Avid Venue D-Show System
VENUE is a modular system that can be custom-configured for a range of live sound applications. Its basic components include the D-Show mixing console, FOH (front-of-house) Rack (which houses the system?s mix engine), Stage Rack (with recallable, remote-controlled preamps), and multi-channel digital snake.
The system?s highly expandable architecture allows up to 96 mic inputs, 16 stereo effects returns, 27 buses, eight mono matrices, and eight stereo matrices, all of which provide a new level of flexible signal distribution. Stereo matrices can be treated as a monitor submixer and controlled remotely by the artist using the optional Digidesign? Personal Q (PQ) monitoring system. The powerful mix engine provides EQ and dynamics processing on every input channel, along with 24 assignable graphic EQs and built-in support for TDM plug-ins.
All mixing surfaces and racks offer dual-redundant power supplies and are purpose-built to measure up to the highest reliability standards in the industry. VENUE also offers direct hardware and software integration with industry-standard Pro Tools digital audio workstations via a simple digital connection, without the need for any audio interfaces.
Expandable Form Factor
For large-scale productions (and to minimize the need for banking during operation), you can expand the D-Show console?s input fader count to accommodate up to 56 faders with additional 16-fader D-Show Sidecars; the D-Show Main unit can support up to three Sidecars (it ships standard with one detached Sidecar). You can attach the Sidecars to either side of the Main unit to function as one extended control surface, or physically place the detached Sidecars anywhere at the mixing position for the ultimate in setup flexibility.
One Software Platform?Total File Portability
All VENUE components operate under one common software platform?VENUE software, the industry?s easiest yet most comprehensive control software. VENUE software sets new standards in operational efficiency and workflow, giving you instant access to and full control over any function of the system. Just a simple button push on the control surface or click from the screen gives you access to inputs, outputs, show files, snapshots, patchbays, plug-ins, and more. And because all VENUE systems share this same software platform, you can create and load show files for use on any VENUE system; no need to learn new software or build new show files if you switch VENUE consoles or re-scale your system.
Full Hardware Compatibility
The D-Show console is fully compatible with all existing VENUE hardware I/O components, including FOH Rack, Stage Rack, and Mix Rack, allowing you to scale your system and interchange components as needed with ease. Sound reinforcement rental companies needn?t fear product obsolescence as demand grows; simply add additional D-Show Sidecars or even the smaller VENUE Profile console to your current arsenal of VENUE hardware, and easily scale the mixing surface to meet client needs without changing existing workflows.
Unique Yet Familiar Features
D-Show offers the ultimate in tactile control. With two assignable encoders per channel, you can control parameters discretely and simultaneously, such as when adjusting the level and pan for stereo auxes. Or get instant access to pre-amp gain and dynamics thresholds on a per-channel basis, along with many other common controls. The console?s intuitive and easy to learn channel strip layout makes the transition from analog to digital workflows a breeze, with many familiar switches and controls at your fingertips.
D-Show System Features
Whether you`re mixing in an arena, club, theater, or house of worship, the D-Show System enables you to deliver the amazing sound clarity artists need to perform at their best, with the utmost reliability.
Amazing Sound Clarity Achieve studio-quality sound, with optimal clarity and smoothness, in live sound environments thanks to studio-grade mic preamps, pristine digital audio conversion, and high-quality processing.
Rock-Solid Reliability The live environment is unpredictable. That?s why all Avid live sound systems are built to withstand the rigors of the road and designed to circumvent potential hazards for total peace of mind.
Complete Ease of Use From a scalable console that offers familiar functionality, to easy-to-use VENUE software, which gives you full control of the system, you gain great efficiency so you can spend more time focusing on your mix.
Flexibility for Your Needs Whether you need more power, I/O, or faders, or want to integrate personal monitoring and/or Pro Tools recording, there?s an option to meet your needs.
The Sound of the Studio, Live With all Avid live sound systems, recording artists can experience the same sound that inspired them in the studio on stage, thanks to direct Pro Tools plug-in support.
Direct Connection to Pro Tools Get the most streamlined, economical approach to integrating Pro Tools recording and playback into your live environment with an option card?no additional interfaces required.
Save Time with Virtual Soundcheck Fine-tune mixes based on previous live recordings. With Pro Tools and Virtual Soundcheck, you can EQ the room, set up snapshots, and more?without the band.
Easy System Transition Because all Avid live sound systems operate on the same VENUE software platform, you only need to learn the software once to mix on any other VENUE-based system.
Total Show File Portability Never rebuild show files or chart settings again when you change systems. With VENUE software, you can copy show files to a USB key for use on any Avid live sound system.
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Used AVID
Avid Technology is an American technology and multimedia company founded in August 1987 by Bill Warner, based in Burlington, Massachusetts. It specialises in audio and video; specifically, digital non-linear editing (NLE) systems, video editing software, audio editing software, music notation software, management and distribution services.
Avid products are now used in the television and video industry to create television shows, feature films, and commercials. Media Composer, a professional non-linear editing system, is Avid`s flagship product.Avid was founded by Bill Warner—a marketing manager from Apollo Computer. A prototype of their first non-linear editing system—the Avid Media Composer—was shown at the National Association of Broadcasters (NAB) convention in April 1988. The Avid was based on an Apple Macintosh II computer, with special hardware and software of Avid`s own design installed. The Avid was "the biggest shake-up in editing since Melies played with time and sequences in the early 1900s".By the early 1990s, Avid products began to replace such tools as the Moviola, Steenbeck, and KEM flatbed editors, allowing editors to handle their film creations with greater ease. The first feature film edited using the Avid was Let`s Kill All the Lawyers in 1992, directed by Ron Senkowski. The film was edited at 30fps NTSC rate, then used Avid MediaMatch to generate a negative cutlist from the EDL.The first feature film edited natively at 24fps with what was to become the Avid Film Composer was Emerson Park. The first studio film to be edited at 24fps was Lost in Yonkers, directed by Martha Coolidge. By 1994 only three feature films used the new digital editing system. By 1995 dozens had switched to Avid, and it signaled the beginning of the end of cutting celluloid. In 1996 Walter Murch accepted the Academy Award for editing The English Patient (which also won best picture), which he cut on the Avid. This was the first Editing Oscar awarded to a digitally edited film (although the final print was still created with traditional negative cutting).
In 1994 Avid introduced Open Media Framework (OMF) as an open standard file format for sharing media and related metadata. In recent years the company has extended its business expertise through several acquisitions and internal investments towards the full palette of multimedia generation products including those to store and manage media files. In 2006 Avid launched new products such as Avid Interplay and Unity Isis. Avid used to be considered just a "video editing" company, but now has consolidated a well-rounded multimedia generation technology company.
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Efficiency Rating: Level of sound output measured at a prescribed distance with a standard input power. Efficiency rating standard is 1 watt (2.83V at 8 ohms) at 1 meter over a specified frequency range and is measured in decibels.
Equalization: Loosely, any type of relative frequency adjustment. Specifically, the process of changing the frequency balance of an electrical signal to alter the acoustical output.
Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both.
Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.
Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it’s in phase with the input and negative when it's out of phase.
FM: Frequency Modulated.
Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details.
Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level.
Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.
Gain: Increase in level or amplitude.
Gooseneck: This refers to a microphone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.
Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies lowering sliders cuts (attenuates) the affected frequencies.
HDCP: High-Bandwidth Digital Content Protection. Created by Intel, HDCP is used with HDTV signals over DVI and HDMI connections and on D-Theater D-VHS recordings to prevent unauthorized duplication of copyright material.
HDR: Hard-Drive Recorder. Device that uses a computer hard drive to store compressed digital audio and video signals.
High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.
Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.
Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.
Integrated Amplifier: A combination preamp and amplifier.
Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.
KHz: Kilohertz or one thousand Hz.
Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.
Line Array: A group of speakers that have been arrayed or ” built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.
Line-Level (Low-Level): A level of electrical signals too low to make the average speaker move sufficiently. Amplifiers receive line-level signals and amplify them to speaker level.
lockout: The final words of a segment used to signify the production’s conclusion.
Low Pass: A filter that lets low frequencies go through but doesn’t let high frequencies go through. Same as high cut.
MHz: Megahertz, or 1 million Hz.
Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies.
Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range.
Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.
MLP: Meridian Lossless Packing. Encoding format that is able to completely reconstruct the original signal at the receiving end. No information is lost or discarded, regardless of how trivial it might be. Used to encode six channels of high-resolution audio on DVD-A.
Mono: Monophonic sound. One channel.
MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers.
Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.
Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.
Nonlinear Editing: Digital audio systems that allow for clips to be extracted without affecting the master recording.
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