Sony OXF-R3 Brochure & Specs Download Page 34

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Features and specifications are subject to change without notice.

All non-metric weights and measures are approximate.

Sony is a registered trademark of Sony Corporation.

OXF-R3 and MiniDisc are trademarks of Sony Corporation.

All other trademarks are property of their respective owners.

Designed and Produced by MCA Group plc Kingston upon Thames England

A-1002-C

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Printed 6/01

Summary of Contents for OXF-R3

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Page 2: ...e 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...

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Page 5: ...LECTION MASTER FACILITIES Master and Stereo Monitors Aux Sends and Group Masters MULTI FORMAT AND MONITORING Multi format Panning SESSION MANAGEMENT Session Management Machine Control Automation Offline Edit Audition Merge Snapshots Recalling Mixes and Snapshots Copy Link Jog Shuttle wheel ABOUT THE SYSTEM Hardware Interconnection SPECIFICATIONS OXF R3 CONVERTER TECHNOLOGY DIAGNOSTICS SUPPORT 2 4 ...

Page 6: ...tend their business horizons Key features for TV film post production Support of all film and TV mixing formats Multi system processing Fully dynamic automation Time code based snapshot and mix merge Off line editing of automation Motorised joystick panners Comprehensive monitor management Perfect machine mode for machine control Cue based machine control Key features for broadcast production Supp...

Page 7: ... 1 2 second programmable delay 48 and 96 track mixdown modes Simple and fast to operate control surface MIDI interfacing to external devices MIDI Beat and Bars automation time reference True digital varispeed GML 8200 8900 emulation optional Direct interfacing to Sony PCM 3348HR Sound Studio N Cologne Germany Guillaume Tell Studios Paris France Photography by François Jannin Wally World Studios Sa...

Page 8: ... creative performance In the production chain this quality advantage is maintained the consumer as well stands to benefit dramatically Much of the audio information contained in the extended 24 bit word length can be retained when signals are translated to lower resolution formats CD MiniDisc etc using processes such as Sony Super Bit Mapping The end result is that listeners in the home can enjoy ...

Page 9: ...ation of the console s c o n t r o l s u r f a c e is of paramount importance and the ergonomic design of the OXF R3 employs a distinctive visual language to differentiate between control functions With assignability reducing the console s control count pressure on space is reduced so controls can be larger and tailored for optimal feel and resolution This overcomes one of the major problems of tr...

Page 10: ...even where control room space is at a premium The OXF R3 accepts external SMPTE EBU time code and external word clock The console has the important ability to chase the external word clock over the varispeed range of 12 5 The control surface configuration featured in this brochure has 48 channel faders 24 on each side 16 group faders in the centre and two complete input modules one on each side of...

Page 11: ...sing power of the OXF R3 EQ dynamics etc is available on all channels and at all times because of the Fixed Assignment allocation of processing resources The internal processing architecture offers greatly extended dynamic range and headroom due to the use of a 32 bit internal bus structure Insert points either analogue or digital are available on the input channels Stereo Sub groups and the Main ...

Page 12: ...BAND EQ DYNAMICS INSERT DELAY FX FADER FUTURE SP SELECTORS 2 7 SELECTOR 8 BYPASS FILTERS 5 BAND EQ DYNAMICS Ø Ø Ø L MIC L LINE Ø Ø R MIC R LINE Ø Ø INSERT DELAY FX FADER MULTITRACK FUTURE SP MAIN O P L R BUSSES 8 STEREO SUB GROUP BUSSES Used for MULTI FORMAT MONITOR 48 MULTITRACK BUSSES Used for UP TO 8 MULTI CHANNEL STEMS CUE AUXILIARY SENDS 1 24 9 STEREO EXTERNAL SOURCE MONITOR INPUTS 6 X 8 MULT...

Page 13: ... along with a parallel multitrack output with simultaneous provision for a multitrack confidence check FADER refers to the channel fader Normally this is not allocated to one of the boxes but positioned after it However it can be positioned in one of the boxes to provide post fader processing e g to facilitate a post fader limiter or other process The following processing blocks are available for ...

Page 14: ...ports The OXF R3 has the familiar Send Return and Record switches above each channel fader for multitrack monitoring and track arming An Overdub Monitoring mode can also be selected by pressing both Send and Return In the Multiformat mode the operator selects groups of multitrack busses as the multiformat output stems For speed of operation the multiformat stems are labeled A to H and output routi...

Page 15: ...ntribution to each of the 24 Aux Sends can be selected from pre or post any of the channel processing blocks This gives an option of 11 pick off points for each Aux Send from each individual channel Aux Sends are controlled either from the Sends 1 24 panel or by mapping the Aux Send controls to the faders or pan rotary controls It is also possible to copy the channel fader pan balance to any Aux S...

Page 16: ...ping of non adjacent channels as well as providing keying effects Free Assign Area Dynamics Panel Dynamics setting The Dynamics Processors for the Full channels have four entirely independent sections compressor expander limiter and gate These act together at a single point in the channel path The Stereo Return channels feature the compression and gating sections The compressor can also act as a l...

Page 17: ...delay function that allows highly sophisticated digital delay effects to be created individually for each channel freeing external processing devices for other tasks This delay also reduces the time and effort expended in patching devices into the signal chain and assures the maximum possible audio quality Each channel has a separately programmable delay with adjustment of delay time direct effect...

Page 18: ... s EQ sections The Low and High bands can switch between Bell and Shelving profiles In the Shelving mode the Q control changes to provide an overshoot undershoot control mimicking the response of popular outboard EQ devices The console is supplied with two EQ memories for every channel selected from the A and B switches on the panel These memories allow the operator to experiment without losing th...

Page 19: ...n also control all of the above level adjustments with the exception of sub bass This allows the console to mimic the style of in line and split analogue consoles The ability to call the Aux Sends to the faders allows headphone balances to be mixed on full length faders Pan controls and fader automation switches are also assigned to the Aux Sends To help make quick headphone balances the channel f...

Page 20: ...at enables the second talkback group whenever the multitrack machine is not in Play or Record Three oscillators are provided with fully variable frequency and level One of these provides tone to internal signal paths The second provides an external analogue output and the third a digital output The central fader always controls the Main stereo output and can simultaneously acts as a master level c...

Page 21: ...nds While the large number of Aux Send outputs provides ample mixing outputs the Multitrack Busses are also available for use with additional effects processors Below the Send Outputs 1 24 panel is the Stereo Sub groups section with Level Cut Solo and AFL The Stereo Sub groups can be used to create mix minus outputs clean feeds or music only mixes The Stereo Sub groups can be routed separately out...

Page 22: ...ms Monitor control of multiple stems can be mapped on to each of the four sets of switches Functions include Pec Direct switching ie stem based Send Return Cut Solo and Hold The monitor function can be interfaced to an external monitor control panel using an optional GPI control interface Multistem Surround Sound Processing The OXF R3 is capable of sophisticated multistem surround processing with ...

Page 23: ...ster and slave machines can be set using the Remotes GUI of the Session Manager screen The Command keyboard provides a fast method for controlling regularly used transport functions for example Locate Title Cycle Cue 2 to Cue 4 etc Session Management command keyboard Automation As would be expected from a console of such power and flexibility the OXF R3 gives the user the power to automate all use...

Page 24: ...each of the edited in and out points The result becomes a new Mix Pass again allowing for Undo and Redo facilities The Copy function provides a fast convenient method of setting up the console as one channel path can be configured and then simply copied across to all other channels The Copy function also has many other uses such as setting the same EQ across a number of lead vocal tracks The Copy ...

Page 25: ...t analogue designs affording additional cost savings and low heat dissipation Normally the SP rack and host computer are located in the machine room This reduces operational noise and thermal dissipation and minimises the console s footprint where space in the control room is at a premium The SP rack contains 16 signal processing cards delivering a total of 10 GOPS Giga Operations Per Second of au...

Page 26: ...ry standard interfacing protocols for audio and control signals so almost any professional audio device can be simply connected to the console The OXF R3 can be referenced to an external word clock supplied directly from a Sony DASH machine or virtually any other appropriate device and can stay locked to an external reference even if it is varispeeded about the system 22 Transport Control Panel Pa...

Page 27: ...utputs 2 Studio LS outputs with individual talkback insertion 4 Stereo Foldback Group outputs with Individual talkback insertion Up to 9 Stereo External Source inputs 4 ADCs per module with separate Mic and Line inputs DMBK R3001 8 ADCs per module with eight combined Mic Line inputs DMBK R3003 4 DACs per module for main output and monitor applications DMBK R3002 8 DACs per module for effect sends ...

Page 28: ...ent 135 dBfs 50 dBfs Harmonic content 120 dBfs Noise Floor Mic 125 dBu Equivalent Input Noise Mic 125 dBu Equivalent Input Noise Zin 200 Ω Gain 80 dB Zin 200 Ω Gain 80 dB Line 108 dBfs Gain Control at 0 dB Line 105 dBfs Gain Control at 0 dB Crosstalk 90 dBfs 20 Hz to 20 kHz 90 dBfs 20 Hz to 20 kHz CMRR Mic 45 dB 20 Hz to 20 kHz Gain 0 dB Mic 45 dB 20 Hz to 20 kHz Gain 0 dB 110 dB 20 Hz to 20 kHz G...

Page 29: ...into the Dynamics Side Chain alone the Signal Path alone both the Side Chain and the Signal Path SECTION GAIN FREQUENCY Q SLOPE LF Peak 20 dB 20 Hz to 1 kHz 0 5 to 16 HF Peak 20 dB 500 Hz to 20 kHz 0 5 to 16 DMSK R3001 GML 8200 Emulation Software SECTION GAIN FREQUENCY Q SLOPE LF Peak Shelf 20 dB 15 to 800 Hz 0 4 to 10 LMF 20 dB 16 to 800 Hz 0 4 to 10 MF 20 dB 120 Hz to 8 kHz 0 4 to 10 HMF 20 dB 4...

Page 30: ...made directly to the SP Rack without the need for I O Racks I O TYPE MAXIMUM MAXIMUM NO OF MODULES BY TYPE Analogue In 312 60 4 ch ADC 39 8 ch ADC Analogue Out 312 60 4 ch DAC 39 8 ch DAC AES EBU I O 312 IN 80 OUT 39 IN OUT on the same module GPIO 64 1 IN OUT on the same module MADI I O 112 IN 96 OUT 2 Connections Direct to SP Rack Each I O Rack can have up to a maximum of 56 Audio Inputs and Outp...

Page 31: ... 959 mm 37 7 8 959 mm 37 7 8 299 mm 11 7 8 2516 mm 99 1 8 96 mm 3 7 8 44 mm 1 3 4 70 mm 2 7 8 32 2 mm 1 5 16 235 mm 9 3 8 37 5 mm 1 1 2 310 mm 12 1 4 23 5 mm 15 16 465 mm 18 3 8 482 mm 19 423 mm 16 3 4 384 mm 15 1 8 346 mm 13 5 8 72 mm 2 7 8 27 5 mm 1 1 8 450 mm 17 3 4 17 mm 11 16 494 5 mm 19 1 2 263 5 mm 10 3 8 73 mm 2 7 8 155 mm 6 1 8 1045 5 mm 41 1 4 1215 2 mm 47 7 8 731 9 mm 28 7 8 555 mm 21 7...

Page 32: ...e of distortion created by an analogue system compared with that of a typical digital system In an analogue system distortion is normally limited to the 2nd and 3rd harmonics and the distortion level changes in proportion to signal level However a typical distortion in a digital system is due to the sampling process known as quantisation noise The level of quantisation noise remains virtually the ...

Page 33: ...an connect the console via a telephone line so that Sony engineers can monitor the system remotely and even supply minor software updates In addition all major hardware components are equipped with serial computer diagnostic ports diagnostics and support Support The Sony OXF R3 offers a support package that includes on site commissioning operator and maintenance training and advice on system desig...

Page 34: ...ject to change without notice All non metric weights and measures are approximate Sony is a registered trademark of Sony Corporation OXF R3 and MiniDisc are trademarks of Sony Corporation All other trademarks are property of their respective owners Designed and Produced by MCA Group plc Kingston upon Thames England A 1002 C Distributed by Printed 6 01 ...

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