Sony DMX-R100 User manual

DIGITAL AUDIO MIXER
DMX-R100
Quick Reference
Revision 2.0
Applies to version 2.21 software

Introduction
Welcome to the Sony DMX-R100 Quick Reference! This guidebook is designed to supplement the DMX-R100
Operating Instructions provided with your console, not to replace it. In these pages are presented detailed
operating procedures for most common operations, along with basic tutorials for tracking and mixing (both
manual and automated). Also covered will be instructions for signal routing, metering and machine control,
surround applications, MADI applications, use of the offline Automation Editor, and a discussion of operation at
double-speed (2fs) sample rates of 88.2 and 96 kHz.
If this is your first digital mixing console, we suggest you begin by reading Appendix A, which provides a basic
overview of the differences between digital and analog mixing.
For specific questions regarding the operation of your DMX-R100, call the Sony DMX-R100 Technical Support
Hotline [phone]), available Monday - Friday from 8 AM - 8 PM EST.

Table of Contents 1
Table of Contents
Installing Expansion Cards .....................................................................................................1-1
First Bootup ...........................................................................................................................1-2
Setting The Sample Rate And Clock Source ...........................................................................1-3
The Title Manager .................................................................................................................1-5
Saving A Title To Flash Memory ..........................................................................................1-5
Saving A Title To Floppy Disk .............................................................................................1-7
Loading A Title ....................................................................................................................1-8
Snapshots ...............................................................................................................................1-9
Creating A Snapshot ............................................................................................................1-9
Recalling A Snapshot...........................................................................................................1-10
Matrixing System .................................................................................................................1-12
The Audio Input Routing Window ....................................................................................1-12
Using An External Talkback Microphone .............................................................1-16
The Audio Output Routing Window .................................................................................1-16
Creating Bus Inserts ............................................................................................................1-20
Channel Windows ................................................................................................................1-25
Copying / Linking................................................................................................................1-31
Copy Function....................................................................................................................1-31
Fader Copy Function ..........................................................................................................1-32
Zeroing Function................................................................................................................1-33
Linking Functions...............................................................................................................1-33
Monitoring ..........................................................................................................................1-35
Metering ..............................................................................................................................1-36
Chapter 1 Getting Started
Chapter 2 Machine Control and MIDI Functions
Controlling Pro Tools® From The DMX-R100 ......................................................................2-3
Autolocating Within Pro Tools®.............................................................................................2-4
Using 9-Pin Machine Control ................................................................................................2-5
Using MIDI Machine Control ...............................................................................................2-6
Slaving The DMX-R100 ........................................................................................................2-7
Other MIDI Functions ..........................................................................................................2-9
Setup Of Producer's Talkback .............................................................................................2-10
Tutorial 1 Tracking And Overdubbing Session
Preparation ..........................................................................................................................T1-1
Setting Monitoring Levels ....................................................................................................T1-4
Initial Recording .................................................................................................................T1-5
Overdubbing .......................................................................................................................T1-6
Tutorial 2 Mixing Session (Non-Automated Mixing)
Preparation ..........................................................................................................................T2-1
Setting Monitoring Levels ....................................................................................................T2-3
Cue List Operation ...............................................................................................................T2-4
Control Groups ...................................................................................................................T2-9
Final Output ......................................................................................................................T2-13

2
Table of Contents
Table of Contents
Tutorial 3 Automated Mixing Session
The Concept Of Automated Mixing ....................................................................................T3-1
Preparation ..........................................................................................................................T3-3
Setting Monitoring Levels ....................................................................................................T3-5
About The Automation Window ..........................................................................................T3-6
Arming And Disarming Channels And Objects ....................................................................T3-7
First Pass: Setting Basic Fader Levels .................................................................................T3-10
Second Pass: Cuts ..............................................................................................................T3-12
Third Pass: Fader Moves ....................................................................................................T3-14
Fourth Pass: Writing Trims ...............................................................................................T3-15
The A/B Buffers / SAFE and AUDITION ......................................................................T3-17
Appendix A: If This Is Your First Digital Console
If This Is Your First Digital Console ......................................................................................A-1
Appendix B: Surround Applications
Interconnections ....................................................................................................................B-1
Surround Monitoring ............................................................................................................B-2
Listening To Prerecorded Surround Material .........................................................................B-4
Surround Mixing ..................................................................................................................B-5
Appendix C: Channel Strip Block Diagram
Channel Strip Block Diagram ................................................................................................C-1
Appendix D: Operating The DMX-R100 At 2Fs
Operating The DMX-R100 At 2Fs ........................................................................................D-1
Surround Monitoring and Mixing At 2Fs .............................................................................D-3
Appendix E: MADI Operations
MADI Operations ..................................................................................................................E-1
Cascading Two DMX-R100s...................................................................................................E-5
Appendix F: Automation Editor
Automation Editor .................................................................................................................F-1
Physical Interconnections .......................................................................................................F-2
Opening Multiple Titles .........................................................................................................F-2
Copying Functions .................................................................................................................F-3
The DO Menu ........................................................................................................................F-4
Editing Snapshots and Libraries .............................................................................................F-4
Editing Automation Data .......................................................................................................F-5
Undo .....................................................................................................................................F-5

Installing Expansion Cards
Chapter 1 Getting Started 1-1
Chapter 1 Getting Started
1
This section details the required procedures when first using the DMX-R100.
The first step is to install the expansion cards.
Note: Expansion cards must be installed in the upper slots (Slots 1 and 3) before slots immediately below them
(Slots 2 and 4) because the lower cover plate overlaps the upper cover plate. Expansion cards can be placed in
any slots, with the exception of the DMBK-R109 MADI card, which must be placed in Slot 4.
1Set the POWER switch to OFF.
2Remove the screws in the cover plates for Slots 1 and 3 (or Slots 2 and 4) and remove the cover plates.
3After first grounding yourself by touching a piece of metal, carefully remove the expansion card from
packaging, holding it by its handles.
4Align the card with the slot and gently insert it fully into the slot until fully seated; the outer screw holes
should align.
5Insert the screws to secure the card.
6Repeat as required for other slots.
The second step is to make all required analog and digital audio interconnections to the DMX-R100 rear panel
and expansion cards. (See Chapter 1 of the Operating Instructions.) All interconnections should be made with
the POWER switch set to OFF. Also, determine whether you will be using the DMX-R100 as master clock or
synchronizing it to an external word clock or video source and make the appropriate connections. Finally, if you
are using a keyboard, mouse, and/or VGA monitor, connect them to the appropriate rear panel connectors.

First Bootup
Chapter 1 Getting Started
Chapter 1
1-2
Set the POWER switch to ON. After about a minute, the DMX-R100 will complete its boot-up process, and
the first screen that appears is the Channel Window. (See Figure 1)
This Window shows all parameters for input channel 1 (note that the ACCESS button for channel 1 is lit). You
can view the parameters for any channel (including the Program master bus) by pressing that channel's ACCESS
button, or you can use the CHANNEL - / + buttons in the Parameter Setting Panel to increment or decrement
the channel being viewed. (See Figure 2)
AUX SEND
CHANNEL
ON PRE
1
ON PRE
2
ON PRE
3
ON PRE
4
ON PRE
5
ON PRE
6
ON PRE
7
ON PRE
8
EQUALIZER
LF
IN IN ININ IN
SHELV SHELV
LEVEL LEVEL
FREQ FREQ
FREQ Q LMF FREQ Q HMF FREQ Q HF FREQ Q
LEVEL LEVEL
NOTCH IN
ACCESS IN
DYNAMICS IN
DYNAMICS
PRE EQ POST EQ
ACCESS IN
ACCESS IN
RANGE
GAIN
EXPAND
GATE
COMPRESS
DUCK
THRESHOLD RATIO ATTACK
RELEASE
HOLD
INPUT BUS ASSIGN
PROGRAMMTRTRIM
ØDELAY IN 1 2 3 4 5 6 7 8 L R
Figure 1
Figure 2

Setting The Sample Rate and Master Clock Source
1-3
Chapter 1
Before operating the DMX-R100, you need to set certain basic parameters, including the desired sample rate
and master clock source. These parameters are set in the Sync/Time Code Window.
1Press the SYSTEM tab at the bottom of the touchscreen. From the pop-up menu select SYNC/TIME
CODE; the window appears. (See Figure 3)
Figure 3
Chapter 1 Getting Started

Setting The Sample Rate and Master Clock Source
Chapter 1 Getting Started
Chapter 1
1-4
6Press YES to accept the new sample rate (in which case the DMX-R100 will go through a complete new
power-up cycle and reboot) or press CANCEL to return to the previous sample rate.
Figure 5
2In the upper right-hand corner, select the master Sync Clock for your system. Options are: INTERNAL,
VIDEO, and WORD DI. If using WORD DI (Digital Input), press the REF WORD IN button in order
to select the reference source from the pull-down menu. (See Figure 4) The DMX-R100 is able to derive
master clock from its word clock input (REF WORD IN), or from AES/EBU signal arriving at its 2TR
IN2 or AUX RETURNS 5 - 8, or from digital signal arriving at any two channels of any expansion card
slot providing digital audio input.
Figure 4
3The current sample rate is shown in the upper left-hand corner. If you wish to use a sample rate other
than the current one, select it (options are: 44.1, 48, 88.2, and 96 kHz) and then press the CHANGE
button. (NOTE: the CHANGE button only becomes active when a new sample rate is selected, and
the DMX-R100 does not actually change its sample rate until the CHANGE button is pressed). If you
select a double-speed sample rate (88.2 or 96 kHz), the 2FS SURROUND button becomes active.
Press it so that it lights green if you wish to do surround mixing at these higher sample rates. For more
information, see Appendix D in this guidebook.
4If you have not changed the sample rate from its current setting, skip ahead to the next exercise.
5If you have changed the sample rate by selecting a new one and then pressing the CHANGE button,
the following dialog will appear: (See Figure 5)

The Title Manager
Chapter 1 Getting Started 1-5
Chapter 1
The next step in setting up your DMX-R100 for initial usage is to save the current settings as a Title. The DMX-
R100 can store up to ten Titles in its Flash Memory* (up to a total of 4 megabytes); each Title is a collection of
system settings (including the SYNC/TIME CODE Window parameters), as well as Snapshots (up to 99 per
Title) and mix automation and cue list data. No one Title can exceed 2 megabytes in size, and, as an example, 99
Snapshots occupy approximately 800 k of memory; typical automated mixes occupy approximately 1 megabyte.
Titles are saved and loaded in the Title Manager Window.
IMPORTANT NOTE: The currently selected Title is automatically reloaded whenever the DMX-R100 is
powered on or rebooted, so be sure to always save your work in a Title before powering down.
Saving A Title To Flash Memory
1Press the SYSTEM tab in the touchscreen. From the pop-up menu select TITLE MANAGER; the
window appears. (See Figure 6)
Figure 6
* However, with the use of the Automation Editor, an infinite number of Titles can be stored in any Windows-based
computer. See Appendix F in this guide for more information.

The Title Manager
Chapter 1 Getting Started
Chapter 1
1-6
2Begin by creating a new Title as follows: select one of the ten Title slots on the touchscreen and press the
SAVE button in the upper central area of the Window. A Title with the default name "UNTITLED" will
appear in the selected slot.
3To name the title, first select the name by pressing it on the touchscreen until it turns light yellow and a
flashing cursor appears to the right of the last letter; the Keyboard Window will appear. (See Figure 7)
Enter the desired name by pressing the onscreen "keys," then press the onscreen ENTER key to complete
the operation. You can type in any name of up to 23 characters in length, though only the first 16
characters will appear in the Title Manager Window. Alternatively, if you have an external keyboard
connected to the DMX-R100, it can be used instead. Press the Enter key on your keyboard to complete
the operation.
4To protect the Title from being overwritten, press the LOCK button in the Information section in the
center of the touchscreen. To unlock it, simply press the LOCK button a second time.
Titles stored in Flash Memory can be instantly recalled at any time from the Title Manager by selecting the Title
number or name and then pressing the LOAD button (see below). However, when loading a Title with a
sample rate or clock source other than the currently selected one, the DMX-R100 will first reboot. The Title
Manager also allows you to delete Titles from memory, clear the contents of the current Title (the currently
selected sample rate and clock source is retained, but all other data is replaced with default values — see Chapter
4 in the DMX-R100 Operating Instructions for a listing), and to store the currently loaded Title to floppy disk.
Figure 7

The Title Manager
Chapter 1 Getting Started 1-7
Chapter 1
The DMX-R100 is capable of saving one Title per floppy disk. It can read and write to standard
DOS-formatted disks, allowing you to archive data to an external PC (either with or without the use of the
Automation Editor — see Appendix F for more information). It is also capable of formatting blank
(unformatted) disks; however, because this is done in QNX Operating System format, these disks would then be
unreadable by most computers. For that reason, we recommend that only preformatted DOS disks be used.
1Insert a preformatted DOS floppy disk into the DMX-R100 disk drive and press the FLOPPY DISK
touchscreen button in the Title Manager Window. If the disk has been correctly formatted, the DOS
button will light green. If it is not correctly formatted, the following dialog will appear. (See Figure 8)
Saving A Title To Floppy Disk
2Press the SAVE button. After a few moments, the currently loaded Title is stored on floppy disk and
appears as Title 1 in the list.
IMPORTANT NOTE: Because only one Title can be saved per floppy disk, if a Title has been previously
stored on that disk, the SAVE procedure will overwrite it with the Title currently loaded in Flash Memory.
Be sure to keep multiple backups of your work (easily accomplished in the Automation Editor — see Appendix
F in this guide) in order to avoid inadvertantly overwriting important data!
If you do not have preformatted DOS disks available, you can format a blank (unformatted) disk by inserting it
in the drive and pressing the FORMAT button. The disk will be formatted in QNX-OS format and can then
only be read by the DMX-R100.
The contents of previously written floppy disks can be displayed by inserting the disk and pressing the SCAN
button.
Figure 8

The Title Manager
Chapter 1 Getting Started
Chapter 1
1-8
4Press YES to load the selected Title, or press CANCEL to abort the operation. Note that the DMX-
R100 will reboot if the Title being loaded utilizes a different sample rate or clock source than the
currently selected Title.
TIP: Because each Title is time- and date-stamped, you can identify the latest version saved even if you neglect
to give each Title a distinct name.
To load (recall) a previously stored Title, follow this procedure.
1If loading from floppy disk, insert it into the DMX-R100 disk drive, and then, press the FLOPPY DISK
touchscreen button in the Title Manager Window. If loading from Flash Memory, press the FLASH
MEMORY touchscreen button.
2Select the Title to be loaded by touching its number (only one Title will be displayed if loading from
floppy disk; up to ten will be displayed if loading from Flash Memory). Information about the Title,
including its file size, date and time created, and sample rate, is displayed in the INFORMATION section
of the Title Manager Window.
3Press the LOAD button. The following dialog will appear: (See Figure 9)
Loading A Title
Figure 9

SNAPSHOTS
Chapter 1 Getting Started 1-9
Chapter 1
Once a Title has been created and stored, the next step is to create a Snapshot. A Snapshot contains all the
information for all channels, buses, and Aux sends and returns, including bus assignments, fader levels, and pan,
equalization and dynamics processing settings. A Title can contain up to 99 Snapshots, each with its own indi-
vidual settings; however, all Snapshots must use the same sample rate and clock source. Snapshots also can be
used for mix or live sound automation and can be recalled in various ways, including via a Cue List or MIDI.
Since you have 99 of them at your disposal, it's a good idea to get in the habit of creating a Snapshot every time
you set up a new DMX-R100 configuration. The procedure for creating a Snapshot is similar to that of creating
a Title, only it is done in the Snapshot Window instead of the Title Manager.
1Press the SNAPSHOT tab at the bottom of the touchscreen. The Snapshot Window appears.
(See Figure 10)
Figure 10
Creating A Snapshot
2Press the NEW button at the top of the Snapshot Window. A new Snapshot — containing all of the
current settings in all DMX-R100 channels, buses and Aux sends and returns — is created and stored in
the first available slot, and given the default name "#n" (where n is the number of the slot).
3To rename the Snapshot, first select the name by pressing it on the touchscreen until the Keyboard
Window appears. (See Figure 7) Enter the desired name (up to 23 characters in length, though only the
first 16 characters will appear in the Snapshot Window) by pressing the onscreen "keys", then press the
onscreen ENTER key to complete the operation. If you have an external keyboard connected to the
DMX-R100, you can use it instead; press the Enter key on your keyboard to complete the operation.
If you alter any settings on the DMX-R100 and wish to update the currently highlighted Snapshot with those
settings (thus overwriting the previously stored data), simply press the STORE button in the Snapshot Window.
The DELETE button in the Snapshot Window allows you to delete unneeded Snapshots.

SNAPSHOTS
Chapter 1 Getting Started
Chapter 1
1-10
To load (recall) all data from a previously stored Snapshot, simply select the number of the Snapshot to be
recalled and press the RECALL button.
The DMX-R100 also allows you to selectively recall only certain data from a previously stored Snapshot,
through the use of a comprehensive series of Function (local) and Isolate Channel buttons. For example, to
recall all data from a stored Snapshot except all channel fader positions, select the number of the Snapshot you
wish to recall the data into, then press the FADER button in the Function section at the bottom of the
touchscreen so that it lights green (see Figure 11), then press RECALL. (See "Snapshot Window" in
Chapter 3 of the Operating Instructions for a full explanation of all the Function (local) buttons.)
Figure 11
Recalling A Snapshot
Note that the Snapshot Window provides a single level of undo in case you inadvertantly overwrite, delete or
recall a Snapshot incorrectly. To undo your last action, simply press the UNDO button at the top of the screen.

SNAPSHOTS
Chapter 1 Getting Started 1-11
Chapter 1
Alternatively, the Isolate buttons allow you to not recall the Snapshot data for a specific channel or channels.
For example, to recall all data from a stored Snapshot except the data for channel 1, press the CH 1 button in
the Isolate Channel section at the right of the touchscreen so that it lights green (see Figure 12) and then press
RECALL. (See "Snapshot Window" in Chapter 3 of the Operating Instructions for a full explanation of all the
Isolate Channel buttons.)
Figure 12

Matrixing System
Chapter 1 Getting Started
Chapter 1
1-12
The two most important screens for configuring your DMX-R100 are the Input Routing and Output Routing
windows. These allow you access to the console's comprehensive matrixing system, which enables you to
determine the signal flow for literally all input or output connections on the rear panel. Using these windows,
any of the DMX-R100 physical inputs and outputs can be reutilized in any way you like.
The following input signals are available in the Audio Input Routing window:
24 AD inputs (the connections to the 24 analog head amplifiers)
All card slot inputs (up to 32 digital and/or analog inputs, if cards are installed in all four slots*)
Aux Returns 1 - 8 (4 analog and 4 digital)
In the "MISC" (Miscellaneous) block:
2 analog 2-track inputs (2TR 1)and 2 digital 2-track inputs (2TR 2)
The onboard talkback microphone
NC (No Connection) - used to disable an input channel
Any of these can be assigned to:
Any of the 48 fader channels
Any of the 8 Aux Return channels
Any of the 8 "floating" bus Insert returns**
Any of the 6 External monitor inputs***
Note that the same input can be multed without restriction; that is, the same physical input signal can be
assigned to multiple channels and/or Insert returns and External monitor inputs. Audio input routing settings
are saved with the Snapshot.
* If a DMBK-R109 MADI card is installed,48 inputs are displayed for that one slot, and you can select any of them.
For more information, see Appendix E in this guidebook.
** For more about setting up "floating" bus inserts, see page 1-20 in this guidebook.
*** For more about using the External monitors, see page D-3 in this guidebook.
The Audio Input Routing Window

Figure 13
Matrixing System
Chapter 1 Getting Started 1-13
Chapter 1
The basic procedure for using the Audio Input Routing Window is as follows:
1Press the AUDIO tab at the bottom of the touchscreen, then select INPUT ROUTING. The Audio
Input Routing Window appears. (See Figure 13)
A menu of possible sources (in groups of 8) is presented on the left side of the screen. The first three (A-D 1-8,
A-D 9 - 16, and A-D 17 - 24) are always available because they indicate the head amp connectors. (for example,
the AD 1-8 button indicates the first 8 AD inputs). Similarly, the bottom two boxes (AUX RET 1 - 8 and
MISC) are always available. However, depending on the number and types of expansion cards installed in your
DMX-R100, some of the other boxes may be grayed out and unavailable.

Matrixing System
Chapter 1 Getting Started
Chapter 1
1-14
2To complete the patching in blocks of eight, press a Channel button at the right of the screen to assign
the selected inputs to that channel and the seven adjacent channels. For example, press the AD 1 -8
input, and then press Channel 25. The signal connected to the first eight head amps will now appear on
input channels 25 - 32. (See Figure 14)
Figure 14
Figure 15
3You can also, of course, do input patching on an individual basis. If you press a SOURCE selection a
second time, a second drop-down menu will appear. This menu lists all of the independent sources within
that group of 8. For example, press the AD 1-8 button and you will see a listing of each of the first 8 AD
inputs (the head amp connectors). (See Figure 15)

Matrixing System
Chapter 1 Getting Started 1-15
Chapter 1
Note that all default settings (AD 1 to Channel 1, AD 2 to Channel 2, etc.) can be instantly restored simply by
touching the DEFAULT button on the lower left-hand area of the screen.
5To mult that signal to channel 47 as well, simply press the Channel 47 button. The signal connected to
the first head amp will now appear on both input channels 47 and 48. (See Figure 17)
Figure 17
Figure 16
4To complete the patch, select the individual source, then select the channel. For example, to patch AD
input 1 (the signal connected to the first head amplifier) to input channel 48, press the AD 1-8 box a
second time and then press the box labeled "1." Finally, press Channel 48. (See Figure 16)

Matrixing System
Chapter 1 Getting Started
Chapter 1
1-16
The Audio Output Routing window plays the inverse role, allowing you to route a variety of signals to any of
the physical output connectors on the DMX-R100 rear panel. The following signals are available in this window
for routing:
The PGM Left/Right bus
Aux Sends 1 - 8
MTR buses 1 - 8
Insert Sends 1 - 8*
Direct Outs 1 - 48**
Control Room outputs 1 - 6
Studio Monitor outputs Left/Right
PFL (Pre-Fader Listen) bus outputs Left/Right
Oscillator outputs Left/Right
NC (No Connection) - used to disable an output
Any of these signals can be freely routed to any of the following physical rear-panel connectors:
Any of the slot outputs (provided cards are installed)***
Any of the 8 Aux Sends (8 analog or 4 analog and 4 digital)
PGM Left/Right outputs
Note that the same signals can be multed without restriction; that is, they can be routed to multiple output
connectors simultaneously if required. Audio output routing settings are saved with the Title. The Audio
Output Routing window also provides the means for dithering the output of the PGM bus (see Appendix A)
and for creating up to 8 "floating" bus inserts (see page 1-20 in this guidebook for detailed instructions on how
to do so).
* For more about setting up "floating" bus inserts, see page 1-20 in this guidebook
** A pre-fader, post-fader, or post-EQ send from each of the 48 input channels, as set in the Input/Pan/Assign
window. See "Appendix C: Channel Strip Block Diagram" on page C-1 in this guidebook for more information.
*** If a DMBK-R109 MADI card is installed,an additional "MADI" tab appears in the Audio Output Routing
window. For more information, see Appendix E in this guidebook.
The Audio Output Routing Window
1Connect any external microphone to any channel head amp input. If using a condenser microphone, use
one of inputs 1 - 12 and turn on +48V phantom power for that channel if required.
2In the Audio Input Routing window, select that channel in the Source menu.
3Press the TB IN button (lower right-hand corner of the screen) to complete the routing assignment.
Using An External Talkback Microphone
Because the internal Talkback mic appears as both a Source and a Channel (lower right-hand corner of the
screen), you can easily route its signal to any Channel(s), or, conversely, can use any input as the Talkback mic
source. Here’s how to do so: