Sony OXF-R3 - Manual (Page 262)

7-2
Chapter 7 Session Management
Chapter 7 Session Management
7-1 The Basics 7-1 The Basics
Historically, console automation systems have been used to automate the
faders and cut buttons, together with a small number of additional controls,
in order to record complex manipulations in synchronisation with the
programme material. This avoids the artistic result being limited by the
engineer’s dexterity, memory and number of arms! The OXF-R3 console
extends this concept in that all usefully automated functions can be
controlled by the automated Session Management™ System.
During a typical music mixing session, a number of tasks are being
performed simultaneously. The overall balance of the individual
contributions is adjusted, and many signal processing changes might be
made (such as equalisation or compression) to achieve the desired ‘sound’
from a particular set of sources. These changes are static in nature - for
example, the engineer may make a number of adjustments to an equaliser
as the programme material is played, listening to the result. When
satisfied, the operator will stop moving the equaliser controls, leaving
them in the position which achieves this result. The only setting, or
automation data, of interest is the final position. The audition moves are of
no interest. In other words, the vast majority of control manipulations in a
mixing session are of this static type.
At the same time as the balancing is being carried out, some controls are
being manipulated which do require to be replayed - called ‘dynamic
automation moves’. An example would be the use of a cut button to
remove unwanted background noises on a particular track or to cut certain
passages at specific times. The track may be ‘cut’ at appropriate times
and, from then on, the same operation should occur every time the same
programme material is replayed.
From the above, it can be seen that it is essential to have very flexible
control over the automation system on an individual control basis. To
simply ‘record every move and control action’ is the wrong approach.
More time would be spent subsequently sorting out what was to be kept,
compared to creating the mix in the first place. During a single play of a
music track, many tens of balancing moves may be made, with perhaps
dynamic moves (to be recorded) on just a few controls other than faders.
This assessment of the engineer’s requirements leads to the following
system requirements for music mixing:
1. By default, the system assumes that automation of the static or
balancing type is required. As controls are moved, the most recent
values are stored, and are applied throughout the duration of the
programme.
2. Controls may be set on an individual basis to be dynamically
automated as required. In this case the actual moves, relative to
programme time, are recorded and played back on subsequent replays.