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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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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Second hand audio gear. | Second hand lighting.
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