Specifications

SONY
DMX-R100
AUDIO MIXERS
397
PHOTO - VIDEO - PRO AUDIO
ORDER & INFO. [phone] • FAX: [phone] [phone]
1-800-875-6951 • www.bhphotovideo.com
Advanced Snapshot and Dynamic Automation
The DMX-R100 includes 99 snapshots per title, making it possible to memorize and recall the
state and values of virtually all mixer functions, including input matrix routing, Delay, Phase,
Tr im, Input Mode, Filter, EQ, Dynamics, Pan Assign, Cut, Fader and Aux.
The DMX-R100 also offers a ‘ library’, which is intended for storing repeatedly used EQ and
Dynamics settings. Up to 99 can be stored in the library per title for later recall and assignment
to any individual channel. In addition,there is comprehensive dynamic automation of Faders,
Cuts, Pans, EQ and Filters,Dynamics, and Aux sends.Dynamic automation can be synchronized
to both SMPTE and MTC (MIDI time code), and the TC Link function allows snapshots or
EQ/Dynamics settings stored in the library to be recalled to programmable time code cues.
A time code offset function is also available to offset the time code relative to that fed from an
external source.As dynamic automation is such an important feature, touch-sensitive motorized
faders are used.This typical high-end approach greatly simplifies writing and modifying the
automation data.The DMX-R100 can be switched between two dynamic automation files (A
and B) and automation moves can be written in Absolute or Trim modes. In both modes, the
automation moves can be rehearsed before overwriting the previous mix in memory. These
high-performance automation features make the DMX-R100 very suitable for complex music
and audio post mixing that requires extensive auditioning and scene changes.
Flexible Internal Routing Matrix
The DMX-R100’s is its internal audio routing
matrix . This provides comprehensive crosspoint
switching for virtually every input and output,
and avoids the need for a costly external patch
bay. The input section of the matrix allows any
input signal to be routed to any channel.The
same input signal can also be routed to multiple
channels. Similarly, the output section allows bus
signals to be assigned to any output including
those on the four I/O slots and also allows the
same signal to be assigned to multiple outputs.
The routing matrix is controlled by two touch-screen pages, one for input signal assignment and
one for output signal assignment. Both pages have two levels of access. The first level provides
free assignment of inputs and outputs on an individual basis.The second level supports logical
groupings of inputs and outputs. For example, the block of signals from one of the optional
input boards can be assigned to a group of channels. Similarly, logical groups of mixer buses,
Aux Sends for example, can be assigned to a range of mixer outputs. Using this second level to
work with these logical groups enables the matrix to be quickly set up.Input and output matrix
crosspoint assignments are stored in snapshots. This means that a DMX-R100 can very quickly
be reset to different projects by recalling snapshots that include these settings.
Inputs/Outputs
Equipped with 24 analog inputs
as well as 8 Aux returns (4
mono analog and 4 mono
digital) and 2-track inputs
(digital/analog). Analog inputs
1-12 have XLR (for mic inputs
and and include 48v phantom
power) and 1/4˝ TRS
connectors (for line level signals). Inputs 13-24 feature neutrik combo connectors (XLR or a
1/4˝ TRS. Outputs include stereo program (analog and AES/EBU),Aux Send (8 analog, 2
AES/EBU), control room monitor (6 analog) and studio monitor (2 analog).
Channel Strip
The 24 fader strips of the DMX-R100
combine the familiarity of traditional
console design with additional features
derived from the OXF-R3 console. By
default, each fader controls the channel gain,
but Select to Fader buttons allow them to
control 10 additional level adjustments in the
channel path, including the eight Aux Sends,
I/P Trim and MTR Sends. Similarly, the Pan
rotary control defaults to stereo mix pan but
can be switched to provide the same 10 level
control functions as Select to Fader. As
different signal paths are selected,the faders
automatically move to the correct position
and a ring of LEDs around each Pan control
indicates its current value. This arrangement
of two level controls per fader strip provides
a simple method of offsetting various channel
levels – one of the most common adjust-
ments made during any audio production.
Channel Link Control
Link control of parameters such as Trim,
Delay, EQ/Filter, Dynamics, Channel Cut,
Channel Fader, MTR Fader, and solo mode.
In normal mixing, adjacent odd and even
channels can be linked in stereo pairs, and in
the case of surround mixing, operators can
choose to link groups from the following
combinations: 1-6 , 7-12, 13-18, 19-24
channels, L/C/R, LS/RS and so on.In
addition, a ‘mask’ function permits selective
exclusion of parameters from the link
operation available separately for stereo and
surround channels. Surround link groups
such as L/C/R, LS/RS and Sub can be
selectively linked for surround mixing.
Copy and Zero Reset Function
Copy function allows channel settings of a
source channel to be copied to any number
of destination channels. The ‘mask’ function
permits selective exclusion of parameters
from the copy operation, and moreover, the
DMX-R100 supports copying of channel
fader mixes to MTR fader/Aux Send faders as
well as MTR fader mixes to Aux send faders.
This is extremely helpful when creating
cue/foldback mixes.Additionally, a zero reset
function selectively resets all level controls,
faders, and knobs to their default values. EQ
curves can also be set flat, and dynamics set-
ting are set to their default values.