sony dmx-r100

[blumediaprojekt]

Anyone using a sony dmx-r100 ?? if so, how do you like it? I'm thinking of dumping my command8 and rosetta800..... and possibly picking up one of these....

[25ghosts]

Hi -

I had the dmx for about 2 years! It's good for certain things.

Pros:

1 - Compressor and gate and on evry channel even the aux's (same qual. as the oxford tdm's
2 - Totally free routable digital matrix - u can route evry input to evry output or x-over
3 - Good monitoring and easy logic
4 - good converters on line in

cons:

1 - Mix Preamp converters suck - BIG TIME....recording a vocal thru' there would be an insane mistake
2 - More noisy than digital interfaces from e.g. digidesign or apogee.

I sold mine and bought 4 apogee rosetta 800 with x-hd cards - now I use protools as my mixer and the result IMO is alot better - but then again it depends on how one works...

My overall impression of the DMX is very good. I buy 100 DMX b4 I'd get a yamaha or tascam)

[blumediaprojekt]

so there are diff a/d's on the preamps than on the normal lineins?

it wouldnt really matter to me anyways....ive got 2channels of SSL and thats ALL i use.....this is for home use and all i ever record is some synths, guitar, bass, and vocals...so i use the nice pres for that.....and would go into the line-ins on the board

but in order for me to do it, i'd dump my rosetta and command8 like i said

i dunno tho.....im just not sure about moving away from ITB mixing and all the quickness/easyness that comes along with it

[25ghosts]

dont think the converters are different only the preamps are poor quality

[PMoshay]

Its interesting to hear such a different opinion.
i have had one since the prototype..... its awesome, i love it.

a major upgrade from mixing ITB.

i have tracked whole records using the pre's onboard, nowhere as dramaticly bad as stated above, but you will do better with hi-end mic pre's.

Nothings faster to mix on than a console ......... unless you are a mouse freak.

[25ghosts]

i did the comparison with a dda amr 24 board compared to the sony dmx.... the difference was like day n night! using the preamps of the sony dmx was like applying a lowpass filter on the mic...

u can see the setup here:

www.atonmusic.com

PS u might wanna skip the flash intro - the duoble click the scarabeus n navigate to "Studio"

[sharp11]

i did the comparison with a dda amr 24 board compared to the sony dmx.... the difference was like day n night! using the preamps of the sony dmx was like applying a lowpass filter on the mic...

u can see the setup here:

www.atonmusic.com

PS u might wanna skip the flash intro - the duoble click the scarabeus n navigate to "Studio"

I had a DMX for about four years, once I found its pre's sounded as good as (but different from) my Summits, I always tracked with the Sony's onboard pre's, I got excellent recordings so obviously I don't agree with the poster above.

I'm now itb with a rosetta 800 front end and API/Summit pre's. Since I'm recording the same Yamaha C5 piano these days, I can compare my new recordings made with the API 3124 to my old Sony preamps and say there is a difference, but it's not dramatic at all, the Sony's a bit cleaner, but the API's a bit fuller.

For the way I work, it makes more sense to stay itb, but I do miss having a mixer for certain things, especially in terms of bringing in multiple sources from the outside world, nothing beats a well designed mixer for this.

Ed Dzubak

[PMoshay]

as with most digital gear, it almost always benefits from being clocked from a hi quality source. I and many others have found that there is a noticeable difference when a external word clock (i.e.-Apogee Big Ben).
I noticed on your setup that you are using a older Protools 24 system and no external wordclocking for your digital gear. This is the first place i would investigate to see if the LPF you are hearing is related to.

The idea that nobody at Sony Pro heard that the mic pre's sounded like they had a LPF on them is a bit hard to believe.
You may want to check your setup, i have encountered quite a few of the Sony consoles and have never heard anything like that, and do you think that Sony Pro would have released a console like that? Especially with all the years of experience making hi end audio gear?
Generally when a company releases a piece of gear to the public, they have pretty much tested and measured it 100's of times as well as putting it in the hands of pro's to evaluate, and the Sony console got rave reviews.

I can concur that you may get better results using hi end external mic pre's, but i have tracked many projects just using the mic pre's on board and i am not that discouraged by their performance.