Sony OXF-R3 User manual

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.

digital audio
mixing console
contents
OXF-R3 IN ACTION
THE SONY 24-BIT PRODUCTION
SYSTEM
DESIGN PHILOSOPHY
SYSTEM OVERVIEW
CONSOLE SIGNAL FLOW
CHANNEL SIGNAL FLOW
CHANNEL ROUTING
AUX SENDS
DYNAMICS AND FREE ASSIGN
EQ AND FILTERS
FADER PAGING/SELECTION
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
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OXF-R3 in action
Kansai Telecasting Corporation,
Osaka, Japan
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sound for pictures
Digison, Paris, France
All Mobile Video – High Definition Truck
NY, USA
The OXF-R3 system is highly flexible, easy to operate and able to
deliver vast processing power. Systems are being used for a wide
range of audio production applications including music production,
film scoring, DVD soundtrack production and live broadcasts. As
many studio owners plan to upgrade their facilities to surround
sound, the decision to install an OXF-R3 will allow them to extend
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
■Support of all TV sound formats
■Simple and fast to operate
■Comprehensive copy and link function for channel processing
■Compact control surface with large scale processing
■Snapshot recall including internal patch routing
■Remote I/O racks via optional fibre links
■Highly configurable analogue and digital I/O
■Comprehensive broadcast logic

3
music production
The Hit Factory,
New York City, NY, USA
Photography by David King
Real World Studios, Box, UK
Sony Music, NY, USA
Key features for music production
■Exemplary sound quality
■24 Aux sends
■5 band equaliser, 4 section dynamics section
■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, San Rafael, CA
Photography by Steve Jennings

the sony 24-bit production system
Welcome to the Sony 24-bit Production System: a production platform that offers dramatically increased
dynamic range and brings the fidelity of digital signals closer still to the original source. Combined with
high quality A to D conversion, the Sony full 24-bit system allows studios to capture more
of the artist’s 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 the many benefits
of the Sony 24-bit system.
24-bit family
Sony PCM-3348HR
48-track Digital Recorder
OXF-R3
<Remote control
World Sync >
< MADI I/F (24-bit) >
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5
design philosophy
OXF-R3 Control Surface –
simple and intuitive to operate
The OXF-R3 is the realisation of a commitment by Sony to provide a
digital console that truly addresses the challenging needs of the
contemporary audio production process. Its architecture, which is
software defined, provides ample resources for large-scale tracking
and mixing sessions and can readily support virtually any digital
multitrack recorder, including the Sony PCM-3348HR 48-track. The
OXF-R3 operates with analogue 24-track recorders and
interfaces to a wide range of digital and analogue
outboard signal processors and other
peripheral equipment found in today’s
recording studios.
The OXF-R3 has been created around a philosophy known as ‘positive
assignability’. This results in a console with a highly compact control
surface that places all the controls for a very large number of
channels within easy reach of the recording engineer. In addition to
making operation intuitive and easy to master, this approach provides
the added benefit that the engineer can operate all console functions
without having to move outside the critical listening area. Fader
paging is made an operational priority – all faders
use linear motors, providing extremely
smooth and long-lasting operation.
Simple navigation
of the console’s
control surface
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 traditional analogue consoles, where the need
for increasing functionality results in an ever more crowded control
layout. In the OXF-R3, consistency between types of control sets has
been carefully matched to enhance the ease of use.
Full-colour GUIs have been introduced for a number of important
reasons. Primarily, they enable large amounts of visual information to
be presented unambiguously and controlled by the user without
recourse to complex computer-like commands or repetitive mouse
moves. Making efficient use of panel space, they enable EQ and
dynamics curves to be displayed and adjusted with the aid of
associated ‘soft keys’. Output routing and the internal patch bay can
also be set up quickly and intuitively, with a separate central GUI
handling control of overall Session Management functions.
While the overwhelming majority of functions are controlled directly
via the console’s control surface, a QWERTY keyboard and
conveniently placed tracker balls are also provided for text entry and
other functions requiring alphanumeric input, such as track and
session names.

system overview
Its all-digital architecture means that the OXF-R3 requires just two simple cables to connect its control
surface to the signal processor rack and the host computer rack. Audio inputs and outputs are connected
to the I/O racks which, in turn, are linked to the signal processor rack via industry standard connections.
This allows the I/O and processor racks to be placed remotely from the console’s control surface, affording
additional installation flexibility and allowing the console to be installed 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 the console
surface). This is referred to as a ‘24C24’. An alternative configuration
has 24 channel faders with only one ‘input module’. This is the ‘24C’
(pictured here). This version has all the processing functionality of the
bigger version, but is only 1.62 m (63 7/8inches) wide.
OXF-R3
The OXF-R3 ‘24C’ -version
Control Panel
6

7
Studio signals are connected to the console’s I/O racks, which can be
configured with analogue input cards, analogue output cards and
digital I/O cards. The audio from digital multitrack devices can be
interfaced using a wide range of audio formats.
console signal flow
Thanks to its revolutionary all-digital architecture, the processing power of the OXF-R3 is immense,
enabling simultaneous EQ and dynamics control of all input channels. The control surface uses traditional
function names for ease of use, while the signal paths’ incredible flexibility provides the broadest
possible palette of creative options.
signal flow
The console offers a mixdown capability of 120 signals. These comprise 96 Full channels (equivalent to the
analogue mixer’s ‘in-line’ module) and 12 Stereo Return channels provided for sound sources such as
reverb returns. All input channels can be routed to the 24 Aux Send Busses, 8 Stereo Sub-Groups (SSGs)
and the Main Stereo Bus. The Full channels can also be routed to the 48 Multitrack Busses. The
phenomenal audio processing 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 stereo outputs.
The OXF-R3 includes an internal digital patch bay that allows input
and output signals to be assigned flexibly to the console’s processing
channels. As with all of the routing and control settings, these
crosspoints can be saved as snapshots and later recalled.
Monitoring options are
comprehensive. Separate
outputs for three sets of control
room speakers, two sets of
studio speakers and four sets
of stereo foldback feeds are
provided for stereo mixing and
monitoring. Comprehensive
Talkback and Slate functions are
available as well as AFL, PFL
and in-place Solo Listening
modes. In the Multiformat
mode, the console uses groups
of user-selectable Multitrack
Busses as the Master Outputs
(or stems), while the Stereo
Sub-group Busses become the
basis of a comprehensive
multiformat monitor system.

The console metering bridge allows the metering of input and output
signals, as well as the 48 multitrack send and return signals. The
meters are referenced to 0 dBfs scale, with a 0 to -60 dBfs scales
provided on all meters, with an additional switchable 0 to -90 dBfs
scale also available on all mono meters.
Mono/Stereo/Main Meters
OXF-R3 signal flow
8
FULL CH
STEREO
RETURN CH
MIC
M/T
LINE
SELECTOR 1
SELECTOR 1 SELECTORS 2-7 SELECTOR 8
SELECTOR 1
TO RIGHT CH SIGNAL PATH
SELECTORS 2-7 SELECTOR 8
BYPASS
3 BAND EQ
DYNAMICS
INSERT
DELAY FX
FADER
FUTURE SP
BYPASS
3 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 MULTI-FORMAT
EXTERNAL SOURCE
MONITOR INPUTS
SOLO
AFL
PFL
MAIN
CONTROL ROOM
MONITOR LS
LS 2
LS 3
8 MULTI-FORMAT
LS OUTPUTS
STUDIO LS 1
STUDIO LS 2
4 STEREO
FOLDBACK
OUTPUTS
6 TALKBACK
OUTPUTS
TALKBACK
MONITOR SECTION
MAIN O/P L & R
SSGs 1-8
48 MULTITRACK
SENDS & RETURNS
CUE/AUXILIARY
SENDS 1-24
CUE / AUXILIARY
SENDS 1-24
MULTI-FORMAT
PANNING 2-7 WAY
MAIN O/P L & R
SSGs 1-8

9
channel signal flow
The OXF-R3 uses an ‘Input Channel & Inserts’ panel to configure the
audio processing and signal flow for each of the input channels. Each
channel has eight processing boxes that allow the audio processing
blocks (e.g. EQ, dynamics, etc.) to be connected in any order. This
permits a high level of flexibility, as each channel can be individually
set up for a specific task. Comprehensive Copy modes, together with
Snapshot Save and Load functions, allow the complete console to be
set up in custom configurations simply and quickly.
ø
FILTER
CH INPUT
GAIN
– 6 – – 8 –
– 7 –DELAY
CHANNEL
FADER
CH OUTPUT
L & R
PAN
MAIN
RETURNSEND
DYN
EQ INSERT
In the table above, Multitracking is achieved with the MULTI block. This provides access to the 48
Multitrack Busses via the multitrack fader, pan and group trim controls. It also activates the Send/Return
Monitoring function. The OXF-R3 can also operate in a broadcast mode where it generates a stereo ‘on-air’
mix 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 the Full and Stereo Return channels:
EQ DYN DELAY MULTI FILTER FADER INSERT
Full Channels 5 band *C/L/E/G Yes Yes HP/LP Yes Yes
Stereo Returns 3 band *C/G Yes Yes Yes
*The compressor ratio goes to infinity:1
Signal flow mixdown
with processing in
the channel path
Input and Inserts Panel
The INSERT block is used in conjunction with the system I/O GUIs
to route the channels insert send and return signals to selected
I/O connectors.
Aux Sends can be selected from the 11 discrete positions in the
channel path. These are post the input gain control, post boxes 1 to 8,
post the multitrack send level controls and post the channel fader.
This provides greatly enhanced functionality compared to the pre/post
fader selection on traditional analogue mixers.

channel routing
10
The OXF-R3 has 48 Multitrack Busses with access from all of the 96
Full input channels, as well as the Stereo Sub-Groups and the Main
Stereo Bus output. The console distributes the 48 Multitrack Busses
to two DASH machines via dual dedicated multitrack MADI outputs.
96-channel, dual-DASH mixdown is also accommodated by two
dedicated multitrack MADI return 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 routing is mapped to
the eight switches at the top of the Routing panel, which are laid out
to reflect the multiformat speaker positions.
Multi-format/Routing Panel
Routing mode GUI

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aux sends
aux sends
The OXF-R3 has 24 Aux Send Busses that are accessible from all
of the mono and stereo input channels. Adjacent odd and even Aux
Sends can be linked to form stereo pairs for cue or stereo reverb
outputs. In the Stereo mode, the even numbered Aux Send level
controls function as pan controls.
For each channel, the contribution 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
Send – an extremely quick way to set up headphone balances. The
Aux Send Master controls are located in the centre section.
Sends 1-24 Panel

dynamics
12
Three types of compressor are provided as standard; Normal,
Custom, and Classic. Normal and Classic provide
comprehensive control of the compression function, while
Custom has fewer adjustments and is quicker to set up.
Digital dynamics processing provides highly accurate,
repeatable gain reduction and extreme ranges of control
parameters. For example, the limiter can be set to zero
attack time and the hold time for the gate can be set to 10
seconds. The panel also features gain reduction metering for
each section. A stereo compressor is also available on the
Main stereo output.
It is easy to link and key dynamics processing between channels, as
the OXF-R3 supports both Link to Neighbour and Side-Chain Busses.
These Side-Chain Busses allow dynamics grouping 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 limiter by setting
its ratio to infinity:1.
Each of these sections has appropriate control of threshold, ratio/range, attack, hold, release and gain make
up, variable knee and side-chain EQ. Extensive side-chain linking functions are also provided. This gives
unprecedented control over dynamics. All parameters are controlled from the ‘Free Assign Area &
Dynamics’ panel and displayed on the associated colour graphical screen.
The optional DMSK-R3001 software provides an emulation of the
GML 8900 dynamics processor.
Dynamics mode GUI showing the optional DMSK-R3001 Software

The dynamics section also has a side-chain EQ with two fully parametric bands. This EQ can be used for frequency
conscious dynamics processing (de-essing, for example) and/or it can be inserted into the channel signal path,
making a total of seven, fully parametric EQ bands available for each Full channel.
MIDI control interface
Recording and mixing complex projects invariably requires extensive use of outboard signal processing
devices and many of these devices have MIDI control interfacing. The OXF-R3 can control MIDI devices
directly from the Free Assign Panel. This allows the operator to remain in the critical listen area while
adjusting external devices. Dynamic adjustments can be saved, recalled and edited along with the rest of the
automation data.
free assign
Programmable Delay
One of the major features of the OXF-R3 is its channel
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 and regeneration. The maximum delay time for each channel is 1.2 seconds,
adjustable with coarse and fine controls with resolution down to a single sample. The delay can
be displayed as time, samples, distance (both feet/inches and metres) and beats per minutes.
The delay length can also be set using tap tempo, where the system automatically calculates the
delay required to match musical periods.
The delay is designed to be used both as a creative effect, for example a slap-back echo or to
compensate for timing between different microphone positions.
Free Assign Area & Dynamics Panel
– Delay setting
Free Assign Area & Dynamics Panel – Side Chain setting

eq and filters
14
As standard, the OXF-R3 offers five-band, fully parametric, EQ with
separate HP and LP filter sections on Full input channels. The Stereo
Return channels have three-band EQ. Several modes are supported,
featuring different relationships between factor and gain. The optional
DMSK-R3001 Software emulates the GML 8200 equaliser. The EQ and
filters are controlled from the dedicated ‘Equaliser & Filters’ panel
and the resulting frequency curve is displayed on the associated GUI.
The panel is designed to be very intuitive and fast to operate, with
individual switches and rotaries for every EQ and filter function.
The standard EQ is extremely powerful, with the gain of all bands fully
adjustable over a range of ±20 dB and with Q adjustable between 0.5
and 16. Frequency ranges are carefully selected for each band,
creating an extremely ‘musical’ device equally capable of delivering
subtle or radical tonal changes with any source material.
The OXF-R3 permits EQ parameter changes to be made smoothly and
evenly with an analogue console-like feel. This glitch-free performance
is made possible by real-time parameter interpolation that prevents
abrupt ‘steps’ in the response of the console’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 the
previous settings. During mixing an alternate EQ can be recalled
either manually or by the console automation.
Equaliser & Filter Panel
The EQ Range control allows the limits of cut and boost on each
channel to be adjusted between ±20 dB and 0 dB. As with all other
controls on the console, this adjustment is completely glitch-free
which permits complete EQ settings to be ramped in and out. The EQ
Range control also allows the cut and boost limits to be reduced
thereby increasing the resolution
for ultra-fine adjustment.
The High and Low Pass filters on
the Full channels are also highly
versatile. The cut-off frequency
is continuously variable and
the filter slope can be selected
between 6 dB/octave and 36
dB/octave in 6 dB steps.
Dynamic automation of the EQ and filters provides new creative tools
for the studio. For example, the operator can ‘de-ess’ a vocal by
dynamically automating the high frequency band against time code.
Standard EQ mode GUI
Optional DMSK-R3001 Software EQ mode GUI

15
fader paging/selection
Fader Panel
Select to Faders Panel
Pan Panel
Select to Pans Panel
assignability
The OXF-R3 Fader Paging and Select
To Faders functions are essential parts
of the console’s positive approach to
assignability. The channel faders can be
paged in banks of 24, independently on the left
and right sides of the console. This allows control
of all 108 channel faders from either side, so two
people can operate the console. There are 64 physical faders
for mixdown on the 24C24 control surface with the other channels
only one button away. The faders and cut switches can control all 30
of the critical level adjustments in the channel path, including input
gain, multitrack send, group trim, multitrack monitor, Aux Send levels,
sub bass and channel level. These are mapped to the channel faders
by the Select to Fader switches. In addition to panning, the Pan rotary
can 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 fader monitor mix can
be quickly copied to any of the Aux Sends. In addition fader balances
can be copied to multitrack send faders, allowing stereo mixes to
become the basis for multi-format mixes.
Each fader has two, six-character alpha-numeric displays and the pan
control has an additional display. These displays have several modes
including channel number, programmable channel name and level or
pan value.
The primary role of the Access switches above and below the
Fader/Pan sections is to call channels on to the assignable ‘input
module’. However the upper switch can also be used for ‘Quick Copy’
of channel parameters and the lower switch can be used for linking
channel control.

master facilities
16
There are a total of nine stereo monitor outputs, three stereo control
room monitors, two stereo studio outputs and four stereo foldback
feeds. The control room and studio monitors can be selected between
the Main stereo output, the dedicated multitrack monitor bus and nine
external stereo sources. The operator can select and/or mix up to six
of these signals at any time. It is also possible to listen to different
signals in the control room and studio or, for security, the control
room monitor can be locked to the Main stereo output.
The four foldback outputs are supplied for headphone feeds and can be sourced from the Aux Sends or the
Main stereo output. To assist in setting up headphone balances, the front armrest on the console has
convenient headphone jacks that can be wired into the studio’s foldback monitoring system.
Comprehensive talkback facilities are provided including slate, talkback to foldbacks and talkback to studio
monitors. The OXF-R3 has two programmable talkback groups as well as an auto-cue function that 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
control for multiformat outputs. Additional processing is available for the Main stereo output, including
compression and EQ, as well as routing to an insert point and the ability to route the stereo mix back to the
multitrack. The Main stereo output, Stereo Sub-groups and Aux Sends can feed either analogue or AES/EBU
signals. And all digital outputs can be individually dithered to different word lengths (16, 20 and 24 bits).
The Main stereo output is distributed to four separate analogue and/or digital outputs.
The Master Facilities of the OXF-R3 have been designed to supply
comprehensive programme and monitor outputs. These include eight
Stereo Sub-groups, 24 Aux Send Masters, Main stereo output, control
room monitoring, studio monitor, external meter outputs and four sets
of headphone foldback feeds.
Master Facilities Panel
master and stereo monitors