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Sony OXFORD Operation Manual

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DIGITAL AUDIO MIXING CONSOLE
OXF-R3
OPERATION MANUAL
1st Edition (Revised 4)
Software Version 3.0 and Later
[English]

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Table of Contents

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   Summary of Contents for Sony OXFORD

  • Page 1 DIGITAL AUDIO MIXING CONSOLE OXF-R3 [English] OPERATION MANUAL 1st Edition (Revised 4) Software Version 3.0 and Later...
  • Page 2 CAUTION For customers in Europe Installation has to be done by a SONY authorized This product with CE marking complies with both the EMC technician. Directive (89/336/EEC) and the Low Voltage Directive (73/23/EEC) issued by the Commission of the European WARNING Community.
  • Page 3 Peak Inrush Current OXF-IO3000 (1) Mise sous tension (ON), méthode de sondage du OXF-CP3048PS courant: (1) Power ON, current probe method: 20A (100) 50A (100V) 70A (240V) 110A (240V) (2) Mesuré conformément à la norme européenne (2) Hot switching inrush current, measured in EN55103-1: accordance with European standard EN55103-1: 30A (230V)
  • Page 4 OXF-CP3048PS only WARNING This unit has no power switch. When installing the unit, incorporate a readily accessible disconnect device in the fixed wiring, or connect the power cord to a socket-outlet which must be provided near the unit and easily accessible. If a fault should occur during operation of the unit, operate the disconnect device to switch the power supply off, or disconnect the power cord.
  • Page 5: Table Of Contents

    Table of Contents About This Manual ..................5 1-1 Overview ..................1-2 Chapter 1 1-2 Data Flow..................1-4 Overview 1-3 Signal Flow..................1-6 2-1 OXF-R3 Start-Up ................2-2 Chapter 2 2-1-1 Start-Up Procedure............. 2-2 Powering The OXF-R3 2-2 OXF-R3 Shutdown ................. 2-4 2-2-1 Shutdown Procedure ............
  • Page 6 Table of Contents 4-1 The Basic (Default) Signal Path ........... 4-2 Chapter 4 4-2 Mix-Down Signal Path with Processing Inserted ....... 4-4 Signal Paths 4-3 Mix-Down with Post Channel Fader Insert ........ 4-6 4-4 Recording to a Multitrack ............4-7 4-5 In-Line Channel Multitrack Recording Set-up ......
  • Page 7 6-2-8 Routing Panel ..............6-28 Chapter 6 6-2-9 LCD Channel Screen Panel ..........6-31 Technical Descriptions 6-2-10 Sends 1-24 Panel ..............6-32 6-3 Central Section Panels ..............6-38 6-3-1 Master Fader Panel ............6-38 6-3-2 Monitor Panel ..............6-39 6-3-3 Control Keyboard Panel .............
  • Page 8: Chapter 7 Session Management

    Table of Contents 7-6 The Session Management™ Screen Pages ......... 7-27 Chapter 7 7-6-1 The Start-up Logo Screen ..........7-27 Session Management™ 7-6-2 The System Screen ............. 7-28 7-6-3 The Machines Screen ............7-30 7-6-4 Artists/Projects & Titles Screen ......... 7-32 7-6-5 Mixes &...
  • Page 9: About This Manual

    About This Manual Purpose and intended readers Chapter 6 Technical Descriptions This is the operation manual for the OXF-R3 digital Provides the descriptions of all the modules of the audio mixing console. It explains how to use the OXF-R3, including the names, locations and functions OXF-R3 to record, mix and output digital audio of the controls.
  • Page 10: Conventions Used In This Manual

    About This Manual Conventions used in this manual This manual uses the following conventions: Chapter 3, Section 10 • Subsection 5 • within Section 10 Operation • Step number • Cross-reference within the manual Important note About This Manual...
  • Page 11 Related manuals In addition to this operation manual, the following manuals are available for the OXF-R3: • Installation Manual • Service Manual About This Manual...
  • Page 12 CMRR Common Mode Rejection Ratio Return Control Room Remote Studio Link Digital to Analogue Converter Side Chain Digital Audio Tape SDDS Sony Dynamic Digital Sound Divergence SDIF Sony Digital Interface Format Dynamics Select Signal European Broadcasting Union Session Management Edit Decision List SMPTE Society of Motion Picture &...
  • Page 13: Overview

    Chapter 1 – Overview This chapter introduces the OXF-R3 digital audio mixing console and describes the main features. An example system configuration and a signal flow diagram are included. Chapter 1 Contents 1-1 Overview ..................1-2 1-2 Data Flow ..................1-4 1-3 Signal Flow ..................
  • Page 14 1-1 Overview 1-1 Overview The OXF-R3 is a ‘high end’ digital audio mixing console system. It comprises four main components: • Control Console with Modular Control Surface • Host Computer • Signal Processing (SP) Rack • Digital and Analogue I/O Racks The following illustration shows a basic system concept diagram.
  • Page 15 Timecode, 9-Pin, GPI and MIDI. MADI connections may be made directly to the SP rack. Machine Control Machine control for the OXF-R3 is accomplished via Sony 9-Pin control and third party devices such as the “motionworker”, supplied by Motionworks Ltd.
  • Page 16: Data Flow

    1-2 Data Flow 1-1 Overview AUTOMATION MEDIA HOST COMPUTER CR MONITORS 1 CONTROL FOR SP AUDIO PROCESSING & MACHINES MODEM SYSTEM STATUS & DISPLAY DATA CR MONITORS 2 SP RACK MADI CR MONITORS 3 SURROUND L SURROUND R FX RACK MADI 2 TRACK ANALOGUE AUDIO...
  • Page 17 RECORD REHEARSE LISTEN STUDIO FOLDBACK AUDIO AUDIO AUDIO I/O RACK GAIN MADI MADI FS OUT SYNCHRONISER MOTIONWORKER PROTOCOL MOTIONWORKER MASTER TC PCM-3348 48 TRACK RECORD REMOTES & TALLIES RACK TRANSPORT 9P TRANSPORT 9P TRANSPORT 9P TRANSPORT 9P PCM-9000 PCM-7050 PCM-7050 PCM-7050 MASTERDISC AES/EBU...
  • Page 18: Signal Flow

    1-3 Signal Flow 1-1 Overview SELECTOR 1 SELECTORS 2-7 SELECTOR 8 MAIN OUTPUT BYPASS LCRS FILTERS Ø SUPER SEND GPs 5 BAND EQ 1-16 DYNAMICS Ø INSERT LCRS BUSSES 1-48 DELAY FX 48 M/T FADER TO 8 SENDS & LINE Ø...
  • Page 19: Chapter 1 Overview

    EXTERNAL SOURCES 1-8 8 X STEREO MONITOR LS 1 INPUTS MAIN CONTROL ROOM MONITOR LS EXTERNAL SOURCES 9-12 4 X 8 WIDE SURROUND MONITOR INPUTS LS 2 CONTROL ROOM MONITOR LS SOLO LS 3 MONITOR LS STUDIO LS 1 STUDIO LS 2 TALKBACK FOLDBACK 1 LISTEN MIC 1...
  • Page 21: Oxf-r3 Start-up

    Chapter 2 – Powering The OXF-R3 This chapter provides step-by-step procedures for starting up the OXF-R3, including the power-up sequence and the booting of the Host Computer. It also includes the procedure for controlled shutdown of the OXF-R3. Chapter 2 Contents 2-1 OXF-R3 Start-Up ................
  • Page 22: Oxf-r3 Start-up

    2-1 OXF-R3 Start-Up 2-1 OXF-R3 Start-Up Procedure CAUTIONS: 1. Before starting up the OXF-R3, check that all Monitor Loudspeaker Power Amps are turned off or muted. 2. Switch on equipment in the sequence given here, to ensure trouble- free start-up. 2-1-1 Start-Up Procedure 1.
  • Page 23 Notes: 1 oxf-r3 is the default password. This may be changed but its modification must be carried out with help from Sony personnel. 2 Login can be initiated while programs are still being downloaded from the Host Computer. It is not necessary to wait until all the console LCD screens are displaying ‘X’...
  • Page 24: Oxf-r3 Shutdown

    2-2 OXF-R3 Shutdown 2-2 OXF-R3 Shutdown Procedure CAUTION: Turn off or mute all monitor amplifiers connected to the OXF-R3. Unless the OXF-R3 is to remain switched off for a prolonged period, it will be more convenient to leave the Clock Synchronisation source running.
  • Page 25 7. To shut down the Host Computer, place the cursor in the UNIX window, and Type: su (case-sensitive) which stands for ‘superuser’, then press {RETURN}. 8. At the ‘password’ prompt: Type the superuser password, oxf-r3 (case sensitive) is the default, then press {RETURN}.
  • Page 27 Chapter 3 – Getting Started This chapter gives an overview of the control surface layout and functionality. It also provides easy to follow, step-by-step procedures for basic operations of the console. These are designed to help the experienced operator become familiar with the OXF-R3 within a short period of time.
  • Page 28: The Control Surface

    3-1 The Control Surface 3-1 The Control Surface The OXF-R3 comes in two configurations known as the 24-C-24 and the 24-C-0. The basic elements are illustrated below. 24-C-24 Control Surface Configuration 24-C-0 Control Surface Configuration Chapter 3 Getting Started...
  • Page 29 Control Surface Elements 1 1 Left hand 24 Fader Channels Section 2 2 Central Master Section 3 3 Right hand 24 Fader Channels Section 4 4 Meter Bridge The Control Surface in general A key feature of the OXF-R3 is its Assignable Panels, which divide further into four basic areas: •...
  • Page 30 3-1 The Control Surface OXF-R3 Assignable Channel Areas 1 Left hand assignable channel controls 2 Right hand assignable channel controls Chapter 3 Getting Started...
  • Page 31 Chapter 3 Getting Started...
  • Page 32 3-1 The Control Surface !º !¡ @£ !• !¢ !∞ !§ @º !£ !ª !™ @™ @º @¡ !¶ OXF-R3 panel locations Chapter 3 Getting Started...
  • Page 33 1 Meter Bridge – Mono Meters 2 Meter Bridge – Stereo Meters !¡ !º 3 Channel Screens (6) 4 Routing Panels 5 Multi-Channel Set-up Panel 6 Super Send Group Masters 7 Sends Masters 8 Central Control Screen 9 Sends Panels 0 Free Assign Area/Dynamics Panels ! ¡Input &...
  • Page 34: Fader Paging

    3-2 Fader Paging 3-2 Fader Paging The OXF-R3 has 48 (or 24 on a 24-C-0) channel faders on its control surface but Fader Paging enables control of a much greater number of channels. Fader Paging allows banks of 24 channels to be selected on either side of the centre section at any time.
  • Page 35: Assignable Channel Processing

    3-3 Assignable Channel Processing Once the appropriate bank of 24 channel faders is selected, individual channel controls can be adjusted. To do this, press the ACCESS button below the fader for the channel required. Then all the ASSIGNABLE PANELS belong to that channel, displaying its settings. Adjust as necessary.
  • Page 36: Input Channel, Equaliser And Filters

    3-4 Input Channel, Equaliser and Filters 3-3 Assignable Channel Processing The Input Channel section is much more flexible than a conventional in- line analogue channel strip in that it allows processing elements to be configured in almost any order. The eight boxes towards the bottom of the panel enable up to eight functions to be placed in each channel path with individual IN switches.
  • Page 37: Free Assign Area And Dynamics

    3-5 Free Assign Area and Dynamics 3-5 Free Assign Area and Dynamics FREE ASSIGN AREA & DYNAMICS DYNAMICS T H R E S H L D A T T A C K R E L E A S E H O L D GATE COMP LIMIT...
  • Page 38: Multitrack, Routing For Multitrack, Super Send Groups And Multi-format

    3-6 Multitrack, Routing for Multitrack, Super Send Groups and Multi-Format 3-6 Multitrack, Routing for Multitrack, Sub-Groups and Multi-Format MULTI-FORMAT Buttons These routing buttons have a layout matching a set of MULTI-FORMAT 7.1 surround LS. Their function depends on what is selected to the faders at the SELECT TO FADERS panel.
  • Page 39: Sends

    3-7 Sends 3-7 Sends There are currently 24 mono Sends that can be linked as odd/even pairs, set up at the SEND OUTPUTS 1-24 panel in the centre section, to provide up to 12 stereos. The levels to the busses can be set via the individual dedicated controls on the channels SENDS 1-24 panels for each channel individually.
  • Page 40: Select To Faders

    3-8 Select To Faders 3-8 Select To Faders The main purpose of faders on a mixing console is to control the levels of the signals through the channels. Once a balance is achieved, the fader positions give an extremely useful graphical representation. It is common with in-line analogue console channel strips to split the signal flow into channel and monitor paths with a fader for each.
  • Page 41 As an example, on the SELECT TO FADERS panels, adjacent to the channel faders on either side of the centre section, there are buttons marked: 1 1 {CHANS} {CHANS} {CHANS} {CHANS} {CHANS} 2 2 {M/T SEND} {M/T SEND} {M/T SEND} {M/T SEND} {M/T SEND} The default is {CHANS} , which assigns the faders to the channel outputs when they control the level to the Main Output Bus.
  • Page 42 3-8 Select To Faders Exploiting this approach even further, the faders can also be assigned to control Input Gain, Group Trim and all Send Bus levels. The Select to Faders diagram at the beginning of this section is a visual guide showing how the OXF-R3 accommodates conventional in-line channel strip level controls on its faders.
  • Page 43: Select To Pans

    3-9 Select To Pans 3-9 Select To Pans The Pan Knobs above the faders are assignable in a similar manner to the faders. Although their primary job is panning, they can also be used to perform all channel level adjustments, such as input gain settings and Send Bus levels.
  • Page 44: Basic Console Operations

    3-10 Basic Console Operations 3-10 Basic Console Operations 3-10 Basic Console Operations General The following series of illustrations and brief step by step procedures are designed to allow new OXF-R3 operators to begin using the console in a very short space of time, without having detailed knowledge of the system. System Set-up The examples shown assume that signal sources, such as microphones, line level signals and multitrack or hard disc recorder, are already connected...
  • Page 45: To Route A Mic Or Line Input To The Main Output Bus

    3-10-1 To Route a Mic or Line Input to the Main Output Bus Press {ACCESS} for the desired Channel. At the Routing panel, select { L } and { R } (fire-up default) if not already lit. At the Input Channel & Inserts panel, press either {MIC} or {LINE} as required, and set the input GAIN Adjust the level to the Main Output Bus with the knob to a suitable setting.
  • Page 46: To Set Up A Super Send Group From Channel Inputs

    3-10 Basic Console Operations 3-10-2 To Set Up a Super Send Group from Channel Inputs Press {ACCESS} for the first Channel to be routed {1/9} and {2/10} in this case. to a Super Send Group (SSG). At the Select To Faders panel (SEL section), select Select {MIC} or {LINE} as required.
  • Page 47: To Send Signals To Tracks On Tape

    3-10-3 To Send Signals to Tracks on Tape Press {ACCESS} for the desired Channel. On the Select To Faders panel, press {M/T SEND} . To pan between tracks, press {CUT} , if it is lit At the Input Channel & Inserts panel, press either {MIC} or {LINE} as required, and set the input GAIN which sets the pan into operation, and adjust the knob to a suitable setting.
  • Page 48: To Monitor Signals To And From Tape

    3-10 Basic Console Operations 3-10-4 To Monitor Signals To and From Tape Press {ACCESS} for the desired Channel. Or press {SEND} to select the signal from tape. Select {CHANS} on the Select To Faders panel Open the Main Fader and turn up the CR Monitor (fire-up default).
  • Page 49: To Set Up A Stereo Headphone Mix For Foldback 1 O/p

    3-10-5 To Set Up a Stereo Headphone Mix for Foldback 1 O/P Turn off the {CUT} buttons and set up the balance At the Send Outputs 1-24 panel in the console centre section, select {17-24} and then select and pan positions using the Faders and their Pans. {STEREO} between Send Masters 17 and 18.
  • Page 50: To Equalise Signal Feeding The Multitrack

    3-10 Basic Console Operations 3-10-6 To Equalise Signal Feeding the Multitrack Press {ACCESS} for the desired Channel. On the upper section of the same panel, select the individual { IN } buttons for the bands required and At the Input Channel & Inserts panel, select adjust as necessary.
  • Page 51: To Equalise Monitor Signal Post Multitrack

    3-10-7 To Equalise Monitor Signal Post Multitrack Press {ACCESS} for the desired Channel. On the upper section of the same panel, select the individual { IN } buttons for the bands required and At the Input Channel & Inserts panel, select adjust as necessary. ‘MULTI’...
  • Page 52: To Insert Dynamics Pre Multitrack Send

    3-10 Basic Console Operations 3-10-8 To Insert Dynamics Pre Multitrack Send Press {ACCESS} for the desired Channel. required: Gate, Compressor, etc., indicated by 8 character dot displays. At the Input Channel & Inserts panel, select ‘MULTI’ in window number 5 using the { + } and On the LCD screen above the dynamics controls, { – } buttons either side.
  • Page 53: To Insert Dynamics Post Multitrack Return

    3-10-9 To Insert Dynamics Post Multitrack Return Press {ACCESS} for the desired Channel. required: Gate, Compressor, etc., indicated by 8 character dot displays. At the Input Channel & Inserts panel, select ‘MULTI’ in window number 5 using the { + } and On the LCD screen above the dynamics controls, { – } buttons either side.
  • Page 54: To Bounce Tracks

    3-10 Basic Console Operations 3-10-10 To Bounce Tracks Press {ACCESS} for the desired Channel. Select {ACCESS} for the first of the new tracks. Make sure {CHANS} is selected on the Select To On the Input Channel & Inserts panel, select ‘MULTI’...
  • Page 55: To Set Up Super Send Groups From Multitrack

    3-10-11 To Set Up Super Send Groups from Multitrack Press {ACCESS} for the first Channel to be routed {1/9} and {2/10} in this case. to a Super Send Group (SSG). At the Select To Faders panel (SEL section), select Select {M/T} and set suitable gain. {SUPER SGs 1-8} , then adjust the Fader to 0dB in the Central Faders panel.
  • Page 56: To Set Up A De-esser Using Dynamics Side-chain Eq

    3-10 Basic Console Operations 3-10-12 To Set Up a De-Esser Using Dynamics Side-Chain EQ Press {ACCESS} for the desired Channel. Now de-select SIG EQ and select S-C EQ to affect just the side-chain signal. At the Input Channel & Inserts panel, select At the same panel, select COMPRESS { IN } .
  • Page 57: To Link Compressor Side-chains In A Group

    3-10-13 To Link Compressor Side-Chains in a Group Press {ACCESS} for the first Channel to have a On the LCD screen above the dynamics controls, dynamics side-chain link. press the Dynamics softkey to view the parameters and transfer curve graph. At the Input Channel &...
  • Page 58: To Link Compressor Side-chains So That One Channel

    3-10 Basic Console Operations 3-10-14 To Link Compressor Side-Chains so that One Channel Controls a Second Channel Press the {ACCESS} button for the controlling On the LCD screen above the dynamics controls, Channel. press the Dynamics softkey to view the parameters and transfer curve graph.
  • Page 59 At the Free Assign Area & Dynamics section, select SC FM G1 in the lower window. All adjustments are made on the first channel. 3-33 Chapter 3 Getting Started...
  • Page 61 Chapter 4 – Signal Paths The OXF-R3 system can be used to build a wide variety of signal paths with maximum flexibility from a basic default configuration. Creating configurations is simple. Signal paths created can be stored as Snapshots to be copied and/or recalled later. Chapter 4 Contents 4-1 The Basic (Default) Signal Path ............
  • Page 62: The Basic (default) Signal Path

    4-1 The Basic (Default) Signal Path 4-1 The Basic (Default) Signal Path When the OXF-R3 is switched on, the system sets a default configuration as described in this section. INPUT CHANNEL & INSERTS – 1 – – 2 – – 3 – –...
  • Page 63 Moving on from the very simple (default) channel signal path, a selection of processing elements is available that can be inserted in any order. This is achieved using the eight small window sections, each with { + } and { - } buttons either side and an { IN } button. All available processing blocks in the Assignable Panel Area can be accessed in any of the windows by toggling the { + } and { - } buttons.
  • Page 64: Mix-down Signal Path With Processing Inserted

    4-2 Mix-down Signal Path With Processing Inserted 4-2 Stereo Mix-down Signal Path With Processing Inserted For each channel, select {MIC} , {M/T} , or {LINE} as the mix-down source, depending on the situation. All input types may be cross-patched as desired via the LCD screens above the Channels areas.
  • Page 65 INPUT CHANNEL & INSERTS F I L T E R D Y N I N S E R T ø – 8 – D E L A Y – 6 – – 7 – LINE GAIN L & R MAIN SEND RETURN C H I N P U T...
  • Page 66: Mix-down With Post Channel Fader Insert

    4-3 Mix-down with Post Channel Fader Insert 4-3 Mix-down with Post Channel Fader Insert The ability to swap functions easily enables the user to start with identical signal paths set up across the console using copy or snapshot functions. Then channels may be changed on an individual basis, according to the situation.
  • Page 67: Recording To A Multitrack

    4-4 Recording to a Multitrack 4-4 Recording to a Multitrack To include the multitrack in the channel path, select MULTI in one of the eight windows in the Input Channel & Inserts section. This creates an in- line channel configuration, separating the channel input and monitor paths. HINT: As a starting point, position the multitrack (MULTI) in window number 5.
  • Page 68: In-line Channel Multitrack Recording Set-up

    4-5 In-Line Channel Multitrack Recording Set-up 4-5 In Line Channel Multitrack Recording Set-up If FADER is not placed in any of the eight windows, it is automatically positioned after window number -8- equivalent to the monitor fader in an in-line console. By selecting MULTI to one of the eight windows, the multitrack machine is inserted into the path and creates an In-Line channel.
  • Page 69: In-line Channel With Insert Post Channel Fader (monitor Function)

    4-6 In-Line Channel with Insert Post Channel Fader (Monitor Function) 4-6 In-Line Channel with Insert Post Channel Fader (Monitor Function) As with the Mix-down examples shown previously, post fade functions can be configured in the same way during recording. The diagram shows the channel fader, which is controlling the monitor mix, with a post fade insert point.
  • Page 70: Send 1 Pre Fader Headphones Feed

    4-7 SEND 1 Pre Fader Headphones Feed 4-7 SEND 1 Pre Fader Headphones Feed The diagram shows a typical Pre Fader headphone mix set-up, where a channel is configured in multitrack mode. SEND 1 is used to send a signal to headphones from the tape return signal.
  • Page 71: Send 1 Post Fader Headphones Feed

    4-8 SEND 1 Post Fader Headphones Feed 4-8 SEND 1 Post Fader Headphones Feed To change the Pre Fader configuration to a Post Fader set-up, in the upper left SOURCE window of the SENDS 1-24 panel, simply toggle the SOURCE window to CH OUTPUT which will cause the {SELECT} button to light.
  • Page 72: Broadcast Mode

    Broadcast Mode Broadcast Mode General In ‘Broadcast Mode’ the operator is able simultaneously to: Mix individual inputs to the Main Output Bus Record a multitrack backup as a parallel operation. The multitrack output can be monitored separately via a stereo bus accessed by the External Source Selector in the Monitor panel in the centre section of the console.
  • Page 73 INPUT CHANNEL & INSERTS – 20 dB F I L T E R D Y N I N S E R T ø L & R MAIN LINE GAIN SEND RETURN CH INPUT CH OUTPUT F I L T E R D Y N I N S E R T ø...
  • Page 74 Broadcast Mode Monitoring the multitrack To listen to the stereo Multitrack Send Monitor Bus, select M/T MON at the Ext. Source section of the Monitor panel in the centre section. This is a dedicated internal monitor bus designed specifically for use when making a parallel multitrack recording, alongside a stereo mix.
  • Page 75: Channel Metering

    4-10 Channel Metering The Channel Meter sources are set automatically according to the functions in use in the channels. 4-10-1 Channel Meter Default The fire-up default for the Channel Meters is pre fader as illustrated in the following diagram. This is denoted on the OXF-R3 by the red ‘C’ legend at the top of the Channel Meters.
  • Page 76: Send Monitor

    4-10 Channel Metering 4-10-3 Send Monitor Selecting the {SEND} button at the channel record remotes causes the Meter to take its source from signal being sent to tape, indicated by the yellow ‘S’ legend at the top of the Channel Meters. CH INPUT L &...
  • Page 77: Multi In Channel Path

    4-10-5 MULTI in Channel Path If MULTI is selected in one of the 8 windows but neither {SEND} nor {RET} push-button is selected, the Meter is fed pre fader. The input signal source is overridden by the multitrack return signal. CH INPUT L &...
  • Page 78: Dynamics Side-chain Linking

    4-11 Dynamics Side-Chain Linking 4-11 Dynamics Side-Chain Linking 4-11-1 Dynamics Side-Chain Link Right SC FM RT SC TO RT SC FM RT SC TO RT SC FM RT SC TO RT MIN APPLIES TO GATE & EXPANDER SC FM RT •...
  • Page 79 Dynamics Side-Chain Link Right set-up procedure The buttons for this operation are located in the Free Assign Area & Dynamics panel. They are the assignable buttons just left of centre in the upper section of this panel. Their function is indicated by individual 8 character displays, one positioned to the left of each button (see Chapter 6, section 6-2-6).
  • Page 80: Dynamics Side-chain Busses 1-4

    4-11 Dynamics Side-Chain Linking 4-11-2 Dynamics Side-Chain Busses 1-4 (SC TO G1) (SC FM G1) (SC TO G1) (SC FM G1) (SC TO G1) (SC FM G1) (SC TO G1) (SC FM G1) Block schematic to illustrate the switching for Dynamics Side-Chain Bus 1 Dynamics Side-Chain Busses 1-4 in general This function allows any channel to feed its Side-Chain Control Signal to any one of four Side-Chain Busses.
  • Page 81 Dynamics Side-Chain Bus operation The buttons for this operation are located in the Free Assign Area & Dynamics panel. They are the assignable buttons just left of centre in the upper section of this panel. Their function is indicated by individual 8 character displays, one positioned to the left of each button (see Chapter 6, section 6-2-6).
  • Page 82: Mixing To The Main Output Bus

    4-12 Mixing to the Main Output Bus 4-12 Mixing to the Main Output Bus Multi-Channel Main Output Bus in general The Main Output Bus for the OXF-R3, which doubles as the M/T Monitor Bus, can be used for Stereo or Surround mix-down according to the set-up in the centre section.
  • Page 83 Block Schematic of Stereo and Surround Mix-Down illustrating interconnections of all components, including monitoring 4-23 Chapter 4 Signal Paths...
  • Page 84: Main Output Bus Set-up

    4-12 Mixing to the Main Output Bus 4-12-1 Main Output Bus Set-up MULTI-FORMAT & STEREO SUB-GROUPS 1-16 M-F MON LOCK MAIN WIDTH STEMS MONO 5, 8 Master Section set-up functions The 8 character dot display to the left of this panel can display the format for the Main Output Bus and that of M/T Stems.
  • Page 85 While the system is unlocked, press the {SET MAIN WIDTH} button to check the Main Bus width matches requirements, if not already displayed. To change it, while the system is unlocked, use the { + } or { - } button to step through the formats: STEREO, LCRS, 5.1 and 7.1 until the desired format is displayed by the 8 character dot display above the {LOCK} push-button.
  • Page 86: Channel Signal To The Main Output

    4-12 Mixing to the Main Output Bus 4-12-2 Channel Signal to the Main Output 1 CHANS Push-Button Sets the faders in the channels sections to control the level of the Channel Outputs to the Main Output Bus. Make sure this button is selected. 4-26 Chapter 4 Signal Paths...
  • Page 87 MULTITRACK GROUP TRIM X X X X X X X X SOURCE X X X X X X X X INSERT ACCESS LEVEL Surround routing and panning when mixing to the Main Output 4-27 Chapter 4 Signal Paths...
  • Page 88: Routing, Stereo And Surround Panning In General

    4-12 Mixing to the Main Output Bus Routing, Stereo and Surround Panning in general The controls used for routing and panning of signals may be assigned to a number of functions including the Channel Output, Multitrack Send and the SSGs (Super Send Groups). The following describes their use when assigned to the Channel Output, by selecting {CHANS} on the SELECT TO FADERS panel.
  • Page 89: Multi-stem Set-up

    4-13 Multi-Stem Set-up MULTI-STEM in general Recording a stem works in much the same way as recording a mono or stereo signal to multitrack. The differences are having surround sound panning instead of stereo, and the Main Output Bus, which is used as the monitor path, must be set to a suitable surround format.
  • Page 90 4-13 Multi-Stem Set-up CHs SET - CR MONITOR MAIN FADER Block Schematic of Multi-Stem Scheme illustrating interconnections of all components, including monitoring 4-30 Chapter 4 Signal Paths...
  • Page 91 - AS SURROUND SOUND GROUP MASTERS 4-31 Chapter 4 Signal Paths...
  • Page 92: Multi-stem Set-up Procedure

    4-13 Multi-Stem Set-up 4-13-1 Multi-Stem Set-up Procedure The Main Output Bus for the OXF-R3, which doubles as the M/T Monitor Bus, has two basic modes of operation, Stereo or Surround. For Stem or Multi-Stem operation the Main Output Bus must be set to a Surround mode.
  • Page 93 The {LOCK} push-button is normally lit, indicating that the set-up is locked. Press to unlock, indicated by the light going off. This button will time out back to lock status 10 seconds after the last button press. Note A Config. Set-up option enables the {LOCK} button as a level of security, i.e. it must be unlocked to allow bus assignment set-up.
  • Page 94 4-13 Multi-Stem Set-up To Clear any Busses set up in Stems As an example, to clear the bus set up as the C channel: Press and hold the { C } button and it lights. Press the SELECT TRACK { + } and { - } buttons simultaneously to clear the bus assignment for the C channel.
  • Page 95 4-35 Chapter 4 Signal Paths...
  • Page 96: Multi-stem Monitor Path

    4-13 Multi-Stem Set-up 4-13-2 Multi-Stem Monitor Path The channels which relate to the multitrack busses in stems need to be set up as the monitor path for each stem. 4-36 Chapter 4 Signal Paths...
  • Page 97 The {SEND} push-buttons relating to the Multi-Stem (multitrack) busses will be selected automatically during the master set-up. Note In Multi-Format Mode the {SEND} and {RET} buttons for channels assigned as Stem masters inter-cancel. Select {ACCESS} for each Stem Master channel in turn. Step through the options in box 8 for each stem channel on the Input Channel &...
  • Page 98 4-13 Multi-Stem Set-up FOLDDOWN 4-38 Chapter 4 Signal Paths...
  • Page 99 Once the Stem Masters have been set up on channels make sure the central Master Fader is set to maximum, 0dB. Then the monitor signal is available via the centre section controls as follows: Note What follows is an overview of the Monitor functions. For detailed descriptions of individual functions, see Chapter 6.
  • Page 100: Multi-stem Source Channels

    4-13 Multi-Stem Set-up 4-13-3 Multi-Stem Source Channels Setting up source channels Select MULTI in box 8 for each source channel using the { + } and { - } buttons. Select its { IN } button. This set-up ensures that all processes assigned to boxes 1-7 affect the source signal sent to tape. Note The channel paths for channels set up as Multi-Channel monitors sections may also be used as source channels.
  • Page 101 1 MT SEND Push-Button Sets the faders in the channels sections to control the level of the Multitrack Sends which feed the M/T Busses set up as Stems. Make sure this button is selected before proceeding. 4-41 Chapter 4 Signal Paths...
  • Page 102 4-13 Multi-Stem Set-up MULTITRACK GROUP TRIM X X X X X X X X SOURCE X X X X X X X X INSERT ACCESS LEVEL Multi-Channel routing and surround panning 4-42 Chapter 4 Signal Paths...
  • Page 103 Multi-Channel routing and surround panning The following applies to the channels which are the sources for Multi- Channel Stems. 1 STEMS Press one of A-H to select the desired stem destination. The button will light and its button in the ROUTE GUI will turn red. Buttons A-H inter- cancel.
  • Page 104 4-13 Multi-Stem Set-up Behaviour of Routing in general. The routing options and behaviour vary considerably depending on whether the system is operating in STEREO or MULTI-FORMAT modes. What follows is a summary: STEREO Mode ‘ROUTE TO TRACKS’ section 3 allows panning strictly between Odd and Even tracks only.
  • Page 105 • Selecting more than two buttons in the MULTI-FORMAT section 2 The track buttons, from 1-48, mapped in the stem set-up will light and a Post Fader signal will be fed directly to those tracks. Selecting the M/T {PAN IN} button will allow panning between those tracks as follows: •...
  • Page 106 4-13 Multi-Stem Set-up Automation switches for the Motorised Joysticks 1 ABS Push-Button Used to select ‘ready absolute’ status when automating joystick panning movements. The automation functions are exactly the same as those for faders (see Chapter 7). 2 TRIM Push-Button Used to select ‘ready trim’...
  • Page 107: Routing And Monitoring A Signal

    Routing and monitoring a signal Once the set-up operations described earlier in this section have been completed: Select {M/T SEND} on the SELECT TO FADERS panel and adjust faders on source channels to suitable level settings. Select suitable destinations for the source channels using the MULTI- FORMAT routing buttons.
  • Page 108: Stem Monitor Switching

    4-13 Multi-Stem Set-up 4-13-4 Stem Monitor Switching Once stems have been set up, the tape sends and returns for each stem can be switched in tandem. The switching is operable in several ways, using the SENDS and RETS buttons by the machine remotes or using external switches linked to GPI (General Purpose Interface) connections.
  • Page 109: Stem Monitor Switch Functions

    STEM monitor switch functions 1 SENDS Push-Button(s) Selects the sources being sent to tape for its stem or stems and inter- cancels with {RETS}. 2 RETS (Returns) Push-Button(s) Selects the return signal from tape for its stem or stems and inter-cancels with {SENDS}.
  • Page 110: Stem Monitor Switching Gui Set-up

    4-13 Multi-Stem Set-up 4-13-5 Stem Monitor Switching GUI Set-up From the OXF-R3 LOGO page, click on M/STEM to view the MULTI- STEM SET-UP GUI. Assigning Stems using the GUI Any of the Stems A-H which are assigned to the monitor switches in the Remotes Rows will appear in red.
  • Page 111 HOLD button(s) Clicking on and highlighting in red any of the HOLD buttons in the GUI will cause the current monitor selection to be frozen, in that flipping between SENDS and RETS will only affect those not ‘held’. CUT button(s) Cuts its stem signal.
  • Page 112: Fold-down Matrix Guis

    4-13 Multi-Stem Set-up 4-13-6 Fold-Down Matrix GUIs General The two Fold-Down GUIs allow control of the levels for the fold-down of signal sources, when an output is derived from another which has a greater number of outputs. As an example, the Main Output Bus is set up for a 5.1 output and a Stereo Output is required simultaneously, or a Stereo version must be listened to for compatibilty checking.
  • Page 113 Defaults The Defaults are defined in the start-up Config. File settings. HF Filter A low pass filter is available in the Sub channel when folding down from 7.1 to 5.1. Click on {HF FILT}, to the right of the GUI, to insert a filter with a corner frequency of 120Hz and a slope of 24dB/Octave.
  • Page 115 Chapter 5 – Control Screens In this chapter, the user will find a summary of the screens/menus available when operating the OXF-R3 system. They divide into 3 categories: System and general set-up; Session Management™ and those which relate to OXF-R3 mixer functions, such as input and output routing, equaliser and dynamics curve displays.
  • Page 116: The Master Control Screens

    5-1 The Master Control Screens 5-1 The Master Control Screens This suite of screen pages is available on the central LCD in the master section. It allows System-related set-up and Session Management™ functions which cover Artists/Projects, Titles, Mixes, Snapshots, Cues and Tracklists.
  • Page 117 SCREEN SOFTKEYS AND DESTINATIONS LOGO (TOP) SYSTEM PROJECTS SCREEN REMOTES SYSTEM PROJECTS MIXES MACHINES SNAPSHOT BACKUPS SCREEN PREV.SCRN PROJECTS SYSTEM MIXES SNAPSHOT REMOTES BACKUPS SCREEN TRACKS PREV.SCRN MACHINES SYSTEM PROJECTS MIXES SNAPSHOT TRACKS REMOTES SCREEN PREV.SCRN SCREEN MIXES SYSTEM PROJECTS SNAPSHOT ASSEMBLE TRACKS...
  • Page 118 5-1 The Master Control Screens REMOTES SYSTEM PROJECTS MIXES SNAPSHOT COMMIT MACHINES SCREEN PREV.SCRN. PREV.SCRN. Displays list of the screens available, in alphabetical order: SCREEN ASSEMBLE - BACKUPS - DIAGS - GLOBAL - MACHINES - MIXES - OFFLINE - PREFERENCES - PROJECTS - REMOTES - SNAPSHOTS - SYSTEM - TOP - TRACKS DIAGS SYSTEM PROJECTS...
  • Page 119: Channel Screens

    5-2 Channel Screens 5-2 Channel Screens The Channel Screens in general Six LCD Channel Screens are provided on the OXF-R3 control surface, three either side of the centre section. Note: Each Channel Screen can display any of the functions described. The softkeys below the channel screens give access to other functions.
  • Page 120 5-2 Channel Screens SCREEN SOFTKEYS AND DESTINATIONS LOGO (TOP) ROUTE EQ/FILT PREF M/STEM MASTER CH ROUTING MORE 1 to 8 9 to 16 17 to 24 25 to 32 33 to 40 41 to 48 FURTHER PAGES FOR CHANNELS 49-56, 57-64 etc. MORE 1 to 8 9 to 16...
  • Page 121 A Fast Insert set-up facility allows I/O (an input and an output) plus a name to be set as a single entity. A single click on that name in the Fast Insert pop-up assigns a send destination, a return source and an electronic scribble name simultaneously.
  • Page 122: Routing Gui

    5-2 Channel Screens 5-2-1 Routing GUI Routing GUI layout General The Routing GUI displays the channel output routing buttons for 8 channels according to the bank of faders below it, and which faders page is selected on the SELECT TO FADERS panel. For example, if channels 1-24 are selected to the faders and the ROUTING GUI is selected for the middle screen, it will display routing buttons for channels 9-16.
  • Page 123 Direct the cursor with the Trackerball and press the central red button above the Trackerball to operate button. All routing assignments are indicated by buttons turning red. To display other groups of 8 channels, click on the appropriate softkey at the bottom of the GUI or push its button below the screen.
  • Page 124 5-2 Channel Screens Assignments made to tracks which are not set up as part of a stem can be routed as normal, taking the output from the surround panner, L to odd numbered tracks and R to even. Super Send Group (SSG) buttons 1-16 These buttons, at the lower part of the GUI, just above the Stem buttons A-H, indicate assignments to the 16 Super Send Groups.
  • Page 125: I/o Gui

    5-2-2 I/O GUI I/O GUI layout This GUI allows I/O assignments for: • MONO channels • STEREO Return channels The I/O GUI Screen contains dialogue blocks for the following I/O: • Mic Inputs • Line Inputs • Multitrack Inputs • Channel Inserts •...
  • Page 126 5-2 Channel Screens IMPORTANT I/O Pop-up COLOUR CODING The pop-ups which allow I/O assignments are colour coded as follows: Text • Black 4 Channel ADCs, DACs and AES I/O • Yellow 8 Channel ADCs and DACs Background colour of pop-up buttons •...
  • Page 127 Indication of inputs and outputs already in use The I/O is assigned using the GUIs illustrated on the following pages. Various pop-ups are used to display sources and destinations. Objects already in use will be indicated by [xxx]. For example if ADC10 is in use it will be indicated as [ADC10].
  • Page 128 5-2 Channel Screens Figure A Figure B MIC INPUT pop-ups 5-14 Chapter 5 Control Screens...
  • Page 129 Assigning MIC INPUTS The upper 8 blocks in the GUI entitled MIC, each with 3 clickable fields below, ar e used for setting up MIC inputs. INPUT – Upper field The upper field is used to select the ADC. Click on this field to display a pop-up dialogue box as shown in Figure A.
  • Page 130 5-2 Channel Screens Figure A Figure B M/T RETURN INPUTS GUI pop-ups 5-16 Chapter 5 Control Screens...
  • Page 131 Assigning M/T INPUTS The second 8 blocks entitled M/T, each with 2 clickable fields below, are used for setting up the multitrack inputs. INPUT – Upper field The upper field of each block is used to select the input source. Click on this to display a pop-up of the available sources as in Figure A.
  • Page 132 5-2 Channel Screens Figure A Figure B LINE INPUTS pop-ups 5-18 Chapter 5 Control Screens...
  • Page 133 Assigning LINE INPUTS The middle 8 blocks entitled LINE, each with 2 clickable fields and an indicator below, are used for setting up LINE inputs. INPUT – Upper field The upper field is used to select the I/O source. Click on this to display a pop-up as in Figure A.
  • Page 134 5-2 Channel Screens CHANNEL FAST INSERTS pop-up Assigning CHANNEL INSERTS The 8 blocks towards the bottom of the GUI entitled INSERTS, each with 5 fields (the title is a useable field too), are used to set up channel inserts. Inserts can be set up in two ways, using the pre-assigned FAST INSERTS via the upper field or by setting each item individually using the other fields.
  • Page 135 destinations. Figure A shows analogue destinations (DACs). Click on the desired DAC number to assign a Send. For a digital output, click on AES for the list of digital destinations. Further pages of related pop-ups can be accessed by clicking on “ or ”. Click on OFF to disable a Send. RANGE A contiguous range of Insert Sends can be assigned simultaneously.
  • Page 136 5-2 Channel Screens Figure A Figure B CHANNEL INSERT pop-ups 5-22 Chapter 5 Control Screens...
  • Page 137 Figure C CHANNEL INSERT pop-up NAME – Fifth field Click on the fifth (lowest) field to name the device inserted. This name appears in an 8-character display in the Input Channel & Inserts panel when the Insert function is selected. A pop-up appears as in Figure C. Click on a suitable name already in the list or select NEW ENTRY and use the QWERTY keyboard to type in a new name of up to 8 characters.
  • Page 138 5-2 Channel Screens Figure A - M/T GROUP FAST INSERT Figure B - M/T GROUP OUTPUT M/T GROUP pop-ups 5-24 Chapter 5 Control Screens...
  • Page 139 Assigning M/T GROUP INSERTS and OUTPUTS The 8 blocks at the bottom of the GUI entitled M/T GRP, each with 7 clickable fields (including the title) are used to set up the multitrack outputs and inserts. FAST INSERT – Upper field Clicking on the upper M/T GRP field gives access to the FAST INSERTS pop-up.
  • Page 140 5-2 Channel Screens Figure C - INSERT SEND M/T GROUP pop-up GROUP O/P SAMPLE RATE CONVERTER – Third field right This indicator turns red and reads “ON” when a digital I/O that has an SRC turned on is selected. SRCs are controlled via the PREFERENCES GUI, described later in this chapter.
  • Page 141 INSERT SAMPLE RATE CONVERTER – Sixth field right This indicator turns red and reads “ON” when a digital I/O that has an SRC turned on is selected. SRCs are controlled via the PREFERENCES GUI, described later in this chapter. NAME – Seventh field The seventh (lowest) field is used to enter an electronic scribble name for the insert.
  • Page 142: Equaliser & Filters Gui

    5-2 Channel Screens 5-2-3 Equaliser & Filters GUI EQUALISER & FILTERS GUI layout This GUI displays the 5 Band Equaliser, High and Low Filter curves as a combination (default) or individually. The parameters for each section are also indicated. Viewing EQ and Filter curves (Press softkeys below the LCD screen) •...
  • Page 143: Dynamics Gui

    5-2-4 Dynamics GUI DYNAMICS GUI layout This GUI functions in a similar manner to the Equaliser & Filters screen, displaying the knob setting parameters for the Gate, Expander, Compressor and Limiter simultaneously. The related dynamics transfer curve is displayed for the channel currently accessed. In the graph displayed on this screen, the X axis has a range of -80dB (left) to 0dB (right, full scale) for the input scale.
  • Page 144: Preferences Gui

    5-2 Channel Screens 5-2-5 Preferences GUI PREFERENCES GUI layout General Click on Preference options according to the following descriptions: I/O STEALING - A warning dialogue will appear when re-assigning I/O • ASK already in use, allowing the previous assignment to be retained.
  • Page 145 SELECT Allows a one-shot print function of Mixer GUIs, such as I/O set-ups, using the SELECT buttons below the LCD screens in the channel sections. - Click on PRINT. Then, pressing SELECT below any • PRINT LCD in the channels sections will cause an image of the GUI displayed to be printed, provided that the cursor is already in that screen.
  • Page 146 5-2 Channel Screens GDC DISPLAY (Global Delay Compensation) Option to set what is displayed in the 8 character dot display above the Global Display Compensation knob on the Free Assign Area & Dynamics panel. • ALWAYS - Units of delay are indicated continuously. •...
  • Page 147 PAN OUT RESET • RESET - Switching a Pan out will centre it if switched in again. • RESTORE - Switching a Pan out will centre it, but it will return to its previous setting if switched in again. ST METER {MAIN} is selected This option applies to the central stereo meter when under the “METERS”...
  • Page 148 5-2 Channel Screens PREFERENCES GUI - I/O ALIAS page layout General This GUI allows I/O objects to be given names which can relate to the local environment. ADC 1 could be named MIC 1, for example, which might relate to a particular microphone input socket on a panel in the studio.
  • Page 149 PREFERENCES GUI - MULTITRACK SCRIBBLES page layout (Select ‘DIALOG’ at the PREFERENCES GUI) General The majority of I/O assignments can have names associated with them which may be displayed on GUIs and electronic scribbles. This GUI allows customisation of the scribble name pop-ups allowing frequently used pre-set names to be listed and edited.
  • Page 150 5-2 Channel Screens PREFERENCES GUI - FAST INSERT I/O set-up page layout General This GUI allows the setting up of Send I/O, Return I/O and Electronic Scribble names for devices used via Channel Inserts. The preset FAST INSERTs are accessed via the channel I/O GUI. Setting up FAST INSERT I/O Each of the 40 blocks in the GUI has 4 clickable fields as follows: Note:...
  • Page 151 INSERT SEND – Second field The second field is used to specify an I/O destination for the selected Insert Send. Click on this for a pop-up displaying possible destinations. Click on the desired DAC to assign an analogue Send or, for a digital output, click on AES for the digital destinations.
  • Page 152 5-2 Channel Screens AES SAMPLE RATE CONVERTER SETUP GUI General This GUI allows Sample Rate Converters (SRCs) to be switched in and out on AES Digital I/O. SRCs are switchable in odd/even pairs only for: • INPUTS • INPUTS & OUTPUTS Note: It is not possible to select an SRC to an Output alone.
  • Page 153: Master Gui (includes Main Bus Outputs)

    5-2-6 MASTER GUI MASTER GUI layout This GUI allows assignment of: • MAIN OUTPUT BUS (4 separate outputs) • MAIN BUS INSERTs General The MAIN OUTPUTS GUI allows assignments of all master bus outputs, their inserts and external monitor inputs etc. A number of pages can be accessed using softkeys at the bottom of the screen.
  • Page 154 5-2 Channel Screens Figure A MASTER GUI - MAIN OUTPUT BUS output pop-up Note: Whilst the following describes selecting destinations and inserts for the MAIN BUS, the methods of operation apply to all pages related to the MASTER GUI. General The clickable fields in the Main Output GUI are laid out in the form of a set of Surround LS.
  • Page 155 Figure B MASTER GUI - MAIN OUTPUT BUS scribble pop-up outputs have been selected. When digital outputs are set, the Word Length is displayed here. Clicking on it cycles through 16, 20 and 24 bit settings. NAME – MAIN OUTPUT 1 lower middle right Click on this to display a pop-up as shown in Figure B.
  • Page 156 5-2 Channel Screens Figure C MASTER GUI - MAIN OUTPUT BUS insert pop-up MAIN INSERT SEND – Upper field Click on an upper field of one of the 8 block pairs for the Insert Send pop- up displaying possible destinations. Figure C shows analogue destinations in the form of DAC outputs.
  • Page 157 MASTER GUI - SUPER SEND GROUPS Outputs and Inserts page layout This GUI allows assignment of: • SUPER SEND GROUP Outputs 1-16 • SUPER SEND GROUPS 1-16 Inserts The Softkeys for this GUI: • TOP - Selects the top level LOGO screen •...
  • Page 158 5-2 Channel Screens MASTER GUI - SEND OUTPUTS page layout This GUI allows assignment of: • SEND Bus Outputs 1-24 • MIDI Control Pages 1-24 The Softkeys for this GUI: • TOP - Selects the top level LOGO screen • MIDI - Selects the MIDI page with the same number as the currently accessed Send Output •...
  • Page 159 MASTER GUI SCRIBBLES - CONTROL GROUP & SCRIBBLES page layout This GUI allows scribble name assignment for: • CONTROL GROUP FADERS • TALKBACK SCRIBBLES The Softkeys for this GUI: • TOP - Selects the top level LOGO screen • MASTER - Selects the top level MASTER screen 5-45 Chapter 5 Control Screens...
  • Page 160 5-2 Channel Screens MASTER GUI - STEREO EXTERNAL SOURCES page layout This GUI allows assignment of: • STEREO EXTERNAL SOURCES 1-8 (Select using the EXT SOURCE buttons in the Monitor Panel to listen to them) The Softkeys for this GUI: •...
  • Page 161 MASTER GUI - Surround EXTERNAL SOURCES page layout This GUI allows assignment of: • MULTI-FORMAT EXTERNAL SOURCE Inputs 1-6 (Select using the EXT SOURCE buttons in the Monitor Panel to listen to them) The Softkeys for this GUI: • TOP - Selects the top level LOGO screen •...
  • Page 162 5-2 Channel Screens MASTER GUI - Monitors and misc. assignments page layout This GUI allows assignment of: • CONTROL ROOM MONITOR LS Outputs 1, 2 & 3 • TALKBACK MIC • METERS - Output for Signals Feeding Central Meters • STUDIO LS Outputs 1 & 2 •...
  • Page 163 Chapter 6 – Technical Descriptions This chapter provides descriptions of the OXF-R3 system, including the location and function of all elements of the system. The control surface layout and functions are described in detail. For details of the signal flow in the OXF-R3 system, refer to the Signal Flow Block Diagram in Chapter 1, Overview.
  • Page 164: Oxf-r3 System Description

    6-1 OXF-R3 System Description 6-1 OXF-R3 System Description The OXF-R3 digital audio mixing console comprises four main elements: • Control Console with Modular Control Surface • Host Computer • Signal Processing (SP) Rack • Digital and Analogue I/O Rack(s) System Concept diagram 1 SP Rack 2 Host Computer 3 Multitrack Tape Recorder(s)
  • Page 165: Control Surface Configurations

    6-1-1 Control Surface Configurations 24-C-24 Control Surface Configuration 24-C-0 Control Surface Configuration 1 Left Hand 24 Fader Channels Section 3 Right Hand 24 Fader Channels Section 2 Central Master Section 4 Meter Bridge Chapter 6 Technical Descriptions...
  • Page 166 6-1 OXF-R3 System Description A key feature of the OXF-R3 is that it has Assignable Panels. These can be broken down into 4 basic areas: • INPUT CHANNEL, EQUALISER and FILTERS • FREE ASSIGN and DYNAMICS AREA • ROUTING and MULTITRACK •...
  • Page 167 • ROUTING The Routing section splits into three areas: • Multitrack Busses 1-48 • Main Output Bus and Super Send Groups 1-16 • Multi-format Monitor Although just one set of buttons (which follow the channel assignments) is available at each side of the console, 48 channels worth of routing can be displayed simultaneously, with 24 channels being displayed on the LCD screens on each side of the control surface.
  • Page 168: Channels Section Panels

    6-2 Channels Section Panels 6-2 Channels Section Panels The following descriptions apply equally to the left and right hand channels sections, which are mirror images of each other. 6-2-1 Fader Panel General Each Fader Panel (three left and three right) contains 8 touch sensitive linear motorised faders with associated electronic dot display scribbles and local dynamic automation controls.
  • Page 169 SOLO SOLO SOLO SOLO X X X X X X X ACCESS ACCESS ACCESS ACCESS ACCESS ACCESS ACCESS ACCESS Fader panel 1 ACCESS Push-Button Selects the set of channel process and routing controls above the faders area to its channel. 2 SOLO Push-Button The function of fader Solo push-buttons is dependent upon the master status set on the Monitor Panel in the centre section:...
  • Page 170 6-2 Channels Section Panels 4 Upper Electronic Scribble (6 Character dot display per Fader) Displays the audio source name. This may be selected from a table of source names via colour LCD screens when selecting signal sources. The name may also be typed in via the central QWERTY keyboard. It also displays gain level in dBs if the SHOW VALUE function is selected.
  • Page 171: Select To Faders Panel

    6-2-2 Select to Faders Panel The following illustration shows the left Select to Faders Panel, which is located immediately to the left of the centre section of the control surface. The right hand Select to Faders Panel, located immediately to the right of the centre section, has a panel layout which is a mirror image of the one described here.
  • Page 172 6-2 Channels Section Panels !£ !™ !º !∞ !¡ !§ !¢ !¶ !• SELECT TO FADERS panel 6-10 Chapter 6 Technical Descriptions...
  • Page 173 1 CHANS Push-Button (Default) Allows faders to be switched to control the level sent to the Main Output busses. 2 M/T SEND Push-Button Allows faders to be switched to control the level sent to the Multitrack Busses during recording. 3 Channel Page Push-Button Allows selection of Channel Fader Pages 1-24, 25-48 and so on.
  • Page 174 6-2 Channels Section Panels !£ SHOW VALUE Push-Button Allows the display of gain/loss in dB on the upper scribble for the function the fader is presently performing. !¢ ? & / Push-Buttons Step the ACCESS button selections one channel at a time in the direction of the arrow.
  • Page 175: Pans Panel

    6-2-3 Pans Panel Each of the 6 Pans Panels (3 each side of the control surface) contains 8 definable knobs, with associated electronic dot display, AFL and CUT buttons. Although the primary purpose of these knobs is panning, their functions may be defined. Any pan or gain function may be selected at the SELECT TO PANS panel.
  • Page 176 6-2 Channels Section Panels 1 AFL Push-Button Sends AFL signal to monitor LS for whichever level function is assigned to the knob at the time. 2 CUT Push-Button Mutes the signal assigned to knob. When a pan function is assigned, CUT becomes the pan in/out switch.
  • Page 177: Select To Pans Panel

    6-2-4 Select to Pans Panel This panel allows assignment of functions to the PAN panels adjacent to it. The default and primary setting is PAN. The options are as follows: !º !¡ !™ CHANS SEND SELECT TO PANS panel 1 PAN Push-Button Left/Right Pan for all occasions where the Fader Output is feeding a Stereo Bus (default setting).
  • Page 178 6-2 Channels Section Panels 3 M/T SEND Push-Button Allows pans to be switched to control the level sent to M/T bus during recording. 4 INPUT GAIN Push-Button Allows pans to be switched to control gain of Mic, M/T Return and Line Input.
  • Page 179: Input And Equaliser Panel

    6-2-5 Input and Equaliser Panel This panel is divided into two distinct sections, the INPUT CHANNEL & INSERTS section and the EQUALISER & FILTERS section, designated A and B respectively in the illustration. !¡ !™ !¢ !£ EQUALISER & FILTERS FREQ X X X X X X X X FREQ...
  • Page 180 6-2 Channels Section Panels 3 LINE Push-Button Selects the digital or analogue LINE input as assigned on the LINE Inputs GUI. 4 Ø Push-Button Reverses phase of the selected input source. 5 GAIN Knob Allows gain adjustment for the selected source. 6 8 Character Display Indicates the gain for the current source in dBs.
  • Page 181 High and Low Pass Filters 1 FREQ Knobs Set the turnover frequencies. 2 SLOPE Push-Buttons Set dB/Octave 6-36dB in 6dB increments. 3 / LF Push-Button Switches the high pass filter in/out. 4 HF \ Push-Button Switches the low pass filter in/out. Five Band Equaliser (LF, LMF, MF, HMF &...
  • Page 182: Free Assign Area & Dynamics Panel

    6-2 Channels Section Panels 6-2-6 Free Assign Area & Dynamics Panel This Panel allows control of Dynamics and Delay functions and is designed such that future additional option processing elements may easily be accommodated. 8 9 0 FREE ASSIGN AREA & DYNAMICS panel 12 x Selector Blocks (Lower Left &...
  • Page 183: Definable Knobs

    3 ACCESS Push-Button(s) Allows Free Assign controls to access control of selected process. Note: Selecting any IN button selects its associated ACCESS automatically. 6 Definable Knobs and 6 Switches 4 8 Character Displays Indicate the functions of adjacent definable knobs and switches. 5 DEFINABLE Knobs Allow adjustment of parameter indicated.
  • Page 184 6-2 Channels Section Panels The Dynamics Area • GATE • EXPANDER • COMPRESSOR • LIMITER • SIDE-CHAIN EQUALISER The names of these functions appear in small display windows on the panel. By pressing the ACCESS button to one side of the window, control of that function is assigned to the six knobs at the top of the panel.
  • Page 185 FREE ASSIGN AREA & DYNAMICS DYNAMICS THRESHOLD ATTACK HOLD RELEASE GATE COMP LIMIT RANGE SIG EQ L O C A L S – C EQ L O C A L G A T E DELAY ACCESS EXPANDER ACCESS COM PRESS ACCESS LIMITER ACCESS...
  • Page 186: Dynamics Side-chain Equaliser

    6-2 Channels Section Panels Dynamics Side-Chain Equaliser The Side-Chain EQ is a two-band parametric covering a bandwidth from 20Hz to 20kHz. It can be used as an additional EQ in the signal path as well as the Dynamics Side-Chain. Select the ACCESS button by the window displaying S-C EQ and the knobs and switches will be assigned to the Side-Chain EQ.
  • Page 187: Multitrack Panel

    6-2-7 Multitrack Panel This panel allows control of all Multitrack functions, apart from track routing assignments, for the channel currently accessed. MULTITRACK GROUP TRIM X X X X X X X X SOURCE X X X X X X X X INSERT !∞...
  • Page 188 6-2 Channels Section Panels SOURCE section 3 8 Character Display Indicates signal source point in channel chain from where the signal to feed the Multitrack is derived. +/- Push-buttons allow selection of the junction in channel path from where the Multitrack signal is sourced. The signal will be taken directly from the ouput of the function displayed.
  • Page 189 !¡ Definable Knob Works in conjunction with the front/back, the surround left/right and divergence panning if a multi-format mode has been selected. !™ Back/Front Push-Button Assigns the definable knob to back/front panning. !£ SUR L/R Push-Button Assigns definable knob to rear surround left/right panning. !¢...
  • Page 190: Routing Panel

    6-2 Channels Section Panels 6-2-8 Routing Panel The Routing panels allow signals to be routed to Multitrack busses, the Main Output Bus and the Super Send Groups. Multi-Format routing and its monitor are also set using this panel. ROUTING panel MULTI-FORMAT Section 1 MULTI-FORMAT L, L/C, C, R/C, R, L-S, SUB, R-S Push-Buttons These allow surround routing for a number of sources.
  • Page 191 The button layout mimics the Multi-Format LS set-up for easy recognition when routing Multi-Channel sources. With this scheme it is not necessary to remember track numbers. Channel Faders If {CHANS} is selected on the SELECT TO FADERS panel, then the surround routing buttons assign the Channel Output signal (post the Channel Pan) to the the Main Bus according to the format selected for the Main Bus: Stereo, LCRS, 5.1 or 7.1.
  • Page 192 6-2 Channels Section Panels Super Send Group O/Ps 5 1/9 – 8/16 Push-Buttons Allow the channel output signal, i.e. the same signal that routes to the Main Output Bus, to be routed to the Super Send Group outputs. The “width” of an SSG can be different to that of the Main Output Bus.
  • Page 193: Lcd Channel Screen Panel

    6-2-9 LCD Channel Screen Panel Three LCD Channel Screens are provided in each channels section of the OXF-R3 control surface. Each panel contains a 10.4 inch colour TFT LCD VGA screen for displaying channel input and output routing, EQ and dynamics transfer curve and parameters.
  • Page 194: Sends 1-24 Panel

    6-2 Channels Section Panels 6-2-10 Sends 1-24 Panel This panel contains a Level control and an ON button for each Send and allows control of the signals sent from the channel currently accessed. The source point can be set individually for each Send. SENDS 1-24 X X X X X X X X X X X X X X X X...
  • Page 195 2 SOURCE Selection Push-Buttons The + and - Push-buttons (small square type) allow the source points within the channel signal path to be viewed one at a time on the 8 character display, by stepping through them. The {SELECT} Push-button allows selection of the Source point displayed for the Send bus indicated in 1 .
  • Page 196: Input Channel

    6-2 Channels Section Panels INPUT CHANNEL CH INPUT INPUT CHANNEL & INSERTS CH OUTPUT CHANNEL FADER Source point options for Sends Input channel source points for the Sends in detail This diagram illustrates the channel path as laid out at the Input Channel & Inserts panel.
  • Page 197: Pre Fader Headphones Feed

    Pre Fader headphones feed The example below illustrates an in-line channel set up at the Input Channel & Inserts panel. The right hand window in the Sends panel has Send 1 selected. The left hand window shows the source as -8- for Send 1. The block schematic illustrates how this set-up is equivalent to a pre fader send on a conventional in-line console, useful for headphone feeds to Foldback outputs.
  • Page 198 6-2 Channels Section Panels Post Fader headphones feed To change the previous set-up to post fader, simply toggle the SOURCE window to C OUTPUT. The {SELECT} will light, indicating that a new selection is available. Press it to invoke the new source point. This action rearranges the schematic as in the illustration below.
  • Page 199: Post M/t Send Fader Headphones Feed

    Post M/T Send Fader headphones feed To change the previous set-up to post multitrack send fader, simply toggle the SOURCE window to MTSEND. The {SELECT} will light indicating a new selection is available. Press it to invoke the new source point. This action rearranges the schematic as per the illustration below.
  • Page 200: Central Section Panels

    6-3 Central Section Panels 6-3 Central Section Panels 6-3-1 Master Fader Panel The Master Fader panel contains a linear, touch sensitive motorised fader with associated electronic dot character scribble display and local dynamic automation controls. This centrally placed master fader controls the level of the MAIN Stereo Output bus.
  • Page 201: Monitor Panel

    6-3-2 Monitor Panel This panel contains all the monitoring, foldback, metering and communications functions for the OXF-R3 control surface, together with a number of central control functions. 6-39 Chapter 6 Technical Descriptions...
  • Page 202: Cr Monitor Section

    6-3 Central Section Panels @º !ª !• !¶ !§ !¢ !£ !∞ !¡ !™ CR MONITOR Section 1 LEVEL Knob Controls the level to 3 sets of Monitor LS, the LS1 (main set), LS2 and LS3. LS1 and LS2 are surround outputs, up to 7.1, and LS3 is stereo. 2 DIM Push-Button Dims all Monitor LS outputs according to the dim level setting.
  • Page 203 5 LS1 Push-Button Selects the Main Surround Monitor LS set and inter-cancels with LS2. The Calibration settings, {CAL} button selected on MULTI-FORMAT panel in the centre section, apply to LS1. 6 LS2 Push-Button Selects the Secondary Surround Monitor LS set and inter-cancels with LS1. The Calibration settings do not apply to LS2.
  • Page 204 6-3 Central Section Panels Only the LS currently on will be affected by this operation. In other words, if an LS is cut before selecting the Ø button, it will remain cut, illuminated red. Pressing {CUT **} for any other LS will cause a phase reversal for that LS. It will flash, alternating between amber and red.
  • Page 205 • SOLO DIM Level Sets the output level of channels which are not soloed when {SOLO + CHs UNDER} is selected. !¶ 8 Character Display Displays the current Definable knob function. !• +/– Push-Buttons Select the Definable knob function. !ª MAIN Push-Button Fixes the Main Output Bus as the source for all Monitor LS outputs. @ º...
  • Page 206 6-3 Central Section Panels CENTRE SECTION METERS The meters in the centre section consist of two sets of 8 stereo meters, one set each side of a central stereo meter. They can be switched to monitor a number of sources and their function can also depend on whether the Main Output Bus is set for Stereo or Surround operation.
  • Page 207 Selecting {MAIN} ensures that the Main Output Bus sources are fixed to the meters irrespective of what is selected to the CR Monitor LS: • Stereo Main Output - Indicate the L and R signals from the Main Output Bus or L and R from the Fold-Down Matrix.
  • Page 208 6-3 Central Section Panels 7 CHs -90dB Push-Button (Global function) Selects the -90dB scale on the mono channel meters (the default is -60dB). 8 LOCK 1-48 Push-Button Locks the 48 channel meters to channels 1- 48. Central Stereo Meters These functions apply to the 16 Stereo Meters, in two groups of 8, above the centre section of the control surface.
  • Page 209 External Sources The External Source selector allows selection of multiple surround and stereo external audio sources. 1 SELECT Push-Buttons Feed the source, indicated in their adjacent displays, to the monitor LS in place of the current monitor source. De-selecting will return to the Main Output source.
  • Page 210 6-3 Central Section Panels 6 SPLIT Push-Button All 6 external source selections will normally feed both Control Room Monitor LS and Studio LS outputs. If {SPLIT} is selected, the upper pair of SELECT SOURCE buttons feed the studio LS only, and the lower 4 selectors feed the Control Room Monitors.
  • Page 211 Studio LS This section allows control of 2 pairs of Studio LS. The source selection for the Studio LS has been described in the previous section. 1 LEVEL Knob Controls the level to the 2 stereo Studio LS outputs. 2 SLS1 and SLS2 Push-Buttons Allow the two Studio LS outputs to be switched on individually.
  • Page 212 6-3 Central Section Panels Foldback Groups 1-4 The 4 Stereo Foldback Groups have fixed source assignments as follows: • F/B1L – Send Bus 17 • F/B1R – Send Bus 18 • F/B2L – Send Bus 19 • F/B2R – Send Bus 20 •...
  • Page 213 1 LEVEL Knobs Set output levels for each individual Foldback Group. 2 AFL Push-Buttons Send After Fader Listen (AFL) signals to CR monitor LS. 3 CUT Push-Buttons Mute individual Foldback Group outputs. 4 T/B F/Back 1 (-4) Push-Buttons Enable individual talkback feeds to be sent to each of the four Foldback Groups.
  • Page 214 6-3 Central Section Panels !º Talkback & Listen 1 T/B 1 & T/B 2 Push-Buttons {T/B 1} and {T/B 2} are included for connection to GPIO (General Purpose Inputs & Outputs) utilising relay closures and opto-coupled tally inputs. Pressing a T/B button sends talkback to the destination displayed within its dot display.
  • Page 215 3 T/B GRP 1 & T/B GRP 2 Push-Buttons Allow combinations of T/B outputs to be switched on simultaneously. A group is set up by pressing and holding one of the T/B GROUP buttons and momentarily pushing other T/B buttons required in that group. The T/B GROUP button is then released.
  • Page 216 6-3 Central Section Panels Solo, AFL & PFL Modes 1 SOLO Push-Button Sets the channel fader SOLO buttons to destructive SOLO-IN-PLACE mode. Stereo AFL continues to operate for all buttons designated as such. 2 AFL (After Fader Listen) Push-Button Sets channel fader SOLO buttons to a non-destructive AFL mode. Other AFL buttons continue as normal.
  • Page 217 ROUTE STATUS GUIs GUIs GUIs !º !¡ !™ !£ !¢ !∞ Upper Ancillary Push-Button Block 1 SET GLOBAL DELAY Push-Button This delay function, up to 80ms, is in addition to the delay function within channels. It allows channels to be delayed or advanced, relative to other channels, on a global basis.
  • Page 218 6-3 Central Section Panels Adjust the definable knob to change the delay factor for all channels. The delay is displayed in ms or samples. Use { + } and { – } buttons either side of the display to change the parameter type. The knob normally operates in a fine-tune mode.
  • Page 219 5 SLAVE FADs MOVE Push-Button Faders slaved to Control Group faders will move according to the Control Group fader, displaying their exact contribution to the mix. 6 FADs 0dB Push-Button To set faders at unity gain, latch FADs 0dB and press ACCESS for the appropriate faders and they will light.
  • Page 220 6-3 Central Section Panels !º !¡ !º Lower Ancillary Push-Button Block 1 ACCS FOLL SOLO Push-Button Any Channel ACCESS function is selected automatically by pressing its Fader {SOLO} push-button, equivalent to pressing the {SOLO} and {ACCESS} simultaneoulsy. 2 ACCS BY TOUCH Push-Button Any Channel ACCESS function is selected automatically by touching its fader knob.
  • Page 221 4 SOLO + CHs UNDER Push-Button Sets a Solo mode where channels which are not soloed can be heard at a reduced level. The level is set using the Definable knob above the Monitor Level control. Use the { + } and { – } buttons either side of the 8 character display above the Definable knob to select DIM LEVEL, and adjust to suitable level.
  • Page 222 6-3 Central Section Panels copy operations will be limited to static settings only. {COPY STATIC} inter-cancels with {COPY DYN} 7, or it an be turned on and off, when it returns to defaults. 9 USE MASK Push-Button Sets Copy and Link operations according to the DEFAULTS in the SNAPSHOTS, COPY &...
  • Page 223: Oscillator Section

    OSCILLATOR Section The Sine Wave oscillator source frequency and level are controlled from the definable knob above the CR Monitor level knob. The frequency is variable from 20Hz to 20kHz and the level is variable between -70dB and 0dB (digital full scale) in 1dB increments. The default Oscillator output is 0dB @ 1kHz.
  • Page 224: Control Keyboard Panel

    6-3 Central Section Panels 6-3-3 Control Keyboard Panel UNDO REDO GLOBAL GLOBAL UNDO REDO PRINT DROP-IN DROP-OUT BACK DELETE COPY LOAD PLAY LOCATE CYCLE SAVE SPACE SNAP- MAKE SELECT MERGE PROJECT TITLE SHOT STATIC MACH SPARE N OW EDIT CANCEL REPEAT XXXXXXXX XX XX XX...
  • Page 225 Jog Wheel functions The Jog Wheel can be used for various functions which are set using the {JOG} key on the Control Keyboard. Pressing {JOG} will cause the current Jog Knob function to be displayed in the Command Line bar at the bottom of the central LCD screen situated above the Control Keyboard.
  • Page 226 6-3 Central Section Panels CONTROL KEYBOARD Command Lines Command Lines (sequences of commands) always require {ENTER} as the last keystroke of the sequence: e.g. {PLAY} {MIX} {ENTER}. The ‘boxed’ upper case words such as {PLAY} and {MIX} refer to the legends printed on the dedicated keys.
  • Page 227 {PRINT} {TITLE} {ENTER} Prints details of the current Title. Note: “Print” output commands require the system to be configured with a Postscript compatible printer. Command Key Functions {GLOBAL DROP-IN} Key Causes all controls in automation ‘ready’ status to drop in to automation write.
  • Page 228 6-3 Central Section Panels Unlimited strings are possible in the same entry e.g. 00 . 01 . 03 . 05 .. 08 . 1 .. 24 . 48 .. 56 . 65 = Main Fader, Control Group Faders 1, 3, and 5-8 Channels 1-24, 48-56 and 65 “UNDO”...
  • Page 229 {DELETE} {F1} (or other F Key) {ENTER} Deletes the F1 (or other F Key) macro sequence. “COPY” Command Line {COPY} {ENTER} Cause the SNAPSHOTS, COPY & LINK GUI to appear along with the pop-up allowing Snapshots to be copied. Make appropriate selections according to the pop-up and click on OK or press {ENTER}.
  • Page 230 6-3 Central Section Panels {PLAY} {TITLE} {ENTER} or {PLAY} {TITLE} # {ENTER} Plays currently highlighted TITLE or one specified by number. {PLAY} {CUE} {ENTER} or {PLAY} {CUE} # {ENTER} Plays from the currently highlighted CUE or from CUE #. {PLAY} {CUE} 3 {CUE} 4 {ENTER} Plays from CUE number 3 to 4 and stops.
  • Page 231 “CYCLE” Command Lines {CYCLE} {TITLE} {ENTER} {CYCLE} {TITLE} # {ENTER} Plays and repeats the current or specified TITLE continuously. {CYCLE} {CUE} # {CUE} ## {ENTER} Repeatedly plays the passage between CUE # and CUE ##. {CYCLE} {MIX} {ENTER} {CYCLE} {MIX} X} X} X} X} # {ENTER} Plays and repeats current or specified MIX continuously.
  • Page 232 6-3 Central Section Panels {MAKE STATIC} # . . # {ENTER} Removes the moves data from the working mix for a range of channels # . . # for controls according to the Snapshot DEFAULTS in the Snapshots GUI (see page 6-65 for details of how to specify Ranges and Lists). “MERGE”...
  • Page 233 “CUE” Command Line {CUE} {ENTER} Creates a new Cue in the CUES list at the current time for the master machine. A pop-up appears allowing a name to be assigned to the new Cue. Click on {ENTER} or click on OK for the next default Cue number or type in a name using the QWERTY Keyboard first.
  • Page 234 6-3 Central Section Panels “A” & “B” Command Lines { A } {ENTER} & { B } {ENTER} Create convenient temporary Cue points displayed in the CUES list; useful for commands such as: {LOCATE} {A} or {B} Locates the system to timecode points set for Cue A or B. {PLAY} {A} {B} The system plays from Cue point A to Cue B and stops.
  • Page 235 Using the Numeric Key-pad to Enter Timecode The entry format is exactly the same as that used for PCM-3324/48 series remote control units: = 00:00:01:- - = 00:00:12:- - 1234 = 00:12:34:- - 12345 = 01:23:45:- - 123456 = 12:34:56:- - 12345621 = 12:34:56:21 12:34:56:21...
  • Page 236 6-3 Central Section Panels GLOBAL GLOBAL UNDO REDO PRINT UNDO REDO DROP-IN DROP-OUT BACK DELETE COPY LOAD PLAY LOCATE CYCLE SAVE SPACE SNAP- SELECT PROJECT TITLE SHOT MACH N OW EDIT CANCEL REPEAT XXXXXXXX XX XX XX SOLO SENDs RTNs XXXXXXXX XX XX XX SOLO...
  • Page 237 4 SOLO Push-Buttons Allow grouped Solo function according to the groups set up. See 6 and 7 below. 5 CUT Push-Buttons Allow grouped Cut function according to the groups set up. See 6 and 7 below. 6 SENDS Push-Buttons Select the channel signal being sent to the M/T as monitor source. May be linked to control SEND buttons on Pans panels as groups (see section 6-2-3);...
  • Page 238: Super Send Groups, Send Outputs And Multi-format Panel

    6-3 Central Section Panels 6-3-4 Super Send Groups, Send Outputs and Multi-Format Panel ACCESS 6-76 Chapter 6 Technical Descriptions...
  • Page 239 PUTS 1-24 panel section SEND OUT This section of the panel allows control of up to 24 Send Outputs in blocks of eight 1-8, 9-16 and 17-24. The default gain setting for the Send Outputs is unity or 0dB. They do not have gain controls in their panel area but their output level can be adjusted using the multi-purpose faders in the centre section (described in section 6-2-2).
  • Page 240 6-3 Central Section Panels 1 1-8 Push-Button Assigns Sends 1-8 to the control panel. 2 9-16 Push-Button Assigns Sends 9-16 to the control panel. 3 17-24 Push-Button Assigns Sends 17-24 to the control panel. 4 6 Character Display(s) Indicates Send number or signal name defined in the ‘Send Outputs’ page of the MASTER GUI (see section 5-2-6 in Chapter 5).
  • Page 241 6-79 Chapter 6 Technical Descriptions...
  • Page 242 6-3 Central Section Panels !¡ !º 6-80 Chapter 6 Technical Descriptions...
  • Page 243 SUPER SEND GROUPS (SSGs) 1-16 panel section The SSGs can configured flexibly in a number of combinations: • Mono • Stereo • LCR • LCRS • 5.0 • 5.1 • 7.0 • 7.1 Any groups that are set up cannot span across the two pages, 1-8 and 9-16. Any group must consist only of consecutively numbered SSGs.
  • Page 244 6-3 Central Section Panels In other words, the Main Output could be set up for Stereo for example, whilst one of the SSGs might be set for 5.1. The panner creates full surround information at all times which would be fed to the 5.1 SSG. But the Stereo Main would receive the full signal based on L/R Pan settings only.
  • Page 245 !º !¡ !™ Multi-Format and Monitor 1 1 LOCK Push-Button Is set locked (lit up) as default as a safety measure to prevent inadvertent set-up changes. Press it to unlock to allow set-up. It times out after 10 seconds or 10 seconds after the last button press during set-up. 2 2 SET MAIN WIDTH Push-Button Allows the format of the Main Output Bus to be set: STEREO, LCRS, 5.1 or 7.1 using the { + } and { – } buttons either side of the 8 character dot...
  • Page 246 6-3 Central Section Panels 3 3 SET M/T STEMS Push-Button Allows the format of the Multitrack Stems to be set: STEREO, LCRS, 5.1 or 7.1 using the { + } and { – } buttons either side of the 8 character dot display, which indicates the current format. The {SET M/T STEMS} function is locked unless {LOCK} has been pressed to unlock it first.
  • Page 247 Note: The {CAL} indications are accurate only if the Calibration Procedure has been carried out as described in Appendix A-3. !º !º !º !º CAL Push-Button !º Fixes the monitor level to the current calibration setting. The knob is not operational when {CAL} is selected.
  • Page 248: Central Section Faders

    6-3 Central Section Panels 6-3-5 Central Section Faders The two banks of 8 Faders in the console centre section are identical to the faders used in the channel sections of the control surface. (Refer to Section 6-2-1 in this chapter for details of the Fader Modules) Assignment of these central Multi-purpose Faders is effected from the SEL push-buttons at the Select To Faders Select panels.
  • Page 249: Control Lcd Screen Panel

    6-3-6 Control LCD Screen Panel Contains a 10.4 inch colour TFT LCD VGA screen. It displays major System Set-up details and all the Session Management™ information relating to dynamic automation, including screens for Projects, Titles, Mixes, Snapshots and Track Lists etc. SELECT TOUCH TOUCH...
  • Page 250: Qwerty Keyboard

    6-3 Central Section Panels 6-3-7 QWERTY Keyboard QWERTY KEYBOARD The QWERTY Keyboard, used to type in specific names for Titles, Cues and Tracks, etc., is conveniently housed at the front of the centre section of the OXF-R3 console. A protective sliding cover, pulled towards the operator when the keyboard is in use, doubles as a palm rest when typing.
  • Page 251: Trackerballs

    6-3-8 Trackerballs TRACKERBALLS There are two Trackerball pointing devices to allow easy operation for left- or right-handed personnel. They can both control the same cursor/pointer which can be moved into any screen on the OXF-R3 control surface. It is possible to split the control in order that the left Trackerball controls the three LCDs in the left channels section, and the right Trackerball controls the three LCDs in the right channels section, plus the central LCD.
  • Page 252: Meter Bridge

    6-4 Meter Bridge 6-4 Meter Bridge The standard meters used on the Meter Bridge of the OXF-R3 are a bargraph type utilising back-lit LCD technology with digital scales. 6-4-1 Mono Channel Meters RECORD RECORD RECORD RECORD RECORD RECORD RECORD RECORD OVER OVER OVER...
  • Page 253 3 RECORD Legend This follows the channel Record switch function. RECORD 4 S Legend Indicates that the meter is reading the SEND Monitor S C R signal. OVER C Legend Indicates it is reading the CHANNEL Pre Fader signal. R Legend Indicates it is reading the RETURN Monitor signal.
  • Page 254: Stereo Centre Section Meters

    6-4 Meter Bridge 6-4-2 Stereo Centre Section Meters SEND SEND SEND SEND SEND SEND SEND SEND OVER OVER OVER OVER OVER OVER OVER OVER SUPER SEND GROUPS and SEND OUTPUTS Meters block CENTRE SECTION METERS • Surround Main Output The meters in the centre section consist of two sets of Indicate output levels for the Main Output Bus.
  • Page 255 MAIN SEND OVER OVER G E C G E C Stereo Meters for SUPER SEND GROUPS and SENDS Central Stereo Meter 1 Scale 4 MAIN Legend (Central Meter) -60dB - 0dB Full Scale. Indicates that the Central Stereo Meter is locked to the L and R signals of the Main Output Bus.
  • Page 256 6-4 Meter Bridge 7 L O/L Legends Indicate an overload pre the fader for the bus feeding the left column of the meter, or light simultaneously with the “OVER” legend at the top of the meter if the source does not relate to a bus. O/L R Legends Indicate an overload pre the fader for the bus feeding the right column of the meter, or light simultaneously...
  • Page 257: Other Meter Bridge Indicators

    6-4-3 Other Meter Bridge Indicators SOLO and AFL To the left of Main L/R meter, SOLO or AFL legends MAIN indicate the current mode. Larger rectangular flags SOLO illuminate to indicate an active function. OVER RED LIGHT ON The Red Light function has an ON indicator situated to the middle left of the Central Stereo Meter.
  • Page 258: Signal Processing Rack

    6-5 Signal Processing Rack 6-4 Meter Bridge Modules The Signal Processing (SP) Rack is one standard size for all OXF-R3 installations. 480.0 555.0 SP Rack 6-5-1 SP Rack Modules The SP rack contains the following modules: • 1 x SP Buffer Module - Interface between SP rack and host computer. •...
  • Page 259: I/o Racks

    6-6 I/O Racks 6-4 Meter Bridge Modules The I/O system for the OXF-R3 utilises a universal rack design for both analogue and digital I/O input and output modules. 480.0 450.0 I/O Rack 6-6-1 I/O Rack Modules Each I/O rack contains: •...
  • Page 261 7-1 The Basics Chapter 7 – Session Management™ Chapter 7 Contents 7-1 The Basics ..................7-2 7-2 Files Hierarchy and Automatable Controls ......... 7-3 7-2-1 Files Hierarchy ..............7-3 7-2-2 Automatable Controls ............7-6 7-3 File Data Storage ................7-7 7-4 Programme Material .................
  • Page 262: The Basics

    7-1 The Basics 7-1 The Basics Historically, console automation systems have been used to automate the faders and cut buttons, together with a small number of additional controls, in order to record complex manipulations in synchronisation with the programme material. This avoids the artistic result being limited by the engineer’s dexterity, memory and number of arms! The OXF-R3 console extends this concept in that all usefully automated functions can be controlled by the automated Session Management™...
  • Page 263: Files Hierarchy And Automatable Controls

    7-2 Files Hierarchy and Automatable Controls 7-2-1 Files Hierarchy General Files Structure The automation data (files) are arranged in a traditional hierarchical manner. The layers are ARTIST/PROJECTS, TITLES and MIXES. The level for MIXES may also contain CUES, TRACK LISTS, SNAPSHOTS and NOTES relating to the current TITLE (see the following file structure diagram).
  • Page 264 7-2 Files Hierarchy and Automatable Controls ARTISTS/PROJECTS Are the headings for the jobs in progress e.g. session, album or show. Associated with the project will be further information such as details about the session, producer, engineer etc. TITLES Represent specific sections of programme material - a track on an album for example, or a scene in a show.
  • Page 265 SNAPSHOTS A SNAPSHOT is a static set-up of all the console control settings and its input/output settings which may be stored and recalled at a later date. It is not time related and may be recalled at any time as a whole entity, or in part, as desired.
  • Page 266: Automatable Controls

    7-2 Files Hierarchy and Automatable Controls 7-2-2 Automatable Controls Controls that can be automated The following controls can be dynamically automated, but note that the static settings of all controls are stored alongside dynamic automation data. • EQ • Dynamics •...
  • Page 267: File Data Storage

    7-3 File Data Storage 7-4 Programme Material General Data for any files created is normally stored on the system hard drive, and may be transferred between systems using M.O. discs via the drive at the Host Computer. Systems in the same installation can have data transfer via network connections.
  • Page 268: Programme Material

    7-4 Programme Material 7-3 File Data Storage As described previously, creating a title will require the user to enter start and end points as times. It is assumed that the programme material is available on a machine (tape recorder, hard disc etc.) which is connected in such a way as to be able to locate to cue points, and to execute normal functions such as play or roll-back under the control of the automation system.
  • Page 269: Mixing Overview

    7-5 Mixing Overview 7-5-1 Getting Started The Session Manager Screens illustrated in this section are displayed on the LCD Control Screen in the centre section of the OXF-R3 console. The Mixing Overview is intended as an abbreviated guide to enable an experienced operator to start mixing as quickly as possible.
  • Page 270: Name The Artist/project And Title

    7-5 Mixing Overview 7-5-2 Name the Artist/Project and Title Artists/Projects & Titles screen To name ARTISTS/PROJECTS and TITLES Selecting OK or {ENTER} without a name enters the next available default. On the Control Keyboard, press {PROJECT} {ENTER} for a large pop-up to type in a name. Use All dynamic data such as fader moves and cuts the QWERTY keyboard to type in a suitable name, have to be time-related, so it is necessary to set...
  • Page 271: To Set Cue Points

    7-5-3 To Set Cue Points Select the MIXES & CUES screen by pressing the MIXES softkey beneath the screen. The Start and End times set for the current Title will be displayed either side of the central timecode display. Mixes & Cues screen To set cue points ‘on the fly’: Repeat as necessary for CUE 2, CUE 3, etc.
  • Page 272 7-5 Mixing Overview To set a cue point offline To obtain a rough balance Move the orange highlight to the desired line in the On the Control Keyboard, press: {CYCLE} {TITLE} {ENTER} TIME column on the screen. The source material will be repeated over and over Click or press {EDIT} on the Control Keyboard.
  • Page 273: To Automate Cuts

    7-5-4 To Automate Cuts Cuts may be set up for automation in two ways: using the local {ABS} (absolute) and {TRM} (trim) buttons above the faders, or using the master keys {READY ABSOLUTE} and {READY TRIM} buttons beneath the central LCD screen. The method for local buttons will be described first. SUPER SHOW LEVEL...
  • Page 274 7-5 Mixing Overview To set up Cuts for automation locally Their red LEDs flash to indicate their ‘ready’ See the diagram - ‘Setting automation of Cuts locally’. status. The {ABS} and {TRM} buttons above the faders are Press {TRM} for cuts to be automated where cut assigned to the faders by default.
  • Page 275 2 READY TRIM Push-Button {READY TRIM} works in the same way as Write cuts as required. {READY ABSOLUTE}. It allows cuts to be set up such that existing cuts can be modified, or additional cuts Note: created, without overwriting previous cuts. To audition a channel which is cut, assign the Definable Knobs to INPUT GAIN and press AFL on the appropriate 3 READY CANCEL Push-Button channel.
  • Page 276 7-5 Mixing Overview Press {GLOBAL DROP-IN} either before or after rolling the tape to drop all ‘ready’ enabled cuts into automation record, or press switches individually. Press {GLOBAL DROP-OUT} after writing cuts and then {READY CANCEL} followed by {PLAY} {ENTER} to hear the result. Note: The bi-colour LEDs in the cut switches help with the operation of these functions.
  • Page 277 Advance the in-point: Push the CUT switch earlier and hold until the original in-point is passed, then release. PUSH ACTION & HOLD PREVIOUS TIME MODIFIED CUT TIME Advance the out-point: Push the CUT switch and hold during the original cut, then release at the new (earlier) out-point.
  • Page 278 7-5 Mixing Overview To make a cut longer: Push and hold the CUT switch during the original cut. Release at the new (later) out-point. PUSH & HOLD PREVIOUS TIME MODIFIED CUT TIME To erase a cut completely: Push and hold before the original in-point and release after the original out-point.
  • Page 279: To Save A Mix

    7-5-5 To Save a Mix A mix, or part mix, can be saved at any time. So far, the automation data for any cuts has been resident in the ‘working mix’ and has not been saved to the internal hard drive. Mixes &...
  • Page 280: To Automate Fader Moves

    7-5 Mixing Overview 7-5-6 To Automate Fader Moves The procedure to automate fader moves is very similar to cuts. {ABS + TRM TO FADs} must be selected on the SELECT TO FADERS panel to assign the {ABS} SOLO (absolute write) and {TRM} (trim) buttons to faders. Make sure {BUTT} is the only button selected under the central LCD.
  • Page 281: Dropping Out Of Write On Subsequent Mix Passes

    7-5-7 Dropping Out of Write on Subsequent Mix Passes There are four ways to drop out of WRITE when dropping back to previous moves. The buttons for these four modes are on the mid right part of the panel at the base of the central LCD. SELECT TOUCH TOUCH...
  • Page 282: To Record Absolute Moves For A Number Of Faders

    7-5 Mixing Overview 7-5-8 To Record Absolute Moves for a Number of Faders This functions in exactly the same way as for one fader This also applies to TOUCH WRITE where WRITE except that once the desired faders are in ‘ready ABS’ buttons in fader knobs have been used to latch mode, they may be put into full WRITE individually automation record.
  • Page 283: To Automate A Pan Move (or Any Other Knob)

    7-5-11 To Automate a Pan Move (or any other Knob) Assignable Pan knobs 1 Pan knob (Press for Switch) When the moves are complete, press the PAN knob again and the red LED flashes indicating that the mode 2 Red Absolute LED has reverted to ready absolute.
  • Page 284: To Assemble A Mix

    7-5 Mixing Overview 7-5-12 To Assemble a Mix The MERGE/ASSEMBLE GUI allows Mixes and Snapshots from any source to be merged with the current Working Mix. Each bar in the GUI represents a Mix Layer and these may include additional Dynamic Layers. MERGE/ASSEMBLE screen Select the ASSEMBLE softkey at the bottom of Select the source data using the upper section of...
  • Page 285 MERGE/ASSEMBLE - ADD LAYER pop-up Note: in the ‘FM’ section for a different ‘from’ point as a Further options include selecting the components Cue point or click on the timecode entry for an edit in the merge, the default being ALL which pop-up.
  • Page 286 7-5 Mixing Overview Multiple layers of different types on the MERGE/ASSEMBLE screen Layer types • SNAPSHOT LAYER - Yellow There are four categories of layers, colour coded as: This type of layer consists of static data from any Snapshot but must have ‘FM’ (from) and ‘TO’ times •...
  • Page 287: The Session Managementâ„¢ Screen

    7-6 The Session Management™ Screen Pages 7-6-1 The Start-up Logo Screen When the system is booted the OXF-R3 logo screen is displayed once the start-up processes are completed. OXF-R3 LOGO with SCREEN pop-up General PROJECTS Softkey At the lower part of the screen, note the User Press this softkey to select the ARTISTS/PROJECTS Command Dialogue Line bar, which displays &...
  • Page 288: The System Screen

    7-6 The Session Management Screen Pages 7-6-2 The System Screen The SYSTEM screen allows the set-up of various parameters most of which are session related. The cursor is able to indicate which fields can be edited by changing shape or direction (according to which cursor type has been selected) as it is moved around the screen.
  • Page 289 TIMECODE FORMAT Command Dialogue Displays the current timecode format. Click on it for a At the base of the screen, the User Command Dialogue pop-up to set an alternative timecode format. Line bar displays commands from the dedicated Control Keyboard and QWERTY Keyboard for confirmation before {ENTER}.
  • Page 290: The Machines Screen

    7-6 The Session Management Screen Pages 7-6-3 The Machines Screen The 16 text fields on this screen provide the facility to name and list the machines associated with the system. (5 machines have been named in the example shown). MACHINES screen page To add a Machine to the list To add a machine to the list and name it, highlight including, for example, the 8 character electronic...
  • Page 291 Click on the button to the right of the M for a pop- up allowing assignment of the new machine to one of the Motionworker channels A-E. Multitrack Machines and Track Lists Machines 1 and 2, labelled MT1 and MT2 in the GUI, are designed for primary multitrack machine use and have track lists associated with them.
  • Page 292: Artists/projects & Titles Screen

    7-6 The Session Management Screen Pages 7-6-4 Artists/Projects & Titles Screen The ARTISTS/PROJECTS & TITLES screen allows access to all entries belonging to the current User. Clicking on or highlighting any individual ARTIST/PROJECT causes all its TITLES to be displayed. ARTISTS/PROJECTS &...
  • Page 293 To enter a new Artist/Project To set the Start Time for a Title Click on NEW or {PROJECT} {ENTER} on the Control To set the Start time, highlight the START column at Keyboard for a pop-up to name a new Artist/Project. the appropriate line.
  • Page 294 7-6 The Session Management Screen Pages Highlight and click on or press {EDIT} for edit pop-ups Command Dialogue for the following banners: At the base of the screen, the User Command Dialogue Line bar displays commands from the dedicated Client Control Keyboard and QWERTY Keyboard for Enter the Client’s name here for reference purposes if confirmation before {ENTER}.
  • Page 295: Mixes & Cues Screen

    7-6-5 Mixes & Cues Screen This screen page displays all the Mixes & Cues which relate to the current title. MIXES & CUES screen page TITLE and MIX bar current and previous fader levels do not match. To set Displays the name of the current Title and current Mix. the Ramp Time, highlight the field then click on, or press {EDIT} on the Control Keyboard.
  • Page 296 7-6 The Session Management Screen Pages MIXES & CUES screen page Central large timecode display END TIME Displays the current timecode for the master machine. Located to the right of the large timecode display, this field indicates which timecode point the tape will roll Automation status bar (top right) to or cycle back from, if a cycle command has been Indicates whether there is any static or dynamic data in...
  • Page 297 When a mix is saved, so are the static settings of the Partial Loading of Mixes complete console. If the mix is recalled at a later date, This function allows the loading of specified channels everything will be completely reset to previous static or parts of channels according to the SNAPSHOT positions, apart from controls which were automated.
  • Page 298 7-6 The Session Management Screen Pages MIXES & CUES screen page illustrating the CUES list CUES field name using the QWERTY keyboard and press Cue points are specific listed time points within a {ENTER} or click on OK. {ENTER} or OK without a Title.
  • Page 299 To set Cue Points ‘On the Fly’ To Delete a Cue To set a cue point ‘on the fly’, roll the tape and press To delete a cue, highlight that cue in the CUES field, {CUE} on the Control Keyboard, in readiness for then on the Control Keyboard select: setting a cue point.
  • Page 300: Merge/assemble Screen

    7-6 The Session Management™ Screen Pages 7-6-6 Merge/Assemble Screen The MERGE/ASSEMBLE GUI allows Mixes and Snapshots from any source to be merged with the current Working Mix. Each bar in the GUI represents a Mix Layer and these may include additional Dynamic Layers. MERGE/ASSEMBLE screen General Timecode display...
  • Page 301 Scroll and Zoom Having established the correct source, set a start The time-line can be scrolled or zoomed in or out time for the source data in the SOURCE ‘FM’ using the independent horizontal and vertical Scroll section which may be a Cue point or timecode and Zoom icons.
  • Page 302 7-6 The Session Management™ Screen Pages MERGE/ASSEMBLE - ADD LAYER pop-up Click on RANGE to highlight it in order to select Note contiguous blocks of channels. Then click on the first CHS must be highlighted in the upper left SOURCE box for and last of each block.
  • Page 303 Multiple layers of different types on the MERGE/ASSEMBLE screen Layer types • SNAPSHOT LAYER - Yellow There are four categories of layers, colour coded as: This type of layer consists of static data from any Snapshot but must have ‘FM’ (from) and ‘TO’ times •...
  • Page 304: Merge Command Lines

    7-6 The Session Management™ Screen Pages Command Dialogue 2 Channels and other fader types can be specified in At the base of the screen, the User Command Dialogue a single string e.g. Line bar displays commands from the dedicated 00.01.03.05..08.1..24.48..56.65 = Control Keyboard and QWERTY Keyboard for Main Fader, Control Group Faders 1, 3, 5-8 confirmation before {ENTER}.
  • Page 305 Menu options Menu options available using the softkey functions displayed at the foot of the Merge/Assemble screen page are as follows: Selects the previous screen page. SYSTEM Selects the SYSTEM screen page directly. PROJECTS Selects the ARTISTS/ PROJECTS & TITLE page. MIXES Selects the MIXES &...
  • Page 306: Track Lists Screen

    7-6 The Session Management™ Screen Pages 7-6-7 Track Lists Screen There are two independent Track List pages which are assignable to machines MT1 and MT2 set up using the MACHINES GUI. Track Lists can be imported from other Artist/Projects and Titles. TRACK LISTS page displaying entries for a 48 track machine Track Lists page in general To select a Machine...
  • Page 307 TRACK LISTS screen displaying the IMPORT TRACK LIST 1 pop-up To name Scribbles for a pop-up. Click on the appropriate $ icons for To name or edit a Scribble entry, highlight it and use pop-ups, or just click (and click) on the name banners the same procedure as is used for naming Tracks.
  • Page 308 7-6 The Session Management™ Screen Pages Menu options Menu options available using the softkey functions displayed at the foot of the Track Lists screen page are as follows: Selects the previous screen page. SYSTEM Selects the SYSTEM screen page directly. PROJECTS Selects the ARTISTS/ PROJECTS &...
  • Page 309: Snapshots, Copy & Link Screen

    7-6-8 Snapshots, Copy & Link Screen SNAPSHOTS, COPY & LINK GUI displaying the Snapshot DEFAULTS General DEFAULTS block This screen has three pages allowing control of The availability of buttons in the DEFAULTS block Snapshots, Copy and Link functions. Click on the layout will change depending on whether the current heading bar for the page required.
  • Page 310 7-6 The Session Management™ Screen Pages DEFAULTS selector definitions CENTRE SECTION Selector As described, three separate selectors are available for The following buttons are for centre section settings SNAPSHOTS, COPY and LINK. The buttons are and apply only to Snapshots: defined as: SENDS •...
  • Page 311 Press {SAVE} {SNAPSHOT} {AS NEW} {ENTER} • Saves a Snapshot of the Centre Section. to make a new Snapshot and a pop-up appears INST • Saves a Snapshot of the Installation set-up displaying a new default number which may be (the INST set-up is always saved). changed to a suitable name.
  • Page 312 7-6 The Session Management™ Screen Pages SNAPSHOTS, COPY & LINK GUI displaying the Snapshot DEFAULTS Main SNAPSHOTS list field • FACTORY LIB. The majority of the screen area is taken up by the list Click on this option for a list of read-only FACTORY of Snapshots.
  • Page 313 TITLE • CEN is displayed to indicate that a Title is visible only when ARTIST/PROJECT is Snapshot includes the Centre Section selected. Click on the banner to its right to cycle settings. through Titles available for the current ARTIST/ PROJECT one by one. INST •...
  • Page 314 7-6 The Session Management™ Screen Pages SNAPSHOTS, COPY & LINK GUI displaying the Copy DEFAULTS COPY and LINK in general • Its {ACCESS} will light, first red and then turn Copy and Link functions can be performed either amber after half a second. locally in the channels sections, known as ‘Quick Copy’...
  • Page 315 QUICK LINK Note This is accomplished using the lower row of Make sure LINK DEFAULTS is highlighted in red in ACCESS buttons, as follows: the LINK page. Click on it if not. • Press and hold down the lower {ACCESS} button QUICK COPY and LINK for the source channel.
  • Page 316 7-6 The Session Management™ Screen Pages Section of the Monitor panel indicating the buttons related to QUICK COPY 1 COPY DYN Push-Button 3 USE MASK Push-Button This is a latching function and applies to all ‘COPY’ Sets Copy and Link operations according to the and ‘QUICK COPY’...
  • Page 317 Note Click on COPY for pop-ups in the following order: {USE MASK} inter-cancels with {EQ A} or {EQ B} or {DYNAMICS}. But {EQ A}, {EQ B} and {DYNAMICS} can be used in any combination. If {EQ A} and {EQ B} are on SELECT SOURCE CHANNEL pop-up simultaneously, the Filters are also included in Copy and Click on the required source channel to highlight a Link operations.
  • Page 318 7-6 The Session Management™ Screen Pages SNAPSHOTS, COPY & LINK GUI displaying SHOW ALL LINKS LINK GUI in general QUICK LINK This is accomplished using the lower row of Click on LINK in the banner at the top of the screen to display the Link Groups set-up and display fields.
  • Page 319 SHOW ALL LINKS Click on SHOW ALL LINKS to display all the current Link Groups simultaneously. Each group has its own colour code. SHOW CHANNEL LINKS When the ACCESS on a channel in a Link Group is pressed and held until it changes colour to amber, the GUI switches automatically to indicate the channels in the group and highlight the sections linked.
  • Page 320: Copy Channel Fader Balance To M/t Faders And M/t To Channels

    7-6 The Session Management™ Screen Pages 7-6-9 Copy Channel Fader Balance to M/T Faders and M/T to Channels General Note This function allows the copying of the Main Output {M/T SEND} remains selected. Bus balance (serves as monitor bus), set by the Channel Faders, to the M/T Send Faders balance and Copy M/T Send Faders to Channels vice versa.
  • Page 321: Machine Remotes Screen

    7-6-12 Machine Remotes Screen MACHINE REMOTES screen page General REMOTE column This GUI allows machines available in the system to Click on the square button below the REMOTE be assigned to any one of the Machine Remote sets on heading for a pop-up to select one of the Machine the panel beneath the Control Keyboard.
  • Page 322 7-6 The Session Management™ Screen Pages STATUS column OFFSET column This uses a pop-up to allow the selection of the status Click on the Timecode Display for a pop-up to allow of machines as follows: OFFSET adjustment. Using the Numeric Key-pad to Enter Timecode •...
  • Page 323 Command Dialogue At the base of the screen, the User Command Dialogue Line bar displays commands from the dedicated Control Keyboard and QWERTY Keyboard for confirmation before {ENTER}. Menu options Menu options available using the softkey functions displayed at the foot of the Machine Remotes screen page are as follows: Selects the previous screen page.
  • Page 324: Dynamic Automation Moves

    7-7 Dynamic Automation Moves 7-7 Dynamic Automation Moves 7-7-1 Motorised Fader Controls 1 Touch-sensitive fader knob When dynamically automated moves are replaying, touching the fader knob inhibits the electronic servo control. Control of the audio level depends on the system mode at the time. 2 Automation Write button SOLO The small tactile button in the fader knob allows single...
  • Page 325: Automating Faders

    7-7-2 Automating Faders To automate moves on one Fader To revise any moves, roll back using the transport There are two ways to set data to be written for fader keys and play again. As soon as the tape is moves, either by using the tactile button in the middle rewinding, the red LED will flash indicating the of the fader knob or in Touch Write mode, where just...
  • Page 326 7-7 Dynamic Automation Moves SELECT TOUCH TOUCH AUTO AUTO WRITE HOLD TAKE READY READY READY ABSOLUTE TRIM CANCEL ROLL AUTO AUD- TOUCH ISOL AUTO BUTT RAMP BACK ISOL ITION CLEAR ISOL JOIN CANCEL UNDO REDO GLOBAL GLOBAL UNDO REDO PRINT DROP-IN DROP-OUT BACK...
  • Page 327: Global, Touch And Audition Functions

    Global, Touch and Audition functions An indication in dBs shows how far the fader has to be moved and the moves are also reflected in the See illustration ‘Global, Touch and Audition keys’. balance. As the fader is moved, it drops back to 1 GLOBAL DROP-IN Key ready when it matches the original level.
  • Page 328 7-7 Dynamic Automation Moves SELECT TOUCH TOUCH AUTO AUTO WRITE HOLD TAKE READY READY READY ABSOLUTE TRIM CANCEL ROLL AUTO AUD- TOUCH ISOL AUTO BACK BUTT RAMP ISOL CLEAR ISOL ITION JOIN CANCEL UNDO GLOBAL GLOBAL REDO UNDO REDO PRINT DROP-IN DROP-OUT BACK...
  • Page 329 7 AUDITION Push-Button To record auditioned levels between specified times The audition function works for any automated fader or knob which is in a ‘ready’ state i.e. its red or green LED is flashing. When this button is latched on, Set an in- and an out-point from which the touching a fader or moving a knob puts it into audition auditioned levels are to be written e.g.
  • Page 330: To Automate Cuts

    7-7 Dynamic Automation Moves 7-7-3 To Automate Cuts Cuts may be set up for automation in two ways: using the local {ABS} (absolute) and {TRM} (trim) buttons above the faders or using the master keys, {READY ABSOLUTE} and {READY TRIM} buttons beneath the central LCD screen.
  • Page 331 To set up Cuts for automation locally Their red LEDs flash to indicate their ‘ready’ See the diagram - ‘Setting automation of Cuts locally’. status. The {ABS} and {TRM} buttons above the faders are Press {TRM} for cuts to be automated where cut assigned to the faders by default.
  • Page 332: To Automate Cuts

    7-7 Dynamic Automation Moves 2 READY TRIM Push-Button Write cuts as required. {READY TRIM} works in the same way as {READY ABSOLUTE}. It allows cuts to be set up such Note: that existing cuts can be modified, or additional cuts To audition a channel which is cut, assign the Definable created, without overwriting previous cut data.
  • Page 333 How to modify cuts using READY TRIM Press {GLOBAL DROP-OUT} after writing cuts followed by {PLAY} {ENTER} to hear the result Note: and note that automated cuts are indicated by Although it is often easier to rewrite cuts rather than modify switches lighting amber.
  • Page 334 7-7 Dynamic Automation Moves Advance the in-point: Push the CUT switch earlier and hold until the original in-point is passed, then release. PUSH ACTION & HOLD PREVIOUS TIME MODIFIED CUT TIME Advance the out-point: Push the CUT switch and hold during the original cut, then release at the new (earlier) out-point.
  • Page 335 To make a cut longer: Push and hold the CUT switch during the original cut. Release at the new (later) out-point. PUSH & HOLD PREVIOUS TIME MODIFIED CUT TIME To erase a cut completely: Push and hold before the original in-point and release after the original out-point.
  • Page 336: To Automate Other Switches

    7-7 Dynamic Automation Moves 7-7-4 To Automate Other Switches Nothing will be overwritten until {GLOBAL DROP-IN} This works in exactly the same way as for CUTs but note that all switches except CUTs, which can be is pressed once more or switches are pressed assigned to Faders, must be set up using the global individually when they will drop into write and change {READY ABSOLUTE} and {READY TRIM} buttons...
  • Page 337: To Automate A Pan Move (or Any Other Knob)

    7-7-5 To Automate a Pan Move (or any other knob) The principles for automating knobs are the similar to those for faders, but note that all knobs, except levels which can be assigned to Faders, must be set up using the global {READY ABSOLUTE} and {READY TRIM} buttons beneath the central LCD.
  • Page 338: Dropping Out Of Write On Subsequent Mix Passes For Knobs

    7-7 Dynamic Automation Moves 7-7-6 Dropping Out of Write on Subsequent Mix Passes for Knobs As with the faders, there are four ways to drop out of Note automation write for knobs (see section 7-7-2 for more Knobs other than PAN do not currently display which details).
  • Page 339: Automation Off And Selective Automation Isolate

    7-7-8 Automation Off and Selective Automation Isolate SELECT TOUCH TOUCH AUTO GLOB AUTO ISOL WRITE HOLD TAKE READY READY READY ABSOLUTE TRIM CANCEL ROLL AUTO AUD- TOUCH ISOL AUTO BACK BUTT RAMP ISOL CLEAR ITION ISOL JOIN CANCEL UNDO GLOBAL GLOBAL REDO UNDO...
  • Page 340: Film Mode

    7-7 Dynamic Automation Moves 3 ISOL ON Push-Button Note Select {ISOL ON} to actually isolate the channels 1 AUTO ISOL can be pressed at any time to check selected from their automation data. De-select which channels are isolated. It has a momentary {ISOL ON} to re-invoke automation data to the isolated action whilst the tape is rolling.
  • Page 341: Global Ready Enable

    7-7-10 Global Ready Enable Setting all or a large number of controls into an automation ‘ready enabled’ is possible using the GLOBAL READY ENABLE GUI and also by keyboard entry. GLOBAL READY ENABLE GUI General Using GLOBAL READY ENABLE GUI This GUI allows the setting up of automation ‘ready Select the GUI using the GLOBAL softkey at the enable’...
  • Page 342 7-7 Dynamic Automation Moves Selecting Channels DYNAMICS (Dynamic) Channels can be selected individually by clicking on • All Dynamics section controls. appropriate numbers to highlight them, or clicking on ALL and then de-selecting individual channels if more F ASSIGN (Dynamic) convenient.
  • Page 343 Note Global Ready Enable does not apply to the Centre Section items in the lower part of the selector. Using Keyboard Entry Keyboard entry allows ‘ready enable’ in Abs or Trim for the whole console or specific channels entered using the QWERTY Keyboard. Controls will be enabled according to the CHANNEL Selector described previously.
  • Page 344: Offline Automation

    7-8 Offline Automation 7-8 Offline Automation This screen page allows automation data for Faders and Cuts to be written and modified offline. Click on either FADERS or CUTS as required. OFFLINE FADERS automation edit GUI General Upper Timecode bar This GUI allows the editing of automation data for Indicates the current timecode for the master machine.
  • Page 345 CUES field The FM and TO times can be entered either directly by This field (lower right of screen), displays the CUES clicking on a timecode field for a pop-up or by using list from the MIXES GUI. During OFFLINE CUTS cue times.
  • Page 346 7-8 Offline Automation OFFLINE CUTS automation edit GUI To select a number of consecutive faders, click on Once all settings are satisfactory, click on COMMIT RANGE then click, one at a time, on both ends of the and play through the section to check the edit. Repeat range.
  • Page 347 COMMIT Once the desired cut type and numbers have been Note: Commit is used to confirm actions as necessary. selected, click on VIEW again to de-select it. Any events related to the cuts selected in VIEW mode will MIN LIST be displayed in the Cues list.
  • Page 348 7-8 Offline Automation Command Dialogue Using DURATION mode for New Cut Data Use the following procedure to enter new cut data At the base of the screen, the User Command Dialogue against a specified duration. Line bar displays commands from the dedicated Control Keyboard and QWERTY Keyboard for Select the Cut type confirmation before {ENTER} .
  • Page 349: Midi

    7-9 MIDI Two aspects of MIDI are covered by the OXF-R3: control of external MIDI devices on up to 16 MIDI ports via Free Assign Area controls in conjunction with MIDI GUIs, and the display of Bars and Beats in place of timecode. 7-9-1 MIDI Control Pages SEND OUTPUTS 1-24 TONE...
  • Page 350: Setting Midi Parameters

    7-9 MIDI Accessing MIDI Control Pages {1-8} , {9-16} & {17-24} Push-Buttons Select Although not directly related, the 24 MIDI Pages are Allow selection of MIDI Control Page banks. accessed using the {ACCESS} buttons for Send Outputs 1-24. {ACCESS} Push-Buttons Allow selection of individual MIDI Control Pages See the illustration ‘Selecting MIDI Control Pages’...
  • Page 351 MIDI GUI Page and Free Assign Area (FAA) controls 7-91 Chapter 7 Session Management...
  • Page 352 7-9 MIDI CHANNEL (Second field) Click on for a pop-up to select the MIDI Channel from 1-16. COMMAND (Third field) Click on for a pop-up to select the MIDI Command type. PARAMETER (Fourth field) Displays a ‘first’ Parameter depending on which COMMAND type has been selected.
  • Page 353: Midi Bars & Beats

    7-9-3 MIDI Bars & Beats SYSTEM screen General Selecting BARS & BEATS Bars and Beats can be displayed in all places where The bar on the System page marked ‘TIME DISPLAY timecode is normally displayed except the start and TYPE’ allows alternate selection of either end times of titles in the Artists/Projects &...
  • Page 354 7-9 MIDI ARTISTS/PROJECTS & TITLES screen displaying EDIT TEMPO MAP pop-up Default TEMPO MAP The START TIMECODE and END TIMECODE A default Tempo Map is created automatically when a entries can be specified using the number keys or NEW TITLE is entered. The Tempo Map assumes a adjusted using the Jog wheel.
  • Page 355: Backups

    7-10 Backups BACKUPS screen General The BACKUPS GUI is designed to allow the user to store work on M.O. disks for archiving and transferring to other systems. A Networking facility is also provided for use where there is more than one OXF-R3 in the same installation.
  • Page 356 7-10 Backups Layout overview The BACKUPS GUI primarily consists of two rows of scrolling lists, each with three columns and their own buttons. Either row can select the Internal, Network or Removable drive via a pop-up. The Removable drive must be mounted first before data can be accessed, which will occur automatically when it is selected.
  • Page 357 BACKUPS screen displaying the Drives pop-up Backup, Restore and Copy operations A Backup is when the source is the Internal drive and the destination for data is the Removable drive. A Restore constitutes this procedure in reverse. A Copy is when the source and destination are the same drive. File names New projects and titles may be created by clicking on the relevant NEW button.
  • Page 358 7-10 Backups (restored XXXX) for a restore operation (copy of XXXX) for a copy operation If Project 12 ( backup of My Project) is restored, it is likely to be restored with another unique number e.g. Project 17 ( restored My Project).
  • Page 359 BACKUPS screen Backup, Restore and Copy procedure This procedure applies to specified files. Note 1 If a Backup is being made to the Removable drive, make sure an M.O. disk is inserted and that the drive itself is Mounted. 2 It is important to remember that if a Mix, Title or Snapshot is to be copied, the destination must have already been created i.e.
  • Page 360 7-10 Backups Click on the desired destination file. Again, the background will be highlighted in the destination file area to make the user aware. Click on the Icon on the left side of the source row to action the Copy. If, for any reason, the transaction cannot be completed, a pop-up will appear explaining why.
  • Page 361: Preferences

    7-11 Preferences PREFERENCES screen General The PREFERENCES GUI gives access to a number of options available previously in the system ‘config file’. To access this GUI, press the softkey below SCREEN at the right hand side of the central LCD. A pop- up list will appear.
  • Page 362: Session Tab

    7-11 Preferences SESSION Tab AUTOSAVE INTERVAL • Sets the interval, from 1 to 60 minutes, between Autosaves of the working mix. Saves will occur only if there is new data which has not been saved. AUTOSAVE ENABLE • Allows Autosave to be turned on or off. AUTOSAVE STATIC CHANGES •...
  • Page 363: Automation Tab

    VPANEL IS MACHINE CONTROLLER • Sets the external or virtual panel as the master machine remotes in control of the R3 and Motionworker or 9-P control. SHOW REMOTES FRAMES • Sets the TC display by the transport remotes to display frames. TRACK ARMING USES GPIO •...
  • Page 364: Jog Tab

    7-11 Preferences MUTE CHAN SENDS ON LOAD • Mutes the Channel Sends for the channels affected by the loading of a Snapshot or Mix. MUTE ON FULL LOADS • Mutes Channel Outputs, Multitrack Sends, Inputs and Sends for all channels during the loading of a full Snapshot or Mix, according to the individual options selected above.
  • Page 365: Pointer Tab

    USE LOCATES FOR JOGGING • Sets an alternative method for jogging remote machines. In this mode the JOG SPEED preference is ignored and the JOG TRIGGER has an increased effect on the sensitivity of the Jog Wheel. POINTER Tab INDEPENDENT TRACKERBALLS •...
  • Page 366: Setting Up A Network Drive

    7-11 Preferences NETWORK Tab The NETWORK function allows other R3 systems, which are on the same ‘computer network’, to be assigned as remote drives that can be accessed via the Backups GUI. This allows data in the form of Projects and/or associated lower level data, such as Titles, Mixes and Snapshots, to be copied from an external system.
  • Page 367 Type it in using the QWERTY Keyboard and then click on OK or {ENTER}. Click on MAP DRIVE for the local system to make the connection to the remote system. Once completed, a pop-up will appear for confirmation. Select the Backups GUI using the appropriate softkey at the foot of the GUI in order to copy files from the remote system.
  • Page 368 7-11 Preferences RSL (Remote Studio Link) Tab The RSL facility allows control linking between two OXF-R3 systems in order to allow collaboration between two locations, which could be anywhere in the world, so long as an ISDN link is feasible. A simultaneous two way link allows changes at either end to affect the audio mix, automation and machine control at the other.
  • Page 369 Note: The instructions that follow apply for systems set up for RSL. The set-up configuration requires help from Sony Support Personnel. Data sent from the Primary System Click on the button to the right of the STUDIO legend for a pop-down listing 4 remote locations.
  • Page 370 7-11 Preferences Click on the button to the right of the MODE legend to set the status of the local OXF-R3, which can be the Master, Client or Disabled. The local system will then seek and set up appropriate communications. In the TRANSMIT CHANNEL MASK section, select the range of channels that data will be transmitted from for the local system.
  • Page 371 Appendixes Software Installation/Upgrades ............A-2 Multi-Format LS Calibration .............. A-3 Specifications ..................A-6 OXF-R3 Diagnostics ................A-19 Index ......................I-1 Appendixes...
  • Page 372: Software Installation/upgrades

    Software Installation Please refer to the Software Installation Procedure supplied with the release package. Since Sony is constantly simplifying and improving the ease of installation of software, publication of a single and fixed procedure in the Operation Manual is inappropriate.
  • Page 373: Multi-format Ls Calibration

    Multi-Format LS Calibration The following procedure assumes that the necessary equipment, such as a test set with a precision pink noise generator and reference calibration microphone, is available and connected to the system. Further, that all monitor amplifier input levels are set to known and fixed settings. General The calibration function for multi-channel LS allows trimming LS outputs as follows:...
  • Page 374: Calibration Procedure

    Multi-Format LS Calibration SELECT SSGS 1-8 SSGS MULTI-F 9-16 TONE TONE TONE TONE TONE TONE TONE TONE ACCESS ACCESS ACCESS ACCESS ACCESS ACCESS ACCESS ACCESS MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN Route to Route to Route to Route to Route to Route to Route to...
  • Page 375 Adjust the trim for the centre LS to read 0.0dB in its associated dot character display. Adjust the overall trim, which trims all LS in tandem, until the measuring equipment reads the required reference level. Its calibration setting will be reflected in its dot character display. The calibration for the centre LS is complete for the first format chosen.
  • Page 376: Specifications

    Specifications Specifications General Performance and Temperature Range Operation of the complete system to performance specification guaranteed 10º C to 35º C. Operation guaranteed from 5º C to 40º C. AC Input Power Requirements Control Panel OXF-CP3048 AC100-240V~ 50/60Hz 500W 7.5A×2 SP Rack OXF-SP3000 USA/Canada: AC120V~...
  • Page 377 Features DMSK-R3096 - 96Ch DMSK-R3072 - 96Ch Control Surface Configuration 24-C-24 & 24-C-0 24-C-24 & 24-C-0 Signal Processor Rack • Signal Processor Cards • 16 • 9 • SPLink I/O Interface Cards • 4 Maximum • 3 Maximum • DMCC Memory (Host) •...
  • Page 378: Specifications

    Specifications Features DMSK-R3096 - 96Ch DMSK-R3072 - 96Ch Mono Return Channels (cont.) • 24 Channels • Dynamics • Insertion Points • 1 Insert • Delay • 0 - 1.5 Seconds Busses & Outputs • Main Output • Stereo, LCRS, 5.1 & 7.1 Bus •...
  • Page 379 Audio Specifications Note: 1 Wherever dB values are specified, the following conventions apply: 0dBu = 0.775V RMS Reference 0dBm = 1mW (0.775V RMS) into 600Ω dBfs = Referenced to Digital Full Scale Referenced to Max. Analogue Operating Level Referenced to Unity Gain 2 Noise figures are measured with a bandwidth from 20Hz–20kHz.
  • Page 380 Specifications Phantom Power • 48V for MIC inputs, individually switched from control surface. Crosstalk Between Inputs • 20Hz–20kHz < -90dBfs 8 Ch Analogue MIC & LINE Inputs Gain Control • MIC -20dB to 80dB in 1dB steps • LINE -30dB to +20dB in 1dB steps Input Impedance •...
  • Page 381 4 Ch Analogue LINE Outputs Output Type • Electronic Floating type with performance identical, balanced and unbalanced. Maximum output level +24dBm. Equivalent Source Impedance • 20Hz–20kHz < 10Ω Output Balance • 20Hz–20kHz < 60dB (0.1%) Minimum Destination Load • 300Ω Frequency Response •...
  • Page 382 Specifications 8 Ch Analogue LINE Outputs Output Type • Electronic Servo type • Maximum output level into a balanced load +24dBu • Maximum output level into an unbalanced load +20dBu Equivalent Source Impedance • 100Ω Output Balance • 20Hz–20kHz < 46dB (0.5%) Minimum Destination Load •...
  • Page 383 System Signal to Noise Performance Since the internal architecture of the OXF-R3 is 32 bit, with a dynamic range of greater than 190dB in general, the system signal to noise ratio is almost entirely dependent upon the noise performance of its sources. Currently, the conversions from analogue to digital and back are the most critical stages.
  • Page 384 Specifications Full Channels Equaliser & Filters Section Gain Frequency Q/Slope Overshoot LF Filter -6dB Steps 20-500Hz 0 -36dB/Oct LF Peak/Shelf +/-20dB 20-400Hz 0.5 - 16 0 – 50% (Q adjust in ‘Shelf’) +/-20dB 30-600Hz 0.5 - 16 +/-20dB 100Hz-6kHz 0.5 - 16 +/-20dB 600Hz-18kHz 0.5 - 16...
  • Page 385 Full Channels Dynamics Side-Chain EQ: The 2 band side-chain equaliser can be inserted in : • the Dynamics Side-Chain alone • the Signal Path alone • both the Side-Chain and the Signal Path Section Gain Frequency Q/Slope Overshoot LF Peak +/-20dB 20Hz - 1kHz 0.5 - 16...
  • Page 386 Specifications I/O Rack System The I/O system for the OXF-R3 utilises a universal rack design to house both analogue and digital I/O. It may, under certain circumstances, be possible to mix analogue and digital I/O modules in the same rack. Each rack requires AC mains power.
  • Page 387 MADI Connections MADI connections may be made directly to the SP Rack without the need for I/O Racks. Inputs Outputs Con. Type Notes MADI 2 BNC 75Ω Connect (1 OPTICAL) Directly to SP Rack Maximum I/O Configurations Below are the maxima for each type of I/O module type per system.
  • Page 388 Sony Line D/A Converter DMBK-R3005 Sony SP Board DMBK-R3006 Sony SP Link Board DMBK-R3007 Sony SDIF-2 I/O Board DMBK-R3008 Sony AES/EBU D I/O Board DMBK-R3009 Sony Timecode Board DMBK-R3010 Sony GPI Control Board DMBK-R3011 Sony Producer Desk DMBK-R3012 Sony Speaker Stand...
  • Page 389: Oxf-r3 Diagnostics

    OXF-R3 Diagnostics Operator Diagnostics are not available in this version. The following screen pages are included in the OXF-R3 for the use of Qualified Service Personnel. Diagnostics screen page A-19 Appendixes...
  • Page 391: Index

    Index Command lines 6-64/72 command key functions 6-65 Ancillary push-button block (lower) 6-58/60 examples 6-65/72 Ancillary push-button block (upper) 6-55/57 function keys 6-64 Artists/projects & titles screen 7-32/34 quick rollback 6-73 Assignable channel processing 3-9 ranges & lists 6-65 Assignable panels 3-3, 3-4/5 using numeric keypad to enter timecode 6-73 Automation off 7-79 Control keyboard panel 6-62...
  • Page 392 Index Dynamics side-chain linking dynamics side-chain bus operation 4-21 Keyboard entry to record arm channel tracks 6-75 dynamics side-chain bus set-up procedure 4-21 dynamics side-chain busses 4-20 dynamics side-chain link right 4-18 dynamics side-chain link right set-up procedure 4-19 LCD channel screen panel 6-31 Fader paging 3-8 Machine remotes screen 7-61/63 Fader panel 6-6/7...
  • Page 393 oscillator section 6-61 Preferences GUI (channel screens) 5-30/38 solo, AFL & PFL modes section 6-54 fast insert I/O 5-36/37 studio LS section 6-49 I/O alias 5-34 talkback & listen section 6-52/53 M/T scribbles 5-35 Multi-format buttons 3-12 sample rate converter 5-38 Multi-format LS calibration A-3 Programme material 7-8 calibration procedure A-4/5...
  • Page 394 Index Signal processing (SP) rack 1-3, 6-96 Snapshots, copy & link screen 7-49 adjusting offsets with faders and knobs 7-57 copy 7-54/57 link 7-58/59 quick copy 7-54, 7-57 quick copy and link 7-55 quick link 7-55, 7-58 selector definitions 7-50 snapshot 7-50/53 Software installation A-2 Specifications...
  • Page 395 The material contained in this manual consists of information that is the property of Sony Corporation and is intended solely for use by the purchasers of the equipment described in this manual. Sony Corporation expressly prohibits the duplication of any...
  • Page 396 Sony Corporation Printed in Japan B & P Company 2001.12.13 OXF-R3 (UC/CE) 3-860-150-05(1) 1997...

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