Oxygen College STUDIO C User manual

Studio C Operations Manual © Oxygen College 22407 V3 – 02/20 Page | 1
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STUDIO C
OPERATIONS MANUAL

Studio C Operations Manual © Oxygen College 22407 V3 – 02/20 Page | 2
Introduction
This manual provides information on the operation of Studio C at Oxygen College. It contains a
comprehensive list of all the equipment in the studio, how it is set up and patched, and also how
it is to be operated. The following is a list of the equipment that will be discussed:
•Command 8 Console
•Focusrite Clarett 8PreX
•Focusrite Scarlett OctoPre Dynamic
•Rane HC6
Focusrite Clarett 8PreX
This unit provides connection to the Pro Tools recording software, located on the iMac
computer, via a Thunderbolt connection. Its key features are:
•8 high quality Preamps with dedicated HPF, Phantom Power and Phase Reverse controls
•Analogue ‘AIR’ mode models the sound of the classic Focusrite ISA Preamps.
•High Quality 24-bit/192kHz Firewire Interface
•Total I/O Count of 26 Inputs and 28 Outputs
•Suite of Focusrite AAX plug-ins
•Two separate headphone busses
•Focusrite Control DSP Mixer/Router software
•Front panel six-step LED metering
Front!DI!
Jacks!
8 x Preamp controls with independent 48V
phantom power, HPF and phase reverse
!
Input!and!
Connection!
Meters!
Headphone!
Section!
Monitor!Output!
Controls!

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Basic Operation
The features that are used most commonly in basic studio operation are as follows:
Bringing a microphone up to unity gain
Using the Input Channel Gain Controls you can control the 8 analog channel gain settings
individually. You will need to ensure that the input source is correctly patched in, record
enabled in Pro Tools, and any necessary settings are engaged.
Change settings on individual channels
Each channel has its own HPF switch, +48V switch and a phase reversal switch (intended use is
for example channel 3 & 4 snare top mic and snare bottom mic). Channels 3 & 4 also have a
pad switch to attenuate signal. PLEASE NOTE: IF USING DI JACK INPUTS ON FRONT OF UNIT, THIS
SHOULD BE SELECTED VIA FOCUSRITE SOFTWARE.
Other features
You can control the volume for the monitor speakers and also 2 headphone outputs using
controls in the monitor section, however in studio C the monitor speakers will be controlled by
the Command 8 console. PLEASE NOTE, TO GET BEST RESULTS MONITOR VOLUME ON INTERFACE
MUST BE ON ALL THE WAY UP TO FEED THE COMMAND 8 CONSOLE.
Command 8 Console
The Command 8 console is a control surface connected to the Liquid Saffire 56, which allows for
control of Pro Tools functions, for example moving channel faders, and also studio monitoring
functions. Its key features are:
•Displays track names, track & plug-in parameter values
•Plug-in or Pan/Send controls for a selected INSERT or SEND.
•Buttons: EQ, DYNAMICS, INSERT, PAN/SEND/PRE, PAGE.
•100 mm touch-sensitive moving faders with support for +12 dB fader scale
•SELECT, SOLO and MUTE buttons and color-coded LED indicators
•Multi-purpose rotary encoders with 11-LED rings displaying pan position, send level
•Control Room: Mute, Mono, and External Source monitor selectors; dedicated volume
level control
•Headphones: 1/4" stereo headphone jack; dedicated volume level control
•Record-enable, Pan/Meter (with L/R indicators), Enter, and Undo selectors
•Four-key navigation pad enables you to BANK through software mixer eight faders at a
time, NUDGE through mixer one channel at a time, or ZOOM in or out on track data
horizontally or vertically, and move the play selector horizontally and vertically
•Control common transport functions within Pro Tools (Play, Record, Stop, etc.)

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Basic Operation
The most important operations that will be required to use the Command 8 are as follows:
Monitor Speaker Volume
To provide volume to the studio monitor speakers use the Control Room Monitor Controls section
of the console. If you are unable to get signal to the speakers, ensure the mute button is
disengaged.
Transport Control
The Transport Controls section of the console provides the option to control play, stop, record,
forward, reverse and return to zero (RTZ) functions of your Pro Tools session.
Faders
The faders on the console are linked to the faders within Pro Tools, meaning that moving a fader
on the console will also move it on Pro Tools. Even though there are only 8 faders on the
console, using the bank or nudge function in the Navigation and Zoom Controls section you
can scroll through all faders in the session either in banks of 8, or 1 fader at a time.
THE COMMAND 8 HAS MANY OTHER USEFUL FEATURES THAT ARE NOT COVERED IN THIS MANUAL,
FOR MORE INFORMATION CONTACT YOUR TRAINER OR VISIT AVID.COM TO READ MORE.

Studio C Operations Manual © Oxygen College 22407 V3 – 02/20 Page | 5
Focusrite Scarlett OctoPre Dynamic
The Focusrite Scarlett OctoPre Dynamic provides an extra 8 inputs to the Clarett 8PreX via a pair
of lightpipe cables connected at the rear of the unit. Analog to digital conversion is provided
by the unit, and Its key features are:
•8 mic/line inputs featuring 8 natural sounding scarlett mic pre’s
•2 switchable instrument inputs
•Individual channel-gain controls
•48V phantom power, switchable in 2x banks of 4.
•Flexible analogue compression on every channel
•5-segment, LED meters
•8 channels of ADAT optical output up to 192KHz (96KHz max in Studio C)
•Clock source (sets clock to external or internal with 44.1 or 48 kHz sample rate)
Basic operation
The main purpose of the Focusrite Scarlett OctoPre Dynamic is to provide 8 input channels to
the Focusrite Clarett PreX with the option of analogue compression on each channel, with the
following operations being the most common.
Provide signal to Pro Tools
Use the gain controls to bring up signal for the relevant channel in your Pro Tools session. For this
to be achieved, you will need to ensure that the I/O settings are correct in your session. These 8
channels will be listed as ADAT 1-8, alongside the standard analog 1-8 channels. This will allow
you to record up to 18 channels simultaneously along with the 8 channels already handled by
the 8PreX and the 2 channels handled by the ART MPAII.
Metering and Synchronization
In some cases the synchronization will need to be checked, depending on the sequence in
which all the equipment is turned on. The LED’s in the metering section of the unit will show its
status, which should be set to ADAT by default. Sample rate should be determined by your Pro
Tools session settings. If the Internal light is flashing, you may need to press the W/CLOCK SYNC
button or power off and power on the unit to regain synchronisation.
Instrument Inputs
These inputs are for instruments that do not provide their own gain, such as guitar or bass, and
can be plugged straight into rear of the unit the unit. However in Studio C, it is recommended to
use the more accessible inputs on the front of the 8PreX
Gain!and!compression!
controls!Controls!
Metering!
Inst!In!and!
48V!selector!

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Art Digital MPA II Tube Preamp
This unit can provide 2 additional input channels to the Liquid Saffire 56, utilizing analog tube
technology. While having the ability to send signal via standard analog outputs, in the case of
Studio C it is connected using the digital S/PDIF output, providing analog to digital conversion
before sending the signal. The key features of this unit are:
•Variable Input Impedance For Flexible Microphone Voicing (150 Ohms To 2400 Ohms)
•Selectable Plate Voltage
•Large VU Meters
•Backlit Function Switches
•Discrete Class-A Input Microphone Preamplifier
•Low Noise at Lower Gain Settings
•Wide Frequency Response
•Additional Front Mounted Instrument Input Jack
•Supports Mid/Side Miking Technique
•Selectable Stereo/Dual Operation of Output Controls
•44.1K, 48K, 88.2K, 96K, 176.4K, 192K Internal sample rates
•24/16 bit switchable dithering
•Wide dynamic range A/D
•Rotary Encoder for quick selection of sample rate
•Separate analog and digital output level controls
•Digital Level LED meters display both Average and Peak level
•ADAT optical I/O
•Sync to incoming ADAT data rate
•Switch selectable optical output (S/PDIF or ADAT)
•AES/EBU and S/PDIF outputs
•Two wordclock jacks allowing loop through
Basic Operation
The main purpose of this unit is to provide an option to use an analog tube preamplifier in a
predominantly digital setting. There are many features which will enhance a recording session,
however it is important to get the basic settings correct first. Following are the most common
settings and operations required.
Analog Input
Gain Control
Analog Input
Gain Control
Input metering
Digital Output
metering
Digital Output
level
Digital Output
level
Sample Rate
Control
Channel Function
Buttons
Stereo/Dual
Switch

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Send mono signals to Pro Tools
As previously mentioned, the Art MPA II is connected via the S/PDIF, meaning that you must
selected channel 17 or 18 (S/PDIF) on the relevant channel in your Pro Tools session. Then bring
up the Analog Input Gain Control, monitoring the Input Metering section. Adjust the Digital
Output Level to send the signal out to Pro Tools, using the Digital Output Metering section to
monitor the output level.
Other Settings
You can engage the following settings using the Channel Function Buttons:
•+20dB Gain Boost
•+48v Phantom Power
•Plate Voltage
•Phase
THE ART DIGITAL MPA II HAS MANY OTHER USEFUL FEATURES THAT ARE NOT COVERED IN THIS
MANUAL, FOR MORE INFORMATION CONTACT YOUR TRAINER OR VISIT ARTPROAUDIO.COM TO
READ MORE.
Rane HC6S
Basic Operation
This unit is setup to provide individual headphone sends to the performers in the live space of
Studio C, including the vocal booth. Each channel receives a Mono signal and has its own
volume control. Please note however, even though the HC6S has 6 channels available, only 4
are available.
To send a signal, simply run a patch lead from desired headphone channel (1-4) to headphone
lines on input patch bay.
Studio Layout and Patching
Studio C has both a live space and vocal booth for recording, with a separate control room
with a window to maintain visual contact with the performers. Each room has a wall box to
connect cabling, and the patching for these is shown in the pictures and diagrams below.
Studio C Layout
Output!
Jack!
Signal!light!
Individual!Channel!Output!
Volume!Controls!
Master!Output!
Volume!
Stereo/Mono!
Switch!

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Control Room Patch Bay Live Space Wall Box
Vocal Booth
The inputs for the vocal booth are NOT patched through to the control room directly. They
need to be patched using the cables shown in the above ‘live space wall box’ photo to the
relevant channel (1-18).
Control Room
In the control room, the equipment is patched as shown below. Note that Liquid Saffire 56,
Presonus Digimax D8 and the Art MPA II are all connected with BNC cable to provide a common
wordclock to all units. The Liquid Saffire 56 is the master clock source, linked to the Art MPA II
then to the Presonus Digimax D8.

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Inputs
Outputs
Focusrite Clarett 8PreX - Output List
1. Left monitor Speaker (via Command 8)
2. Right monitor Speaker (via Command 8)
3. Headphone Amp 1
4. Headphone Amp 2
5. Headphone Amp 3
6. Headphone Amp 4
7. Not Connected
8. Not Connected
Main 1&2
Output 3-6
Art MPA II
Focusrite
Clarett 8PreX
S/PDIF
17-18
Analog 1-8
ADAT 1-8
S/PDIF 17-18
!
ADAT
1-8
Ch 17-18
Ch 9-16
Ch 1-8
Ch 1-18
Live Space
Control Room
Patch Bay
Focusrite Scarlett
OctoPre Dynamic
Pro Tools
Focusrite
Clarett 8PreX
Headphone Amp
Command 8
HP 1-6 / ISO 1
Monitor Speakers

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Headphone Monitoring
To setup the headphone amp you need to:
•Ensure that the headphone amp output you wish to use is patched to the correct send
in the control room patch bay.
•Adjust volume on the individual headphone amp and the overall unit control.
To setup Pro Tools you need to:
Setup a send on all the channels you wish to send to the headphone amp, ensuring that the
output is set directly to one of the outputs 3-6. (See picture below)
Bring up the volume on all of the sends to the appropriate levels as required by the performers,
and adjust the individual headphone amp volume accordingly.
Studio Talk Back
Studio C does not have a built in microphone to provide talk back from the control room to the
live space. One mono audio record channel will be required to achieve this, along with a
microphone and cable that is supplied in the studio.
To set up talk back:
•Disconnect the cable from the channel you wish to use from the control room wall box.
•Attach the talk back microphone cable to the cable you have disconnected.
•Set up, label and record enable the appropriate track in your Pro Tools session.
•Set gain to the required level, and ensure that the channel has the appropriate Aux
Sends set up to allow your talk back to be heard by the performers.
**Using this method will mean that you have one less channel to record on, so please allow for
this when planning your sessions.