S3L System Guide and VENUE Software 4.
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Safety Compliance Safety Statement This equipment has been tested to comply with USA and Canadian safety certification in accordance with the specifications of UL Standards: UL60065 7th /IEC 60065 7th and Canadian CAN/CSA C22.2 60065:03. Avid Inc., has been authorized to apply the appropriate NTRL mark on its compliant equipment.
Contents Part I Overview Chapter 1. Introduction to the S3L System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 S3L System Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 What’s Included . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 5. Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Using Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Assigning Functions to Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 10. Auxes and Variable Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Configuring Aux and Variable Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Routing Auxes and Variable Groups to Outputs, EQs, Dynamics and Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Adjusting Aux and Variable Group Send Controls .
Chapter 16. EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 EQ Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Built-In EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preview Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Undoing Snapshot Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Disabling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 25. Pro Tools Recording and Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Pro Tools Recording and Playback Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Pro Tools Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part VIII Reference Chapter 30. GPI Port Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 GPI Port Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 GPI Wiring Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part I: Overview
Chapter 1: Introduction to the S3L System Welcome to the S3L digital live mixing system from Avid®. The S3L system includes the S3 control surface, the E3 engine, and up to four Stage 16 remote I/O boxes, providing a compact, modular, scalable, and high-fidelity live mixing solution using ultra-reliable and low-latency Ethernet AVB audio network connections.
S3L System Features Audio I/O S3L System Processing • Two analog mic/line XLR inputs with mic preamps for connecting microphones or line-level devices at the mix position The S3L system provides the following processing features and capabilities: • Two analog line inputs and four analog line outputs for connecting other line-level devices at the mix position • 64 input processing channels, each with built-in High-Pass Filter, Dynamics and EQ processors • 35 output processing channels, each with a buil
CPU, DSP, and System Drives The E3 engine houses the CPU, Avid Pro Tools|HDX-powered DSP, and system drives that provide the processing power to run the VENUE software and plug-ins for your system.
Activation Card The Avid S3L System Software & Plug-Ins Activation Card is used to activate your S3L software and plug-ins.
Operational Requirements Connection Requirements Temperature and Ventilation Power Connections S3L system devices should be operated away from heat sources and with adequate ventilation. Power connections on all S3L system devices are auto voltage-selecting (100 to 240V nominal, 90-260V maximal, 50–60 Hz). Hardware monitoring and automatic warnings are provided for temperature, power and other factors. For more information, see “Hardware Monitoring Window” on page 294.
About www.avid.com Conventions Used in This Guide The Avid website (www.avid.com) is your best online source for information to help you get the most out of your system. The following are just a few of the services and features available.
How to Use this PDF Guide These are some useful features of this PDF: • The Bookmarks on the left serve as a continuously visible table of contents. Click on a subject heading to jump to that page. • Click a + symbol to expand that heading to show subheadings. Click the – symbol to collapse a subheading. • The Table of Contents provides active links to their pages. Select the hand cursor, allow it to hover over the heading until it turns into a finger. Then click to locate to that subject and page.
Chapter 2: Configuring and Connecting The chapter shows how to get your S3L system up and running by doing the following: • Unpack and assemble the components • Connect the following: • Power • Peripherals (monitor, USB keyboard and mouse) Unpacking and Assembling System Components Unpacking S3L System Components Remove all components from the shipping packaging. Place the S3 control surface on a table or other stable surface that leaves full access to its front and back panel.
Configuring Stage 16 Rack Ears/Handles Stage 16 can be rack-mounted, or it can be used freestanding. If you are using Stage 16 freestanding, you can configure the rack ears to function as handles. Rubber edging protects the box when used freestanding. To ensure proper airflow, make sure the vents on either side of Stage 16 are always exposed.
2 Remove the rack ears from the Stage 16. 3 Replace the rack ears on the Stage 16 so they function as handles, lining up the screw holes on the handles with the screw holes on the Stage 16, and replace the 16 screws (eight per side). Replacement screws are provided with the Stage 16 in case any screws are lost.
Stage 16 Connecting Power S3 Control Surface The external PSU for the S3 control surface is connected to the DC input on the S3 and to your power source. The AC power input for the Stage 16 is located on the back/bottom panel of the box. One male, 3-pin North American standard IEC power socket with cable retaining tie is provided. The input and power switch are recessed to allow the box to sit on its back.
Connecting Peripherals Connecting the S3L System Connecting a Monitor After connecting power and peripherals, make audio network connections between S3L system components. You can also make audio network connections to Pro Tools, and to a router or client computer for remote control of your S3L system using ECx Ethernet Control. A DVI connector is provided on the E3 engine to connect a DVI-D compatible video monitor (not included).
Connecting a Single-Stage 16 System To connect a single-Stage 16 system: 1 Connect an audio network cable from Network port A on the back of the S3 control surface to Network port A on the E3 engine. 2 Connect an audio network cable from an available Network port B on the E3 engine to Network port A on the Stage 16. 3 (Optional) To make a redundant audio network connection, connect an audio network cable from Network port C on the E3 engine to Network port B on the Stage 16.
Connecting a Multiple-Stage 16 System Connections for a four-Stage 16 box system are shown, but the instructions are applicable for any system using more than one Stage 16. To connect a multiple-Stage 16 system: 1 Connect an audio network cable from Network port A on the back of the S3 control surface to Network port A on the E3 engine. 2 Connect an audio network cable from Network port B on the E3 engine to Network port A on the first Stage 16.
Powering Up the System 4 To power on the first Stage 16, do the following • Locate the power switch on the back of the Stage 16 and press the switch to the On position. The Status LED on the front panel is lit solid yellow while Stage IO box initializes. After connecting your system components, power up your system. Faders on the S3 control surface move when power is turned on. Before powering up the S3 control surface, make sure all fader paths are clear.
Confirming and Configuring System Components Once you have connected and powered up your system, do the following to configure your system: • Confirming System Components • Put your system into Config mode • Configure your system for the first time Enabling Config Mode There are two main operating modes for the S3L system, Config mode and Show mode. Use Config mode to accomplish tasks such as setting up your system, configuring options, and installing software such as plug-ins and system updates.
Configuring Your System for the First Time When you configure your system for the first time, you assign Stage 16 boxes to available Stage slots in the Options > Devices tab. Each Stage 1–4 slot corresponds to a Stage 1–4 hardware tab in the VENUE Patchbay. 5 Click the flashing Identify button to unlatch it. 6 Locate the Stage section. Empty Stage slots are indicated by the text Drag I/O Box Into Slot. 7 Click-and-drag the Stage 16 box to Stage slot 1 (the leftmost slot).
Naming System Components How to Proceed You can name the S3 control surface, the E3 engine, and any connected and assigned Stage 16. The device name is stored with the respective device, and stays with that device until it is changed. Names can be changed at any time. After setting the system clock, proceed to any of the following sections: To name the S3 control surface and the E3 engine: 1 In the Options > Devices tab, right-click the component graphic and choose Rename from the pop-up menu.
Managing Stage I/O Removing a Stage 16 When power-cycling your system and/or reconnecting Stage 16 boxes to the same E3 engine, the original Stage 1–4 assignments are automatically recalled, regardless of the order in which they are connected. You can remove a Stage 16 box from your configuration so that it does not appear in the Options > Device tab.
Audio and Control Connections, Switches, and Indicators Before making any audio connections, make sure your audio monitoring system is turned down or muted. S3 Control Surface Connections and Switches 10 9 4 8 7 6 3 2 1 10 5 S3 control surface back panel Audio Connections S3 control surface audio I/O is assigned to VENUE system channels using the Patchbay, under the Console tab. Each Network port has Act and Sig LEDs to indicate network status. See.
1-2 3 1-2 3-4 3-4 2 A B 7 2 x IN 2 x OUT WORD CLOCK C 5 10 ECx AES OUTPUT 4 NETWORK OUTPUT 1 AES INPUT 11 INPUT E3 Engine Connections and Switches 9 6 8 E3 engine back panel Audio Connections Control and Power Connections E3 engine audio I/O is assigned to VENUE system channels using the Patchbay, under the Engine tab. 6 – USB 2.0 Ports • To assign E3 engine inputs to VENUE system channels, see “Assigning Input Sources to Channels” on page 74.
9 – GPI Port 10 – ECx Port A 9-pin, female DB9 connector provides a 2-in/2-out GPI General Purpose Interface (GPI). For specifications, wiring diagrams and pinouts, see Chapter 30, “GPI Port Reference.” This port provides connection to a computer or router to enable ECx Ethernet Control (remote control of the VENUE system). See Chapter 31, “ECx Ethernet Control” for more information.
5 1 2 3 4 5 6 7 6 8 OUTPUT ANALOG OUTPUT ANALOG 1 2 NETWORK OUTPUT AES DIGITAL INPUT ANALOG INPUT ANALOG Stage 16 Connections and Switches 3 4 Stage IO Box front panel Stage 16 Audio Connections Stage 16 audio I/O is assigned to VENUE system channels under the Stage 1–4 tabs in the Patchbay. Each Stage 16 has its own tab in the Patchbay, which corresponds to the slot the Stage 16 is assigned to in the Options > Devices tab.
AC Power Switch (Back Panel) The Power switch applies power to the Stage 16 box. The power switch is latching, so that when left in the On position, the device powers up when AC power is applied to it, allowing for the use of power sequencers. Installing Additional Software After having unpacked, assembled, connected, and powered up your S3L system, you can manually install any additional software, as follows: VENUE Software Update A VENUE software update may be available for your system.
Part II: Description
Chapter 3: S3L System Control Overview This chapter provides an overview of S3L system controls on the console and on-screen. Most VENUE features and controls that are used during a performance are available from both the console and on-screen. Changes made on one are immediately reflected in the other, letting you use almost any combination of console and screen controls to mix. S3 Control Surface Top Panel Overview The following figure identifies the three main sections of the S3 control surface.
Channel Section The Channel section provides 16 channel strips to control input and output channels. Each channel strip has a fader, an assignable channel encoder to control adjustable channel parameters, and a display to show channel and associated parameter information. Channels are banked (assigned) to channel strips using the A–F and User bank switches, as well as the < Bank > and < Nudge > switches. Input and output channels can be banked to channel strips.
Level Meter A 10-segment meter shows input level for input channels, and output level for output channels. Clipping at various points in the channel signal path is also indicated when the top most LED lights red. The metering points for input and output channels are selectable. Channel Encoder Assignment Switches The Channel Encoder Assignment switches assign channel parameters to the channel encoders. For information on configuring meters, see “Meter” on page 64.
Aux This switch assigns control of Aux (and Variable Group) Page > This switch assigns the next set of parameters to the chan- send levels to the channel encoders. nel encoders, where available. For example, when Aux 1 is assigned to the channel encoders, pressing this switch assigns Aux 2 to the channel encoders. The switch lights when there is a next page to go to. When on the last page, pressing the switch does nothing.
< Nudge > and < Bank > Switches Multi-Assign, OK, and Cancel These switches let you bank channels to Channel strips sequentially. These switches let you enter, confirm, cancel and exit multi-assignment and multi-selection modes, and on-screen dialog boxes. Mixer Nudge Nudge Home Bank End Bank Close A E B F C Multi Assign D OK User Cancel < Nudge > and < Bank > switches The following switches are provided: < Nudge This switch moves channels one channel to the left.
Channel Control Channel Control provides consistent control and display of channel processing functions such as EQ, dynamics, and Auxes for the currently selected input or output channel. Channel Control features eight encoders, each with a corresponding Select (Sel) switch, In switch, display, and color-coded LED. Four Channel Control Navigation switches are provided for navigating through parameters. You can also create a custom User set of controls.
Channel Control Displays Channel Control Navigation Switches The Channel Control displays show the Channel Control main menu. When a processing function is assigned to Channel Control, the displays show the available parameters. Each Channel Control display also features a color-coded LED and a level/pan indicator. The Channel Control Navigation switches let you navigate through the available pages of Channel Control parameters.
Global Controls Global controls provide control of global parameters and functions such as control of output bus levels, Matrix input and output levels, Monitor bus levels, screen navigation, and programmable events. Controls include eight Global Control encoders with associated switches and displays, six View Mode switches, eight customizable Function switches, Monitoring switches, a Touch Strip, Global Modifier switches, and two SHIFT switches.
Global Control Navigation Switches View Mode Switches The Global Control Navigation switches let you navigate through the available pages of Global Control parameters. A switch for toggling system operating modes is also provided. The View Mode switches provide navigation for the on-screen software pages and tabs.
Function Switches Monitoring Switches The Function switches can be customized to control a wide range of console parameters such as Mute Groups, snapshot recall, tap tempo, and transport controls for Pro Tools and built-in 2-track USB recording and playback. Eight Function switches are provided in two banks, providing 16 customizable functions. Actions are assigned to the Function switches using events, available on the Events tab (Options > Events).
Global Modifiers To adjust a control with fine resolution: The Global Modifier controls provide frequently used shortcuts that can be applied to console actions and software screen interactions. Multi Select SHIFT Default CTRL Fine ALT Press and hold the Fine switch while moving a control. The display associated with the adjusted control will show the values change at the corresponding resolution.
Software Screen Overview The screen is not required in order to mix a performance, as all essential mixing controls are provided on the console. However, the screen is essential when setting up and configuring the system before a performance. For more information, see Chapter 6, “Options.” Viewing Page and Tabs To view a page, do one of the following: Press the View Left or View Right (◄ or ►) switch to cycle through pages horizontally. – or – Click the page name at the top of the screen.
Overview of Software Pages Filing The software screen provides the following pages and tabs. Load, save, and transfer shows and presets, and access the console History. Inputs Select, name, configure, and adjust parameters for input channels and FX Returns. Filing page (History tab) See Chapter 19, “Shows and File Management.” Inputs page (analog input shown) See Chapter 7, “Inputs and Input Routing.” Snapshots Store and recall snapshots, and access the Recall Safe window.
Patchbay Media Patch input and output channels to hardware inputs and outputs, and name channels. Configure, control, and monitor 2-track USB recording and playback. Patchbay page (Inputs tab shown) Media page (Playback tab shown) Options See Chapter 12, “Patchbay.” Plug-Ins Configure and arrange plug-in racks; and assign, patch/route, and manage plug-ins.
Chapter 4: Banking and Selecting Channels Banking Channels The S3L system provides channel banking controls to navigate to channels beyond the number of available physical faders. Inputs (Input Channels and FX Returns) and outputs (Auxes, Groups, VCAs, Matrixes, and Mains) are banked using the A–F and User bank switches, and the < Nudge > and < Bank > switches. A E Banking Outputs The E, F and User bank switches let you bank outputs to the channel strips.
Banking with < Nudge > and < Bank > Switches Selecting and Targeting Channels < Nudge > and < Bank > let you bank through channels horizon- Selecting a channel targets that channel for processing in Channel Control or on-screen, and for Multi-Assign/Multi-Select. tally. You can also quickly return to the first bank or the last bank using the Home and End shortcuts.
Selecting Channels On-Screen To select the Aux and Groups/Variable Groups from the Global Control encoders: To select a channel on-screen Click anywhere in the on-screen fader strip, except on the fader, mute, solo or safe buttons. 1 Make sure the Global Control main menu is shown in the Global Control displays. 2 Press the Aux/Grp Global Control encoder. Aux outputs 1–8 are assigned to the Global Control encoders.
Selecting Multiple Channels (Multi-Select) Screen Controls Multi-Select lets you select multiple channels in order to apply an action to them in one step, such as turning Aux sends on or off for multiple channels. Adjusting On-Screen Faders You can move on-screen faders independently or in ganged fashion. To select multiple channels from the console: 1 2 Press and hold the Multi-Select switch (located on the bottom left of the console).
Adjusting On-Screen Encoders Reset Fader to 0 You can adjust on-screen rotary encoders by dragging directly over the on-screen knob. Resets the fader position to zero. To adjust an on-screen encoder: 1 Click on the encoder so that it is highlighted. 2 Drag up to turn the encoder clockwise; drag down to turn the encoder counter-clockwise. Reset Selected Input Strips Resets every parameter on the selected channel(s) to default settings.
Parameters and Channel Types Input channels can only be copied or pasted to other Input channels. Output channels can only be copied or pasted to other channels of the same type (such as Aux, Group, or Matrix). When pasting channel settings: • Settings common to the source and destination channel are always pasted. • Copied settings with no corresponding parameter in the destination channel are ignored. • Settings in the destination channel with no corresponding parameters are left unchanged.
Blank Strips On-Screen Automatically Inserting Blank Strips using Make Stereo Blank strips appear as a simple gray strip with no fader, buttons or meter. A blank strip can be right-clicked to reveal its context menu. VENUE automatically creates blank strips when you use the Make Stereo command in order to preserve the current channel layout. Similarly, blank strips may be automatically removed when you use the Split Stereo command to revert a stereo strip to its two contributing mono channels.
Fader and Encoder Shortcuts The on-screen channel faders and encoders provide the following right-click shortcuts to reset individual parameters and channel strips. Type Text Search Type Text search lets you use the keyboard for fast navigation to a channel, or to quickly go to a specific snapshot or event. You can enter the first characters of a channel name or the absolute channel number to target that channel on-screen or in Channel Control (see also “Selecting and Targeting Channels” on page 44.
Chapter 5: Channel Control Channel Control provides consistent control and display of processing functions for the currently selected input or output channel.
4 Using Channel Control • Rotate the Channel Control encoder under the display showing the parameter you want to adjust. For example, to adjust the gain for the low band of a channel EQ, rotate the encoder under the display showing Lo Gain. Using Channel Control is as simple as selecting a channel, assigning a processing function to Channel Control, and adjusting the available parameters.
To enable or bypass an entire EQ, Comp/Limp, or Exp/Gate function (toggle in/out), do either of the following: When the main Channel Control menu is shown, press the Channel Control encoder In switch under the display showing EQ, Comp/Lim, or Exp/Gate. The switch is lit when the processor is enabled (in). EQ Input CompLim ExpGate Channel Control LEDs Each processing function has a unique color associated with it that is displayed in the Channel Control LEDs.
Assigning Functions to Channel Control See the following sections for information on assigning and adjusting processing functions using Channel Control: To create a custom User assignment in User Assignment mode: 1 Right-click any available encoder. 2 Select Enter User Assignment mode from the menu. 3 Click an on-screen encoder to assign control of the parameter to Channel Control encoder 1. 4 Assign any other desired parameters.
Availability of Channel Control Functions The functions available on Channel Control depend on the type of channel currently selected, as shown in Table 1. Functions are listed across the top row, and channel types are listed in the left column. Table 1.
Chapter 6: Options The Options page provides several tabs. Of these, the System and Devices tabs are where most system configuration settings and options are enabled and customized: • The System tab provides the primary tools by which you configure mixing, routing, and processing options. • The Devices tab provides status, diagnostics, and options for hardware components.
System Configuration Settings Main Busses In Show mode, the System Configuration section is display-only, showing the current allocation of system resources and bus settings. The Main Busses settings let you choose the overall configuration for the Main busses. In Config mode, you can edit system settings such as input channel configuration, bus configurations, and hardware I/O configurations. Audio is interrupted when a System Configuration setting is applied.
4 5 Do any of the following: System Lock • If you have more than one USB storage device connected, make sure the correct USB device is selected. If it is not, click Next Disk to cycle through each available disk until the correct one is selected. System Lock is activated by clicking the LOCK button on the Options > System page, which locks the S3 control surface and hides the on-screen controls. (System Lock is not available in the Standalone software.
MIDI and MTC Troubleshooting While the system is locked: This section provides the following troubleshooting options: • Snapshots continue to be recalled via MTC, either internally or externally generated. Clear Console • The system continues to respond to snapshot changes via incoming MIDI program change commands if the Snapshots Respond option is selected on the Options > Snapshots page. The Clear Console button resets all parameters on all channels to their factory default settings.
Solo and Monitor Operations These settings customize Solo and Monitor bus mode and operation. Pickoffs The Pickoffs tab lets you control the bus pickoff point on input strips, as well as specify source and insert points for output busses. The Pickoffs tab also provides master control for Delay Compensation. Solo controls on the Options > Busses tab To configure Solo settings on-screen: 1 Go to the Options page and click the Busses tab.
Snapshots The Snapshots tab provides several snapshot preference settings to optimize snapshot operation. For more information on using snapshots, see Chapter 20, “Snapshots.” Aux Mon and Aux FX These settings let you classify individual Aux Sends (including linked bus pairs) as monitor sends (“Mon”) or as effects sends (“FX”), which lets you scope each type separately from the Snapshots tab. This option is for organizing Aux Sends for snapshot control only, and does not directly affect Aux bus operation.
Misc The system clock setting can affect data synchronization with portable storage devices. See “Synchronizing Settings, Shows and Presets” on page 185. The Miscellaneous (Misc) tab provides utility and other settings. Show Time in Status Area You can choose to show time of day in the lower right corner of the screen in the Status display area. To show time of day in the Status area: 1 2 Go to Options > Misc. In the System Clock section, enable the Show Time in Status Area option.
Interaction The Interaction tab lets you configure behaviors for selected channels, Input Safe Switches, Lights, Meter, Ethernet, and LCD Display. Meter The following display options can be configured for meters. These options affect the 16 channel meters on the S3 control surface and on-screen. Metering options in the Interactions tab of the Options page Meter Ballistics This option lets you choose RMS or Peak ballistics for the control surface and on-screen meters.
Clip Hold Time Ethernet Control The Clip Hold Time determines how long a clip indication lasts after the last clipped signal. Clip Hold Time can be set within a range of 0–20 seconds. Ethernet Control settings let you configure the following: To set the Clip Hold Time: 1 Go to Options > Interaction. 2 Under Meter, enter a value for the Clip Hold Time. 3 Press Enter to confirm the setting.
Devices The Devices tab lets you view and edit system connections, edit hardware settings, provides troubleshooting and diagnostic options, and provides network information.
Events The Events tab of the Options page lets you use the Event list to customize the function of switches, footswitches and General Purpose Interface (GPI)-connected devices. For information, see Chapter 21, “Events.” Events tab of the Options page Plug-Ins The Plug-Ins tab of the Options page is used to install plug-ins on the system. The Plug-Ins tab is not available in the VENUE Standalone software. See “Installing and Authorizing Plug-Ins” on page 161.
Part III: Signal Routing
Chapter 7: Inputs and Input Routing This chapter describes how to do the following: • Configure system settings for input channels, including setting the input channel configuration, naming channels, combining two channels into a stereo channel, and reordering channels • Assign input sources to input channels in the Patchbay • Route input channels to Mains, Groups, and Aux Sends, to Matrix mixers and other output busses, and to plug-ins • Adjust input channel parameters • Store input channel parameters as
Setting the Input Channel Configuration Naming Input Channels You can choose one of the following input channel configurations: Input Channel and FX Return channel names can be changed from the Inputs page. Channel names can be up to 32 characters in length.
Combining Input Channels (Make Stereo) Splitting Stereo Channels Pairs of mono input channels can be combined to make stereo channels, whose left and right sides are then controlled by one input channel strip. Stereo channels can also be split back into mono channels. To split a stereo channel into two mono channels: To combine two mono input channels into a single stereo channel: 3 1 Put the system into Config mode.
Assigning Input Sources to Channels Inputs sources can be assigned to any Input Channel or FX Return using the Patchbay.
Inputs from Pro Tools The following types of inputs from Pro Tools are provided: Virtual Soundcheck Inputs Any S3L input channel with a Stage input as its source is automatically assigned a corresponding Pro Tools Virtual Soundcheck input. Virtual Soundcheck inputs are typically sourced from a Pro Tools session created specifically for performing Virtual Soundchecks.
Routing Input Channels to Outputs Input Channels and FX Returns can be routed to Mains and Groups, and Matrixes. Signals from Input Channels and FX Returns can be sent to Aux and Variable Group busses, and channels can be assigned to VCAs. Routing Inputs to the Mains and Groups Input Channels and FX Returns can be routed to the Mains L-R, Mono/Center, and Groups on the S3 control surface using Multi-Assign, or on-screen.
Configuring Aux Busses (Aux Sends) The S3L system can be configured to have 8 Auxes and 8 stereo Groups, 16 Auxes and 8 mono Groups, or 16 Aux busses and 8 Variable Groups (24 bus) as part of the overall Aux/Group bus configuration. Mono Aux buses can be linked in odd/even pairs to function in stereo (see “Configuring Aux and Group Busses” on page 88). Assigning Inputs to VCAs Input channels can be assigned to VCAs for consolidated control of multiple channels.
Setting Right Offset on Stereo Channels To adjust channel input gain from Channel Control: 1 Select one or more channels to target them in Channel Control. 2 Make sure the Channel Control main menu is shown in the Channel Control displays (User, Input, EQ, Comp/Lim, Exp/Gate, Aux 1–8, Aux 9–16, and Var Groups). Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu. 3 Press the Channel Control encoder under the display showing Input.
48V (Phantom Power) Stereo Width 48V phantom power can be applied to any analog input assigned to an Input Channel or FX Return. Width adjusts the stereo image of stereo Input Channels and FX Returns by controlling ganged pan positions of the left and right channels, in opposite directions. To apply 48V from the Channel Control: 1 Select an input channel. Width can be adjusted from full L–R, to mono, to full reversed L–R. Width controls are not available on mono channels.
HPF (High-Pass Filter) A built-in 4th-order High-Pass Filter can be enabled on each Input Channel or FX Return. The HPF corner frequency range is from 20 Hz to 500 Hz. HPF can be controlled using the Channel encoders or Channel Control. A channel’s HPF setting is indicated in its corresponding display. To adjust the built-in HPF from the channel encoders: 1 Bank Input Channels and/or FX Returns. 2 Press the HPF Channel Encoder Assign switch to assign HPF to the channel encoders.
Adjusting Input Controls On-Screen The software screen Input section lets you adjust input parameters on-screen. Using Built-In EQ and Dynamics on Inputs Each Input Channel and FX Return has a built-in 4-band EQ and two Dynamics processors: a Compressor Limiter (Comp/Lim) and an Expander/Gate (Exp/Gate). If the channel is a stereo channel, processor controls are linked and apply to both the left and right sides of the channel.
Using Built-In Dynamics on Inputs Built-In Dynamics can be controlled from the Channel encoders, Channel Control, and on-screen. An input/output curve appears on-screen when adjusting dynamics parameters. For more information, including a description of the on-screen Dynamics controls and displays, see Chapter 15, “Dynamics.” Comp/Lim The built-in Comp/Lim can be engaged and its threshold can be adjusted from the channel encoders. Channel Control provides comprehensive control of Comp/Lim parameters.
Using Plug-In Inserts on Inputs Plug-Ins are arranged in virtual racks, which allow signals to be sent to and from each plug-in as if it were an external processor. Plug-Ins can be used in the two following ways: To toggle a plug-in on/off (in/out of circuit): 1 Select the channel on which the plug-in is inserted. 2 Go to the Inputs page and click the in/out button next to the desired plug-in to toggle it in/out of circuit. When the button LED is lit, it indicates that the plug-in is in-circuit.
Input Channel Presets Input channel configurations can be stored and recalled as Input Channel Presets. Input Channel Presets can be previewed, recalled and transferred just like other VENUE preset files, letting you quickly configure channels from among a library of favorite setups. When an Input Channel is stored or recalled as a preset, all parameters are affected except the following: To preview and recall a saved Channel Preset: 1 Navigate to the Inputs page for the desired channel.
Channel Compatibility When storing and loading Input Channel presets, remember the following: Group bus assignments are not applied if the settings in the preset do not match the current system Bus Configuration Aux send level or pan settings for individual aux pairs are not applied if the stored stereo link/unlink state does not match the current link/unlink state. For example, assume the stored preset has Aux 1–2 linked, but the current system configuration has these Auxes unlinked.
Chapter 8: Outputs and Output Routing This chapter shows how to do the following: • Configure and name outputs • Assign outputs and busses to hardware outputs in the Patchbay • Use built-in EQ and Dynamics on outputs • Insert and use plug-ins and Graphic EQs on outputs Auxes Up to 16 Aux busses are available. The number of available Auxes is set as part of the overall system Bus Configuration setting. See “Configuring Aux and Group Busses” on page 88.
Configuring the Main Busses 4 Select one of the three available bus configuration. The Main busses can be configured to operate as either: L–R plus Mono Pans signals between the left and right channels to the L–R bus, and sums signals to a separate mono bus. L–C–R Pans signals across left, center and right channels. Audio is interrupted when a System Configuration setting is applied. Do not change these settings during a performance. To configure the Main busses: 1 Put the system into Config mode.
Assigning Busses to Hardware Outputs Mains, Groups/Variable Groups, Auxes, and Matrix mixer outputs can be assigned to any hardware output on the system using the Patchbay.
Using Built-In Comp/Lim and EQ on Outputs Each Mains, Aux, Group, and Matrix output channel has a built-in Compressor/Limiter (Comp/Lim) and a 4-band parametric EQ. If the channel is a stereo channel, the processor controls are linked and apply to both the left and right sides of the channel. Dynamics and EQ can be controlled using the Channel encoders, Channel Control, and on-screen.
Using Built-In EQ on Outputs One of two EQ types can be selected for the built-in EQ, on a per-channel basis: a full-spectrum parametric digital EQ or an analog-modeled EQ. EQ can be controlled from Channel Control or on-screen. For more information, including a description of the on-screen EQ controls and display, see Chapter 16, “EQ.” To use the built-in EQ on an output: Using Inserts on Outputs Software plug-ins and graphic EQs can be inserted on Mains, Groups, Auxes, and Matrixes.
Inserting Built-In Graphic EQs on Outputs Built-in 31-band Graphic EQs can be inserted on Mains, Groups, Auxes, and Matrixes. 16 Graphic EQs are available. Adjusting On-Screen Output Controls The software screen Output section lets you adjust output parameters on-screen. To insert a Graphic EQ on an Output bus: 1 Go to the Outputs page and select the bus where you want to insert the Graphic EQ. 2 Click the 31-Band Graphic Equalizer tab.
Using the Global Control Encoders Adjusting the Mains Mains can be adjusted using the channels strips and the Global Control encoders. Mains can also be controlled on-screen (see “Adjusting On-Screen Output Controls” on page 92). The Mains Global Control encoder provides a single level control for the currently linked Main busses. You can also assign each Main bus to its own Global Control encoder.
Unlinking Mains To toggle the mute status of each Main bus independently: You can unlink any of the three Main busses for discrete control of Mains levels. 1 • Press the encoder under the display showing Mains to assign each Main bus to its own Global Control encoder. To unlink the Mains: In the Outputs page, click the on-screen channel Link boxes for the Left, Center/Mono, and/or Right fader strips so they are unchecked.
Mains Automatic Delay Compensation Direct Outputs You can set the S3L system to automatically compensate for delays incurred by the use of Groups and insertion of plug-ins in the signal path to the Mains. Delays are automatically applied to signals arriving at the Mains from multiple destinations to maintain the proper time alignment. Each Input Channel, FX Return, output bus, and Matrix mixer features a Direct Output.
Adjusting Direct Outputs Direct Output Pickoff Points Up to 12 dB of gain can be added to the Direct Output signal. Direct Output level controls are provided in Channel Control, and on-screen in the Patchbay page. To adjust Direct Outputs from Channel Control: The “pickoff point” is the point in the signal path where the audio signal is sent to the Direct Output. The pickoff points for Direct Output signals are selected in the Directs tab of the Patchbay page.
VCAs VCA controls emulate the operation of traditional Voltage Controlled Amplifiers (VCAs). Up to eight VCA faders are available. Input Channels, FX Returns, and Output channels can be assigned to VCAs. Inputs and Outputs Pages In the Inputs and Outputs pages, red “ghost” fader caps appear below the fader displays of channels that are currently assigned to one or more VCAs. VCAs control level of the assigned channels only. They do not act as a summing output bus.
Using VCAs VCA level and mute status can be controlled from the channel strips or the Global Control encoders. To control VCA members from the channel strips: Automation Safing Output Channels Automation Safing a channel lets you suspend the effect of snapshots on all parameters of the channel. Output Channel Safe switches and buttons always operate in Automation Safe mode. For more information, see “Automation Safe” on page 198. 1 Press Bank switch F. VCAs 1–8 are banked to channel strips 9–16.
Resetting Bus Assignments Copying Assignments Between Busses You can remove input assignments from a Group on-screen. You can copy the current input assignments from one bus to another bus of the same type. If the busses are linked, assignments can be copied from other linked busses. This lets you quickly duplicate monitor mixes. To remove an input assignment from a bus: 1 Select the bus output channel you want to change so that its members are displayed on-screen.
Chapter 9: Groups This chapter shows how to do the following: • Configure Group busses • Route Groups to Mains • Adjust Group output controls Input Channels and FX Returns can be routed to Groups for grouped control of input channels. Unlike VCAs, Groups are summing busses, so plug-ins and outboard processors can be inserted on them.
To adjust Group output levels from the Global Control encoders 1 Make sure the Global Control menu is shown in the Global Control displays. Press the Back/Top Global Control Navigation switch to return to the Global Control main menu. 2 Press the Aux/Grp Global Control encoder. Aux outputs 1–8 are assigned to the Global Control encoders. Aux/Grp Matrixes Group Output Mute To control the mute status of a Group output from the channel strips: 1 Press Bank switch F to bank Groups to the channel strips.
Group Output Polarity Invert (Phase Reverse) Group Bus Signal Flow Options The polarity of any Group output bus signal can be inverted (Phase Reverse). With stereo Group busses, only the left channel is inverted. Routing Signals to a Mono Group Bus Configuration To invert the polarity of a Group from Channel Control: 1 Press Bank switch F to bank Groups to the channel strips. 2 Press the channel Sel switch for the Group you want to control.
Routing Signals to a Stereo Group Bus Configuration When configured as stereo busses, the eight Groups are fed as eight true stereo busses. To use stereo Group busses: 1 Make sure the Group busses are configured as stereo busses. See “Configuring Aux and Group Busses” on page 88. 2 When routing channels to any of the Group busses, the Stereo Pan switch is lit yellow.
Chapter 10: Auxes and Variable Groups This chapter shows how to do the following: 4 • Configure Aux and Variable Group busses Click the checkboxes above any of the bus pairs to link or unlink each pair.
Selecting Aux and Variable Group Pre Pickoff Points Each input channel Aux or Var Group send can be set as pre- or post-fader. You can specify the pre-fader pickoff point for Aux and Variable Group busses. Pickoff points are set for each bus independently. If any busses are linked, the pickoff point is set for the linked bus pair. The following pre-fader pickoff points for Aux and Variable groups busses are available: Pre-EQ Post-HPF and pre-EQ, Dynamics and Channel Inserts, pre-Mute, and pre-Fader.
Creating an Effect Send/Return 5 An effect send/return lets you send signals from multiple Input Channels (using Aux sends) to effects plug-ins such as reverbs and delays. In this configuration, the effects plug-ins are shared, letting you conserve DSP resources. The following procedure describes using a mono input/stereo output format plug-in. From the list, choose Bus Outs > Aux (or Group for a Variable Group bus), then choose the desired mono Aux or Variable Group.
Adjusting Aux and Variable Group Send Controls 3 You can adjust mono and stereo-linked Aux and Variable Group sends using the Channel encoders, Channel Control, and on-screen controls. Press a channel encoder under the display showing the sends you want to assign to the channel encoders. For example, to assign channel send controls for Aux bus 1, press the encoder under the display showing Aux 1.
Assigning Variable Group Sends to the Channel Encoders To assign Variable Group sends to the channel encoders: 1 Bank Input Channels and/or FX Returns to the channel strips. 2 Press the Aux Channel Encoder Assign switch. The Aux switch flashes indicating the channel encoders are in Aux Select mode. 3 Press the Page > Channel Encoder Navigation switch to access the Variable Group busses.
Adjusting Stereo Sends Setting Send Pan to Follow Channel Pan When Aux busses are linked, input signals are panned across the bus pair. Aux panning can be controlled from the channel encoders or from Channel Control. Panning of the input signal can be set to follow the pan or balance values of the Input Channel or FX Return feeding the Aux bus.
Adjusting Aux/Variable Group Output Parameters Aux and Variable Group output parameters can be controlled using the channels strips or the Global Control encoders. Auxes and Variable Groups can also be controlled on-screen (see “Adjusting On-Screen Output Controls” on page 92). To use the built-in Comp/Lim and EQ processors on Auxes/Variable Groups, see “Using Built-In Comp/Lim and EQ on Outputs” on page 90.
Aux/Variable Group Output Mute Aux/Variable Group Output Delay Aux and Variable Group busses can be muted from the channel strips and the Global Control encoders. A variable delay (from 0 to 500 ms) can be applied to Aux and Variable Group busses from Channel Control. With linked busses, delay is applied to both channels. To control the mute status of an Aux/Variable Group bus from the channel strips: To apply delay to a bus: 1 Bank the desired Aux/Variable Group busses to the channel strips.
Chapter 11: Matrix Mixers This chapter shows how to do the following: The S3L system provides eight mono (or up to four pairs of stereo-linked) Matrix mixers for setting up alternate mixes, fill and delay feeds, and cue, monitor or press mixes. • Configure Matrix mixers • Assign input sources to Matrixes Each of the eight available Matrix mixers can receive up to 12 channels of input.
Configuring Matrix Mixers The 12 inputs for each Matrix mixer can be any combination of the following potential sources: • 24 shared Aux and Group sources Linking and Unlinking Pairs to form Stereo Matrix Outputs The eight mono Matrix mixers can be linked in odd/even pairs to form up to four stereo-linked pairs of matrix outputs. A combination of mono and stereo-linked Matrix mixers is possible.
Snapshots All matrix settings, including Pan but excluding the stereo link status, are stored and recalled with snapshots. The stereo link status of Matrix outputs is not snapshottable. Compatibility Show files created in previous versions of software preserve all mono matrix settings in working memory and snapshots. Loading a Show file containing stereo-linked Matrixes in a previous version of software preserves all data except Matrix output link status.
Configuring User Inputs Assigning Input Sources to Matrixes Each Matrix mixer can have its own set of eight assignable User Inputs. User Inputs for each Matrix are configured in the User Assign panel of the Matrix Mixer tab. To assign input sources to a Matrix mixer: 1 Go to the Outputs page and select a Matrix mixer. To configure the User Inputs for a Matrix mixer: 2 Click the Input Source selector at the top of each Matrix channel and select the desired input source.
Adjusting Matrix Mixer Input Controls Input sources for the Matrix Mixers can be controlled from the Global Control encoders or on-screen. Matrix Input Level On-Screen Matrix Input Controls To control Matrix input source (“send”) levels on-screen: 1 Go to the Outputs page and select the Matrix mixer. 2 Click the Matrix Mixer tab to display the Matrix input controls.
Clearing Matrix Mixer Settings You can clear mixer input assignments to quickly set all the input sources to None. To clear Matrix input assignments: 1 Select one or more Matrix mixers you want to clear. 2 Click the pop-up menu at the bottom of the mixer area and choose Clear Mix Sources. Copying Matrix Mixer Input Settings You can copy mixer settings from one Matrix mixer to another mixer of the same type. This lets you quickly duplicate monitor mixes or other signal feeds.
Matrix Mixer Output Processing Matrix mixer output processing can be controlled using Channel Control. To apply output processing to a Matrix mixer: 1 Assign Matrixes to Global Control. 2 Press the Global Control encoder Sel switch under the display showing the Matrix output you want to adjust. 3 Make sure the main Channel Control menu is shown in the Channel Control displays. 4 Press the Channel Control encoder under the display showing the processing function you want to adjust.
Chapter 12: Patchbay The Patchbay is used to assign Input and Output Channels, Direct Outputs, and Inserts to hardware inputs and outputs. The Patchbay also provides on-screen controls for the currently selected channel, and provides the ability to name input and output channels. Accessing the Patchbay To show the Patchbay screen: Click the Patchbay button on-screen.
I/O Tabs Channel Controls Click to display and patch Inputs, Outputs, or Directs (Direct Outputs). Other options in the Patchbay screen change to reflect the currently selected I/O tab. These controls mirror the controls for the currently selected channel. For example, when showing Inputs, the Channel controls let you adjust input gain, polarity, phantom power, HPF, Direct Out, input source, and fader level without leaving the Patchbay.
Text Display of Patch Source and Destination Type Text Search Above the grid are “from” and “to” text display fields that display the full text names of hardware I/O and channels. Type Text search lets you use the keyboard for fast navigation to a channel. You can enter the first characters of a channel name or the absolute channel number to target that channel. To view full names of a patch source and destination: Place the cursor over a Channel Name.
Scrolling in the Patchbay To scroll through the channel list (vertically): Move the cursor over a channel name at the left of the Patching Grid, then press the Up or Down Arrow keys on the keyboard. To scroll through the hardware I/O list (horizontally): Move the cursor over a hardware I/O channel at the top of the Patching Grid, then press the Left or Right Arrow keys on the keyboard. Assigning Channels in the Patchbay Channels can be assigned using the mouse or the arrow keys on the keyboard.
Unassigning and Clearing Assignments To unassign a single channel in the Patchbay: Place the cursor over an assigned channel in the Patching Grid and click. Multiple Input and Output Assignments in the Patchbay A single hardware input source can be assigned to multiple Input Channels or FX Returns in the Patchbay. An output bus can be assigned to multiple hardware outputs. To clear Patchbay Assignments: 1 Click the appropriate I/O tab, Channel Type tab, and Hardware tab.
Warning when Stealing Inputs or Outputs in the Patchbay The Patchbay indicates hardware outputs that are already in use by dimming the column number for that physical output. In addition, a dialog is shown if the patch will steal a hardware input or output that is already in use, asking you to confirm or cancel the reassignment. To confirm a reassignment, do one of the following: Patch List Export The Patchbay export generates a patch list in an easily readable format.
Contents of Exported Patchbay Information Exported Patchbay information is saved as an HTML file, and the file name includes the date and time of the export. Contents include the following: VENUE Patch List Show Name, file path, date and time of Show file. Input and Output Patching (Stage, Engine, Console, and Pro Tools) Stage Inputs Hardware input numbers (1–16) and the channel numbers or names are shown for each Stage 16 box.
Chapter 13: Solo and Monitor Busses This chapter shows how to do the following: • Select a Solo mode (PFL, AFL, or SIP) • Configure Solo and Monitor bus option • Use solo Solo In Place (SIP) SIP mode applies to Input Channels and FX Returns only. Solo In Place sends the signal from the soloed channel to the Main and Monitor busses. Signal is sent post-pan/balance. • Solo safe input channels In SIP Solo mode, the soled channel(s) is (are) sent directly to the Main busses.
Configuring Solo and Monitor Options Solo and monitor options are configured in the Solo and Monitor Operations section of the Options > Busses page. AFL Follows Auxes When AFL Follows Auxes is selected, assigning an Aux Send to channel encoders automatically solos that Aux bus. This speeds up AFL access, specifically for monitor mixing. The AFL Follows Auxes setting is stored and recalled with each Show file. By default, the option is off (not selected).
Using Solo Solo operation depends on the type of channel being soloed, and on any selected Solo switch options. In all modes, a channel’s Solo switch lights to indicate that the channel is soloed. Soloing Multiple Channels To solo multiple channels, do one of the following: – or – Input Channels Soloing an Input Channel or FX Return sends signal to the Solo bus (when in PFL or AFL modes) or to the Main bus (when in SIP mode).
Solo Bus Metering Solo Safing Channels When a channel or dynamics key input is sent to the Solo bus, its signal is metered on the Selected Channel meters, temporarily replacing the metering for any currently targeted channel. Trimming Solo Bus Level PFL Solo bus monitoring levels can be controlled by the on-screen Level Trim control in the Solo and Monitor Operations section. The trim amount is adjustable over a range of –20 dB to +20 dB. PFL signals are frequently hotter than AFL signals.
Using the Monitor Bus The Monitor bus routes signals to the Headphone output. The Monitor bus can also be routed to hardware outputs and to bus-fed plug-ins. Monitor Bus Switching Routing the Monitor Bus to Hardware Outputs To route the Monitor bus to hardware outputs: 1 In the Patchbay, click to the Outputs tab, then click the Mains tab. 2 Click a Hardware I/O tab to select the desired hardware output. 3 Click in the grid to assign the Monitor bus to the desired destination.
Sending the Main Mix to the Monitor Bus Monitor Output from an L-C-R Main Mix The stereo Mix to Monitors signal is derived from the L–C–R Main mix by adding a –3 dB signal from the Center channel to the Left and Right monitor channels. Monitor Output from an L–R+M Main Mix In a L–R+M Main mix, only the Left and Right channels are heard in the Monitor bus. To send the Main mix to the Monitor bus: To adjust the level for the Monitor bus on-screen: 1 Go to Options > Busses.
Configuring the Oscillator and Setting Level Using Talkback The Oscillator is configured on-screen, and can be activating on-screen or from the Global Control encoders. You can route a single Console or Engine analog input directly into any output bus using the Talkback circuit. This allows you to send talkback to outputs (such as Auxes feeding stage monitors) without having to use a system channel. To configure the Oscillator: 1 Go to Options > Misc.
To activate and set the level for the Talkback from the Global Control encoders: 1 Press the Monitoring Global Control encoder to assign Talkback controls to the Global Control encoders. 2 Under the Global Control display showing Talkback, press the corresponding encoder In switch to turn the Talkback circuit on. Activating 2-Track Input and Setting Level The 2-track input can be adjusted on-screen or from the Global Control encoders.
Chapter 14: Muting and Mute Groups This chapter shows how to do the following: • Mute Channels • Using Mute Groups Muting Channels Channels can be muted in three ways: explicitly (lit solid), with the channel mute switch; implicitly (flashing), as a result of another channel being soloed, and as a member of a Mute Group or VCA (flashing). Using Mute Groups Channels can be assigned to any of the 8 available Mute Groups.
5 Do either of the following: 4 • To confirm the Mute Group definition, click the flashing Assign button. Click the ADD button in the Triggers list and choose a Function Switch from the pop-up menu. The Function switch, with its default properties, is added to the Triggers list. – or – • To cancel the Mute Group definition, click the on-screen banner display and click Cancel.
Using Mute Groups Mute Groups are activated using the Mute Group controls on-screen, or the Function switches on the S3 control surface if you assigned one or Mute Groups to them. Explicit and Implicit Channel Mute with Mute Groups and VCAs This section describes the behavior of channel Mute switches when used with Mute Groups and VCAs. Mute Groups, VCAs and Explicit Mutes To activate a Mute Group: On-screen, click a Mute Groups button 1–8 to mute the members of the corresponding group.
Disabling Mute Groups You can temporarily disable all Mute Group functions. When Mute Groups are disabled, all channels implicitly muted as a result of Mute Group activation are unmuted. Channels can still be explicitly muted when Mute Groups are disabled. Mute Group assignments are preserved and made available again when Mute Groups are re-enabled. To disable Mute Groups: 1 Go to the Inputs or Outputs pages. 2 Click the Disable button on-screen in the Mute Groups section.
Part V: Processing
Chapter 15: Dynamics This chapter shows how to do the following: • Use the built-in Compressor/Limiter • Use the built-in Expander/Gate • Adjust dynamics plug-ins Built-In Comp/Lim The built-in Comp/Lim defaults to compression, or can be switched to a limiter by setting the Ratio to its maximum setting. Mono and stereo processing are supported.
Adjusting the Built-In Comp/Lim To engage and adjust Comp/Lim Threshold using the channel encoders: The built-in Comp/Lim can be adjusted using Channel Control and on-screen. Comp/Lim Threshold can be adjusted using the channel encoders. When adjusting Dynamics, a Dynamics response curve appears on-screen. See “On-Screen Dynamics Controls” on page 146 for instructions on adjusting dynamics on-screen. To engage and adjust the built-in Comp/Lim using Channel Control: 1 Select an input or output channel.
Adjusting the Built-In Exp/Gate Adjusting Dynamics Plug-Ins The Exp/Gate can be adjusted using Channel Control and on-screen. When adjusting Dynamics, a Dynamics response curve appears on-screen. Dynamics plug-ins inserted on channels can be adjusted using Channel Control. Dynamics plug-ins map their threshold, ratio, attack, release, gain, and filter controls to the corresponding encoders in Channel Control. To engage and adjust Exp/Gate controls: 1 Select an input channel.
To adjust dynamics parameters on-screen: Input Direct Mode Input Direct mode lets you completely bypass the built-in dynamics and EQ processing, and all inserts on Input Channels and FX Returns. 1 Select a channel on-screen. 2 Adjust the on-screen controls as needed: • For the built-in comp/lim or exp/gate, adjust the parameter on-screen. To toggle Input Direct model: • For plug-ins, click the Insert slot displaying the dynamics plug-in to go to the Plug-Ins page. 1 Select an Input Channel.
Dynamics Settings and Presets Built-in dynamics settings can be copied and pasted between channels. Settings can also be stored and loaded as dynamics Presets to archive and transfer settings. Presets for Built-In Dynamics You can store and load dynamics settings as presets for built-in and plug-in dynamics processors. Presets can be accessed on-screen.
Using the Sidechain Dynamics processors typically use the detected amplitude of their input signal to trigger gain reduction. This split-off signal is known as the sidechain. The built-in Comp/Lim and Exp/Gate feature sidechain circuits with external key and EQ filter capabilities. Using External Key Sidechain The on-screen Key Assign selectors lets you select the side-chain source for either dynamics processor and its pickoff point.
Using Sidechain EQ Filters Key Listen Both the Compressor/Limiter and the Expander/Gate sidechains provide two bands of EQ to band-limit the range of frequencies that trigger dynamics processing. The Key Listen button toggles the key onto the Solo bus, replacing the signal there. This happens regardless of whether the key is the channel signal or the external key, or whether it has been side-chain filtered. For frequency-dependent gating or compression, make sure the Key Source is set to Self.
Channel Control Dynamics Parameter Mapping The following tables show how Dynamics parameters are mapped to the Channel Control encoders and their corresponding In and Sel switches. Control Ranges for Built-In Dynamics Comp/Lim Defaults and Ranges Comp/Lim (defaults to Compressor mode) Parameter Default Minimum Maximum Comp/Lim Parameter Mapping Threshold 0 dB –40 dB +20 dB Channel Control Comp/Lim parameter mapping Attack 10 ms 100 us 200 ms Release 100 ms 10 ms 4 sec Ratio 2:1 1.
Chapter 16: EQ This chapter shows how to do the following: • Use the built-in EQs • Use the Graphic EQs • Adjust EQ plug-ins • Save EQ settings and use presets EQ Overview Built-In EQ A 4-band parametric EQ is available on each Input Channel, FX Return, output channel, and Matrix Mixer. Two EQ modes, Digital and Analog, are provided on a per-channel basis. Built-in EQs are not limited by DSP resources.
Built-In EQ Parameters 4-Band EQ The following 4-band EQ parameters are available: EQ In EQ In toggles the built-in EQ processor (all bands) in or out of circuit on the selected channels, and can be adjusted using Channel Control or on-screen. Analog and Digital EQ Modes The Analog/Digital button toggles the built-in EQ between digital mode and analog mode, on a per-channel basis, and is adjusted on-screen. Digital Mode A standard digital parametric EQ.
To adjust the built-in HPF from Channel Control: Adjusting EQ You can adjust EQ from the Channel encoders, Channel Control, and on-screen. When adjusting EQs, an EQ response curve appears on-screen, and parameter settings are shown in the corresponding displays on the S3 control surface. See “On-Screen EQ Controls” on page 155 for instructions on adjusting EQ parameters on-screen. Adjusting HPF Controls 1 Select one or more input channels.
EQ Parameter Mapping in Channel Control To engage or disengage a band: 4-Band Parametric EQ (Digital Mode) The following table shows how built-in EQ parameters (default digital EQ mode) are assigned to the Channel Control encoders: To bypass the current EQ module: .
On-Screen EQ Controls 3 • Turn an on-screen knob (Gain, Q/Bandwidth, or Frequency) for each frequency band. You can adjust the built-in 4-band EQ using dedicated on-screen buttons for band in/out and bell/shelf toggling. When the Channel Control section is in EQ mode, the on-screen EQ controls for the currently selected channels have a green background. • Click to toggle any on-screen EQ switch (EQ in/out, band in/out, or bell/shelf). • Click a displayed value and type a new value.
Adjusting EQ Plug-Ins Graphic EQ for Outputs EQ plug-ins can map their gain, frequency, and Q/bandwidth controls to corresponding encoders in Channel Control. Up to 16 built-in 31-band Graphic EQ can be inserted on any of the output busses (Mains, Groups, Auxes, and Variable Groups) and Matrix mixers. The Graphic EQ provides +/– 12 dB of gain and constant Q. Plug-ins that do not map directly to Channel Control encoders can be controlled using the Global Control encoders.
Enabling and Adjusting Graphic EQ Graphic EQs are enabled and adjusted on-screen. To enable the graphic EQ: 1 2 Target an Output bus with a Graphic EQ assigned. If no graphic EQ is assigned, click the 31-Band Graphic Equalizer tab on the Outputs tab and assign one using the Graphic EQ pop-up menu. Click the In-Circuit button on-screen to toggle in/out status. When enabled, the In/Out switch LED lights.
Presets for Built-In and Graphic EQ You can store and load EQ settings to disk as Preset files. Presets can be used with built-in and plug-in EQ processors, including the graphic EQ. Preset files can be moved between systems and used for other Shows. To save or load a preset for the Graphic EQ: 1 Go to the Outputs page for the channel on which the graphic EQ is assigned. If necessary, click the 31-Band Graphic Equalizer tab to display the graphic EQ on that channel.
Control Ranges for Built-In 4-Band EQ (All Modes) Table 3. Control ranges for built-in parametric EQ Band High (Bell/Shelf) High-Mid Low-Mid Low (Bell/Shelf) Control Range (Digital) Defaults (Digital) Range (Analog) Defaults (Analog) Frequency 20 Hz to 20 kHz 10 kHz 2 kHz to 20 kHz 6 kHz Gain ±18 dB 0 dB ±15 dB 0 dB Q/Bandwidth 10 to 0.1 1.0 Shelf only none Frequency 20 Hz to 20 kHz 5 kHz 400 Hz to 8 kHz 2 kHz Gain ±18 dB 0 dB ±15 dB 0 dB Q/Bandwidth 10 to 0.1 1.0 0.
Chapter 17: Plug-Ins This chapter explains how to configure plug-ins before a performance, and how to use plug-ins during a performance. Plug-Ins can be inserted on all channels and bus outputs, or used as bus processors for effects such as reverb and delay. S3L systems support AAX DSP plug-ins only. For complete information on S3L-compatible plug-ins, visit the Avid website (www.avid.com).
Installing Plug-Ins 3 To install a plug-in: 1 • Choose Previous Installs to access any plug-in installers after a system update. Insert the USB drive containing the plug-in installer(s) into an available USB port on the E3 engine. • Choose Console to access all factory-installed plug-in installers after a system update or a full system restore. Plug-Ins cannot be installed using the USB ports on the S3 control surface.
Removing Plug-Ins Deleting Uninstalled Plug-Ins Uninstalling a plug-in removes the plug-in from the racks but the installer remains in the Previous Installs cache, making it easier to reinstall the plug-in at a later time without requiring the installer media. Once a plug-in is uninstalled, its installer can be deleted from the system. (Plug-ins which are currently installed cannot be deleted).
Authorizing Plug-Ins A core set of plug-ins are installed on your S3L system. These plug-ins do not require any authorization. Other plug-ins, such as the S3L plug-ins downloaded from your Avid account and paid plug-ins from Avid and our Development Partners, require authorization. The S3L system supports iLok USB Smart Key authorization. Licenses that authorize the use of a plug-in are transfered from your iLok account to your iLok.
Plug-in Version Checker Using System Info to View Plug-in Version Information VENUE software includes a comprehensive database of plug-in information, and this info can be used to greatly simplify the process of managing your VENUE plug-ins. Plug-in version information is included in exported System Info data. Use this feature to get version details and compatibility information for a plug-in prior to installing, or after it has been installed to help diagnose or troubleshoot plug-in performance.
Plug-In Racks The Plug-Ins page provides four plug-in racks. Each of the racks has five slots into which you can load a plug-in. The four different racks can be viewed all at once, individually, and in varying zoom levels. You populate the racks by assigning plug-ins in rack slots. Plug-In racks Zoom Toggle Presets Push-pin Rack slots Figure 2. Plug-In racks and rack slots, Main view, with custom rack names shown.
“Jump To” Plug-Ins Pinning a Plug-In View You can “jump to” a specific plug-in insert from the Input and Output pages to adjust it on-screen in the Zoom view of the Plug-In page. You can decouple the plug-in view for consistent and constant access to a single plug-in on-screen, while still being able to select and adjust other plug-ins from the S3 control surface. Pinning a plug-in view is useful any time you want to always display an important plug-in (such as an analysis plug-in or primary EQ).
Identifying Rack Slots Unavailable Plug-Ins The racks indicate which plug-in is currently targeted by highlighting its rack slot controls in blue. When a plug-in cannot be used because of insufficient DSP resources, because it is disabled, or because it is not installed on the system, a warning icon is shown in front of the affected plug-in. The plug-in icon is grayed out, and the rack slot Power switch displays a yellow switch LED.
Channel Insert or Bus Output The Channel Insert/Bus Output Rack Slots Each rack provides five plug-in slots. You can assign any installed plug-in to any available rack slot.
Assigning Plug-Ins to Rack Slots Before a plug-in can be used to process audio, it must be assigned to a rack slot. Once assigned, you can use the plug-in as a channel insert or bus processor. Before a plug-in can be assigned, it must be installed. See “Installing and Authorizing Plug-Ins” on page 161. To assign a plug-in: 1 Put the system into Config mode. 2 Go to the Plug-Ins page. 3 Click the Plug-In selector on an empty rack slot.
Routing Plug-Ins After a plug-in has been assigned to a rack slot, you can specify its routing. Plug-In routing determines whether the plug-in is used as a channel insert or as a bus processor. To insert a plug-in on a channel from the Plug-Ins page: 1 Make sure the plug-in is already assigned to a rack slot. (See “Assigning Plug-Ins to Rack Slots” on page 170.) 2 Click the Input (source) selector in the rack slot and choose a channel from its Inserts sub-menus.
Routing a Plug-In as a Bus Processor Plug-Ins can be used on busses for send-and-return processing with effects such as reverb and delay.
Side-Chain Routing S3L supports sidechain (key) processing for plug-ins that support side-chain triggering. Side-chain routing is not stored in snapshots. The Side-Chain selectors appear across the top of the plug-ins screen. You must be in Config mode to establish or remove a side-chain assignment. Once established, side-chain routing can be changed (but not added or removed) in Show mode.
Adjusting Plug-Ins Using Global Control (Insert Mode) Selecting the Inserts Global Control encoder places Global Control into Insert mode. In Insert mode, plug-in parameters are assigned to the eight Global Control encoders and their corresponding In and Sel switches. Adjusting Plug-Ins On-Screen To adjust a plug-in on-screen: 1 Select a channel. 2 Go to the Plug-Ins page. 3 Double-click a plug-in icon in any rack view to open that plug-in window in Zoom view.
Plug-In Presets and Snapshots You can save and load plug-in Presets files to import, export, and transfer plug-in settings files. Snapshots can also be used to automate changes to plug-in routing and settings. Presets can be applied to multiple Shows, while snapshots apply only to the Show file in which they are stored. Presets Presets are files that you can create to save, load, archive and transfer custom plug-in settings. You can then create your own Preset folders to organize Preset files.
Plug-Ins and VENUE Standalone Software You can use VENUE Standalone software to pre-configure plug-in routing and in/out state, with the following limitations: • Plug-Ins cannot be installed in the Standalone Software. • A Show file must be transferred from a system on which plug-ins were previously installed. Once a Show file containing plug-ins has been transferred to the standalone software, the following rules apply: • Plug-Ins can be placed in racks and routed in Standalone mode.
Chapter 18: Hardware Inserts This chapter explains how you can connect external analog and digital hardware to the analog and digital I/O on the S3 control surface and the E3 engine for use as hardware inserts. Hardware inserts can be used for external processing on individual Input Channels, FX returns, Mains, Groups, Auxes, and Matrixes. Assigning Hardware Inserts to Channels You can assign hardware inserts directly from the Inputs or Outputs page, or from the Patchbay.
To assign a hardware insert from the Patchbay: 1 Go to the Patchbay page and click the Inserts tab. Engine and Console hardware tabs are shown. 2 Click the Channels, FX Returns, or Outputs tabs to show the desired channel types in the grid. If you jumped to the patchbay from the Inputs or Outputs page, the appropriate Channel Type tabs are automatically enabled.
Part VI: Shows
Chapter 19: Shows and File Management Data can be stored, recalled and transferred between VENUE systems. There are three types of information files that can be managed separately, as follows: Creating Show Folders To create a new Show Folder: 1 Go to the Filing page and click the Save tab. tem settings, snapshots, and events. 2 In the Show Folders column, click the New button. Preset Files These files are used to store settings for channel 3 Type a name for the Show Folder and press Enter.
Show Files Renaming Show Files Creating and Saving Show Files To rename a Show file: When you create a new Show file, it captures the current state of the system. Show files are automatically saved when they are created or overwritten. 1 In the Shows column, click a Show file name to select it. 2 In the Shows column, click the Rename button. You can also right-click a Show file name and choose Rename, or double-click the Show file name to rename the file.
System Configurations and Loading Shows Show files include system configuration settings such as the type of control surface; the number of Mix Engines; Number of Input Channels, FX Returns, and EQs; Aux and Group Bus configurations). • If a Show file includes the same system configuration settings as the current configuration, the configuration information appears in blue text in the Info area.
Renaming Preset Folders 3 To rename a Preset Folder: 1 In the left column, click a Preset Folder name to select it. 2 Click the Rename button. Click the Preset Folder name and choose a Preset Folder from the pop-up menu. Any Presets in the folder appear in the left column. You can also right-click a Preset Folder name and choose Rename, or double-click a Preset Folder name to rename the folder. 3 Type a new name for the Preset Folder and press Enter.
Transferring Settings, Shows and Presets You can copy Console Settings, Shows, and Presets to and from a portable storage device (such as a USB flash drive) for backup, transfer from standalone software, and transfer between systems. Console Settings are equivalent to an auto-saved Show file, and store the current state of the system. By transferring Console Settings, you can transfer the current state of the system without having to first create and name a Show file.
To synchronize Settings, Shows, or Presets between the VENUE system and a portable storage device: 1 Go to Filing > Transfer. 2 Connect a portable storage device (such as a USB flash drive) to a USB port on the E3 engine. The device appears above the right column. 3 Do one of the following to select the type of data to synchronize: • To synchronize all data, click the Console icon. • To synchronize Console Settings, click the Settings icon. • To synchronize Show Folders, click the Show Folders icon.
Chapter 20: Snapshots Snapshots let you flexibly store and recall a wide range of mixing parameters. Snapshots are commonly used to store the mixer setup and levels for individual scenes, songs or sound cues in a performance. Snapshots store information about channels and mix parameters, and you can use a variety of methods to edit, preview, and manage snapshot data. You can use snapshots to trigger events, and to trigger recording to and playback from a connected USB storage device.
Main and Recall Safe Tabs Recall Buttons The Snapshots page provides Main and Recall Safe tabs. The Recall Previous (–) and Recall Next (+) buttons at the top of the Snapshots list cause the previous or next snapshot in the list to be targeted and recalled in one step. Main Provides the primary snapshot controls. Recall Safe Provides a matrix of channel parameters that can be globally safed (or isolated) from Recall for all snapshots.
Selecting Snapshots Centering the Snapshot List You can select single snapshots or multiple snapshots in order to target, recall, duplicate, edit, lock or delete them in the snapshots list. The Options > Snapshots page provides a preference setting to always center the Snapshot list on the last recalled snapshot. This setting lets you always view the snapshots immediately above and below (prior to and following) the last recalled snapshot.
Snapshot Scope Controls Channel Scope Controls When you create a snapshot, it captures the current state of all system settings. However, you can select which of these settings you want to be recalled when you recall a particular snapshot. Channels are included or excluded from snapshots by clicking them on-screen in the Snapshot Channel Faders display.
Selected Channel Indication Channel Scope Action Buttons The Snapshots page indicates the currently selected channel. All Turns on the scope for all channels displayed on the current tab (such as 1–48). Double-clicking the All button turns on the scope for all channels on the system. If the selected channel is not scoped in the currently selected snapshot, it is indicated with a blue highlight.
Creating Snapshots Snapshots can be created at any time to store the current channel and parameter settings. You can create new snapshots manually in the Snapshots page, or by duplicating existing snapshots to build your mix as you work. Use the first snapshot in a Show file to establish the basic settings for a performance.
Recalling Snapshots Targeting Snapshots Targeting a snapshot lets you preview which data types and channels will be affected by that snapshot before recalling it. When a snapshot is targeted, the on-screen Data Type buttons and Channel Faders update to show the data types and channels enabled for recall by the snapshot. Recalling Successive Snapshots Instantly You can instantly recall successive snapshots in the Snapshots list.
Selecting and Recalling Multiple Snapshots Recall Safe Displays and Controls You can select and recall multiple snapshots to load them all in sequence, and in one step. This is useful to quickly reset the system to a sub-cue or other specific point within a longer scene or cue and “pick up from there.
5 – Scope Sets Parameter Matrix Grid Icons Scope Sets are presets for the Recall Safe tab that can be stored and loaded, just like plug-in, EQ and dynamics presets. Scope sets can be used as a template when creating new Shows, or used to change Recall Safe settings during a performance. Like other presets and settings files, Scope Sets can be transferred from the Filing page, making it easy to maintain and transfer Recall Safe configurations. For more information, see “Using Scope Sets” on page 197.
Using Recall Safe To safe all parameters across all channels and clear any current settings: To access the Recall Safe tab: 1 Go to the Snapshots page and click the Recall Safe tab. 2 Click a Channel Type tab to display the desired channels. To safe individual parameters on specific channels: Click in the grid at the intersection of the appropriate parameter (column) and channel (row). A blue dot appears, indicating a parameter is safed. Click the triangular icon at the top of the ALL column.
Plug-Ins Using Scope Sets When engaged, this button prevents plug-in control settings, in-circuit state, and routing from being recalled. The configuration of the Recall Safe tab can be stored as a Scope Set settings file. Scope Sets can be previewed, recalled and transferred just like plug-in, EQ and dynamics settings. To enable Recall Safe for plug-ins: Click the Plug-In Snapshot Safe button, located above the parameter matrix.
Automation Safe Managing Snapshots Automation Safing a channel lets you suspend the effect of snapshots on all parameters of the channel. You can manage snapshots in the list by storing, locking, clearing, duplicating, deleting, or moving them. Output channel Safe switches and buttons always operate in Automation Safe mode. Storing Snapshots Automation Safe mode is enabled globally for Input Channels and FX Returns on the Options > Interactions page (see “Input Safe Switches” on page 65).).
Locking Snapshots Available Operations with Locked Snapshots Snapshots can be locked to prevent them from being accidentally altered, overwritten or deleted. The following table details which operations can or can not be performed on a locked snapshot. Locked snapshots can be selected, recalled, moved and duplicated. They cannot be overwritten, renamed, rescoped or otherwise changed. New and duplicated snapshots default to unlocked.
Duplicating Snapshots Importing Snapshots Snapshots can be duplicated from the Snapshots list. You can undo Duplicate commands. Snapshots from other Show files can be imported into the currently loaded Show file in the Filing > Load/Save tabs. To duplicate snapshots: To import Snapshots: 1 Select the snapshots you want to duplicate. 1 Go to the Filing page and click the Load or Save tab.
Making Changes to Snapshots There may be situations where you need to change specific parameters in existing snapshots while leaving other parameters unchanged. For example, if a guitarist changes instruments in the middle of a tour it might be necessary to change levels and EQ on the guitar channel in all the snapshots in a show.
Using Propagate Mode You can use the Propagate command to capture changes and apply them to existing snapshots. Propagate mode is most useful when you realize during the course of mixing that you want to capture your current settings to use in other snapshots. You can undo Propagate commands. To update specific parameters in existing snapshots: 1 Make sure the channel is set as needed. 2 Click Propagate. The current data and channel scope is cleared.
Recall and Edit an Existing Snapshot Recall a snapshot to preview its settings and make any adjustments necessary, being sure to re-store the snapshot before exiting Preview mode. Storing a snapshot in Preview mode does not affect previously stored MIDI or Plug-in data (if any). Edit Channel and Scope Settings Edit any channel settings, pa- rameters, or scope associated with the snapshot being previewed.
Available and Unavailable Functions in Preview Mode In order to maintain essential mix indicators and controls while in Preview mode, not all functions are taken offline. The following sections detail what is and what is not available during Preview mode. Not Available in Preview Mode The only controls not available while in Preview mode are those controls which are not able to be stored or recalled via snapshots. In addition, Config mode options are unavailable in Preview mode.
Plug-Ins in Preview Mode Recalling a snapshot that contains plug-in data affects the offline (Preview) routing and bypass state of the plug-in only; the online plug-in parameter settings are not recalled, and the online mix is not affected. Undoing Snapshot Commands The Undo function returns the system to the state immediately before the last snapshot command. Undo is multi-level (up to 100), is available while in Preview mode and after performing an Edit or Propagate mode action.
Adding MIDI, Plug-In, and Media Data to Snapshots Adding MIDI Messages to Snapshots To add a MIDI message to a snapshot: MIDI, Plug-Ins, and Media (USB 2-track transport commands) data are added to snapshots using the MIDI/Plug-In/Media list. Open the list to add and edit data. 1 Target the snapshot you want to modify. 2 Double-click the MIDI icon in the MIDI/Plug-Ins/Media list header to expand the MIDI list.
To edit a MIDI message in the MIDI list: 1 Double-click the message text to display the pop-up menu bar for the message. Editing a MIDI message in the snapshot MIDI list 2 Choose the message name and send channel or device ID from the pop-up menus. 3 Enter the message values in the text fields or drag up or down across the text field to change the values. 4 Click in the MIDI list area to dismiss the pop-up menu bar.
To add a plug-in to multiple snapshots from the Plug-Ins page: Updating a Plug-In Across Multiple Snapshots 1 Create a multi-selection of snapshots in the Snapshots list. 2 Go to the Plug-Ins page. 1 3 Click the Snapshots menu for the plug-in to be added and choose Add This Plug-In To Selected Snapshots. The selected plug-in is added to the currently targeted snapshot, as well as all other snapshots within the multi-selection.
Adding Media Data to Snapshots Adding Tempo Data to Snapshots When the Media data type is scoped for a snapshot, one of the following USB 2-track Transport commands is available per snapshot: The Snapshots list can be toggled to display Tempo, along with a Tempo On/Off indicator for each snapshot entry. Play This command initiates playback of the track (or tracks) from the Playlist on the Media > Playback page when the snapshot is recalled.
To toggle tempo on/off for each snapshot: 1 Make sure Tempo is shown in the Snapshots list (if not, right-click any item in the list and choose Show Tempo). 2 Click the Tempo icon so that it is lit (enabled) or unlit (disabled). Default Crossfade Time The default crossfade time assigned to new snapshots can be set with this option, with a possible range of 0–99.9 seconds. To set the Default Crossfade Time: 1 Go to the Options page and click the Snapshots tab.
Pre Settings Classifying Aux Sends Snapshots can be used to recall the preamplifier settings on inputs for all scoped Input Channels. You can set any of the following Pre parameters to be recalled by the Pre data type button: Gain, Pad and Phase/polarity, +48V (Phantom Power), HPF corner frequency and in/out state. You can classify Aux Sends as monitor sends (“Mon”) or as effects sends (“FX”), which lets you scope each type separately from the Snapshots tab of the Options page.
Snapshot Data Types and Parameters Table 5.
Chapter 21: Events This chapter introduces the Events tab, and explains how to use the Event list. Introduction Terminology Event A user-defined combination of one or more triggers and one or more actions. Each event serves as a type of software “macro” in which you establish a cause-and-effect relationship between one or more triggers and their results (actions). An event consists of one or more triggers, which are configured to cause one or more actions to occur.
The Events Tab The Events tab of the Option page is the working area of the Event list system. Events are defined and managed using the Event list, along with the Triggers and Actions lists. The lists and commands available in these sections create a powerful, user-programmable environment. Footswitch and GPI status display are also shown on the Events tab. 3 2 1 4 5 6 Figure 4.
Event List Triggers Each event is shown in its own row within the Event list. The list can be scrolled vertically when necessary. The Triggers list shows the name and properties of each trigger defined for the currently selected event, as well as commands to create and manage triggers.
Actions GPI I/O Stats Display The Actions list shows the actions defined in the currently selected event, as well as commands to create and manage actions. The GPI port on the back of the E3 engine can be used to trigger events in VENUE from outboard equipment (GPI input), or can be used to send messages to trigger outboard equipment to perform one or more actions (GPI output). 4 2 3 1 The GPI status display shows the present open or closed status of the two GPI inputs and two GPI outputs.
Creating Events The basic steps to create an event include the following: • Add a new event in the Event list (see “Adding an Event” on page 217). • Add and configure triggers for the event (see “Adding Triggers to an Event” on page 219). • Add and configure actions for the event (see “Adding Actions to an Event” on page 221). Several pre-defined (default) events are available immediately; others are available among the Demo Shows installed with the system software.
Deleting and Clearing an Event Toggling Enable Status for Selected Events Deleting an event removes it permanently from the Event list. Clearing an event leaves the named event in the Event list but clears all associated triggers and actions. To toggle the enable/disable status of an event in the list: 1 Select one or more events in the Event list. 2 Click the Enable icon for the selected event to toggle its state. Or, right-click an item and choose Enable or Disable as appropriate.
Creating Triggers Each Event can have up to eight triggers. You create new triggers by selecting them from the Add pop-up menu. Once added, you can edit triggers and their properties to customize them. Adding Triggers to an Event Editing Trigger Type and Properties To edit the trigger and its properties: 1 Double-click the trigger row in the list. Or right-click the action item and choose Edit. 2 Choose a new Trigger Type, or edit any of the available properties in the row for that trigger.
Examples of Logical Operators Managing Triggers in the Triggers List Logical operators determine the precise state required in order for an event to occur as shown in the following tables: Triggers in the list can be edited, duplicated and deleted. OR At least one of the triggers must be true. The following table shows the effect of OR on events with multiple triggers. In the table, 0 indicates a false condition (not occurring) and 1 indicates a true condition (occurring).
Creating Actions Each event can have up to eight actions. You create new actions by selecting them from the Add pop-up menu. Once added, you can customize actions by editing their properties, as available. Adding Actions to an Event Editing an Action Type and Properties To edit an action: 1 Double-click the action row in the list. Or, right-click the action item and choose Edit. 2 Click the displayed action Type and make a new selection. To add an action: 1 Select an event, or create a new one.
Action Wait All actions let you specify a Wait time of up to 100 seconds for the action to wait before firing. This can be useful for synchronizing the timing of multiple external devices, or to build timed sequences of actions. To configure action Wait (Delay): 1 Double-click the action to edit it. 2 Click the Wait value box to highlight it and enter the desired time. Resetting Events You can use the Reset features to quickly reset Active or in-Test events to “ready.
Snapshots and Events Events can include snapshot functions among their triggers and actions. Snapshots as Triggers Events can be triggered by the following snapshot functions: • Recall of specific snapshots Avoid Feedback Loops Because events can both affect and be affected by snapshots, it is possible for events to cause “feedback loops.
Default Settings, Templates and Examples Default Events Each Demo Show file contains a set of default events that can be used as a starting point to build your own events.
Using the Templates 4 To quickly test the switch trigger, click the Test button, or press the Footswitch. Adjust the trigger State for your footswitch, as necessary, for its open/closed orientation. (For instructions, see “Editing Trigger Type and Properties” on page 219.) 5 After testing the trigger, click Reset to return the event to its Ready state.
Create a Tap Tempo Event Tips for Using Tap Tempo To create a Tap Tempo event The plug-in Tempo Sync switch enables/disables that individual plug-in’s delay value from following the system tempo. Use the individual plug-in Tempo Sync switches to sync one, some or all delay plug-ins. 1 Go to Options > Events. 2 Create a new event and call it Tap Tempo. 3 Click the Add button in the Trigger area, and select an available Function switch or the Footswitch.
Trigger Types The following table lists the available trigger types and properties, along with a description of each. Table 6.
Action Types The following table lists the available Action types and properties, along with a description of each. Table 7.
Table 7. Action types Action Type Property State Behavior Description Transport controls for Pro Tools playback and recording Pro Tools Stop Play Record Record Enable All VENUE Tracks Tracks in Pro Tools with a VENUE I/O path are record armed (enabled). Record Disable All VENUE Tracks Tracks in Pro Tools with a VENUE I/O path are record disarmed.
Table 7.
Chapter 22: Synchronization S3L provides a set of MIDI-based synchronization features that allow automation and remote control of snapshots, and triggering of external devices when snapshots are recalled. 5 Control MTC playback from the MTC generator controls by doing any of the following: • Start MTC playback by clicking the Play button. • Pause MTC playback by clicking the Pause button.
Snapshot MIDI Time Code Display Capturing Time Code Values in Snapshots When the system is set to generate or read MIDI Time Code, the Snapshots list shows time code values and a green Recall Enable indicator for each snapshot entry. To capture the current MTC value in a new snapshot: 1 With the system in MTC Read or Generate mode, start time code playback. 2 Do one of the following: • During playback, click the New button.
Enabling Snapshots for Automated Recall With time code values assigned to snapshots, you can then enable snapshots for recall with time code playback. To enable snapshots for automated recall with MTC: Click the Time Code Recall Enable indicator on the right side of the Snapshots list. The indicator turns bright green to indicate that the snapshot is enabled for recall.
Triggering of External Devices on Snapshot Recall Sending MIDI Messages on Snapshot Recall The VENUE system can be set to send MIDI Bank and Program Change messages whenever a snapshot is recalled, to trigger external devices whose cues are related to snapshots. You can set the system to send on any one of 16 available MIDI channels. You can add up to 20 specific MIDI messages to each snapshot. These messages are sent whenever the snapshot is recalled.
About Digital Input and Sample Rate Conversion The AES digital inputs on the E3 engine provide sample rate conversion on input, letting you connect a wide variety of digital sources without having to be concerned with synchronization and clock connections. Sample rate conversion does, however, induce processing delay to the incoming digital signal. Sample Rate Conversion Latency The following table illustrates the sample rate conversion processing delay at various sample rates.
Chapter 23: Using the Standalone Software VENUE Standalone software lets you do all of the following to pre-configure performances, wherever you can use your laptop: • Learn the basics of the VENUE software interface in preparation for working at a full VENUE system. System Requirements The following are the minimum system requirements for using the VENUE Standalone software: • Assign hardware I/O and routing, and name channels.
Simulating a VENUE Configuration You can use the Standalone software to simulate a VENUE system with any number of input and outputs. The corresponding inputs and outputs become available in the Patchbay, allowing you to prepare a show that can transfer directly to the destination system. Save and Transfer Data from a VENUE System To save and transfer data from the complete system: 1 Connect a USB storage device to a VENUE USB port. 2 Use the Save tab of the Filing page to save VENUE data to disk.
Transfer and Load Data to the Standalone Software To transfer and load VENUE data from your system to the standalone software: Creating and Editing Shows and Presets Use the techniques explained throughout this guide to assign routing, rename channels, and to configure other parameters. Then do the following to save and transfer your work to a complete system. 1 Connect the USB storage device to your laptop. Make sure the drive is mounted before proceeding. 2 Launch the VENUE standalone software.
Part VII: Recording and Playback
Chapter 24: 2-Track USB Recording and Playback The S3L system provides built-in USB 2-track recording and playback, allowing you to record live performances to and play back pre-recorded tracks from USB flash drives connected to the E3 engine. Use these features to do basic stereo live recordings, and to play back stereo music tracks and/or sound effects during a performance or event. The Media page provides on-screen controls for USB 2-track recording and playback.
4 – Target Record Folder Section 3 – Playlist The Target Record Folder section lets you choose the destination drive and/or folder for recordings. The Target Record Folder list lets you navigate through connected USB drives, create and name folders on USB drives, and delete and rename existing files and folders. Icons next to each item in the list help identify the media type of that item (such as a USB drive, an audio file, or a folder). A Playlist is provided to manage USB 2-track playback.
Selecting Tracks Items in the Playlist, Library and Target Record Folder list are selected on-screen. Selected items are color-coded to indicate their status. Keyboard shortcuts for selecting items are also provided. Tracks can also be selected in the Playlist using the Global Control encoders (see “Transport Display” on page 246). To select a single track, file, or folder: Click the item. To target multiple consecutive tracks, folders, or files: Shift-click the items.
Transport Display Transport The Record and Playback tabs share the same Transport section. The Transport provides Transport controls, the Transport display, and the Playback Mode buttons.
Recording Audio to USB Targeting the Destination for the Recording To record audio to USB, you need to assign system channels to the USB recording inputs, target the destination drive (or folder) for the recording, and initiating the recording. Audio is recorded to the connected USB drive as 24-bit, 48 kHz WAV files. After assigning channels to the USB recording inputs, target the destination for the recording.
Creating and Targeting a Folder for the Recording Initiating the Recording You can create a folder on a drive and target it for the recording. After targeting the record destination, set the record level and initiate the recording. To create a folder and target it for recording: 1 Make sure the desired USB drive is targeted. If necessary, click the Up One Level button to return to the top-level of the USB drive. 2 Click the New button. A new folder appears in the list.
Record Listen You can use the on-screen Record Listen button to monitor the recording input. Record Listen toggles the recording input onto the Solo bus. Record does not have to be engaged to monitor the recording input. Playing Back Audio from USB The S3L system plays back WAV and MP3 files directly from connected USB drives. To play back tracks, you must first add tracks to the Playlist. You can then choose the play mode for tracks and set the playback level.
Adding Tracks to the Playlist Setting the Play Mode To add tracks to the Playlist: After adding tracks to the Playlist, set the Play Mode. Play Mode can be set on-screen in the Transport. By default, Play Mode is set to play all tracks in the Playlist once when playback is engaged. 1 Insert your USB drive(s) into a USB port on the E3 engine. 2 Go to the Media page and click the Playback tab. 3 Locate the Library section.
To adjust the playback level: 1 2 On-screen, drag the Level encoder in the Playback Output section. From the Global Control encoders, do the following: • Make sure the Global Control main menu is shown in the Global Control displays. • Press the Global Control encoder under the display showing Monitoring. • Rotate the encoder under the display showing USB Play to adjust the level. 3 Adjust the faders of the Input Channels or FX Returns that the USB playback outputs are assigned to as desired.
Auditioning Tracks You can audition tracks in the Target Record Folder list of the Record window, and in the Playlist and the Library lists of the Playback window. When you audition a track, the signal is sent only to the Monitor bus. Use this feature to preview tracks in your headphones before playing them back through the sound system. To audition a track: 1 In the Target Record Folder list, the Library list, or the Playlist, double-click the speaker icon next to the track.
Creating a New Snapshot for Track Playback To create a new snapshot containing a track playback: 1 Go to Media > Playback. 2 In the Playlist, click the Snapshots icon next corresponding to the track you want to add to a snapshot. The icon lights to show that a snapshot contains this track.
To create a new event for track playback: 1 Go to Media > Playback. 2 In the Playlist, click the Event icon next to the track you want to trigger using an event. 3 Select Create New Event to Play this Track. The new event is created and added to the Events and Actions Lists on the Options > Events page. The new event and action are auto named Play Track -
Chapter 25: Pro Tools Recording and Playback The S3L system provides direct connection to a computer running Pro Tools software. No additional audio hardware is required to connect your S3L system to Pro Tools. A single Ethernet connection lets you record multi-track Pro Tools sessions of performances using a variety of S3L system audio sources, including digital splits of your Stage inputs, channel Direct Outputs, and bus outputs.
S3L and Pro Tools Overview The Ethernet AVB connection between your S3L system and Pro Tools provides up to 64 channels of simultaneous Pro Tools I/O. This bi-directional AVB audio connection lets you send S3L system audio to Pro Tools for recording, and simultaneously receive audio from Pro Tools for playback. The S3L system provides several different types of Pro Tools I/O for recording and playback. This connection also provides the VENUE Link communication link between systems.
Installing Pro Tools Pro Tools software is provided with your S3L system. Before connecting your S3L system and Pro Tools, you must do the following: • Activate, download, and install Pro Tools software on a separate computer • Transfer the Live Sound Production Toolkit license to the Pro Tools iLok USB Smart Key (second generation iLok required) Avid AVB64 Driver (Mac Only) After installing Pro Tools, install the Avid AVB64 driver onto your Mac Pro Tools computer.
Connecting to Pro Tools Enabling Direct Digital Splits Before connecting systems, make sure you have verified your Pro Tools installation (including the Avid AVB64 driver and any other required drivers), and that your iLok with all necessary licenses is connected your PT computer. To send digital splits of S3L system Stage inputs to Pro Tools, the Stage inputs on your S3L system must simply be active. If necessary, enable them in VENUE.
Output Levels for Digital Splits Enabling Virtual Soundcheck Mode 0 dB on S3L system input meters equals –20 dBFS. This 20 dB of mixer headroom helps prevent digital clipping and distortion in live program material. The S3L system does not provide independent gain control for the digital splits before they are split off to Pro Tools, so program material coming into the S3L system at 0 dB will be recorded into Pro Tools at –20 dBFS.
Returning to Stage Inputs Toggling the Input Source of a Channel If you change any channel Input Gain settings while in Virtual Soundcheck mode, you have the option of applying or discarding the changes when you return to Stage inputs. You can toggle the input source of an individual input channel between the assigned Stage input and its corresponding Virtual Soundcheck input.
Snapshot PRE Settings and Virtual Soundcheck Inputs To route Direct Outputs to Pro Tools: 1 Go to the Patchbay page and click the Directs tab. The PRE Data Type Scope button on the Snapshots page lets you recall the preamplifier settings on inputs for all scoped Input Channels and FX Returns. Go to the Options > Snapshots page to set the PRE parameters to be recalled by the PRE data type button. 2 Click the tab at the left of the grid for the channel or bus type you are routing.
Using Output Busses Monitoring Pro Tools Recordings You can record submixes (also called stems) by sending outputs such as Mains, Auxes, Groups, and Matrixes directly to Pro Tools. An output bus signal to Pro Tools is always postfader, and therefore will reflect any processing occurring on the channels assigned to the bus or processing on the bus itself. You can monitor a Pro Tools recording through your S3L system while the performance and the recording is in progress.
Using Input Mode When Input mode is enabled, Pro Tools (or another Ethernet AVB source) is the main source of audio signals for your S3L system. Audio channels from your external device appear one-for-one in place of Stage inputs in the VENUE Patchbay. In Input mode, changes made to Input Gain cannot be applied to channels when switching back to Stage inputs. Additionally, input channel Gain can be stored in Snapshots in Input mode.
3 Click in the System Name box, type in a name for your VENUE system, and press Enter on your keyboard. Entering a system name 4 Click Apply. 5 In the Ethernet Control section, select Enable VENUE Link. Enabling VENUE Link in Pro Tools To enable VENUE Link in Pro Tools: 1 Launch Pro Tools if it is not already launched. If the Quick Start dialog appears, click Cancel. 2 Choose Setup > Peripherals to open the Peripherals dialog, then click the VENUE tab.
Using VENUE Link This section provides instructions on how to use the following VENUE Link features: • “Create a Session from VENUE” on page 265. • “Importing VENUE Channel Names as Track Names” on page 266 • “Creating a Pro Tools Marker from a Snapshot” on page 267.
Assignable Outputs In the Pro Tools session, new mono and ste- reo tracks are created for any S3L system channels patched to Assignable outputs under the Pro Tools tab in the VENUE Patchbay patching grid. Tracks are named automatically based on their corresponding channel names in VENUE. Importing VENUE Channel Names as Track Names You can import VENUE channel names as track names into an existing Pro Tools session.
Creating a Pro Tools Marker from a Snapshot With VENUE Link enabled, you can set individual snapshots to create a new Marker in the Pro Tools Timeline. While Pro Tools is recording, whenever that snapshot is recalled, a new Marker is created and named according to the recalled snapshot. Once the marker is created, subsequent recalls of that snapshot can locate (cue) the Pro Tools playback cursor to the associated Marker while Pro Tools is playing back.
To disable locating to a VENUE snapshot-generated Marker: 1 In the Edit window, double-click the Marker in the Markers ruler to open the Edit Memory Locations dialog. 2 In the General Properties section, deselect VENUE Snapshot. 3 Click OK. Recalling the VENUE snapshot does not locate the Pro Tools playback cursor to the disabled Marker. Re-selecting this option restores the locate functionality.
Triggering Multiple Pro Tools Functions The following example shows how to record-enable all tracks from VENUE, arm the Pro Tools transport for recording, and initiate recording using a single trigger. To record enable all tracks and initiate recording in Pro Tools: 1 Make sure the Pro Tools system is connected, and VENUE Link is enabled on both systems. 2 In VENUE, go to Option > Events. 3 Click the New Event List Command button and name the event. A new named and selected event.
Part VIII: Specifications and Troubleshooting
Chapter 26: Mechanical Specifications S3 Control Surface Parameter Specification Height (front) Height (back) 1.3 inches (32.0 mm) 2.8 inches (71.7 mm) Maximum Width 28 inches (711.11 mm) Maximum Depth 14.3 inches (363.11 mm) Weight 13.8 lbs (6.2 kg) Power Requirements 100–240 V, 50–60 Hz, 200 W Power Connectors External PSU AC Input: IEC, 3-pin North American standard External PSU DC Output: Kycon KPPX–4P; 12V, 7.
28 in (711.1 mm) 2.2 in (57.3 mm) 1.8 in (45.2 mm) .6 in (14.4 mm) 14.3 in (363.1 mm) 2.85 in (71.7 mm) 1 in (25.4 mm) 1.
E3 Engine Parameter Specification Maximum Height 3.5 inches (89 mm) Rack Spaces 2U Maximum Width 19 inches (483 mm) Maximum Depth 14.6 inches (371.5 mm) Weight 21 lbs (9.5 kg) Power Requirements 100–240 V, 50–60 Hz Power Connector IEC, 3-pin North American standard Analog Audio Connectors (x8) XLR3-M balanced (x4), XLR3–F balanced (x4) Digital Audio Connectors (x4) AES3 XLR3-M (x2), AES3 XLR3-F (x2) Network Connectors (x3) RJ-45 Neutrik etherCON USB Ports (x4) USB 2.
Stage 16 Parameter Specification Height 6.9 in (175.2 mm) Rack Spaces 4U Width (with rack ears) Width (with rack ears configured as handles) 19 inches (483 mm) 15.6 inches (396 mm) Depth (with rack ears) Depth (with rack ears configured as handles) 7.9 in (201 mm) 9.8 in (249 mm) Weight 21 lbs (9.
Power and Status LED Codes Network Port Snake Act and Sig LEDs E3 Engine Each S3 control surface, E3 engine, and Stage 16 Network port has its own Activity (Act) and Signal (Sig) LEDs. Each device is ready for use when the Act and Sig LEDs are lit solid for each connected Network port. One single-color LED on the front panel of the E3 engine lights to indicate the E3 engine is powered on and ready for use.
Chapter 27: Audio Specifications All specifications subject to change. S3 Control Surface Audio Specifications S3 Analog Mic Inputs, Pad Disabled Value Parameter Conditions Min. Phantom Power Typ. Max. Units 48 Volts Input Sensitivity @ 997 Hz, Gain = 10 dB (min.) +7.979 dBu Equivalent Input Noise (EIN) Gain = 60 dB, 150 source impedance -126.1 dB Frequency Response VINPUT = -12.035 dBu, 20 Hz – 20 kHz relative to 1 kHz, Gain = 10 dB (min.
S3 Analog Mic Inputs, Pad Enabled Value Parameter Conditions Min. Phantom Power Input Sensitivity @ 997Hz, Gain = 10 dB (min.) Frequency Response VINPUT =+8.225 dBu, 20 Hz – 20 kHz relative to -0.016 Typ. Max. Units 48 Volts +28.322 dBu 0 -0.235 dB 1 kHz, Gain = 10 dB (min.) Dynamic Range Unweighted 150 source impedance, Gain = 10 dB (min.) -111.2 dB Dynamic Range A Weighted 150 source impedance, Gain = 10 dB (min.) -113.9 dB THD+N Amp @ 997 Hz, Gain =40 dB 0.
S3 Analog Outputs Value Parameter Conditions Output Sensitivity @ 997 Hz Output Impedance @1 kHz Residual Output Noise Min. Typ. Max. Units +24.201 dBu 103.5 ohms 20 Hz – 20 kHz -88 dBu Round Trip Latency Console input to Console output 3.2 ms Round Trip Latency Console input to Stage 16 output 3.2 ms S3 Headphone Output Value Parameter Conditions Output Impedance @1 kHz Output Sensitivity 32 load @ 997 Hz, max output Max RMS Power Output +20.
E3 Engine Audio Specifications E3 System Processing Parameter Value Internal Sample Frequency 48 kHz Internal Processing Up to 64-bit floating point for input, output, and plug-in processing 44-bit floating point for mix bus processing E3 Analog Mic Inputs, Pad Disabled Value Parameter Conditions Min. Phantom Power Typ. Max. Units 48 Volts Input Sensitivity @ 997 Hz, Gain = 10 dB (min.) +7.988 dBu Equivalent Input Noise (EIN) Gain = 60 dB, 150 source impedance -123.
E3 Analog Outputs Value Parameter Conditions Output Sensitivity @ 997 Hz Output Impedance Min. Typ. Max. Units +24.164 dBu @1 kHz 100 ohms Residual Output Noise 20 Hz – 20 kHz -84 dBu Round Trip Latency Engine input to Engine output 2.2 ms Round Trip Latency Engine input to Stage output 2.7 ms E3 AES/EBU Digital Inputs Value Parameter Conditions Min. Typ. Max.
Stage 16 Audio Specifications Stage 16 Analog Mic Inputs, Pad Disabled Value Parameter Conditions Min. Phantom Power Typ. Max. Units 48 Volts Input Sensitivity @ 997 Hz, Gain = 10 dB (min.) +7.966 dBu Equivalent Input Noise (EIN) Gain = 60 dB, 150 source impedance -124.5 dB Frequency Response VINPUT = -12.035 dBu, 20 Hz – 20 kHz relative to 1 kHz, Gain = 10 dB (min.) Dynamic Range Unweighted 150 source impedance, Gain = 10 dB (min.) -108.
Stage 16 Analog Outputs Value Parameter Conditions Output Sensitivity @ 997 Hz Output impedance Min. Typ. Max. Units +24.164 dBu @1 kHz 105 ohms Residual output noise 20 Hz – 20 kHz -85 dBu Round trip latency Stage input to Stage output 3.3 ms Stage 16 AES/EBU Digital Outputs Value Parameter Conditions Min. Typ. Max.
Chapter 28: S3L System Signal Flow Diagrams Monitor Bus Signal Flow Diagram Chapter 28: S3L System Signal Flow Diagrams 287
Input Signal Flow Diagram 288 S3L System Guide
Output Signal Flow Diagram Chapter 28: S3L System Signal Flow Diagrams 289
Chapter 29: Troubleshooting This chapter provides troubleshooting and problem solving information. It includes a table of problems and solutions that provides answers to common questions, explains on-screen text messages, and refers you to specific sections later in this chapter or elsewhere in this guide for details and instructions.
Table 9. Troubleshooting Errors and Messages Symptom or Message Possible Cause Solution An incompatible plug-in, a corrupted data file or application software, or a hardware error. Check to make sure you are using the most current versions of all your plug-ins (check with the manufacturers). If failures occur only when you try to use a certain plug-in, disable that plug-in and see if problems go away. Try re-installing plug-ins that are causing problems.
Table 9. Troubleshooting Errors and Messages Symptom or Message Possible Cause Solution Bad or missing connection Check connections to other components. A device needs to be reset. Reset the device. If unable to reset the device, power cycle the device. The racks have gone offline because a plug-in has failed, or some circumstances have caused the DSP engines to require a reset. Follow the instructions on-screen to reset the racks (see “Resetting the Plug-In Racks” on page 295).
Performing a Soft Reset If your VENUE system ever needs to be reset, restart the system To restart the system: 1 Go to the Options page and click the System tab. 2 Hold Default (Alt) and click the Shut Down button. Shut Down button If restarting the system does not correct a problem, you may have to reset hardware components, identify and remove any incompatible plug-ins, or reinstall VENUE software using the System Restore software.
Resetting Hardware Components Resetting the Plug-In Racks Some hardware can be reset from the Options > Devices screen, or by power-cycling the component. It is recommended that you perform a reset if, for example, the Hardware Monitor Alert dialog appears, or if a connected device stops communicating with the rest of the system. If the plug-in racks go offline they need to be reset to resume normal operation.
Using the System Restore Software The System Restore USB Drive provided with your system lets you update or restore your system software for maintenance and troubleshooting. Check your Avid account for the latest version of the System Restore software. Always make sure to use the latest version of the System Restore software when restoring your software.
Updating Firmware During an update or system restore, the system checks for new firmware. If newer firmware is found in the System Restore software, it is installed during system startup (FPGA only) and after system startup (all other devices).
Part IX: Reference
Chapter 30: GPI Port Reference GPI Port Specifications A 9-pin, female DB9 connector provides a total of 2 General Purpose Interface (GPI) Inputs and 2 Outputs. GPI Input Specifications GPI Connector Pin Assignments The GPI port is a female DB9 connector that provides two GPI inputs and two GPI outputs. The following table shows the input and output pin assignments on the GPI connector: DB9 GPI Connector Pin Assignments Pin Number Function Comments • Inputs are logic inputs with pull-ups.
GPI Wiring Diagrams The following diagrams provide examples of GPI pinout and wiring for a few common uses. Wiring a Logic Signal to Drive GPI Ground reference needed between systems. DB9M All diagrams are shown from the rear (solder side) of the DB9 connector. GPI Input Examples 1 The following diagrams provide simplified wiring examples for a customer-provided DB9 male connector, to attach to the female GPI connector on the E3 engine.
GPI Output Driving a Logic Input DB9M V+ 3 8 Ground reference needed between systems.
Chapter 31: ECx Ethernet Control Your system includes ECx Ethernet Control remote control host and client software. ECx lets you control your system remotely over an Ethernet network from a client computer or other mobile device, using compatible wired or wireless network equipment. ECx Host and Client Software To use ECx Ethernet Control, you must do the following: • Install the ECx host software on the E3 engine. • Install ECx client software on your remote computer or mobile device.
4 Insert the USB drive containing the ECx host software into an available USB port on the E3 engine. 5 Place the system into Config Mode. 6 In VENUE, go to the Options > System page and click Update. 7 Do one of the following: • Click Install. Uninstalling ECx Host Software ECx host software can be uninstalled from VENUE. To uninstall ECx host software from VENUE: 1 Insert the USB drive containing the ECx host software into an available USB port on your or E3 engine.
Overview of ECx Setup and Configuration You can control your S3L system (the “host”) with a remote computer (the “client”) using standard VNC (Virtual Network Computing) protocol over TCP/IP, allowing remote access to your system via a wired or wireless Ethernet-based network. This chapter covers the steps for configuring and using ECx. For a wired network, the steps include: Connecting the remote client computer directly to the E3 engine.
Setting IP Addresses Do one of the following to set the IP addresses in VENUE and on your client computer, depending on the configuration of your network: If you are connecting a computer directly, or you are using a wireless router or WAP device that does not include a DHCP server function, see “Setting VENUE and Client IP Addresses Manually” on page 308. – or – If you are using a wireless router that includes a DHCP server function, see “Setting IP Addresses Automatically” on page 310.
Setting the Mac Client IP Address Manually Setting the Windows Client IP Address Manually After manually setting the IP address in VENUE, you need to set the IP address of your Mac client computer. After manually setting the IP address in VENUE, you need to set the IP address of your Windows client computer. To manually set the IP address on a Mac: To manually set the IP address on Windows: 1 Under the Apple menu, choose System Preferences, then choose Network from the System Preferences window.
6 In the Internet Protocol Properties window, select “Use the following IP Address” and enter the following: • IP address: 10.0.0.2 • Subnet Mask: 255.255.255.
Setting the Mac Client IP Address Automatically After setting the IP address in VENUE using DHCP, you need to do the same for your Mac client computer. Setting the Windows Client IP Address Automatically After setting the IP address in VENUE using DHCP, you need to do the same for your Windows client computer. To automatically set the IP address on a Mac: 1 2 Under the Apple menu, choose System Preferences and choose Network from the System Preferences window.
6 In the Internet Protocol Properties window, select “Obtain an Address Automatically.” Establishing a Wireless Connection Once IP addresses are set, you can establish a connection from the client computer to the wireless network. These instructions show how to establish wireless connections to routers or WAPs.
Establishing a Wireleless Connection on a Windows Client 5 In the Network name field, enter the SSID of the wireless router or WAP device connected to VENUE ECx. To connect to a network that is broadcasting its SSID on Windows: 1 Open the Connect to a Network window by clicking the network icon in the notification area. 2 In the list of available networks, choose your network and click Connect. 3 Go to “Enabling Remote Operation” on page 314.
Enabling Remote Operation 4 Enter the password when prompted (the default VENUE password is “password”) and click Connect. In order to enable remote operation of your S3L system, you need to have obtained valid IP addresses in VENUE and on your client computer. If you are using a wireless network, you also need to have established a network connection between the wireless router or WAP device that is connected to the E3 engine and your client computer or mobile device.
Appendix A: E3 Engine Secure USB Port The E3 engine features a secure internal USB port to connect and securely protect an iLok Smart Key. Use this port to keep one “master” iLok and its plug-in assets with the E3 engine at all times, safe from damage or loss. To access the port, the top panel of the E3 engine must be removed. Only install the iLok after you have transferred plug-in licenses to your iLok. See “Installing and Authorizing Plug-Ins” on page 161 for more information.
4 Inside the E3 engine, locate the secure USB port and insert the iLok. iLo k Interior of the E3 engine showing an attached iLok 5 Secure the iLok with the built-in cable tie. 6 Replace the Top Panel and reattach with the 12 screws.
Appendix B: Compliance Environmental Compliance Disposal of Waste Equipment by Users in the European Union This symbol on the product or its packaging indicates that this product must not be disposed of with other waste. Instead, it is your responsibility to dispose of your waste equipment by handing it over to a designated collection point for the recycling of waste electrical and electronic equipment.
Korean EMC Regulations For Avid S3 Control Surface and Avid Stage 16 For Avid E3 Engine 318 S3L System Guide
Index Numerics 0 dBVU 176 48V 79 A A Unit has gone Offline 295 Absolute (editing snapshots) 201 Actions 216 creating 221 list 228 Add (or Update) this plug-in to Snapshot 175 AFL 129 All (snapshots) 191 AND (Event List) 219 Assignable Pro Tools I/O 261 attack compressor/limiter 143 expander/gate 144 automation and Channel Safe 195 see Snapshots Automation Safe 65 auto-save and History 186 Aux configuring busses and Groups 88 Aux monitoring options AFL Follows Auxes 130 Aux Sends snapshot as monitor, or as
D Date & Time Check 293 dBVU, dBu, dBFS 176 Default 39 delay compensation 95 input channel built-in 103, 112 mains (house) 94, 103, 112 Monitor bus 134 delay (Event List Wait) 222 Delay Compensation 61 Delete (snapshots) 189 Devices page 66 Digital/Analog EQ 152 Direct Outs routing to plug-ins 172 Disable snapshots 189 divergence 61, 94 Dly (channel Delay in snapshots) 212 DSP plug-ins 176 Duplicate 189 Dynamics ranges of controls 150 dynamics and plug-ins 145 Dynamics Graph 146 presets for built-in 147 res
H L hard knee 143 hardware display of unavailable 122 headphones level 134 hexadecimal 207 high-pass filter 151 History 186 house (Mains) mute 94 volume 93 HPF 80 Latch (Event action behavior) 221 levels plug-ins 176 linked Matrixes 114 linking screen and console 40 listen wedge 133 Live Sound Production Toolkit 257 locking snapshots 199 logic (GPI) 301 I I/O unavailable 122 iLok 164 USB ports 165 In/Out EQ 152 Input Direct mode 83, 146, 157 Input mode 263 Input Safe Switches changing modes via an Event
Multi-Assign 46 Multi-Select 46 Mute channels, Mute Groups and VCAs 139 Groups 137 input channels 80 outputs 137 N naming channels 72 navigating 43 near-field levels 134 Network ports E3 engine 22 S3 control surfaces 21 Sig and Act LEDs 277 Stage 16 24 New 189 None (snapshots) 191 Notes (snapshots) 192 O offset Right Offset 78 OK and Cancel switches 33 On (Recall Safe) 194 One or More Units have Failed 293 operating modes 17 Options 57 Busses 60 Devices 66 Interaction 64 Misc 63 Pickoffs 61 Plug-Ins 162 S
Pro Tools assignable I/O 261 connecting 258 Input mode 263 installing 257 Live Sound Production Toolkit 257 using events to control Pro Tools 268 Virtual Soundcheck 259 Propagate mode 202 Pulse and Duration (GPI) 221 Push-Pin (plug-in view) 167 Q Q 152 Quit 16 R rack slots 166 racks 295 racks (plug-ins) 166 ratio compressor/limiter 143 Recall 189, 193 Next 188 Previous 188 Recall Safe and MIDI 194 and plug-ins 194 and Preview mode 204 CHANNEL SAFE 196 Matrix and PQ 197 turning on and off 194 using 196 red
keyboard shortcuts 188 List 188 list of data types and parameters 197, 212 locking and unlocking 199 managing (storing, clearing, deleting, moving, duplicating) 198 MIDI and plug-ins in Preview mode 203 naming and renaming 192 New 189 None 191 notes 192 overview 187 plug-in menu 175 plug-in scope indication 168 Preview (editing and previewing snapshots) 202 Propagate mode (updating snapshot parameters) 202 Recall 189 recalling 193 safe filter (Recall Safe) 196 Scope Sets 197 selecting 189 Store 189 target 1
W Wait (Event List) 222 Warning Dialogs 293 While Active (Event action behavior) 221 Width 79 width (when pasting) 48 Word Clock I/O 22 X X-fade (crossfade) 210 XOR (Event List) 219 Y yellow (snapshot) 188 Index 325
Avid Technical Support (USA) Product Information 2001 Junipero Serra Boulevard Daly City, CA 94014-3886 USA Visit the Online Support Center at www.avid.com/support For company and product information, visit us on the web at www.avid.
