Room Guides

The following guidelines are intended to keep the CCRMA facilities functioning at an optimal level for all users. Please read this guide fully before making request for use and to facilitate your experience in organizing a successful event.

CCRMA resources including the Stage are dedicated to music making, composition, performance, research and education, and are to be used according to Stanford policies. Stage may not be used for unsanctioned personal or private purposes.

Access is limited to faculty, students and guests of the department with prior reservation.

Room Scheduling

CCRMA uses a web-based scheduling system located here:

http://ccrma.stanford.edu/rooms

With the exception of the Recording Studio you can reserve any of the following rooms. If you would like to reserve the Stage, it would be best to contact a staff member before making a reservation in the system. Please be reasonable and respectful with the amount of time you reserve and when.

In respecting the creative privacy of others, check this schedule before entering any of the spaces. If you will not be using the space, delete it from the reservation system, and in times of high demand it would be appropriate to send a note to local-users, letting the community know about the availability.

Please keep the rooms clear of trash, even if you find some in there when you arrive. And, please never place food or liquids anywhere near the gear.

How to Schedule

Point your browser to: http://ccrma.stanford.edu/rooms.

There you will meet the CCRMA "Meeting Room Booking System" which looks like this:

mrbs-homepage.png

Notice that time is on a 24 hour clock and in increments of 15 minutes. Stanford events (especially classes) tend to be scheduled often at 5 minute increments. For our purposes, please round to the nearest 15 minute increment.

To make a reservation simply click on the table cell whose column is the room you wish to reserve and row is start time of your reservation. You'll then be presented login screen that looks like this:

rooms-login.png

Enter your CCRMA username and password. You'll then go to the reservation web form. In this example, on the 'rooms' homepage I clicked on the 'Seminar Room' column and chose to reserve the room beginning at noon. Fill in the "Description" fields, select the length of time, leave the "Type" field at the default "Internal." You can also schedule recurring reservations!

rooms-reg-form.png

Press 'Save.'

You'll be brought back to the homepage. If you scroll down to the time of your registration you'll see something like this:

rooms-reg-done.png

CCRMA Stage

The CCRMA Stage is a 100-seat modular concert space with dimensions 25' x 55' (7.5m x 16.7m). It is equipped with 16 high-quality loudspeakers and a digital mixing console, two computers (Mac Mini and Linux), a DVD/CD player and an LCD projector for multi-media presentations. A Yamaha Disklavier (DC7 Pro) piano is also available along with a small performance lighting system. The room is acoustically treated, with acoustically sealed windows and doors, and adjustable acoustic window coverings.

The sound system features a Yamaha DM-1000 mixer which feeds 16 ADAM speakers: 8 speakers surrounding the audience at about 6 feet from the floor; the remaining 8 speakers are mounted on the ceiling forming a smaller circle. Sound diffusion can be made to all 16 speakers directly, or through a 3rd order horizontal Ambisonics decoder to the lower ring.

[insert picture here]
 
The following guidelines are intended to keep the CCRMA facilities functioning at an optimal level for all users. Please read this guide fully before making a request to use the Stage, this will facilitate your experience in organizing a successful event.

CCRMA resources including the Stage are dedicated to music making, composition, performance, research and education, and are to be used according to Stanford policies. The Stage may not be used for unsanctioned personal or private purposes.

Access is limited to faculty, students and guests of the department with prior reservation.


Student/Guest Concert Production

Here is a chronological ordering of steps you should take to prepare for a performance:

  1. All concerts must be requested at least 2 weeks in advance of first rehearsal. This gives us reasonable time to secure the room, and secure a tech person for the event and rehearsal time. Many concerts and events need to have a CCRMA tech person in attendance.
  2. Go to: http://music-calendar.stanford.edu/VirtualEMS/
  3. Enter your SuNet ID and password
  4. Click "Make a Request"
  5. Enter ALL pertinent info (this information goes directly to the Music Department staff since CCRMA concerts are also Music Department concerts.
  6. Download, print and complete CCRMA Booking form. This form can also be found at the CCRMA Mailbox bins. Some information is duplicate from the music calendar booking form, but the information on this form goes directly to CCRMA Staff.
  7. Submit to Sasha Leitman or her mailbox.
  8. After Steps 2 & 3 have been reviewed you will receive notification of either approval or denial of request.
  9. If approved a tech person will be assigned to your event.
  10. Please read all of the guidelines below.
  11. You are responsible for all clean up related to your event, including cables and any food you provide.

Additionally, it is possible to record your lab session or performance with prior notification.



Description of the Facility

The Stage is CCRMA’s 100-seat modular concert space (25' x 55'). It is equipped with 16 high-quality loudspeakers and a digital mixing console for sound manipulation, two computers (Mac Mini and Linux), a DVD/CD player and an LCD projector for multi-media presentations. A Yamaha Disklavier (DC7 Pro) piano is also available along with a performance lighting system. The room is acoustically treated, with acoustically sealed windows and doors, and adjustable acoustic window coverings.

Security is a prime concern due to expensive equipment located in the Stage. Security depends on the doors remaining locked at all times: access is handled by electronic sensors at the doors that can be activated by Stanford ID cards that have been entered into the CCRMA security system or by a temporary access card we can provide. Front and rear doors are acoustically sealed and should not be propped open with doorstop wedges underneath the door as this will damage the seals. Doors must be left closed and locked after regular weekday business hours. This is the user's responsibility. The exterior doors of the building will be opened by staff during the event's hours.

The lighting and sound systems are complicated and will require a staff member who is familiar with the CCRMA equipment to set up. Arrangements should be made with CCRMA staff well ahead of any event to be sure the technical requirements can be handled. Direct audio and video connections from laptop computers are possible as well as DVD and multi-channel music playback from the CCRMA computers. Some configurations require significant setup, so advance notice of the technical requirements is absolutely necessary.

The sound system features a Yamaha DM-1000 mixer which feeds 4 ADAM S3a, 4 ADAM P33 and 8 ADAM P2.5 loudspeakers (this last 8 mounted in the ceiling of the Stage). Six microphones and stands are available along with six music stands. Mics are kept locked and can be obtained from staff and cables are stored in the adjacent Conference Room closet. 16-tracks of digital audio output are available from the Linux computer system and the Mac Mini can connect through any multi-channel external sound card or through its built-in stereo output. Stereo CD-R recordings for archival use are available from a system consisting of a pair of overhead Sennheiser MKH20 microphones connected to an Aphex preamp and Tascam CD recorder. The DVD player sends only a stereo output to the mixer but down-samples the 5.1 output to stereo internally. Several spotlights are controlled from a DMX light board but require manual configuration by CCRMA staff. Please do not alter any wiring without assistance from CCRMA staff.

A tuning of the piano can be arranged prior to the performance by specific request at the renter/user's expense.

Booking the Stage can also include the reservation of a “green room” studio behind the stage with a private restroom for performers.

The 100 chairs in the room can be set in different formations according to the events' needs.

Organizing Your Event

Scheduling the Stage Book the Stage online at: http://music-calendar.stanford.edu/VirtualEMS/

Login requires your STANFORD ID AND PASSWORD. Booking the Stage is handled through the Music Department online reservation system but requires an additional sign-off by CCRMA staff for non-departmental events. Every effort will be made to accommodate all users, but in case of scheduling conflicts, priorities will be given first to CCRMA / Composition related work including Degree-in-Progress students and then to other approved guests.

 

Procedure for a Session

After you first arrive:

  1. Report by email to staff@ccrma.stanford.edu, if the room was left in less than perfect condition. (ie. All cables should be put away, there should no trash lying about, chairs should be neatly stacked to the sides of the room, no microphones left out or other equipment, the piano should be covered, etc.)
  2. Report any problems with the equipment by email to staff@ccrma.stanford.edu.
  3. Manuals for the equipment are kept under the mixing board and should not be removed from Stage at anytime.

When you leave, leave the room in good order:

  1. Put everything away, including all cables.
  2. Make sure you are logged out of the computers.
  3. The piano lid should be closed and the piano should be covered.
  4. Switch off spotlights, incandescent lights and leave fluorescents on.
  5. The room should be cleaner than when you found it.
  6. The doors must be left closed and locked.

Users are responsible for the equipment. If studio equipment is damaged through misuse or carelessness, you will be billed for its replacement. Smoking, eating or drinking other than water, are not allowed.

The equipment in each room is configured to allow for flexible interconnections. Please do not move or disconnect any cables or equipment. Only faculty and staff are to disconnect or reconfigure any cabling, or physically move any piece of equipment

Hardware and Software Setups

System hardware: if you need to move or rearrange any system hardware during your scheduled time, ask for assistance to a staff member. Allow time during your session for setup and for putting back everything as it was.

If you need software installed for specialized work, contact nando@ccrma.stanford.edu and carrlane@ccrma.stanford.edu.

System configurations: Do not alter various system settings and configurations. The use of certain software may require changes. Should these be changed during a lab session they should be set to their normal settings at the end of the session. If you are unsure of what the normal settings are for a given machine see the appropriate staff or faculty.

Stage's equipment and manuals should not be removed from the room at any time.

Key Card Reader System

A key card system allows all faculty, staff, students and guests 24 hour access to the CCRMA facilities including the Stage.

CCRMA faculty maintains exclusive authority to grant or revoke card access as well as temporary restrict access to limit an individual's access to the rooms or a combination of rooms.

Since the Access System records all card activity 24 hours a day, make sure you do not lend your card to anyone else since this could cause the card owner to be held responsible for the room and its contents. You will be held accountable for access granted with your card. If you are approached for access to the room from someone without a CCRMA ID, please contact sleitman@ccrma.stanford.edu.

 

Backing Up

Always remember to save your work and your mixer patches on the standard compact flash card for the digital mixer. Properly name and lock your patch.

 

Bringing Outside Equipment Into Stage

Users are welcome to bring their own gear into the room for use on their own projects.

Please disconnect and remove your equipment from the room after use.

CCRMA is not responsible for instruments or equipment left unattended in the room. We cannot store equipment and the Stage is not a storage area.

Borrowing Stage Equipment

All stage equipment is not to be moved without prior permission from CCRMA Staff or Faculty.

  1. Obtain permission from appropriate CCRMA faculty or staff for the use of equipment.
  2. Check schedule to determine who will be using the room during the times the equipment in question will be removed.
  3. Notify all affected users of your intention to borrow the equipment.
  4. Take care that the appropriate equipment is not damaged or stolen during the time it is out of the studio. You will be held responsible.
  5. Once the equipment has been returned and reinstalled test it to be sure it is functioning properly. Alert all users that the equipment has been returned

 

CCRMA Stage Contacts

Contacts at CCRMA include:

RECORDINGS: Contact Jay for all recordings.

Laptop Audio Workstations

There are several multi-channel laptop workstations in the Knoll. One in the Ballroom computer cluster (Room 216), one in the 2nd Floor Grad Area (Room 201), and one in Grand Central Station (Room 209).   Each is equiped with a USB soundcard and 4 speakers configured for easy connection to your laptop. 

Quad Speaker System

Each station has four Adam A3X studio monitor speakers.  The volume levels have been set for you, so you shouldn't have to adjust them.

USB Soundcard

Each station has a UA-101 USB soundcard. The Cakewalk UA-101 is a USB professional audio interfase. It connects to a computer thorugh USB2 and has 8 channels of analog I/O (up to 192KHz / 24 bit), SP/DIF and MIDI input / output connections. Two front panel inputs include good quality microphone preamps. The UA-101 can be used from Windows, OSX and Linux. See below for a link to a local copy of the manual (only available for logged in users).

front and back panels of the UA-101
 
 

Driver installation

If you are running a flavor or Windows or OSX in your computer you will need to install a driver before connecting your laptop to the soundcard. No driver is needed if you are running Linux.

Go to the Cakewalk Driver Download site for the UA-101, agree to the licensing terms, and download the appropriate driver for your operating system and version. Install the driver by following the instructions in the download page (there are drivers available for the 32 and 64 bit versions of Windows 7 and Vista, the 32 bit version of Windows XP and for OSX Snow Leopard -10.6- and previous versions -10.4 and 10.5).

Changing the Sampling Rate

Use the "SAMPLE RATE" switch in the front panel to specify the sample rate at which you want to record and play back audio data. If you change the setting of this switch, you must exit all software, switch off the UA-101 (use the "OUTPUT/POWER" knob in the front panel), then turn it back on again. You must set this to match the sample rate of the software you’re using. If you’re using external synchronization mode (digital input switch turned on), the sample rate of your external device must also match this setting.

NOTE: If you have to change the sampling rate while you are working with applications, first make sure you've saved your session files, because doing so may have unpredictable results. 

Limitations when using the 192 kHz setting

• The digital input connector and digital output connector cannot be used.
• Input jacks 7/8 and output jacks 7/8 cannot be used.

Output Volume Control

The "OUTPUT/POWER" knob in the front panel only controls the volume of the headphone mix. To change the output volume use the knobs on the speaker themselves.

Listening Room

The Listening Room is a 3D studio with multiple speakers (7 hang from the ceiling, 8 surround the listening area at ear level and 7 more are below an acoustically transparent grid floor).

 

All audio streams in the room are routed and controlled through a custom program called OpenMixer running on a dedicated computer. OpenMixer provides for multiple multichannel inputs to be routed simultaneously to any or all speakers in the room. OpenMixer can also decode Ambisonics multichannel streams from any of its inputs to the speaker arrangement of the room. Inputs available include a digital 24 channel i/o link from the Linux workstation, 16 analog inputs, 8 microphone inputs, 2 8 channel digital ADAT links, 4 ethernet ports that provide 24 channels of digital i/o each through Netjack, and the outputs of a DVD player installed in the equipment rack.

Please refer to the OpenMixer Manual page for detailed instructions on how to use the Listening Room audio routing facilities.

(this paper - presented in the Linux Audio Conference 2010 - explains the motivations and subsequent development of the OpenMixer hardware and software)

Please don't move the speakers or change their settings as the room has been calibrated for the current speaker positions and settings. Please don't rewire anything (signal or power cables), there is no need to do that.

Max Lab

The Max Lab is the hub of what we call Physical Interaction Design at CCRMA. Named after Max Mathews, the Max Lab is where we focus on hardware and software interfaces for interacting with sound.

We are physically located in Rm. 103 of the Knoll.

 

harrison-instrument-building.jpg
Lou Harrison, from "Music Primer," 1971 C.F Peters Publishers

 

Max Lab - Denizens

Denizens

During any given term, the Max Lab may have up to 50 users, including students of Music 250 -- Physical Interaction Desgin for Music and Music 36N -- Experimental Musical Instruments. Regular inhabitants of the Max Lab are:

Max Lab - Access and Hours

Access

There are 2 prerequisites to using the Max Lab:

1. You need to have a CCRMA account and access card in order to enter the lab. People who are unfamiliar to regular Max Lab users will be asked to log in to a CCRMA machine and open the Max Lab door in order to demonstrate that they are a current CCRMA user. If you are a Max Lab user, and someone you don't recognize attempts to use the Lab, do the same. It is the responsibility of the entire community to ensure our safety, security and the continued availability of resources.

2. As of Fall 2006, new Max Lab users must all receive a 30-minute safety and courtesy briefing. Please contact Sasha Leitman (sleitman at ccrma) or Michael Gurevich (gurevich at ccrma) to schedule a briefing.

Hours

The Max Lab is available 24 hours a day. The door automatically locks when it is closed. The door can be left open only when someone is working in the lab. If you are the last person to leave the lab, turn off the lights, close the windows and close the door behind you. This applies at all times, even during the day.

Max Lab - Cleaning and Caring for the Lab

Cleaning and Caring for the Lab

There is a large number of people using the lab, and it doesn't take long for the lab to get very dirty. Our cleanliness rule is as follows:

Leave the lab cleaner than when you found it.

This means thoroughly cleaning up your mess, in addition to something else. It only takes a couple minutes to sweep the entire floor or wipe down all the work surfaces. Plan on stopping your work at least 15 minutes before you need to leave, or longer if you've made a big mess. This will give you enough time to properly put away all the tools or components you have used, and to clean up the lab.

Max Lab - Safety Practices

Safety Practices

The Max Lab contains many power and hand tools for your use, but many of these tools are dangerous if used improperly. Important safety precautions must be obeyed.

 

General Safety Common Sense

Use common sense to keep the lab safe and your fellow lab users happy. Examples of common sense:

  • If something seems like a bad idea it probably is. Don't do it.
  • Don't leave things on the floor that people may trip on.
  • If you run an electrical cord across the entire lab, someone will probably trip over it.
  • If you are about to make a loud sound or turn on a loud tool, warn those around you.
 

Work in Pairs

It is always a good idea to have someone else around while you are working in the lab, especially if you are using power tools. Try to avoid working alone wherever possible.

 

Attire

  • Wear appropriate clothing for what you are working on.
  • Avoid bulky clothes that may get caught or snagged on tools or soldering irons.
  • Remove long necklaces or dangling jewelry.
  • If you have long hair, tie it back.
  • Wear closed-toed shoes (i.e. NO FLIP-FLOPS). Even if you are not using them, there may be others around using heavy or sharp objects like clamps or cutting tools that can fall on your feet. 

 

Safety Gear

Safety glasses, disposable foam ear plugs, dust masks and work gloves are available for your use. Eye protection must be worn at all times while you are cutting, drilling, soldering, or near to anyone who is doing any of these. Use your discretion for when to use ear plugs and dust masks.

 

Ventilation and Dust

The Max Lab is not set up with an industrial ventilation system. Furthermore, it contains and is used to produce many sensitive electronic devices. This means that you should avoid using hazardous chemicals or creating large amounts of dust in the lab. If you are soldering or making moderate amounts of dust, open the windows to help air circulate. Make sure to close the windows when you leave. And as always, thoroughly clean up your mess and one other before you leave.

 

Intoxicants

Absolutely no alcohol may be consumed in the lab. Do not use the lab if you are intoxicated or your coordination may be impaired. This includes fatigue. Especially toward the end of term you may be run down and working late. If you are very tired, its not a good idea to operate power tools.

 

Appropriate Use of Tools

The Max Lab contains many specialized tools. However, it is not a machine shop or a woodworking shop, and doesn't have every tool that you may need. It is generally a bad idea to use a tool for something for which it was not intended. This is a great way to break tools and cause accidents. For example, a jigsaw is not meant for cutting through-holes, and the drill bits we have are not for cutting titanium. If you have a very specific need, you may need to look to work elsewhere, the Product Realization Lab, for example. Also, things like screwdrivers or hammers should not be used as percussion mallets. Feel free to use your own tools for this purpose, but not those from the lab. If you do not know how to use a tool, ask a staff member. Some general principles apply:

  • Your work should always be securely or properly fixtured – this applies to any cutting or finishing tools.
  • Keep electrical cords away from cutters or sources of heat or liquids.
  • Never orient a cutting tool toward your body. Don't drill something while holding it in your hand, and always move a power saw away from you.
  • Don't try to use a drill bit as a milling tool. We have some endmills for milling with the drill press and cross vise. Ask someone for help if you aren't sure how to do this.

Max Lab - Other Protocols

Other Protocols

General Courtesy

Be aware of your fellow lab users. Some things that may not be immediately obvious:

  • Be aware of the size of your workspace. Your neighbour won't appreciate it if your sawdust flies into her laptop.
  • Space is at a premium. Leaving your project on a desk means that someone else won't be able to work there.
  • Some past projects, components, and the Music 250 prototyping kits do remain in the lab by special arrangement. Don't play with or use parts that don't belong to you, unless they are in the scrap bin (see the next point).

Scrap Bin

There is a designated “Scrap bin” in the corner beside the workbench. You may use materials in the scrap bin for your projects. If you see something else that looks like scrap, it probably isn't. Always ask before handling or using materials from outside the scrap bin.

Storage

Again, the lab is small. There is very little room for storage in the lab. Floor space should never be used for storage. You may store things only for very short periods of time (e.g. while waiting for glue to dry) only if they are clearly labeled and you can find an appropriate place for them. If you leave something in the middle of a desk, it is occupying space that someone else can no longer use. Note that Max's desk is not a good place to store things. CCRMA's lockers are the best place to store your stuff that you can't take home.

Jamming

Obviously tools make noise. Many projects make sound as well. There is a fine line between testing your noise-making project and “jamming”. Testing is welcome and encouraged where it is necessary. In order to conserve space in the lab and to avoid disturbing other users, take your project elsewhere to jam. There are other spaces available for jamming, including studios at CCRMA, practice rooms in Braun, and your house. Caring for our Tools In addition to using tools properly, they need to be cared for.

  • Some power tools have cases, to which they should be returned after use. They should be left clean and free of dust and debris.
  • Drill bits and saw blades should only be used to cut their intended material. Using them even once on other material essentially ruins them for everyone else. If bits or blades are dull, please inform Sasha.
  • Handle drill bits and cutting tools with shop rags, and don't leave them on desktops or drop them. This will keep them sharp.

Putting Things Where They Belong

Tools should not be removed from the lab. If you have a messy project that requires you to work outside, you may take the tools you need and return them to the lab promptly. Tools should never leave the Knoll.

Tool Cabinet

Certain dangerous or valuable power tools are kept in a locked tool cabinet. Max, Bill, Michael and Sasha have keys to the cabinet and can open it to allow use of these tools while they are present. If you need to use tools from the cabinet, try to plan ahead so that you are doing so during consultation hours.

Guests

The Lab is not very big, and currently has around 50 regular users. For this reason, please don't bring guests into the lab. If you need someone to help you with a project, you may bring a guest provided that they have been thoroughly briefed on lab safety and obey all the safety and courtesy practices outlined here. You are responsible for the conduct of any guests.

Max Lab - Emergencies

Emergencies

In case of an emergency, pick up a CCRMA telephone (there are 2 in the lab), select a line by pressing one of the buttons on the top row, and dial 9911.

For minor accidents, a First Aid Kit is located in the Lab in the open upper cabinet beside the drill press.

In case of fire, there is a fire extinguisher as well. Familiarize yourself with the locations of the telephones, safety equipment and building exits in case of emergency.

Recording Studio

Recording Studio Users' Guide

Studio access

The CCRMA recording studio is available for course-related work only.  Users are expected to have taken Music 192A/B in order to learn the details of studio operation in this facility.  Use for other CCRMA courses is permitted with staff assistance. The studio may not be used for commercial recording - you may not charge for your services if you record others.

Studio Equipment

The recording studio consists of a control room and an adjoining recording studio. Equipment available currently includes:

and outboard gear including:

A color flow-chart of studio connections is available near the mixing console.

All digital recorders and the mixer are synchronized to world clock from the Big Ben. All analog equipment in the control room is connected through a patch bay, and all connections are to be made through the patchbay: NEVER DISCONNECT ANY AUDIO CONNECTIONS IN THE RECORDING STUDIO. In addition to a Mac Pro, a Linux PC-based computer system is available in the control room.

Microphones available in the recording studio include:

Microphones are stored in the file cabinet in the control room closet; condensor mics in the top drawer and dynamics in the second drawer. Microphone adapters and mic stands use quick-disconnects for easy mounting and these should not be removed.

There is a Yamaha DC7 Disklavier MIDI grand piano in the studio.

Two snakes connect microphone inputs from the studio to the control room: one connects directly to the first 16 DM2000 mic inputs and the second is currently unused but will be connected soon to something cool. Returns 17/18 of the larger snake sends headphone signals to the Furman HA-6AB studio headphone amplifier for monitoring. Returns 19/20 connect to the stereo output of the mixer for potential monitoring via speakers.

A loudspeaker talkback system operates between the control room and the recording studio, located on a panel in the patchbay rack. The talk switch is off in the center position and on in either the locking (up) or momentary (down) positions.

The studios are available 24 hours a day, but ONLY to registered CCRMA students (who are taking or have completed Music 192, Theory and Practice of Audio Recording), faculty, and staff. Priority is given to students currently enrolled in 192. During the school year, users are limited to 8 hours of studio time per week. Occasionally, larger projects may be undertaken with prior permission, but these must be planned well in advance. User sign-up is handled through the CCRMA room booking system. If you need greater access, please talk with Jay Kadis. Do not use the studio without booking it on-line!

Some Studio Etiquette

When using the studios, it is necessary to adhere to the CCRMA security procedures, especially those regarding building access: NO DOORS ARE TO BE LEFT OPEN UNATTENDED. Equipment may be brought in for recording, but it CANNOT BE STORED here. CCRMA is not responsible for loss or damage to any equipment left here. Cables for studio use are stored on the wall inside the studio. These cables are for temporary use in the studio only: if you need cables for use outside the studio, see staff. The cables should be stored on the wall, either wrapped up with no ends hanging free (longer cables) or draped over the hooks (shorter cables). Please see that the cables you use are not tangled hopelessly when you return them.  (Extra credit if you use the over-under wrapping technique correctly.)

NEVER disconnect any audio connections in the studio (Exception: you may connect microphones to the mixing console directly to the mic inputs.) Be sure to return the snake fan-out connections when you are done.

Food and drinks are not allowed in the studio control room. This is necessary to prevent accidents from damaging the equipment. There are kitchen facilities upstairs and you should use that area for eating, as long as you clean up after yourselves.

If you sign up for time, you are expected to use it. If you cannot make use of a booking, you should delete it from the signup program and notify local-users@ccrma. If you bring non-CCRMA people into the studio, you are responsible for their adherence to the CCRMA rules. Please be respectful of others working at CCRMA and limit disruption: keep the studio door closed to keep sound from disturbing others. Try to minimize the impact of your project on the general CCRMA community.

Recording Software


The Mac Pro runs Pro Tools 9 HD, Logic Pro 8, Reaper and Harrison Mixbus.  The Linux machine runs Ardour, Mixbus and Audacity.

The Mixer

For a detailed description of the Yamaha DM2000, read the DM2000 Users' Guide. A familiarity with the mixer's operation is essential as the connections are all programmable and may be changed from user to user. The main Stereo L-R output is connected to the Tascam CD-RW700 CR burner through the Waves L2 Ultramaximizer digital limiter. This AES/EBU connection allows the limiter to be applied to the stereo output recorded to the DAT without patching. If you do not wish to use the limiter, set it to bypass. To employ the limiter, take it out of bypass mode and adjust the threshold control. The lower you set the threshold, the more limiting you will get and the louder the output will be. You can set the maximum level to 0 dBFS or lower. Try the ARC automatic release function before you play with release times. Clocking should be set to Digital and the input must be set to AES/EBU. If you record to DAT or CD, you should use the L2 16-bit dither setting.

The DM2000 stores many user I/O presets.  The CCRMA Default (#7) preset is the usual setup for recording and playing back via the mac Pro using either Pro Tool or Logic.  Both use the Digidesign 192D interface that connects to the mixer via lightpipe connections.  There are 16 channels in and out available.  For recording and playback using Ardour or the Tascam DTRS recorders,  separate  presets are available.  The presets may be accessed from the Scene Memory section of the mixer.

Help! How do I get some light?

Lighting in the recording studio and control room is controlled by a pair of rotary switches, one for on and one for off. To turn on lights, push in and turn the ON switch. To turn off the lights, push in and turn the OFF switch. Each switch has numbers that correspond to the banks of lights, so each bank can be switched on and off independently. A map next to the switches details the location of the various banks. (This confusing system allows dimming the light level without using conventional dimmers, which contribute lots of electrical noise.) 

Help! How do I get some sound?

So what's the simplest way to get some sound into the console? Line level signals are fed via the patch bay into insert returns or from digital tape machines into the digital tape returns. Microphone signals from the studio are directly connected to the first 16 mic inputs through a snake (multichannel cable), so that mic channel 1 goes to input channel 1 and so on up to channel 16. Mic inputs from the second snake go nowhere until further notice. You must adjust the DM2000 preamp trim controls to get mic signals into mic/line inputs 1-24. The Universal Audio 2-610 dual microphone preamp connects to a 2-channel floor box in the control room. It can be used in the control room or connected to channels from the snake that normally feed the DM-2000. The outputs connect to the mixer through the patch bay.  (If you move these connection, be sure to put them back when you're done!) Mixer connections from the patchbay use the Inserts rather than line inputs, so any patchbay signals need the appropriate input channels to be set to Insert, rendering the trim controls inactive.

The API 3124+ four channel mic preamp is connected to a floor box in the control room, which is connected to a floor box in the recording studio via a snake.  If you want to put signals into the API from the control room, you may plug into the floor box behind the DM2000 but be sure to restore any connections you break before leaving. The API outputs are normalled to mixer inserts 13 - 16 but these connections can be changed on the patchbay. (You need to engage the Insert button on these channels to activate the API inputs.)

There is also an Eventide Orville effects processor connected through the AES/EBU digital connection. Connections to the Lexicon 224XL reverb are made through the analog patchbay. The Otari 24 track recorder is partially normalled to the inserts of the DM2000: the first 12 and last 4 (channels 21-24) line inputs are normalled to the Otari outputs while line inputs 13-20 are normalled to the patchbay from external microphone preamps (to be added soon). These outputs from the Otari need to be patched to the line inputs on the patchbay. All inputs to the Otari must be manually patched through the patchbay. The control room monitoring system is controlled by the Monitor section of the DM2000.  The four inputs to the Eventide Orville processor are sent via slot 6 (AES/EBU) from Aux sends 9-12.  Returns are sent to inputs 45-48 (Pro Tools layer) labelled FXR1-FXR4.

The eight source selection buttons for the control room monitor system can be mixed by pushing multiple buttons. If you monitor the mix and the tape return from the DAT or CD burner simultaneously, you will hear phasing. This is due to the time delay created by the digital machine. Simply select one or the other. Sources available currently include DAT playback on 2TR D2, CD playback on 2TR D3, analog cassette playback on 2 TR A1. Selecting "Stereo" plays the stereo mix to the monitor speakers. "Small" will select the JBL 4208 monitors, otherwise the selected source will play through the Westlakes.

Studio talkback is available through headphones connected to the headphones return to the studio with the talkback button on the DM2000. Another talkback system is located on the patchbay panel, which uses a speaker in the studio. This system is turned on by a switch which is momentary in one direction and locks on in the other. Be sure to turn it off when you're not using it or everyone in the studio will hear you. For more complete information, see the DM2000 manual in the control room.

Connected to the main stereo output (through the L2 Limiter) is a Tascam CD-RW700 CD-R/RW recorder. To use the CD-R recorder as a stand-alone recorder, set its input to Coaxial, which is connected to the S/PDIF output of the Waves L2 limiter. The CD-RW700 can record track-at-once or disk-at-once in automatic or manual modes. See the manual for more detailed information. The simplest method is manual mode, controlling start and stop manually. To duplicate DAT tapes, the input of the CD-R recorder is set to Optical and the DAT machine must then be switched to optical S/PDIF output. This may be accomplished by placing the SV-3800 DAT machine into its menu mode by holding the mode and reset buttons while depressing the Pause button. The first menu item is the digital mode and it is toggled between AES and S/PDIF (IEC-O and IEC-C) by pushing the >>| (skip ahead) button to advance the selection. IEC-O is the optical S/PDIF mode to use. Be sure to return the CD-RW700 input mode to coaxial when you are done.

Monitoring presets

There are three speaker monitoring presets on the DM-2000:

7 - Westlakes stereo - stereo output goes directly to BBSM-10s and to headphones

8 -  ADAMs 5.1  - busses 1-5 feed the 5 ADAM speakers in 5.1 configuration

9 - ADAMs stereo - bus 1&2 feed ADAM A77x stereo.

For headphone output on ADAM presets, desired channels must be sent to "Stereo" as well as busses 1&2.

Connecting Laptops

Laptops can be connected to the DM-2000 through the Rapco Iti-100 laptop interface.  The 1/8" TRS jack plugs into the headphone/line output and connects to channels 23 and 24 line inputs on the DM-2000.

Synthesizer connections

The Yamaha SY-77 is connected to the MIDI interface for MIDI input to Pro Tools. The stereo audio outputs are also connected to line inputs 21&22 on the DM-2000.

Help! How do I use ProTools?

To log into the ProTools Mac Pro, you can use you CCRMA system login. All sound files must be stored on the ProTools drives (ProTools 1, 2 and 3) and not on the system drive. You can use your own external FireWire drive, but note that ProTools sessions may not span internal and FireWire drives in the same session. ProTools output is connected to inputs 25-40 of the DM2000 via AES/EBU connections to the Digital 192 interface (There is no direct analog input to ProTools.)

In order to start using ProTools, the first time you create a session you must set the hardware setup correctly: Both channels 1-8 and 9-16 must be set to AES/EBU (the default is AES/EBU) and the clock must be set to External. Subsequent sessions will remember your settings. The sample rate set by Big Ben and the session sample rate must agree. Sample rates up to and including 96 kHz are possible, though the Eventide Orville cannot run some of its presets at that sample rate. Pro Tools is gullible and will use whatever sample rate you tell it, regardless of what is actually being fed to the external clock input. It is up to the user to verify that the session and clock sample rates are the same.

All systems are clocked externally from the Big Ben and all recorders and mixers should be left in external word clock mode at all times. To monitor ProTools, you bring up channels 25-41 (25&26 are the default stereo output from the ProTools mixer.) Users are responsible for backing up their ProTools files, and files may only be left on the ProTools disks while they are in current use. Disk space is limited and abandoned files may be deleted by staff when space becomes necessary. Be sure to back up any files you cannot afford to lose!!! The Mac Pro has a CD/DVD burner.

Calibrated Listening Levels

Optimal listening levels are generally considered to be about 85 dB SPL, as the equal loudness curves are flattest at that intensity. The mixer is calibrated so that -12 dB FS on the Stereo meters corresponds to 85 dB SPL on the Westlakes with the volume knob a "4" (it ranges from 0-10.) Pro Tools -12 dB gives the calibrated level when the input channels are set to - 3 dB. If 85 dB SPL proves to be too loud for prolonged work, the volume knob can be set to "3", which is about 80 dB SPL. The ADAMs are also calibrated when Bus 1/2 are set to -10 dB on the Master fader page.

In practice, 85 dB SPL is too loud for prolonged mixing and should be used mainly to check nearly-finished mixes for tonal balance.

Studio C

Studio C is our intermedia lab.

See our guide on the wiki: https://ccrma.stanford.edu/wiki/CCRMA_IPL_Studio_C_User_Guide

Studio D and E

Laptop Station

Each studio has an audio interface to connect your laptop to the system (specfically to the mixer).

Monitoring System

Routing

Software

Equipment

 Find here User Guides to various components and systems in rooms available at the Knoll.

RME Hammerfall Audio Interfaces

Most of the studio workstations are fitted with flavors of the RME Hammerfall DSP series audio interfaces.  See the instructions for the operating system on the workstation you are using.

Hammerfall on Mac OS X

With the exception of the Recording Studio, Mac OS X workstations in studios have the RME HDSPe AIO interface.  See the Routing Diagram to understand how the interface connects to the mixer and monitoring systems.

There are three connection paths between the workstation and the mixer:
  1. Stereo Analog (to mixer only): for simple stereo playback.
  2. Stereo AES/EBU (digital to mixer only): for 2 channel 96kHz playback.
  3. 8 Channel ADAT (digital to and from mixer): for multi-channel I/O up to 48kHz.



  1. Start by recalling the CCRMA DEFAULT mixer setting on the Yamaha DM1000 digital mixer.  This will set up all of the connections listed above.  For this example, assume 48kHz sampling rate (a standard setup in the studios). 
  2. Verify Audio Midi Setup settings in OS X:  Open Applications > Utilities > Audio Midi Setup.   Make sure that the HDSPe AIO interface is selected for input and output and select/verify the proper sampling rate (48000).  [screenshot: proper Audio Midi Setup]
  3. The HDSPe Settings and HDSPe Mixer programs should have opened automatically when you logged in.  If not find and open them from:  Applications > HDSPe Settings/Mixer.  
  4. Verify two parameters in HDSPe Settings: Sample Rate: 48000 Hz.  Clock Mode: AutoSync.
  5.  Keep HDSPe Mixer open and visible to see levels.
  6. Open the HDSPe Mixer routing matrix:  HDSPe Mixer > View > Matrix.  If it's the first time opened, the default output is a diagonal (one-to-one) mapping.  [Matrix default image] This default mapping works only for Stereo Analog output.  ADAT and AES/EBU will not play sound without additional configuration (see below).