Sony dmx-r100 software download

ALL Rights Reserved. Privacy Policy Cookie Policy. Login Register. Toggle navigation. Highlights High Resolution Audio. Audio Networking. Pyramix Digital Audio Workstation. Audio Tools. Use Cases. Press Releases. Online Posts. Special Offers. How does it compare to the more hi quality TDM plug ins? Is V1.

Is the automation ready and fully working? Masters are showing up Thursday morning for me to mix. The best way to check out a new piece of gear is on a project So I will try to mix an entire album on it. I got some of the masters today, am transferring the sessions into PTools, Console went out today, I am going to go out and stand by the mail box til it gets here.

Roger I will give everyone a blow by blow description of the whole project, from cutting my fingers on the staples on the shipping box to the finally mastered mix I hope to get out of it. Roger I got it WOW it is heavy. Version 1. Gotta find the update.

Be back later. Roger Got the update e-mailed from Sony Had to got to Home Depot to get some spacers to raise up my monitor shelf. The Sony is higher than the d8b or 02R. Boots up nice Played with the faders If so, why are the sampling rates restricted to 48 kHz with all tracks?

What a great machine.. You can also route any input to show up on any fader. On all the other consoles I like having my most important tracks as on my tape machine or in ProTools. These go digitally to the console. All of the consoles reserve for the analog inputs, and the second page for the digital inputs. So track 1 really comes up on fader 25, and track 25 that you had to run over analog comes up on fader 1.

The Sony lets you assign which faders you want the digital inputs to come up on. If you want, you can have digital, then analog, then 12 digital then analog I started a mix, what a nice feeling fader The input trim can show up on the pan fader.

You can trim up or down to get the main fader in the sweet spot. I won't have to roll this board in flower to find the sweet spot! The converters sound great. I also ran the sane channel digitally into the sony on the fader next to it.

Digital sync can be selected to word clock, internal, or ANY digital input pair. I spent all day today building cables and re-wiring everything, so I officially start mixing tomorrow. Joined: Dec Miami, Florida. Roger Nichols. I started mixing to get my overall balances, saved snapshots, and at the end of the day I thought that the snapshots were stored in non-volatile memory.

Today when I turned on the console No snapshots. It is a good thing that my mix had all of the faders ruler straight at zero. Now if I can just remember the pan and EQ The dynamic automation seems good, I will know more by the end of today. I decided to return all of my reverbs digitally through an 01V to save fader space on the Sony. I should be fine. It is taking a while to get used to the touch sensitive faders. I keep forgetting they work like a real console and move them with my fingernail.

No more mix. Start completely over. There is one reason. Sounds like you are out there on the "Bleeding Edge" Roger doing all the research and testing for these big corps again. Wow I think I'll be rethinking. Roger have you contacted sony yet? Sony is working on it. Even with the few little quirks, the Sony IS a professional piece of gear.

The EQ sounds like EQ is supposed to sound, the compressors and limiters are good, the routing and digital inputs are perfect and the fader resolution is to die for. Only the Pro Control has the same fader resolution.

I like feeding a real console with Pro Tools. I can use plug-ins if I want, and I have hardware EQ and dynamics on every channel. I can use a plug-in reverb and send it out to a return knob on the Sony, or use my hardware reverbs sent from the Sony. The console is extremely user friendly.

As far as the sync switching, I would always use word clock to avoid any problem. Anyway, that is why this forum thread is here. I am supposed to make all of the mistakes so that you won't have to. I am the one who is supposed to throw himself on the land mine of high technology so that you can go on to greatness. Now, if you believe all of that, I have a bridge I would like to sell you.

I've always wanted a bridge of my very own. Yes I mean external Word Clock in. I forgot something that I discovered I like about the Sony. The faders are quiet when they move. I don't have to turn up the monitors to drown them out! Originally posted by Roger Nichols: The faders are quiet when they move.

The internal clock on the sony is supposed to be great, but then everything else has to clock to the Sony. If you are not using the Sony, then you have to re-cable everything. I like having one central house word clock. Hacking the Sony. I found where the fader automation is and was able to hack around and change fader values and EQ and stuff. I have not found the sync portion of the stuff, but I have figured out that everything is CRC checked.

If I change one value then the console reports "corrupt title" and reboots. If I just swap fader data around so the total bytes adds up to the same checksum, then everything is fine.

I could generate a new checksum, but I am not sure how much of the data is included in the checksum. I have not been able to find the checksum bytes also. Still Looking. I had to go to NYC on Thursday, just got back. I can't tell the difference between direct out and through the summing. If I set everything at unity gain, record to hard disk both ways and subtract them they are exactly the same.

I am starting som more mixing tomorrow, so You know they can't just be asleep on this - they revolutionized the digital mixer. I can't believe they'd let Sony just have it from here. What'd be cool is an follow-on as good or better that the Sony that could read my existing snapshots and automation files. On a side note, I think we need Rob to work on a drool emoticon. Roger, can you please explain this "check summing" you mentioned earlier?? Two things: Yamaha has shown and started shipping the DC-1 digital console for live Front of House applications.

I think it was up to inputs, and outputs. They could be anything you want. Monitor mixes, efx sends, direct outs, buss outs, They said that they may offer a scaled down version for the recording market. If we are only using a single digit checksum we would take the 2 part of 32 and add it to the end of our number. We would have 1 2 3 2 5 7 9 3 2 The computer always adds up the numbers and compares the last digit of the sum with the checksum sent along with the numbers.

If we had an error in the data. We could fool the computer and just transpose two of the numbers 9 2 3 2 5 7 1 3 2 The checksum will be the same but fader one will go to 9 and fader 7 will go to 1.

If we just change one fader we will end up with an error. This is the most simple type of error checking. It tells you there is an error but it does not tell you where it is. This type of checking is just to detect whether the file is corrupt or not. Joined: May Steven Denike. My wife tells me I have errors but doesn't tell me where they are, either.

Damn; errors, numbers, checksumming I'm beginnig to really love this thread. Hey, there is summing here for everyone!! I originally posted this on the DA7 user group. But I thought that the comments in the post might be useful to some of the folks here interested in the R Well, I finally got to use my DMX-R for a recording project end-to-end instead of as kitchen furniture while it awaited furniture and cables.

Over the weekend, I had the band Bettie Serveert drop by to do some tracking. Swell sports of them to be guinea pigs for me! And just yesterday, I finished the mixes. For the money, the DA7 is killer! I like the dynamics section on the R a heck of a lot! Mostly because the dynamics section sounds great, even with fast attack times I find it extremely usable.

The big color touchscreen is nice compared to the DA7's monochrome panel. Silent faders! And they don't make awful noises when you fight them! And now for some relatively minor gripes for those of you who are trying to decide if you should buy now or wait a few months before buying an R with the next major revision of software: There are many user-interface issues.

For example, things that are "clickable" on the touchscreen aren't always differentiated well from things that are not clickable. Static text fields are shown as beveled-boxes in the same manner buttons are represented. In regards to saving state and mixing with automation, I feel like I'm taking many steps back moving from the DA7 to the R The R has no such thing. Just titles and scenes. Automated store of library entries and scenes is a really useful feature!

For example, let's say you have a song with three sections, and you know you want to start section 3 with the same scene as the end of section 1. You can put an automated scene store at the end of section 1 and a scene recall at the beginning of section 3. Now you can make any changes to the automation in both sections 1 and 2, without ever worrying about section 3. Section 3 will always start with whatever console settings get automatically saved at the end of section 1, even if you make a bajillion changes in section 1.

The DA7 has onboard offline-editing of automation. The R's automation files can only be edited by executing changes with the control surface. I use offline-editing all the time to make precise to the frame automation moves--especially for doing comps turning some faders off at the same instant as turning other faders on.

This effectively wipes out any undo-able buffer if you do two "listen-only" passes. The R's touch-sensitive faders are pretty swell; but every now and then, a fader doesn't register a touch, so any new moves on that fader are forgotten. And it's really easy to make a far-reaching automation mistake just by accidentally brushing a fader. Along with power comes responsibility! The DA7 has so many useful shortcuts With the help of Andy Munitz from Sony, I've learned a couple useful shortcuts This is surprising, considering that the DA7 doesn't have a touchscreen for easy access to "virtual" controls.

I really , really , really wish the R would power up in the same state that it was in when last powered down. Even if I do a keep on the current title, some settings aren't saved. Full input and output routing is awesome If you've got an analog input that you'd like to monitor connected to the 2-track input, it passes thru an ADC on its way to the input-matrix, according to the block diagram, and then thru the CR monitor DAC.

So you ask, why the heck would you want to listen to an analog signal going into the R? This way, you have a single DA conversion at the Masterlink's outputs , without worrying about FS clock. I miss having a custom fader layer! I used a custom layer on every mix that I did on the DA7. You can do things with custom fader assignments that you can't do with input-routing. Now I miss them! Even though I use plug ins now, etc.. Some controllers, whatever? The world of buying and selling gear is not for the faint of heart.

He meant "steal" Scott's desk. Yeah, I know. Just had a little too much 4th of July cheer before I wrote that, I was thinking out loud. Actually, I still love the Sony. The only path up for me after that would be an analog console, which I don't have the budget for yet. I'm thinking about going with some analog summing to get me going in the right direction though. SSL has some nice solutions.. I'm with Michael, it's a great board but I wouldn't consider making it the heart of a new studio at this point.

I've worked quite a bit on one of those and I love the EQs and dynamics. The Pres are also not bad. Definately a nice desk. Automation is not bad either. I started to thing about all my friend with Neves Harrisons scully's Lexicons an other gear no longer made and realized that although it was different for the DMX they could be repaired and there are are people out there doing it When my madi board went down Sony only gave me the option of buying a new one..

I found that out after the fact So why even consider selling it now? I just don't see where the technology has advance so much since this was state of the art to render it completely obsolete and quite frankly I know it's value will never get any greater not that that matters much if you can't clear the cost of one of these in say a month of operation than you might want to rethink the studio biz completely Yep, great post Scott!

I had a DMXr from summer of till early - I sold it to someone overseas for 10 grand. It was a terrific board and yes it "felt" great, but I'm a composer so I draw in my fades, filter sweeps and eq changes etc. It's worked out great for me, completely ITB and complete recall of every mix. I wouldn't recommend the DMX at this point simply because if it breaks, you can't get it fixed - it's a computer, more or less, and it's unsupported. Shameless plug! I have a DMX for sale!

I really enjoyed the EQs and dynamics on this console when I had it in service. Internal sidechaining is wonderful. EQs and dynamics on all 48 channel inputs, auxes and MTRs.

I had to replace the main pcb board, IF The Sony repair guys asked me where I was able to find it. Two adat cards and an AES card, and and Argosy desk!! I enjoy the total control over PTHD. My work flow has improved tenfold.