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Summary of Contents for Sony SONOMA
- Page 1 Sony Corporation of America 410 Townsend Street, San Francisco, California, 94107-1537, U.S.A. ONOMA UDIO ORKSTATION UIDE Category: Public Document Authors: Kobie Crawford and Andrew Demery Date: 2003-09-05 Version: 1.6.1 Status: Working Document © 2003 Sony Corporation of America...
- Page 2 This publication is protected by copyright and all rights are reserved. No part of it may be reproduced or transmitted by any means or in any form, without prior written consent from Sony Corporation of America. The information in this document has been carefully checked and is believed to be accurate. However, Sony Corporation of America assumes no responsibility for any inaccuracies that may appear in this manual.
- Page 3 Copyright © 2003, Sony Corporation of America. All rights reserved.
- Page 4 Clarification. bring the source and destination EDLs to bring the source (F7) and destination (F8) the front, and to tile the Sonoma window to EDLs to the front, and to tile (F12) the show only the source and destination. Sonoma window to show only the source and destination.
- Page 5 The plus/minus buttons add/subtract the The +/- buttons add/subtract the nudge Editorial change. nudge amount to the outgoing or incoming amount to the outgoing or incoming edit edit points. points. Copyright © 2003, Sony Corporation of America. All rights reserved.
- Page 6 V = Both Fades + by nudge amount B - Incoming Fade Minus B = Incoming Fade - by nudge amount N - Incoming Fade Plus N = Incoming Fade + by nudge amount Copyright © 2003, Sony Corporation of America. All rights reserved.
- Page 7 Index marks = 1/75 second 4. Minimum time between a Start mark and an Index mark = 1/75 second 5. Minimum time between an Index mark and an End mark = 1/75 second Copyright © 2003, Sony Corporation of America. All rights reserved.
- Page 8 This version of the Sonoma application Clarification. contains an EDL-based DSD to IFF audio contains an EDL-based DSD to DSD-IFF export utility. (Direct Stream Digital-Interchange File Format) audio export utility. Copyright © 2003, Sony Corporation of America. All rights reserved.
- Page 9 Annex Meters, which relate to the specifications and recommendations laid down in Annexes D and E of the Scarlet Book Part 2 (Audio Signal Specification). Copyright © 2003, Sony Corporation of America. All rights reserved.
- Page 10 HF meters. For best results, the minimum amount of filtering should be used to achieve Annex D.4 compliance. For cases where the HF level is within specification, this filter need not be used. Copyright © 2003, Sony Corporation of America. All rights reserved.
- Page 11 Sonoma Audio Workstation User Guide Section Ver. 1.5.17 Ver. 1.6.1 Remarks Sonoma Mixer Automation manual. New feature addition. Copyright © 2003, Sony Corporation of America. All rights reserved.
- Page 12 Sonoma Audio Workstation User Guide Copyright © 2003, Sony Corporation of America. All rights reserved.
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Page 13: Table Of Contents
1.2 The Sonoma Hardware ........ - Page 14 Sonoma Audio Workstation User Guide 2.5 Selecting Ingredients ........18 2.5.1 Channel-based Selection .
- Page 15 Sonoma Audio Workstation User Guide 2.11 The Ingredient Edit Control Panel ......37 2.11.1 Changing the Current Ingredient........37 2.11.2 Ingredient Polarity .
- Page 16 2.23 Example: Making a Simple Edit......71 Chapter 3: Sonoma Mixer......73 3.1 Overview .
- Page 17 3.7 The Router Window........89 3.8 Sonoma Mixer Automation ....... . . 90 3.8.1 Overview .
- Page 18 Sonoma Audio Workstation User Guide...
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Page 19: Chapter 1: Introduction
The Sonoma Hardware In order to run the Sonoma application you must have a Sonoma Edit card installed in your PC. If you wish to use the mixer, you must also install the Sonoma Mixer card. These cards are pre-installed in the PC when the Sonoma Workstation is shipped. -
Page 20: The Sonoma Software
Insert the CD in your drive. Locate the CD on your desktop and click on the installer file. The installer will be named SonomaXXX.exe, where XXX defines the version number. The icon for the Sonoma installer is a picture of a PC with a box of floppy disks standing Chapter 1: Introduction... -
Page 21: Launching Sonoma
Launching Sonoma The Sonoma application can be run with or without the mixer. When you install Sonoma two shortcut icons are placed on the desktop, and two items will appear in the start menu under Start>Programs>Sonoma. - Page 22 Chapter 1: Introduction...
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Page 23: Chapter 2: Sonoma Editor
Introduction The Sonoma editor window has a title bar labeled “Sonoma.” It contains menus and toolbars that you will use to create, save, record, and edit multi-channel audio documents called edit decision lists or EDLs. Each EDL is a separate document and is displayed in its own window within the Sonoma editor window. -
Page 24: The Sonoma Window
The Sonoma Window 2.2.1 Menus Most functions in the Sonoma application are accessible via the menus in the menu bar: File Menu Creates, opens, and saves EDLs. The file menu also provides a command for exporting EDLs in SACD mastering file format. -
Page 25: Status Bar
This window shows the current position of the Nowline in the active EDL. The display can be a floating window or it can be docked to the Sonoma window by dragging it to the top or bottom edge. -
Page 26: Editing Timecode
• A special type of EDL called a takelist is created when you record. When you open a takelist EDL you are presented with a dialog. Section 2.8.10 describes takelists. Chapter 2: Sonoma Editor... -
Page 27: Control Panels
You will normally not need to view this panel. It can be useful for problem diagnosis under the direction of a Sony field support engineer. The channel controls are used most of the time, so this panel is described fully in the next section. -
Page 28: Channel Controls
It is possible to define a subset of channels, a channel group, that can be selected independently. Channels in the channel group appear with red channel numbers, other channels are displayed in black. To add or remove a channel from the channel group, Chapter 2: Sonoma Editor... - Page 29 A group of ingredients assigned to the same channel is called a track. Sometimes ingredients overlap. (The Sonoma editor can mix two overlapping ingredients in real time on every channel.) The ingredients in a track can be displayed two ways. In overlapped mode all ingredients appear in the same row so overlapping ingredients actually overlap.
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Page 30: Timeline
Clicking on these arrows will scroll the EDL so that the window is centered around the cursor. The upper strip also contains controls for showing and hiding the edit cursors. Alt-clicking on the edit cursor’s icon will toggle its display state. The strip also contains controls for linear editing: a pair Chapter 2: Sonoma Editor... -
Page 31: Ingredients
In order to do this the edit point must move to the right by half the change in fade length. Sonoma can perform this operation by “pinning” one end of a fade and pivoting about that fixed end. You can select the pivot point for the fades in ingredients using the fade pivots item in the edit menu. - Page 32 2.3.8.3 Offline Ingredients When Sonoma opens an EDL, it assumes that the ingredients it contains refer to their original DSD sound files. In some cases, those files may not be in their original locations. Sonoma recognizes one of the most common cases - when removable drives have been shuffled so that drive letters have changed.
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Page 33: Marks
Zoom around Selection/All Ingredients The ingredient-based zoom commands zoom around the selected ingredients or all the ingredients in the EDL. The window size changes so that the ingredients are centered and occupy 90% of the window. Chapter 2: Sonoma Editor... - Page 34 Nowline is centered in the window. Edit Cursors Centered in Window Pressing Ctrl+NumPad 5 will scroll to bring the edit left cursor to the center of the window. Shift+Ctrl+NumPad 5 brings the edit right cursor to the center. Chapter 2: Sonoma Editor...
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Page 35: Navigating With The Keypad
The left and right EDL bounds are displayed in the lower strip of the EDL. You can select either bound and type or paste a new timecode into them. The EDL will rezoom to the new boundaries. Chapter 2: Sonoma Editor... -
Page 36: Selecting Ingredients
Ctrl-click on it. To clear the selection, click in a portion of a channel row where there is no ingredient. 2.5.3 Deselect/Select All Ingredients You can clear the selection, so that no ingredients are selected, or select all the ingredients in the EDL with the corresponding commands and their toolbar buttons. Chapter 2: Sonoma Editor... -
Page 37: Selecting Ingredients With Respect To The Nowline
You can “walk” the EDL, selecting successive ingredients in time-sorted order, by using the commands select previous ingredient, or select next ingredient. 2.5.6 Select Last Recording This command can be used to show the most recently recorded material in an EDL – see § 2.8.9.2 more details. Chapter 2: Sonoma Editor... -
Page 38: Manipulating Cursors
The Nudge Nowline commands change the position of the Nowline by the nudge amount that is specified in the editing tab of the user preferences window; this window is reached via the edit and undo preferences item in the edit menu. The ← and → arrow keys nudge the Nowline. Chapter 2: Sonoma Editor... -
Page 39: Working With The Edit Cursors
Be careful when moving the cursors, if the left cursor is placed to the right of the right cursor the cursors are “crossed.” If you are dragging a single cursor, or move a cursor to the Nowline such that Chapter 2: Sonoma Editor... -
Page 40: Playback
(Ctrl+Spacebar). When playback stops the Nowline remains at the last position played. Play Selection When you hold the Shift-key and press the Spacebar the play selection command is performed. Only the audio in the selected ingredients will be heard. Chapter 2: Sonoma Editor... -
Page 41: Auditioning Cursors And The Edit Region
Bottlenecks Real time playback is not possible when more than two ingredients overlap on the same channel. This is called a bottleneck. The system will halt with an error dialog when it attempts to play across Chapter 2: Sonoma Editor... -
Page 42: Recording
2.8.2.1 Set Recording Directory You must specify a recording directory for an EDL before recording into it. The set recording directory command in the record menu (or the button on the recording toolbar) brings up the Chapter 2: Sonoma Editor... - Page 43 (when the transport returns to idle). Sonoma tries to begin numbering with the specified file number but if the recording directory already contains DSD files with the same prefix and bigger file numbers Sonoma will select the next largest unused number. Recording to Subfolders When a new recording is made, the DSD files are usually placed directly in the recording directory.
- Page 44 (Note: the input signal source can be either analog or digital. The source path is controlled by the hardware configuration. This is described in chapter one of the Sonoma Audio Workstation Hardware Installation Guide. Refer to the instructions for configuring the ADC-8.) 2.8.2.3...
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Page 45: Before Recording: Channel Lock Controls And Disk Allocation
Before Recording: Status Bar The right side of the status bar at the bottom of the Sonoma window displays the EDL’s recording directory and the prefix and number of the next recording. When at least one channel is unlocked, the status bar shows the amount of recording time available on the unlocked channel with the smallest amount of time left. -
Page 46: Before Recording: Error Preferences
Punch-in and Punch-out Handles While the transport is running, the input audio buffers are being filled whether or not recording is actually taking place. This means the system can start recording before you actually punch-in, and Chapter 2: Sonoma Editor... -
Page 47: After Recording
EDL to its state immediately preceding the start of the transport that initiated the recording. The recorded ingredients will be removed but the underlying DSD files remain in the system. This is a “soft” or non-destructive undo. Chapter 2: Sonoma Editor... -
Page 48: The Takelist
You should not try to change a channel's ready/safe status while recording a region. All other controls that affect recording (audio routing, monitoring, record source, record to destination, recording directory) are used just as they are configured. Chapter 2: Sonoma Editor... -
Page 49: Selection-Based Editing
Nowline. These commands are available in the edit menu, or via their keyboard accelerators: • Paste before Nowline (Ctrl+]) • Paste after Nowline (Ctrl+[) Chapter 2: Sonoma Editor... -
Page 50: Copy After Nowline
These commands move the selected ingredients to the left or the right by the nudge increment. The nudge increment is set in the edit tab of the preferences window. The Alt-key in conjunction with the ← and → arrow keys will also nudge the selection. Chapter 2: Sonoma Editor... -
Page 51: Trim Selection Left/Right To Nowline
Slice Selection at Nowline This command slices a single ingredient into two ingredients. It slices all the selected ingredients that intersect the Nowline. If you try to slice with the Nowline inside a splice (see § 2.12), Sonoma will remove the splice first. -
Page 52: Cut/Copy Edit Region And Insert Time
The window menu contains commands to bring the source (F7) and destination (F8) EDLs to the front, and to tile (F12) the Sonoma window to show only the source and destination. If you hold the Alt-key down while selecting an EDL in the windows menu, the selected EDL will become the source window and the tile source/destination command will be performed, unless the chosen file is the destination or already has focus. -
Page 53: Linear Edit Commands
The editing preferences tab contains a set of radio buttons that controls the behavior of insert when it would ripple material past midnight. The options are to insert time in the EDL, trim the material before inserting, or cancel the command with an error message. Chapter 2: Sonoma Editor... - Page 54 When the source EDL contains no edit cursors or only the edit left, the source region is forced to be the same length as the destination region. Replace and layer will place the source at the destination Chapter 2: Sonoma Editor...
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Page 55: 2.11 The Ingredient Edit Control Panel
The previous/next buttons wrap around the ingredients in the selection. The text between these buttons indicates how many ingredients are in the selection and which one is being viewed. Chapter 2: Sonoma Editor... -
Page 56: Ingredient Polarity
75 fps format. 10 msec. is smaller than a 75 fps frame, so the nudge field will display as zero. Internally, Sonoma keeps track of the nudge value in samples, the smallest unit of measurement possible, so pressing the + or - buttons actually does have an effect on the ingredient you are editing, even though this may not be visible because of the zoom level and timecode display format. -
Page 57: Ingredient Edit Points Section
These accelerators perform just like the buttons, the effect of the operation depends on the current trim/slip radio button selection: Chapter 2: Sonoma Editor... -
Page 58: Ingredient Gain Section
The +/- buttons add/subtract the nudge amount to all the selected ingredients’ fade lengths. All fade length commands check the change to ensure that the fade does not exceed the length of the clip or the usable range of the EDL. Chapter 2: Sonoma Editor... -
Page 59: Channel Number
When this box is checked, the polarity of the current ingredient is inverted, otherwise the polarity is the same as its clip. Changing the checkbox affects only the current ingredient. The other ingredients in the selection are not affected. Chapter 2: Sonoma Editor... -
Page 60: 2.12 Splices
In the age of magnetic tape this was accomplished by using splicing tape to hold the pieces together. The Sonoma Workstation’s splice command performs the same function. Splices join ingredients in two ways: horizontally across a single channel (creating a sequence), and vertically across multiple channels (a mutli-channel edit). -
Page 61: Multi-Channel Edits And Sync. Groups
If you think of multi-channel edits and splices as bits of sticky tape, this behavior should make sense. Chapter 2: Sonoma Editor... -
Page 62: 2.13 The Splice Editor Control Panel
(assuming you already have audio in the clipboard) as well as the linear edit commands. Note: all these commands only work when the transport is idle. Chapter 2: Sonoma Editor... - Page 63 (by virtue of some channels being edit disabled), the current edit is automatically split into two multi-channel edits: one containing the enabled channels, the other the disabled channels. The edit with the enabled channels is reselected and becomes the current edit. Chapter 2: Sonoma Editor...
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Page 64: Resetting, Exiting, And Re-Entering The Splice Editor
The incoming button plays the interval starting from the incoming edit position. The audition edit both command plays the entire splice, with the same pre-roll and post-roll amounts on either side of the cross fade. Chapter 2: Sonoma Editor... - Page 65 2 msec. fade. The splice audition commands (including the keyboard accelerators) are only available when the splice editor control panel is selected and it is displaying a splice. Chapter 2: Sonoma Editor...
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Page 66: Editing A Splice
Shift+S = Outgoing to Nowline [ingredient pinned] Shift+D = Outgoing + by nudge amount [ingredient pinned] Shift+F = Incoming - by nudge amount [ingredient pinned] Shift+G = Incoming to Nowline [ingredient pinned] Shift+H = Incoming + by nudge amount [ingredient pinned] Chapter 2: Sonoma Editor... -
Page 67: Gains
Shift+N = Incoming Gain + by nudge amount 2.13.9 Fades Changes to the fade parameters (fade length and fade curve) are normally applied to both outgoing and incoming material, and more rarely to one side alone.The fade section contains a single set of Chapter 2: Sonoma Editor... -
Page 68: Displaying Data: Next Channel, Next Edit
2.13.10.1 Previous/Next Channel These buttons change the current channel, cycling through all the edit-enabled splices in the current edit. The data in the splice edit panel updates to show the values of the new outgoing/incoming ingredient pair. Chapter 2: Sonoma Editor... -
Page 69: Unsplicing
(which now contains fewer channels). 2.14 Undo Each time you perform an edit command, the Sonoma application saves the state of the EDL before and after the command is performed (e.g., before cut, after cut) and stores these states in the Undo list. -
Page 70: 2.15 Marks
Index marks and End marks are optional but a final End mark must be present to indicate the end of the disc. Authoring marks are created using one of the three add authoring mark commands (add start, add stop, add index). Only one authoring mark can occupy a given location on the EDL. Chapter 2: Sonoma Editor... - Page 71 Start marks. The Scarlet Book actually defines Index Point 1 to equal the Track Start, therefore, the first Index following a Track Start should be Index N.2, where N is the number of the Track. Chapter 2: Sonoma Editor...
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Page 72: Ingredient Marks
2.15.4 Error Marks If Sonoma detects an error while playing or recording it will create an error mark. The text of the error mark describes the problem. (You cannot edit the info. field of an error mark.) Error marks are identified as type ERR in the mark control panel’s mark list. -
Page 73: The Mark Control Panel
When you use the ENTER-key or mark menu add mark command to add a new mark, and the mark editor control panel is not visible, you can still press the Insert-key after creating the mark. This will automatically open the mark editor and allow you to type in your comments. When you complete Chapter 2: Sonoma Editor... - Page 74 These two buttons move the Nowline forward or backward to the next visible mark in the EDL and select that mark in the mark list. These commands are also accessible from the cursors menu, and by using the , and . keys (i.e., unshifted < and >). Chapter 2: Sonoma Editor...
- Page 75 2.15.5.12 Changing the Type of a Mark The button labeled “change type to” is enabled when only one mark is selected in the mark list. Pressing the button brings up a dialog showing the type and info. for the selected mark: Chapter 2: Sonoma Editor...
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Page 76: Auditioning An Authoring Mark
When a raw DSD file (without a matching env file) is imported directly into Sonoma, or when a DSD file is extracted from a DSD-IFF file, you can use the Make Waveforms command to create an env file. -
Page 77: Ingredient Waveforms
When metering is turned on, the scale is reset to its default which is full scale. If metering is on while you are recording, the metering data will draw on top of the new red ingredients, obscuring them. When recording stops, the red ingredients will redraw. Chapter 2: Sonoma Editor... -
Page 78: 2.17 Exporting An Sacd Mastering File
The Export to Master Command To initiate the export process, select the export to master command in the file menu. The export dialog will appear. This is a modal dialog, while it appears no other Sonoma activity is possible. Chapter 2: Sonoma Editor... -
Page 79: Dsd-Iff Meta Data
The system time/date will be inserted when the export operation actually takes place. When a new comment is added the text field becomes active and you can immediately type in the comment text. Press ENTER or click elsewhere to terminate the type-in. Chapter 2: Sonoma Editor... -
Page 80: Loudspeaker Configuration
Note that it is recommended practice that the EMID field contain a unique value. You can specify a default value for the operator field using the DSD-IFF tab in the preferences window. 2.17.3 Loudspeaker Configuration Chapter 2: Sonoma Editor... -
Page 81: Export Output
DSD verifier program. In order to make this feature more flexible, this field lets the you specify the directory where the captured files will be written. In addition, there is a check box that controls Chapter 2: Sonoma Editor... -
Page 82: 2.18 Source Audio Mapper
When a project is moved between computers, or archived and restored, the path names for the sound files used by an EDL may change. Sonoma tries to search for them on other drives, but other changes in the file hierarchy or renaming of files can cause ingredients to appear offline. Offline ingredients can be edited but not auditioned. -
Page 83: 2.19 User Preferences
2.19 User Preferences The user preferences window has tabs for setting various options. These settings are saved when you close the Sonoma application. The preferences window can be reached from the preferences command in the window menu 2.19.1... -
Page 84: Editing Preferences
0, 1, 2, 3 or 4 SACD frames. The recommended value is 4 frames. Enable Offset Editing When this box is checked the offset field in the mark editor is enabled so you can change the offset assigned to any Start or Index mark (see § 2.15.5.5). Chapter 2: Sonoma Editor... -
Page 85: Playback Preferences
2.19.7 Error Preferences Sonoma can detect and report real time errors when they occur. You can also configure the system to stop playing or recording when errors happen using the error preferences. Remember that when real time errors occur, they are reported as error marks in the EDL. See §... -
Page 86: Window Preferences
Window Preferences Open EDLs Maximized When you open an EDL it can be maximized to fill the Sonoma window, or sized smaller so that you can have multiple EDL windows open and visible at the same time. The window preference checkbox controls this behavior. -
Page 87: The Disk Monitor
2.21 Error Reporting and Recovery The Sonoma system has been designed and tested to be as reliable and dependable as possible, but hardware can break and users can create complex EDLs that the system may not be able to process in real time. -
Page 88: Recovering From A System Crash
Undo pull-down menu. 2.21.3 Recording Invalid DSD Data If Sonoma receives bad DSD data (all zeros or ones) while recording, it will display a full red bar in the affected channels’ level meters. 2.22 Example: Making a Recording Section 2.8... -
Page 89: 2.23 Example: Making A Simple Edit
• Do a cut command then a paste after Nowline command. • Adjust the crossfade lengths by selecting one or more incoming or outgoing ingredients and set the fade lengths in the ingredient editor control panel. Chapter 2: Sonoma Editor... - Page 90 Chapter 2: Sonoma Editor...
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Page 91: Chapter 3: Sonoma Mixer
The EQ and Dynamics Section, also called the Channel Section, contains eight input channel strips. When the Sonoma application is launched, the state of the mixer is initialized to the state it was in the last time the application was running. The mixer state can be saved and restored from files on the system disk via the snapshot controls in the EQ center section. -
Page 92: Dials
Each control has its own normalized value. As a general rule, all gains are normalized to 0 dB, and other controls are normalized to their minimum values. The master oscillator frequency control is normalized to 1 kHz. Chapter 3: Sonoma Mixer... -
Page 93: Text Display And Type In
3.3.1 Screen Mode The screen mode determines whether the Sonoma Editor and Mixer windows appear together or separately. Small depictions of the modes appear at the top of the control window. Click on the desired configuration with the mouse. The modes can be cycled using the keyboard combination Ctrl+End. -
Page 94: Router Button
3.3.5 Quit Button This button exits the Sonoma application. When you click the quit button, the system will ask you if you really want to exit. Clicking on NO will take you back to the mixer. 3.3.6 Play/Stop Buttons You can control the playback of the active EDL in the Sonoma window using these two buttons. -
Page 95: Gain Trim
When the source is changed, the internal clock usually takes a second or two to re-establish lock. For use with the Sonoma Editor, the OPTICAL radio button should be selected. When launched, the OPTICAL radio button is selected by default. -
Page 96: Mixer Center Section
SACD that the maximum specified level of -20 dB SACD is not exceeded. Failure to comply with this specification will result in the master being rejected by the disc replicator. Section 3.9, Sonoma Mixer Specifications for further details. - Page 97 Please note: the center section snapshot shows an Annex E filter whereas it is actually an Annex D HF filter. This typographical error is also mirrored in the current Sonoma software, and will be corrected in the next release. Chapter 3: Sonoma Mixer...
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Page 98: Snapshot Controls
3.5.2 Snapshot Controls When the Sonoma application is launched, the previous state of the mixer is automatically loaded from a file on the system disk. You can save and load alternate mixer set-ups or restore the mixer’s default settings via the Snapshot controls. -
Page 99: Oscillator
1 kHz. 3.5.5 LFE Filter The LFE Filter controls determine the slope and frequency of a low-pass filter which affects only the surround LFE program output. 0 dB SACD = –6 dB full scale DSD. Chapter 3: Sonoma Mixer... -
Page 100: Program Insert
The master fader applies gain or attenuation to all output program material. The CUT button silences all outputs. If the mixer is not locked to a clock source a warning message will appear above the master fader. Separate settings are maintained for Stereo and Surround Mode. Chapter 3: Sonoma Mixer... -
Page 101: Aux Master
The CHANNEL and COPY buttons are used to change the order of the audio processing on each channel strip – see § 3.6.7. 3.5.13.3 Link The buttons in this section are used to link faders and other controls into groups and to copy settings between channels – see § 3.6.10. Chapter 3: Sonoma Mixer... -
Page 102: Mixer Channel Section
LF section. When an EQ section is not armed, its arming button is grey. When an EQ section is armed but not engaged, its arming 10. 0 dB SACD = –6 dB full scale DSD. Chapter 3: Sonoma Mixer... -
Page 103: Channel Dynamics
When the CHANNEL button is depressed, the processing blocks on a channel strip highlight in orange as the mouse cursor passes over them. To select a block left click the mouse. The block will Chapter 3: Sonoma Mixer... -
Page 104: Scribble Strip
This is done by a surround pan section consisting of left/right, front/back, divergence and channel gain. A surround channel’s input can be disabled by selecting the corresponding surround channel button within the section. In Chapter 3: Sonoma Mixer... -
Page 105: Linking And Copying Channel Faders And Controls
Channel 2's EQ, it would assign this EQ to the same group number as Channel 1's EQ. Note that other sections, like dynamics, insert, channel gain, and pan are not linked just because the EQ is linked - this has to be done independently, if required. Sometimes, not all controls in a section are Chapter 3: Sonoma Mixer... - Page 106 6 dB above channel 2's gain, and then channel 2 is set to its maximum value, the value of channel 1 remains pinned at the fader’s maximum as well, until channel 2’s value falls 6 dB below maximum. Chapter 3: Sonoma Mixer...
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Page 107: The Router Window
Sources are displayed on the left and destinations on the right of the window. A source or destination can be either a single path or a set of paths (denoted by the tab at the side, which collects the paths together). Chapter 3: Sonoma Mixer... -
Page 108: Sonoma Mixer Automation
The mixer automation is slave to the timecode from the Sonoma editor. At the moment, there is no option to have the mixer slave to external timecode, nor for the mixer to act as timecode master. -
Page 109: Automation Controls And Indicators
• BUTT JOIN mode When the mixer automation is in 'BUTT JOIN' mode, and a control is being recorded any previous data is overwritten only while the control is actively being manipulated. For continuous controls, this Chapter 3: Sonoma Mixer... -
Page 110: A Short Example Session
Play NONE button This button causes all automatable controls to become non-playable. The button is disabled while automation is live. 3.8.3 A Short Example Session Suppose you have some audio recorded on the editor. Chapter 3: Sonoma Mixer... - Page 111 12: Try pressing SAVE on the automation panel, and saving the data into a file. Then clear all automation data with CLEAR ALL. After this, reload your automation data with LOAD. Chapter 3: Sonoma Mixer...
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Page 112: Sonoma Mixer Specifications
Slope: continuously variable [0 dB/oct → –36 dB/oct], Normalized 0 dB/oct Frequency: [25 Hz → 200 Hz], Normalized 25Hz LF Filter Slope: continuously variable [0 dB/oct → –36 dB/oct], Normalized 0 dB/oct Delay Delay time: [0 msec→ 92.9 msec], Normalized 20 msec Chapter 3: Sonoma Mixer... - Page 113 Frequency: [900 Hz → 18 kHz], Normalized 900 Hz parametric Q: [0.5 → 16.0], Normalized 0.5 Gain: [–20 dB → +20 dB], Normalized 0 dB Frequency: [100 Hz → 6 kHz], Normalized 100 Hz parametric Q: [0.5 → 16.0], Normalized 0.5 Chapter 3: Sonoma Mixer...
- Page 114 Ratio: [1:1 → Limit], Normalized 2:1 Overeasy [0% → 100%], Normalized 0% Gain Makeup [+0 dB → +18 dB], Normalized 0 dB Metering: Gain reduction 0 → 30 dB displayed in DARK ORANGE from base of meter display Chapter 3: Sonoma Mixer...
- Page 115 Frequency: [20 Hz → 500 Hz], Normalized 20 Hz Slope: [0 dB/oct → –36 dB/oct], Normalized 0 dB/oct HMF, MF, LMF EQ Different settings for surround and stereo modes LMF switchable between parametric and shelf mode Individual in/out switches Chapter 3: Sonoma Mixer...
- Page 116 4 sets of controls, 1 for each of AUX send 1+2, 3+4, 5+6 and 7+8. Each control comprising: • Cut button • Gain control [-1024 dB → +10 dB] 1 Overall Cut button *. Indicates a control which can also be accessed elsewhere. Chapter 3: Sonoma Mixer...
- Page 117 Setup Window Toggle Toggles the setup window on-screen Monitor Controls The following controls are shared with the mixer monitor section: • Master Monitor Gain • Dim button • Cut button Transport Controls Play and Stop buttons for recorder Quit Button Exit with confirmation Chapter 3: Sonoma Mixer...
- Page 118 Figure 3-5 Sonoma Mix Block Diagram Chapter 3: Sonoma Mixer...
- Page 119 Figure 3-6 Sonoma Mix Block Diagram Chapter 3: Sonoma Mixer...
- Page 120 Chapter 3: Sonoma Mixer...
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