Oxygen STUDIO D MIX LAB User manual

Studio D Operations Manual © Oxygen College 22407 V2 – 01/20 Page | 1
STUDIO D / MIX LAB
OPERATIONS MANUAL

Studio D Operations Manual © Oxygen College 22407 V2 – 01/20 Page | 2
Studio D Introduction
This manual provides information on the operation of Studio D at Oxygen College. The Live
Room also contains a standalone Mix Lab, specifics of the Mix Lab can be found at the end
of this document. This manual contains a comprehensive list of all the recording 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:
•Allen & Heath ZED-R16
•DBX 266XL Compressor/Gate
•TC Electronic M350 Effects/Reverb Processor
•Art HeadAmp 6 Pro
Allen & Heath ZED-R16
This unit provides connection to the Pro Tools recording software, located on the iMac
computer, via a FireWire connection. It provides the ability to use analogue summing to
record, before the signal is converted to digital and sent to Pro Tools. Its key features are:
•Record multi-channel via FireWire or ADAT.
•18 FireWire inputs and 18 outputs
•Monitor each recording track via the FireWire inputs.
•Use the FireWire connections to and from each channel to insert processing plug-ins
such as gates or compressors.
•Use the ZED-R16 to mix a live show and record it to multi-track (Either ADAT or
FireWire).
•Mix in analogue using the FireWire inputs, pre or post EQ.
•Mix in digital using MIDI faders, rotaries and switches provided on the ZED-R16.
•Use analogue EQ as an analogue plug-in to a digital system.
•Use the professional studio features to control monitoring and artists feeds as well as
transport control.
Channels(1-16(
Gain(
EQ(
AUX(Sends(
Digital(
Assignments(
Digital(Master(
Ch(17-18(
Control(Room(
Volume(
Talk(Back(
Control(
AUX(Masters(
Stereo(
Channels(
(

Studio D Operations Manual © Oxygen College 22407 V2 – 01/20 Page | 3
Basic Operation
The Allen & Heath ZED-R16 provides 18 inputs and outputs to Pro Tools via FireWire. Channels
1-16 appear in Pro Tools as possible mono inputs and outputs, 17-18 is the digital master
which you can take an outboard summed mix back into Pro Tools. Some common
operations are:
Bringing a microphone up to unity gain
Each of the 16 channels on the console have individual gain controls as shown in the
diagram, which are used to bring a sound source up to unity gain.
Sending signal to Pro Tools
Using the Studio D Default template Pro Tools will accept all 16 channels from the console
and place them on their own individual channel in your session. Alternatively, you will need
to set the I/O on each channel in your session to its corresponding console channel.
Monitoring your mix in the control room
Signal needs to be returned to the console from Pro Tools in order for you to be able to
monitor your session. To do this you need to set all channel outputs in Pro Tools to their
corresponding channels on the console (Studio D Default Template), and engage the DIG
RET Pre-INS button in the Digital Assignments section for each as shown below.
The monitor speaker volume is controlled using the Control Room Volume shown on the
console diagram on the previous page. L-R must be engaged on each track for it to be
heard in the studio, and the master faders must be at an appropriate level.
This button must be engaged
to return signal to the console
from Pro Tools
This button must be engaged
for sound to be heard through
the studio monitors.

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Auxiliary sends and stereo channels
The ZED-R16 operates just like any live mixing console when it comes to using Auxiliary Sends
to provide monitoring to the performers and using external effects such as reverb. In the
case of Studio D, the Aux Sends are patched as follows:
Aux send 1 > MONO headphone amp 1
Aux send 2 > MONO headphone amp 2
Aux send 3 > MONO headphone amp 3
Aux send 4 > drives the TC M350 external effects processor (Described later in the manual)
The stereo channels provide a return point for the effects processor and also the computer’s
internal soundcard, and is patched as follows:
ST 1 – TC M350 effects return
ST 2 – Computer soundcard
ST 3 – Not connected
ST 4 – Not connected
Talk Back
The ZED-R16 console has a built in talk back microphone, which allows the engineer to
communicate to the performers via Auxiliary Sends 1 & 2.To use this feature, ensure the To
Aux 1&2 button is engaged, hold down the Talk button and speak into the microphone. You
can control the level of the talk back microphone with the Talk Lev control. A diagram of
the talk back section is shown below.
THE ZED-R16 HAS MANY OTHER USEFUL FEATURES THAT ARE NOT COVERED IN THIS MANUAL, FOR MORE INFORMATION
CONTACT YOUR TRAINER OR VISIT ALLEN-HEATH.COM TO READ MORE.
Art Head Amp Pro
This headphone amplifier will distribute individual auxiliary sends from the ZED-R16 console to
the live room of studio D, providing headphone monitoring for the performers. Its main
features are:
•Six Channels with Separate Bass & Treble Controls
•Front & Rear Panel Output Jacks
•XLR & 1/4-inch TRS Balanced Inputs
•Operates in Stereo, Mono (Source Left), Mono (Source Right) or Summed Mono
(Source Left & Right)
•Auxiliary Front Mounted Separate Source Input
•8-Sement LED Level Indicators on all Channels & Bus
Talk Back Volume
Talk Back Microphone
Talk Button
Send to AUX 1 & 2

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Basic Operation
This unit is setup to provide individual headphone sends to the performers in the live space of
Studio D. This is achieved by using the mono auxiliary send outputs from the ZED-R16 which
are patched directly into the back of the headphone amp. You will require the following
settings to operate the unit correctly:
•Balance control turned FULLY to the right (Aux setting).
•Mono L engaged in the mono control section.
•Patch cable from the rear of the headphone output connected to the appropriate
headphone send in the patch bay (shown in photo below).
•Only headphone amps 1-3 are connected.
Individual Bass &
Treble Control
Individual channel
volume
Balance
between Main
& Aux signal
Overall unit
volume
Mono
Control
Headphone
output
Headphones need to be patched
into the corresponding return in the
patch bay, which will take the signal
through to the live space.

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DBX 266XL Compressor/Gate
This unit provides an outboard option for processing your signal before it is sent to Pro Tools or
when it is returned from Pro Tools. They are a 2 channel unit, with the ability to stereo link the
channels together. There are 2 units available, giving options for both multiple mono or
stereo combinations. Some of the main features are:
•Great sounding dynamics control for any type of program material
•Separate precision LED displays for gain reduction, compression threshold and gate
threshold allow quick, accurate setup
•Stereo or dual-mode operation
•Balanced inputs and outputs on 1/4" TRS and XLR
•Side Chain insert
•Classic dbx® "Auto" mode
Basic Operation – Compressor Section
This unit operates like most standard compressors, with adjustment for:
•Ratio
•Attack
•Release
•Output gain
It is up to the engineer to set these controls as they require to achieve the sound they are
after. Patching the unit into the signal path will be discussed later in this manual.
Stereo Coupling
The 226XL unit has the ability to be used in stereo mode, which allows you to set the controls
only and channel 1, and have them apply to both channels. This is used if you require the
same settings for both the left and right channel in your session. To activate this, engage the
Stereo Couple button shown above.
THE DBX 266XL HAS MANY OTHER USEFUL FEATURES THAT ARE NOT COVERED IN THIS MANUAL, FOR MORE
INFORMATION CONTACT YOUR TRAINER OR VISIT DBXPRO.COM TO READ MORE.
Compression
Settings
Compression
Settings
Stereo Couple
Channel 1
Channel 2

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TC Electronic M350 Effects/Reverb Processor
This unit is set up to provide reverb effects to the console for use in the monitoring process,
and can also be applied to your to channels during your outboard summed mixdown.
During the monitoring process this is useful when a vocalist likes having a reverb effect on
their voice as they track, but as the engineer you want to capture a clean signal, and add
effects later on in Pro Tools. When mixing down, you can add outboard effects to each
channel.Some of the M350’s features are:
•15 true and stunning stereo reverbs
•15 legendary effects
•5 seconds of delay
•256 multi-effect/reverb presets + 99 user preset locations, a total of 355 presets
•Dual send/return & serial style setups
•Auto-sensing 24 bit S/PDIF digital I/O, 44.1-48 kHz
•Tap tempo
Basic Operation
This unit will be most commonly used for reverb, which can be set using the Reverb Control
dial as shown above. You also have the option to make the following setting adjustments:
•Pre Delay
•Decay Time
•Color Filter
In the Input/Output section you can control:
•Input Gain
•Mix Ratio
•Effect Balance
There are also other effects that can be applied as required by the engineer, using the
Delay/Effects section.
THE TC M350 HAS MANY OTHER USEFUL FEATURES THAT ARE NOT COVERED IN THIS MANUAL, FOR MORE INFORMATION
CONTACT YOUR TRAINER OR VISIT TCELECTRONIC.COM TO READ MORE.
Setting
Adjustment
Reverb
Control
Input/Output
Delay/Effects

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Studio Layout and Patching
Studio D has a live space for recording, with a separate control room with a window to
maintain visual contact with the performers. The live space has a wall box to connect
cabling to and from the control room, with the patching shown in the following pictures and
diagrams.
Studio D Layout
Live Space Wall Box

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Inputs & Outputs
¼Inch Patch Bay Configuration
As shown in the diagram above, Studio D contains a 24 channel ¼Inch Patch Bay. This is
used to route signal to and from the headphone amp, DBX266XL and TC M350 units using the
insert sends and returns from the ZED-R16 Console. It’s configuration is shown below:
•Channel 1-16 – Half Normalled
•Channel 17-20 – Isolated
•Channel 21-24 – Half Normalled
AUX Sends
HP 1-3
HP 1-3
Ch 24
Ch 17-20
Ch 21-23
Insert 1-16 Return
Inserts 1-16 Send
Aux Send 1-4
Ch 1-16
Headphone Amp
ZED-R16 Console
DBX 266XL
¼Inch
Patch Bay
TC M350
Live Space
Pro Tools
Ch 1-16
(FireWire)
Insert 1-16 Return
Inserts 1-16 Send
DBX 266XL
IN
DBX 266XL
OUT
1
2
3
4
1
2
3
4
1
2
3
4
TC
FX

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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.
•Set the balance control fully right, to the AUX setting.
•Ensure Left Mono button is engaged.
•Adjust volume on the individual headphone amp and the overall unit control.
To create a headphone mix for your performers you will need to adjust the AUX Send controls
on the appropriate channel of the ZED-R16. For example, if the performer is listening through
HP1, you will need to set the volume on AUX 1 of the required channels, and also ensure the
AUX 1 Master is turned up. You can then control the overall volume for the performer using
the headphone amp.
Setting up a session (Example)
The following instructions are an example of how to setup a recording session in Studio D,
with 16 channels of input/output and 2 headphone sends. This example session will use an
external summing method, allowing you to use the console to create your mix to then send
back to Pro Tools as a final mix.
Step 1 – Power on the studio by switching on the power conditioner shown in your studio
demonstrations. This will turn all equipment on except the iMac computer, which you will
need to turn on separately after the power conditioner has been switched on.
Step 2 – Open Pro Tools software, select the ‘Create Session from Template’ button and then
select the Studio D Default Template. (Shown Below)

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Step 3 – When prompted, save your session to the AUDIO drive of the computer, and naming
your session appropriately. Your session will now be setup with 16 channels of mono audio
and 1 channel for a stereo bounce. (Shown Below)
Step 4 – Sound check your required channels by RECORD ENABLING each in Pro Tools, and
then adjusting the gain on the corresponding channel on the ZED-R16 console.
Step 5 – Ensure the console channels have the DIG RET Pre-INS enabled, and are assigned to
master bus (L-R button enabled).
Recommend Signal Flow
The audio signal is taken to Pro Tools from the ZED-R16 after the High Pass Filter (HPF), and is
returned from Pro Tools before the insert and the remainder of the channel strip. This means
the faders will not affect the signal going to Pro Tools, only the monitoring volume in the
control room, and the amount of signal sent to the master bus (Used for the bounce
process). A basic signal flow is shown below:
HPF
Insert
Gain
Input
Channel Strip
Pro Tools
Monitoring
(Control Room)
Master Bus
(Ch 17 & 18)

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Bouncing Via the ZED-R16 Console
It is recommended that to take advantage of the analogue summing of the ZED-R16 console
you create a mix on the 16 channel faders, and then send the mix back to Pro Tools via the
Master Bus (ch 17 & 18). This will require the use of the stereo BOUNCE channel which is
created when you load the Studio D Default Template. The settings and procedure for this is
as follows:
Step 1 – Ensure the BOUNCE track has the correct I/O settings:
•Input – Ch 17&18
•Output – Ch 17&18
Step 2 – Engage record enable on the BOUNCE channel, and ensure that no other channels
in your session are record enabled.
Step 3 – Start recording – you will notice that the audio from your channels will play through,
using the mix you have on the console, and will be recorded on the stereo BOUNCE track.
Step 4 – Once your recording has finished press stop. To listen back to the bounce only you
must:
•DIS-ENGAGE RECORD ENABLE on the BOUNCE channel, and engage SOLO.
•Engage DIG MASTER TO L-R. (Shown Below)
(
***IT IS VITAL THAT YOU DO NOT HAVE RECORD ENABLE ENGAGED WHEN YOU SWITCH THE
DIGITAL MASTER TO L-R ON, AS YOUR SYSTEM WILL FEED BACK!
DIG MASTER
TO L-R

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Mix Lab Introduction
Studio D is a multi-functional space, consisting of a small Control Room and deadened Live
Room lending itself to dry overdubs of vocal and guitar/ bass layers or even acoustic
instruments where a drier captured sound is appropriate.
The Live Room also contains a standalone Mix Lab, where MIDI and/ or direct injection
recording is also an option where a separate Control Room is not required.
The Mix Lab is fully featured with a wealth of plugins, audio interface, studio monitors and a
control surface, making it a great option for mixing and mix reviewing.
Euphonix MC Control
(
The Euphonix MC Control is a digital control surface that links directly with Pro Tools. It features
four faders that are scrollable through either different banks of four, or can be nudged (one
channel at a time).
It also allows the arming of tracks, altering of sends and control of plugins through the
touchscreen. On the bottom right of the surface is the Transport and Jog Wheel. This allows
the user to scroll through the session via the Jog wheel and allows direct control of the session
via the Transport.
THESE ARE THE BASIC CONTROLS OF THE UNIT. IF YOU WISH TO LEARN MORE PLEASE SEE YOUR
TRAINER OR VISIT EUPHONIX.COM (WHICH WILL DIRECT YOU TO THE AVID WEBSITES VERSION).
Fader(Strip(
Touchscreen(
Control(
Mixer(Control(
Transport(and(Jog(
Wheel(