIDI Functions ......................2-9...
  • Page 4 Interconnections ........................B-1 Surround Monitoring ......................B-2 Listening To Prerecorded Surround Material .................B-4 Surround Mixing ........................B-5 Appendix C: Channel Strip Block Diagram Channel Strip Block Diagram ....................C-1 Appendix D: Operating The DMX-R100 At 2Fs Operating The DMX-R100 At 2Fs ..................D-1 Table of Contents...

  • Page 5: Chapter 1 Getting Started

    (See Chapter 1 of the Operating Instructions.) All interconnections should be made with the POWER switch set to OFF. Also, determine whether you will be using the DMX-R100 as master clock or synchronizing it to an external word clock or video source and make the appropriate connections. Finally, if you are using a keyboard, mouse, and/or VGA monitor, connect them to the appropriate rear panel connectors.

  • Page 6: First Bootup

    First Bootup Set the POWER switch to ON. After about a minute, the DMX-R100 will complete its boot-up process, and the first screen that appears is the Channel Window. (See Figure 1) Figure 1 This Window shows all parameters for input channel 1 (note that the ACCESS button for channel 1 is lit). You...

  • Page 7: Setting The Sample Rate And Clock Source

    Setting The Sample Rate and Master Clock Source Before operating the DMX-R100, you need to set certain basic parameters, including the desired sample rate and master clock source. These parameters are set in the Sync/Time Code Window. Press the SYSTEM tab at the bottom of the touchscreen. From the pop-up menu select SYNC/TIME CODE;...
  • Page 8 (See Figure 5) Figure 5 Press YES to accept the new sample rate (in which case the DMX-R100 will go through a complete new power-up cycle and reboot) or press CANCEL to return to the previous sample rate.

  • Page 9: The Title Manager

    The Title Manager The next step in setting up your DMX-R100 for initial usage is to save the current settings as a Title. The DMX- R100 can store up to ten Titles in its Flash Memory (up to a total of 4 megabytes); each Title is a collection of system settings (including the SYNC/TIME CODE Window parameters), as well as Snapshots (up to 99 per Title) and mix automation and cue list data.
  • Page 10 If you have an external keyboard connected to the DMX-R100, you can now simply type in any name of up to 23 characters in length (only the first 20 characters will appear in the Title Manager Window, how- ever).

  • Page 11: Saving A Title To Floppy Disk

    Saving A Title To Floppy Disk Insert a floppy disk into the DMX-R100 disk drive and press the FLOPPY DISK touchscreen button in the Title Manager Window. If the disk has been previously formatted by the DMX-R100, skip ahead to step 3.

  • Page 12: Loading A Title

    To load (recall) a previously stored Title, follow this procedure. If loading from floppy disk, insert it into the DMX-R100 disk drive, and then, press the FLOPPY DISK touchscreen button in the Title Manager Window. If loading from Flash Memory, press the FLASH MEMORY touchscreen button.

  • Page 13: Snapshots

    Since you have 99 of them at your disposal, it's a good idea to get in the habit of creating a Snapshot every time you set up a new DMX-R100 configuration. The procedure for creating a Snapshot is similar to that of creating a Title, only it is done in the Snapshot Window instead of the Title Manager.

  • Page 14: Recalling A Snapshot

    SNAPSHOTS If you have an external keyboard connected to the DMX-R100, you can now simply type in any name of up to 23 characters in length (only the first 20 characters will appear in the Snapshot Window). Press the Enter key on your keyboard to complete the operation. If you do not have an external keyboard connected to the DMX-R100, press the KEYBOARD button in the upper right-hand corner of the touchscreen;...
  • Page 15 SNAPSHOTS Alternatively, the Isolate buttons allow you to not recall the Snapshot data for a specific channel or channels. For example, to recall all data from a stored Snapshot except the data for channel 1, press the CH 1 button in the Isolate Channel section at the right of the touchscreen so that it lights green (see Figure 12) and then press RECALL.

  • Page 16: Matrixing System

    Matrixing System The two most important screens for configuring your DMX-R100 are the Input Routing and Output Routing windows. These allow you access to the console's comprehensive matrixing system, which enables you to deter- mine the signal flow for literally any input or output connections on the rear panel. Using these windows, any of the DMX-R100 physical inputs and outputs can be reutilized in any way you like.
  • Page 17 Press the SOURCE button on the left of the screen. A menu of possible sources (in groups of 8; the exact listing will depend upon the number and types of expansion cards installed in your DMX-R100) will drop down. (See Figure 14)
  • Page 18 Matrixing System If you press a SOURCE selection a second time, a second drop-down menu will appear. This menu lists all of the independent sources within that group of 8. For example, press the AD 1-8 button and you will see a listing of the first 8 AD inputs (the head amp connectors).
  • Page 19 Matrixing System To mult that signal to channel 23 as well, simply press the Channel 23 button. The signal connected to the first head amp will now appear on both input channels 23 and 24. (See Figure 17) Figure 17 You can also make input assignments in blocks of 8.

  • Page 20: Using An External Talkback Microphone

    The Output Routing window plays the inverse role, allowing you to route any signal to any of the physical out- put connectors on the DMX-R100 rear panel. The following buses are available in this window for routing: The PGM Left/Right bus...
  • Page 21 Matrixing System The basic procedure for using the Output Routing Window is as follows: Press the AUDIO tab at the bottom of the touchscreen, then select OUTPUT ROUTING. The Output Routing Window appears. (See Figure 19) Figure 19 Press the BUS button on the left of the screen. A menu of possible buses will drop down. (See Figure 20) Figure 20 1-17 Chapter 1 Getting Started...
  • Page 22 Matrixing System If you press one of the BUS selections a second time, a second drop-down menu will appear. This menu lists all of the independent sources within each group. For example, press the PGM L/R button and you will see each output (L and R) separately. (See Figure 21) Figure 21 To complete the patching, press an OUTPUT button in the center of the screen to assign the selected bus to that physical output connector.
  • Page 23 Matrixing System To route that bus to Aux Send 2 as well, simply press the Aux Send 2 button. The left PGM bus output will now appear at both the Aux 1 and Aux 2 send output connectors. (See Figure 23) Figure 23 You can also make output assignments in blocks.

  • Page 24: Creating Bus Inserts

    Creating Bus Inserts As noted above, the Output Routing window also allows you to set up 8 "floating" bus inserts in the DMX- R100. These are independent of the analog channel inserts available on input channels 1 - 12. The concept is to allow any physical inputs and outputs to be used as unity gain insert sends and returns for any of the buses available in the Output Routing window.
  • Page 25 Creating Bus Inserts Now press R in the Bus drop-down menu, and press INS 2 in the Insertion section. PGM R will be selected for Insert 2, which will be set IN. (See Figure 26) Figure 26 Now that the Inserts are set, the next step is to select the physical output connectors to use as the Insert sends.
  • Page 26 Creating Bus Inserts From the INS SEND 1-8 Bus drop-down menu, press 1, then press AUX SEND 1 in the Outputs section (center of the screen). INS SND1 will be selected for Aux Send 1. (See Figure 28) Figure 28 Now press 2 in the INS SEND 1-8 Bus drop-down menu, and press AUX SEND 2 in the Outputs sec- tion.
  • Page 27 Creating Bus Inserts The final step is to select the physical input connectors to use as the Insert returns. Press the AUDIO tab at the bottom of the touchscreen, then select INPUT ROUTING. The Input Routing Window appears. Press AUX RET 1-8 in the Source section twice so that the drop-down menu (1 - 8) appears. From the drop-down menu, press 1, then press the INS RTN 1 button in the Channels section (right- hand side of the screen).
  • Page 28 Creating Bus Inserts Important Note: If a bus insert is IN, signal must physically get from return to send; otherwise, you won’t hear any sound. In this exercise, Aux Sends 1 and 2 were designated as Insert sends for the PGM bus, and Aux Returns 1 and 2 were designated as Insert returns, so you must make a physical connection from send to return (with any desired outboard gear patched in-between) in order for audio to appear in the PGM bus.

  • Page 29: Channel Windows

    Channel Windows As you work on the DMX-R100, you will probably find yourself most often working in the main Channel window; this is the window that comes up by default following every power-up or reboot. (See Figure 33) Figure 33...
  • Page 30 Channel Windows Touching each section in the main Channel window brings up a secondary Channel window that shows that function in greater detail. For example, touching any area in the bus assignment section (top center of the screen) takes you to the Input/Pan/Assign window (which can also be accessed by pressing the CHANNEL tab at the bottom of the touchscreen, then selecting INPUT/PAN/ASSIGN.
  • Page 31 Channel Windows Touching any area in the dynamics section takes you to the Dynamics window (also accessed by pressing the CHANNEL tab at the bottom of the touchscreen, then selecting DYNAMICS). (See Figure 36) Figure 36 Lastly, touching any area in the Aux sends section takes you to the Aux Send window (also accessed by pressing the CHANNEL tab at the bottom of the touchscreen, then selecting AUX SEND).
  • Page 32 Channel Windows A handy RETURN button at the upper right-hand corner of each of these Channel sub-screens allows you to return to the main Channel window instantly. More information about the use of these windows will be pre- sented in the tutorials in this guidebook. Other handy windows include the Audio Overview window (accessed by pressing the AUDIO tab at the bottom of the touchscreen, then selecting OVERVIEW).

  • Page 33: Monitoring

    Studio loudspeakers can operate in stereo or mono. All monitoring operations can be carried out from the front panel of the DMX-R100 (see Figure 40) or from the Monitor window (see Figure 41), accessed by pressing the AUDIO tab at the bottom of the touchscreen, then selecting MONITOR.

  • Page 34: Metering

    Metering The metering of the DMX-R100 is also quite flexible. The 8 main meters on the right-hand side of the console can be assigned to show PGM stereo bus output, Aux send 1 - 8 output, or MTR multitrack bus output, depending upon the setting of the Meter switches.

  • Page 35: Chapter 2 Machine Control And Midi Functions

    Although the use of machine control is optional, it is required for automated mixing functions, where both the DMX-R100 and any connected audio devices must be locked to the same time code. For more information, see Tutorial 3 on page T3-1 in this guidebook.
  • Page 36 KEYBOARD button in the upper left-hand corner of the touchscreen or use an externally connected keyboard. Bear in mind that not all devices implement MMC or the 9-pin protocol fully, so the DMX-R100 may not be able to remotely control every kind of machine. When in doubt, the safest course of action is to set the DMX-R100 to transmit SMPTE time code via machine control and to set the remote device to chase-lock.

  • Page 37: Controlling Pro Tools From The Dmx-R100

    Place Pro Tools online by clicking the left-most icon in the Transport Bar or by selecting "Online" from the Operations menu. Start and stop playback of Pro Tools either by pressing Play switch in the DMX-R100 transport control or by touching the onscreen Play button in the Machine Control window.

  • Page 38: Autolocating Within Pro Tools

    DMX-R100 touchscreen; the Cue window appears. (See Figure 4) Figure 4 Begin playback of Pro Tools by pressing Play switch in the DMX-R100 transport control. As you reach different cues in the song (i.e., verse, chorus, bridge, etc.), press the NEW button at the top of the touch- screen;...

  • Page 39: Using 9-Pin Machine Control

    Using 9-Pin Machine Control The DMX-R100 provides two separate 9-pin output ports for remote control of devices that support the Sony 9-pin protocol. To activate 9-pin remote control, simply select either REMOTE OUT 1 or REMOTE OUT 2 from the dropdown Port Select menu in the Machine Control window. The DMX-R100 issues commands via these ports, including rewind, fast-forward, tape locate, and shuttle.

  • Page 40: Using Midi Machine Control

    F7 (127), which is used to receive all device numbers. In order for rewind, fast-forward and locate functions to be active via MMC, the DMX-R100 needs to be con- tinuously updated with the current locate point of the device being controlled. This is accomplished with a two- way handshaking ("closed loop") connection between the MIDI Out jack of the DMX and the MIDI In jack of...

  • Page 41: Slaving The Dmx-R100

    Slaving the DMX-R100 There may be circumstances where you want the DMX-R100 to slave to connected devices instead of controlling them. In such a configuration, either an external SMPTE or MIDI Time Code (MTC) generator can be used as master. These functions are set in the SYNC/TIME CODE Window. To open this window, press the SYSTEM tab at the bottom of the touchscreen, and, from the pop-up menu select SYNC/TIME CODE.
  • Page 42 Slaving the DMX-R100 When set to TC GENERATOR, the DMX-R100 acts as master, with its built-in time code generator providing the SMPTE master. When set to TIME CODE IN, SMPTE signal arriving from an external device at the Time Code In connector on the rear panel acts as master. When set to MTC IN, MIDI Time Code signal arriving at the dedicated MTC connector (not the MIDI input connector, which cannot accept MTC) acts as master.

  • Page 43: Other Midi Functions

    1 - 24, and cuts for Aux returns; it also enables access to Aux send 1 for channels 1 - 22. Mode 3 is a special MIDI control mode for the five DMX-R100 talkback functions (PGM, AUX, MTR, STUDIO, and SLATE) via control change messages 26 - 30.

  • Page 44: Setup Of Producer's Talkback

    (127), the five different DMX-R100 talkback operations will be activated. To turn the talkback function off, simply set the control to its minimum value of 0. One example of a suitable MIDI interface unit for triggering DMX-R100 remote talkback functions is made by MIDI Solutions (www.midisolutions.com).

  • Page 45: Tutorial 1 Tracking And Overdubbing Session

    Preparation This tutorial will take you through the basic procedures for tracking and overdubbing with a DMX-R100. All operations listed here are described in detail in the "Getting Started" section in this guidebook. The following peripherals are required for this Tutorial: •...
  • Page 46 Preparation Figure 1 Figure 2 T1-2 Tutorial 1 Tracking and Overdubbing Session...
  • Page 47 Preparation In the Input Routing window, assign AD12 (the microphone input) to channel 1. Then assign AD1 (the left side of the stereo source signal) to channel 3, and AD2 (the right side of the stereo source signal) to channel 4. Finally, assign Slot 1, tracks 1 - 8, to channels 17 - 24. Then assign NC (No Connect) from the MISC Source menu to channel 2 and to channels 25 - 32;...

  • Page 48: Setting Monitoring Levels

    Setting Monitoring Levels In this Tutorial, we will be recording signal from the stereo source to tracks 1 and 2 of the multitrack, and then overdubbing the mic signal onto track 3. Accordingly, the next step is to set up the monitoring section (chan- nels 17 - 24) so that we hear tracks 1 and 2 in stereo, and track 3 in mono.

  • Page 49: Initial Recording

    Initial Recording We're now ready to begin recording the first pass onto tracks 1 and 2 of the multitrack, which will consist of the stereo line-level source. Press the Access button for channel 3 (the left-hand side of the stereo input signal) and, in the Channel window (which automatically appears whenever the Access button is pressed or a new channel selected for access), set channel 3 to Stereo.

  • Page 50: Overdubbing

    Overdubbing Press the Cut switch in the CR Monitor section or turn the CR Monitor knob all the way down to avoid feedback and signal bleeding problems. Connect a pair of headphones to the front-panel headphone jack and raise the Headphone level knob to a comfortable listening level. Set track 3 of your multitrack recorder to monitor input signal.
  • Page 51 Overdubbing Set the Aux send levels to approximately unity gain (0.0 dB) and adjust the input controls of your outboard processor to get a strong input signal without clipping. You can switch the master meters to AUX to view the Aux send levels, or by pressing the MASTERS button in the faders section (in which case the Aux send levels appear in the associated channel meters).

  • Page 53: Tutorial 2 Mixing Session (Non-Automated Mixing)

    1. Connect the inputs of your two-track recorder to the PGM outputs (digital or analog) of the DMX-R100, and connect the outputs of your two-track recorder either to the 2 TK1 input (if it has only analog out- puts) or the 2 TK2 input (if it has AES/EBU digital outputs).
  • Page 54 Preparation Go to the Snapshot window and press the NEW button in order to create a new snapshot. Using the touchscreen keyboard or an externally connected keyboard, name it "Tutorial 2" Go to the Title Manager window and press the SAVE button in order to save the current Title to Flash Memory.

  • Page 55: Setting Monitoring Levels

    PGM bus L, and the even-numbered Aux return to PGM bus R. Adjust the fader levels of Aux returns 1/2 or 7/8 to taste. NOTE: Signal arriving at the DMX-R100 Aux Return connectors can in fact be routed to any standard input Channel or Channels in the Input Routing window, in which case they can have equalization and/or dynamics processing applied as well as being routed to other Aux sends.

  • Page 56: Cue List Operation

    (i.e., countoffs, lips smacking, chairs creaking) that occur before the song begins. The DMX-R100 provides a powerful Cue function that allows you to recall completely different fader settings at the touch of a single button; these different "cues" can even be called up automatically by incoming SMPTE or MTC time code.
  • Page 57 Cue List Operation Press the NEW button again and assign the "Tutorial 2" snapshot to CUE 3, then rename the cue "VERSE". Again, set TC LINK to OFF. (See Figure 3) Figure 3 Highlight CUE 3 by touching "3" or the cue name, then press the RECALL button at the top of the touchscreen.
  • Page 58 SMPTE), try the following: Make a connection between the SMPTE (LTC) output of your time code generator (or the analog output of the striped track) and the Time Code input of the DMX-R100. T2-6...
  • Page 59 In the CUE window, set TC LINK for Cues 2, 3, and 4 to ON, then highlight the TIME CODE value for CUE 3. Using the ten-keypad of the DMX-R100, enter a SMPTE time code value of 01:00:05:00 for CUE 3 (be sure to hit the Enter key on the keypad to complete the input). Then repeat the operation for CUE 4, this time entering a SMPTE time code value of 01:00:10:00.
  • Page 60 Other functions in the Cue window allow you to store, delete, and recall individual cues. An undo button also allows you to undo your last operation in this window. Note that the RECALL and UNDO touchscreen buttons in the Cue window are duplicated by the equivalent hardware buttons in the Snapshot section of the DMX-R100. T2-8...

  • Page 61: Control Groups

    Fader control groups allow you to adjust the level of several channels simultaneously by moving the fader of a channel within that control group. The DMX-R100 provides two different kinds of fader control groups: Gang and VCA. In Gang control groups, any fader can act as master and all faders move simul- taneously;...
  • Page 62 Control Groups We'll begin by placing channels 1 and 2 into a cut control group. Accordingly, press the Mode button for GROUP1 repeatedly until it reads CUT. Then press the ON/OFF button for GROUP1 so that it reads ON. The right side of the screen contains buttons for all 48 input channels, all 8 Aux returns and sends, the 8 multitrack (MTR) buses, and the stereo Program (PGM) bus.* Touch the buttons for Channels 1 and 2: the words "CUT1"...
  • Page 63 Control Groups Figure 9 Move the Channel 1 fader; note that the faders for Channels 2, 3, and 4 also move, but with their relative levels intact. Now try moving the faders for Channels 2, 3, and 4 in turn; note that any of these faders can act as "master,"...
  • Page 64 Control Groups Move the Channel 5 fader; note that the faders for Channels 6, 7, and 8 do not move. Because Channel 5 was the first channel selected, it has been designated as the Master fader for the VCA control group; note the heading "GP3M"...

  • Page 65: Final Output

    Final Output In this Tutorial, we have focused entirely on standard stereo mixing, using the PGM bus for final output (surround mixing applications are covered in Appendix B on page B-1 of this guidebook). As such, the level of the final signal is controlled by the Program master fader. The Program bus also has stereo equalization and dynamics processing available, so you can apply EQ and compression or gating to the overall signal before sending it on to a connected 2-track recorder.

  • Page 67: Tutorial 3 Automated Mixing Session

    The Tutorial presented here is simply intended to guide you through an exam- ple of how the DMX-R100 system can be used; depending upon your individual working style, you may find that you need to use it in an entirely different way.
  • Page 68 final mixes can be Locked so as to prevent inadvertant overwriting). The DMX-R100 supports the storage of a single Title to floppy disk, so you'll probably want to have a number of preformatted disks handy before you begin an automated mix.

  • Page 69: Preparation

    Go to the Title Manager window and press the CLEAR button in the lower right-hand corner. This sets all parameters in the DMX-R100 to their default status (it does not affect any Titles saved to Flash Memory or floppy disk).* If your multitrack recorder is capable of chasing (chase-locking) to incoming SMPTE time code, follow the directions here.
  • Page 70 Flash Memory. * Alternatively, a device capable of outputting stable MTC (MIDI Time Code) can be used; simply connect its MIDI output to the DMX-R100's dedicated MTC input, then set Time Code reader to MTC IN in the Sync/Time Code window...

  • Page 71: Setting Monitoring Levels

    LOCATE button in the Machine Control window to shuttle your multitrack machine to that point. Jump to step 4 below. If your multitrack machine is instead providing SMPTE time code (or MTC) to the DMX-R100, locate to the appropriate point.

  • Page 72: About The Automation Window

    Additional information about each of the parameters in the Automation window can be found in Chapter 3 of the DMX-R100 Operations Guide; we will also be using many of them in this Tutorial. Because the current Title started from a CLEAR command (in step 5 of the Preparation section above), both the A and B buffers are empty;...

  • Page 73: Arming And Disarming Channels And Objects

    Arming and Disarming Channels and Objects Perhaps the key to understanding the DMX-R100 dynamic automation system is the concept of arming and dis- arming channels and objects (that is, individual parameters within a channel, such as the fader, cut switch, pan- pot, bus assignment, etc.).
  • Page 74 Arming and Disarming Channels and Objects fader by touching it again, or you can disarm other individual objects by pressing the associated switch a second time or by moving the associated knob counterclockwise. • To begin writing a fader position as soon as tape begins rolling, simply arm it and then turn off READY SETUP by touching the button so that it changes from orange to dark gray.
  • Page 75 Arming and Disarming Channels and Objects • You can add other objects for global arming by touching the OPTIONS button again and selecting additional menu items. For example, you can globally arm all faders and cuts for all channels. • Additional individual objects within individual channels can also be armed either by touching them in the Channel window or by pressing the associated switch or by moving the associated knob clockwise.

  • Page 76: First Pass: Setting Basic Fader Levels

    ACCESS them, and note that their fader and MTR LEVEL objects are now also colored red. Press the ABS switch in the TC Automation section of the DMX-R100 in order to turn dynamic automa- tion on. The box in the upper center of the touchscreen turns from changes color from dark gray to red, and the word OFF changes to ABS, indicating that dynamic automation is on and that data will be writ- ten in Absolute (ABS) mode.
  • Page 77 First Pass: Setting Basic Fader Levels Begin playback of your multitrack machine. At any time after READY changes to RUN in the upper right-hand corner of the touchscreen, stop playback. Because we are using Hold To End mode, all current fader positions are now written for the entire song.

  • Page 78: Second Pass: Cuts

    Second Pass: Cuts The second pass in a typical automated mixing session will often consist of writing channel cuts (mutes). Whenever creating successive passes of automation data, it's a good idea to set up a level of undo so that you can instantly return to the previous pass if you are dissatisfied with the new data you just added.
  • Page 79 Second Pass: Cuts To test that all cuts have been written, rewind your multitrack to the start of the song and begin playback. As long as the ABS button is lit (and the upper center box in the touchscreen is red), all the cuts you entered should occur at the corresponding SMPTE timecode points.

  • Page 80: Third Pass: Fader Moves

    Third Pass: Fader Moves Now we're ready to do some "fine-tuning" of fader positions. Begin by using the procedure in steps 1 and 2 above to copy the data from buffer B (containing basic fader levels and cuts) to buffer A in order to provide yourself with a level of undo, then select buffer A by pressing the A button.

  • Page 81: Fourth Pass: Writing Trims

    0 and -20 dB instead of -20 to -40 dB. Accordingly, press the TRIM button in the TC Automation section of the DMX-R100 so that it lights. The light in the ABS button will go out and the AUTO MODE box in the top center of the touchscreen changes color from red to green and reads TRIM.
  • Page 82 Fourth Pass: Writing Trims Access Channel 25 and go to the Channel window. Again, touch the fader for channel 25 without moving it. The fader object will once again change color from green to yellow and the channel 25 WRITE button will begin blinking.

  • Page 83: The A/B Buffers: Manual Vs. Auto Rotation

    1 - 4 all the way to zero and hold them that way for several seconds. If you are controlling an external multitrack recorder from the DMX-R100, press the STOP button in the DMX-R100 transport section; if the DMX-R100 is slaving to incoming timecode, stop the master machine.

  • Page 85: Appendix A If This Is Your First Digital Console

    Appendix A: If This Is Your First Digital Console If the DMX-R100 is your first digital console, there are a few important differences between analog and digital mixing you should be aware of. At first glance, both types of consoles may appear to be similar — they both provide multiple input channels, each with a dedicated fader, panpot and input trim controls —...
  • Page 86 Appendix A: If This Is Your First Digital Console A digital console’s main function is also to combine and process multiple signals, but all of this work is done strictly in the digital domain, meaning that analog input signals must first pass through analog-to-digital converters (ADCs) and all analog output signals must first pass through digital-to-analog converters (DACs).
  • Page 87 Appendix A: If This Is Your First Digital Console There are two important considerations when converting analog to digital signal, or vice versa. The first of these is the sample rate, which determines how frequently "snapshots" of the signal are stored and reproduced. The standard CD sample rate, for example, is 44.1 kHz, which means that 44,100 samples are stored or played back every second.
  • Page 88 Technological developments of recent years have allowed the use of double-speed (2fs) sample rates of 88.2 and 96 kHz, thus yielding an even broader frequency response in the final signal. The DMX-R100 is capable of operating at both single- and double-speed sample rates, although some functionality is reduced when using double-speed rates.
  • Page 89 20- and 24-bit. In theory, the dynamic range of a 24-bit signal is 144 dB, which actually exceeds the capability of human hearing. The DMX-R100 utilizes 24-bit converters throughout and is capable of carrying and passing full 24-bit signal without any compromise in functionality. Even if the final output of a project is...
  • Page 90 (the touchscreen and external VGA display). A computer also requires a way for the user to input data. To a degree, the DMX-R100 keyboard and mouse input serves this purpose, but it is important to understand that it is the entire surface of the console that is acting as the main input device.
  • Page 91 For example, the 24 main channel faders on the DMX-R100 can actually control up to 56 discrete input signals (48 inputs plus 8 aux returns) as well as the 8 multitrack (MTR) bus outputs and 8 Aux sends.
  • Page 92 AES/EBU signal or, better yet, from a dedicated word clock output. The DMX-R100 provides both word clock input and output, and the clock signal it generates is stable and jitter-free (that is, there is little or no deviation between the timing of clock pulses), making it eminently suitable for use as a master clock source in any studio.
  • Page 93 Alternatively, if a standalone clock signal generator or video house sync ("blackburst") system is available, the DMX-R100 (and all other interconnected digital audio devices) can be slaved to it, either via its reference video or word clock input. These settings are determined in the Sync/Time Code Window; for more information, see Chapter 3 in the DMX-R100 Operating Instructions.
  • Page 94 It is worth noting that, even when a device is slipping in synchronization, the DMX-R100 will continue to pass audio, even though the signal may be somewhat degraded in quality. Depending upon the severity of the slippage, the degradation may not even be clearly audible, so the I/O Status Window can actually give you visual feedback of a problem you may not even be hearing.

  • Page 95: Appendix B: Surround Applications

    Interconnections It is the presence of not two, but six discrete rear panel Control Room outputs that allows the DMX-R100 to provide surround monitoring. These outputs are labeled 1 through 6. When operating in standard stereo or mono mode, Control Room outputs 1 and 2 normally carry the PGM bus Left and Right signals, respectively.

  • Page 96: Surround Monitoring

    Surround Monitoring Setting up the DMX-R100 for surround monitoring is a simple process, requiring only a few touchscreen commands. Make all interconnections between the DMX-R100 Control Room outputs and your surround speakers as described in the section above. Press the SYSTEM tab at the bottom of the touchscreen. From the pop-up menu select MISC SETUP;...
  • Page 97 Surround Monitoring Set the Control Room monitor source to MTR, and set the CR monitor knob to a moderate listening level. Set the main meters to MTR. Press the AUDIO tab at the bottom of the touchscreen. From the pop-up menu select MONITOR; the window appears.

  • Page 98: Listening To Prerecorded Surround Material

    Listening to Prerecorded Surround Material There are two basic ways to use your DMX-R100 to listen to prerecorded surround material such as Dolby Digital™ or DTS™-encoded DVDs. The simplest method is to simply assign six inputs to the EXT MONITOR inputs in the Audio Input Routing window;...
  • Page 99 Listening to Prerecorded Surround Material While still viewing the Input/Pan/Assign window, access each of the remaining four channels in turn and assign them as follows: center signal to MTR bus 3 only at the front center position (upper center from the dropdown menu);...

  • Page 100: Surround Mixing

    Surround Mixing Once the DMX-R100 is configured for surround monitoring, it's an easy process to do surround mixing. Make all interconnections between the Control Room outputs and your surround speakers, and then set up your DMX-R100 for surround monitoring, as described in the previous sections.
  • Page 101 MTR bus channels 1 - 6 as desired. To automate surround sound panning moves, make sure the DMX-R100 is in surround monitoring mode (as described previously) and then simply arm either the WRITE object in the Input/Pan/Assign window or the MTR PAN value object (not the on-off switch) in either the Input/Pan/Assign or Channel win- dow for the selected channel so that a yellow or red underline appears.

  • Page 103: Appendix C Channel Strip Block Diagram

    Channel Strip Block Diagram ....Appendix C Channel Strip Block Diagram...

  • Page 105: Appendix D: Operating The Dmx-R100 At 2Fs

    2Fs Operation In addition to being able to pass and process high resolution 24-bit audio, the DMX-R100 provides support for the increasingly popular double-speed (2Fs) sample rates of 88.2 and 96 kHz. At these higher sampling rates, however, the number of input channels, direct outs, multitrack buses, bus inserts, and Aux returns is halved.
  • Page 106 2Fs Operation The modified bus structure of the DMX-R100 when operating at 2Fs sample rates becomes most apparent when accessing the Audio Input Routing and Audio Output Routing windows. (See Figures 2 and 3) Figure 2 Figure 3 Appendix D Opperating The DMX-R100 At 2Fs...
  • Page 107 2 to feed the center and subwoofer channels. Finally, when operating the DMX-R100 at 2Fs sample rates, note that 5.1 monitoring must be accomplished with external equipment. Future software updates will allow for 5.1 surround operation at 2Fs sample rates.

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