VENUE S6L
A Revolution in Live Sound
Ready to take on any type of live production, Avid?s VENUE S6L puts one of the world`s most powerful live mixing systems directly under your command. Sporting a robust E6L-192 engine and Avid`s battle-tested VENUE software, the S6L provides you with the processing power to support system scalability, seamless Pro Tools integration, and onboard plug-ins, all with channel counts into the hundreds. That processing power culminates in a sleek, rugged 32-fader control surface that utilizes four multi-touchscreens and a customizable workflow to deliver a totally modern live-mixing experience. And since you can configure your system using a choice of industry-standard networking and I/O components (sold separately), you can easily integrate the VENUE | S6L into an existing PA system or employ it as the foundation of a new system tailored to meet the demands of any mixing scenario.
S6L control surface provides extensive mix control
Sporting four multi-touchscreens, four banks of eight faders, and three banks of 32 knobs, the VENUE | S6L control surface gives you the extensive mix control that modern live sound mixing demands. The Master multi-touchscreen gives you access to the Universe and other pages for main output processing, mix and matrix routing, and many other parameters. A trio of Channel Touch modules provide you with Meters view, various Channel views, and Parameter view. The Master Live central module gives you all the functions you need in a mixer`s master section ? fader banking, monitoring, recallable fader layouts, user-assignable flex-faders, and more, including a dedicated transport section for easy recording control. Each Channel Fader module gives you eight faders with channel and dynamics meters, and channel name displays with easy-to-see high-resolution OLEDs. You`ll also have all necessary channel controls at your fingertips including mute, solo, and safe functions. For total control of your sound, the Channel Knob modules provide 32 touch-sensitive, tri-color encoders for parameter control, individual OLED displays, a switch that allows selection of each knob individually and one that lets you insert or remove a knob`s specific parameter from your signal path.
- Master multi-touchscreen
- Master Live central module
- 3 Channel Touch modules
- 4 Channel Fader modules with eight faders each (total of 32)
- 3 Channel Knob modules with 32 knobs each (total of 96)
E6L-192 mix engine is a processing powerhouse
Whether onstage or in a broadcast studio, live productions are more complex than ever, requiring truckloads of processing power to get the job done. The VENUE S6L`s 192 channel-capable E6L-192 mix engine is up to the task and provides plenty of juice to spare. The E6L-192`s state-of-the-art real-time processing engine handles all routing, channel, and mixing functions for maximum stability and power. And the HDX-powered DSP engine manages all AAX plug-in processing, with full automatic delay compensation. This allows you to create massive, great-sounding mixes with a plethora of processing channels and mix busses, all while experiencing tight, robust plug-in performance. And because all of the processing happens inside of the E6L-192, there are no round trips to external servers. This ensures amazingly low latency.
- Real-time processing engine handles mixing functions
- DSP engine manages AAX plug-in processing
- Full automatic delay compensation
- Amazingly low latency
More than your average stagebox
An integral part of the VENUE S6L, the Stage 64 rack goes beyond a mere stagebox. Offering more than just inputs and outputs, the Stage 64 has the tools and flexibility that professional engineers require to accomplish today`s productions. The demands for more channels, better sound, and built-in recording capabilities abound in today`s entertainment venues, houses of worship, broadcast productions, and professional AV environments. Avid`s VENUE | S6L is the system that will move you away from a pieced-together system that barely works, and towards one that will serve as a solid foundation for growing productions and advancing technologies. The Stage 64 rack serves this goal with 64 microphone preamps that deliver great sound, clarity, warmth, and presence, along with 32 outputs for monitor mixes, aux-fed subs, and zone mixing, giving you the output flexibility to send audio virtually anywhere you desire.
- 64 great-sounding microphone preamps
- 32 ultra-flexible outputs
- Send audio virtually anywhere you need
Mix, match, and expand your system
With its ultra-scalable modular system architecture, the VENUE | S6L lets you mix and match your choice of control surfaces, engines, and I/O to support virtually any live sound application. You get 12 I/O card slots, two Ethernet AVB ports, and dual MADI outputs, giving you a direct split of all 64 inputs for a separate monitor mixer. You can add up to four HDX DSP expansion cards for more plug-in processing power, a Thunderbolt card to capitalize on the speed and high channel count of Thunderbolt connectivity, or a Dante card for compatibility with a multitude of sound reinforcement devices. You can connect several Stage 64 racks together for hundreds of I/O channels, or you can use its card slots to add a combination of analog and digital I/O, networked audio operations, or direct integration of your Aviom personal monitor system.
- Mix and match your choice of components
- 12 I/O card slots
- 2 Ethernet AVB ports
- 2 MADI outputs
- Add up to 4 HDX DSP cards
- Interface with Dante or Thunderbolt devices
- Connect additional Stage 64 racks for more I/O
Harness the power of VENUE live production software
The brain behind all of E6L`s processing muscle is the VENUE live production software. If you`re new to mixing with VENUE, you`ll find that its straightforward tabbed-page architecture lets you navigate quickly and easily through the pages essential for routing and mixing. If you`re already familiar with VENUE software, there`s virtually no learning curve with the S6L system thanks to Avid`s dedication to making your mix experience as uncomplicated as possible. And with increased-visibility updates to the interface, it`s just as easy to mix an outdoor music festival in the full sun as it is inside a darkened theater. On top of that, VENUE software offers seamless integration with Pro Tools, providing you with incredibly powerful live recording capabilities. In fact, VENUE software automatically creates a Pro Tools session from your current VENUE show file, complete with all track names and patching, giving you simultaneous control over your live mixing and recording rigs.
- Straightforward tabbed-page architecture
- Navigate pages quickly and easily
- Highly visible, easy-to-see interface
- Seamless integration with Pro Tools for live recording
A wealth of plug-in processing power
When you mix on a VENUE S6L system, you have access to the same effects plug-ins that are used in the world`s top recording studios. And you can use lots of them! Thanks to the S6L`s HDX-powered DSPs, you`ve got enough processing power to polish and fine-tune each and every channel of your mix to perfection. Compatible with both Avid and third-party 64-bit AAX DSP plug-ins, the S6L ensures that you have an amazingly vast number of choices for effects and sound processing.
- HDX-powered effects processing
- Compatible with all AAX DSP plug-ins
- Fine-tune each and every channel to perfection
Massive mix bus capacity for powerful monitoring
Thanks to its massive mix bus capacity, the VENUE S6L system is able to handle dozens of stereo in-ear monitor mixes, wedge mixes, and backline mixes without breaking a sweat, all while providing immediate one-touch access to any mix on its faders. You get two independent stereo solo buses that are assignable to any physical output, so you can easily connect it to a cue belt pack and/or listen wedge. You also get two built-in headphone jacks on the S6L control surface.
- Handles dozens of stereo monitor mixes
- 1-touch access to any mix
- 2 independent stereo solo buses
- 2 built-in headphone jacks
Powerful features and steadfast reliability
You`ll find Avid`s VENUE systems powering the biggest tours, festivals, and installations in the world, thanks to their powerful features and steadfast reliability. The VENUES6L is no exception. These robust systems are built to take whatever you throw at them, and then some. You get redundant power supplies and network configurations in every component, so you never have to worry about downtime. Having professional production capabilities at your fingertips is more important than ever, so call your Sweetwater Sales Engineer to design the Avid VENUE S6L live mixing system that`s right for you.
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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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Octave: The difference between two frequencies where one is twice the other. For example, 200 Hz is an octave higher than 100 Hz. 400 Hz is one octave higher than 200 Hz.
Optical Digital Cable: Fiber optic cable that transfers digital audio signals as light pulses.
Outcue/Outq/Out-Point: These words all refer to the final few seconds of audio signifying the conclusion of the production.
Package: A completed and fully edited audio piece.
Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.
Phase: Time relationship between signals; it’s all relative.
Power Output: A measure, usually in watts, of how much energy is modulated by a component.
Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.
Pre Outs: Connectors that provide a line-level output of the internal preamp or surround processor.
Pre Outs/Main Ins: Connectors on a receiver that provide an interruptible signal loop between the output of the internal preamp or surround processor portion of the receiver and the input of the amplifier portion of the receiver.
Pre/Pro: A combination preamp and surround processor.
Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.
Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.
Q-and-A: Question and answer session.
Receiver: Any component that receives, or tunes, broadcast signals, be it NTSC, HDTV, DBS, or AM/FM radio. Typically refers to the single component that includes a preamp, surround processor, multichannel amplifier, and AM/FM tuner.
Reverberation: The reflections of sound within a closed space.
RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television’s tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal.
RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square’s set of values. A reasonably accurate method of describing an amplifier`s power output.
SACD: Super Audio CD. Enhanced audio format with up to six channels of high-resolution audio encoded using DSD. Requires an SACD player. Multichannel also requires a controller with six-channel analog or proprietary digital inputs for full playback.
Sampling Frequency: How often a digital sample is taken of an analog wave. The more samples taken, the more accurate the recording will be. You need to sample at a minimum of twice the highest frequency you want to capture. For example, the 44.1-kilohertz sampling rate of a CD cannot record sounds higher than 22.05 kilohertz.
Scener: A radio report in which the announcer is recorded at the same time and place as the background sound of an event.
Sensitivity: A measurement (in dB) of the sound-pressure level over a specified frequency range created by a speaker driven by 1 watt (2.83V at 8 ohms) of power with a microphone placed 1 meter away.
Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better.
Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language.
Sound Bite: A portion of audio of someone speaking.
Sound field: The total acoustical characteristics of a space, such as ambience number, timing, and relative level of reflections; ratio of direct to reflected sound RT-60 time etc.
Soundstage: The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.
Speaker: A component that converts electrical energy into acoustical energy.
SPL: Sound-Pressure Level. Measured in dB.
Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.
THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman’s eXperiment, after the engineer who drafted the original standard, or is named after the company’s founder George Lucas first movie, THX 1138. Nobody agrees on which.
THX select: Certification program for speakers and receivers that assures a base level of quality and performance when played in a room that’s between 2,000 and 3,000 cubic feet.
User-Generated Content (UGC): Text, photos, video or audio supplied by the customers of a company.
Voicer: A radio report without background audio taken from a scene or otherwise.
Wrap: A radio report containing both the reporter and an actuality.
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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