VENUE S3L
The power of Avid VENUE?everywhere
Go from stage to studio and beyond. With Avid VENUE | S3L-X, you get the incredible sound clarity, power, and efficiency of VENUE in an ultra compact system. But that?s not all. Archive shows directly to Pro Tools. Streamline FOH, monitor, and broadcast workflows by sharing the same I/O across multiple networked systems. You can even set up a mobile recording/mixing studio using just the control surface and Pro Tools on your laptop, making S3L-X the most versatile system in live sound. And with the latest VENUE software, you gain new touchscreen workflows for faster navigation, plus support for the new VENUE | On-Stage iOS app for remote monitor mix control.
Control mixes with a touch?just added
With Avid VENUE 4.6 software, you gain a whole new level of touchscreen capabilities to navigate mixes and get to what you need faster?similar to the touch-based workflows in VENUE | S6L. Tap parameters on your display to target and assign them instantly to your S3 Channel Control encoders for easy access. Adjust faders and other settings directly on the touchscreen. Plus, the latest software also includes numerous system optimizations and improvements, so you experience even greater performance than ever before.
Mix monitors on your iPhone or iPad?just added
Wish you could step away from your console and fine-tune individual monitor mixes on stage? You can with the new VENUE | On-Stage iOS app, which enables you to control Aux master levels, Aux send levels, and Aux pans remotely through its VENUE-style interface. You can even let performers control their own monitor mixes using their own mobile devices. Best of all, it`s a free download from the Apple App Store.
Mix anything, anywhere
It may be small, but it?s mighty. From major festivals to clubs with the tiniest FOH spaces, the compact Avid VENUE S3L-X can handle even the most demanding live productions. Experience exceptional performance when handling plug-in-heavy mixes. Mix and record live shows with the utmost efficiency. And easily scale your system to accommodate any size production.
Achieve incredible sound?live
VENUE systems are respected for their sound quality. The clarity. The warmth. S3L-X is no different, offering professional-grade I/O, transparent preamps, and EQ and dynamics on all outputs. And with direct support for the same plug-ins used in top recording studios, you can easily re-create an artist?s signature studio sound live. And eliminate expensive outboard gear and cumbersome external plug-in ?servers.?
Set up a mobile studio
You archive every live show. But what happens to the recordings? With S3L-X, you can use the S3 as a standalone control surface with your laptop to remix shows to share with fans or for future commercial release. Not just Pro Tools sessions, but projects created in Logic, Cubase, and other DAWs too. What?s more, you even record overdubs and more through the S3?s built-in 4x6 audio interface.
Reduce complexity and cost
Forget fussing with bulky analog splits. With S3L-X, you can share the same I/O across multiple networked systems?without any loss of audio quality. This alone can save you thousands by reducing I/O and cable requirements, set-up time, and transportation costs. Plus, True Gain technology automatically manages gain compensation to ensure the proper signal levels in each engineer?s mix.
Scale up without being weighed down
With S3L-X, you can easily scale the system to meet your needs. Go from 16 mic pres with one Stage 16 box up to 64 with four. Rack your I/O in one location for easy supervision, or place each box closer to sources throughout the venue?up to 328 feet (100 meters) away. And with Ethernet AVB connectivity, all you need are lightweight, inexpensive Cat5e cables, putting an end to expensive, bulky analog snakes.
Get quick ?n? easy USB drive recording
Don?t need a full Pro Tools multitrack session? Get 2-track recording and playback by connecting a USB Flash drive to the E3 engine. Archive stereo recordings of your board mix. Organize playlists in VENUE software to play pre-show or walk-up music. You can even integrate audio files with VENUE snapshots and events to trigger spot effects, cues, and music beds for theater performances.
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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.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
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