Sony DMX-R100 Quick Reference page 82

Fourth Pass: Writing Trims
10
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.
11
Rewind your multitrack machine to a point several seconds before the start of the song and then begin
playback. Trims need to be written prior to succeeding events they are intended to affect, so begin play-
back, and approximately 10 seconds after the word READY in the Timecode display changes to RUN,
raise the level of the fader for channel 25 to 0 dB, and then quickly let go of the fader (before it reaches
the 20-second mark) so it stops recording (the fader object will change color from red back to yellow) —
but do not stop playback until 50 seconds into the song. By doing so, all the succeeding fader moves will
be affected; if you were to stop incoming timecode sooner than 50 seconds, the fader would jump back to
the previously written lower levels).
12
To disarm the fader for that channel, press the OPTIONS button, and, from the drop-down menu, select
CANCEL ALL. The WRITE button for that channel goes out and the red underline disappears. To dis-
able any further arming, press the READY SETUP button so that it and the OPTIONS button change
from orange back to light gray.
13
To test that your trim has been written, rewind your multitrack to the start of the song and begin play-
back. The fader for channel 25 should begin moving between 0 and -20 dB instead of -20 to -40 dB. The
original move has been preserved — only the level offset has been changed.
14
Go to the Title Manager window and press the SAVE button in order to save the updated "Tutorial 3"
Title to Flash Memory. This saves the mix in the currently selected "B" buffer — the first three passes
(containing basic fader levels, cuts and fader moves) plus the newly added trim. At this point, it's a good
idea to do a save to a new floppy disk as well, since all succeeding passes will be altering the data in one or
both buffers.
Note that another way to effectively trim signal (albeit for an entire song) is to use a channel's digital Trim con-
trol (as distinct from the analog trim control in the head amplifier), as displayed in the Channel and
Input/Pan/Assign windows. Even though this control is non-automatable (i.e., you cannot write dynamic
changes made to it), its static setting is saved with the Title. This allows you to add overall offsets of -15 to +15
dB (in increments of 0.25) to all fader moves in a channel. If dynamic change is required, another workaround
is to use the GAIN control of a channel compressor (which is automatable) set to a ratio of 1:1, thus negating
any compression. However, this control only allows for increases in level (up to 15 dB, in increments of 0.25
dB) and not decreases (since unity gain is the minimum value).
Advanced users might also want to explore the possibility of using two of the multitrack buses instead of the
PGM bus for mixing (simply route two of them to the PGM output in the Audio Output Routing window) and
then writing changes to the secondary Multitrack fader function of the channel (accessed by pressing the MTR
button in the Faders section immediately above the PAGES section) in ABS mode. The drawback to this tech-
nique is that postfade Aux sends will not follow these Multitrack fader moves. For more information, see
Appendix C: Channel Strip Block Diagram on page C-1 of this guidebook.
T3-16
Tutorial 3 Automated Mixing Session