introduction
In today’s recording studios, producers and engineers constantly face
new challenges from projects of ever-increasing sophistication.
Multitrack recorders and additional audio sources continue to push up
the number of channels needed for tracking and mixdown. Film
surround-sound, video, DVD, digital television and other media create
new mix formats, while high-performance digital signal processors
and other studio devices make ever-greater demands on the sonic
fidelity of the entire audio chain.
The need to complete projects to near-impossible deadlines means
that studios must be able to move rapidly from one complex set-up to
another – without sacrificing flexibility or creative options.
The Sony OXF-R3 Console represents a solution to this dilemma.
Its development has been
an outstanding example of international co-operation, with a team of British
console designers based in Oxford, England, working in close partnership with
Japanese engineers in Atsugi, Japan.
The OXF-R3 enables studios to make the transition from
the knob-per-function approach of giant analogue consoles to an assignable design that provides major
advantages.What is remarkable about the OXF-R3 is the ease with which this transition can be made.
Using proprietary Sony developed digital signal processing throughout,
the OXF-R3 is a large-scale console with a compact control surface
that puts enormous power and flexibility within easy reach of the
engineer. The choice of leading studios around the world, the OXF-R3
has established a formidable reputation for its immaculate sound
quality – quality that has been made possible through the achievement
of exceptional engineering design standards.
With its ground breaking design founded in traditional concepts and
mixing methodology, the OXF-R3 unites an easy-to-learn, ergonomic
control surface with radically advanced digital technology. As such it
makes all the benefits of ultra-modern technology readily accessible
to today’s studio professionals.
The result of these pressures is that recording engineers and producers face a dilemma. With budgets and
time scales continually constrained, how can the demand for recordings that are always more dynamic
and more creative be satisfied? For many, the solution has been to rely on available technology as a
practical expedient, rather than a matter of considered preference. With little time for evaluation and
experimentation, exciting new technologies have remained comparatively under-exploited, with the result
that engineers are deprived of the opportunity to exercise their creative talents to the full.
