AVID VENUE S6L-32D-192 Package Used, Second hand

1pc S6L 32D Control Surface in flightcase
1pc E6L-192 Engine, in flightcase
1pc Stage 64 Rack (64x16) in flightcase
!!The Console Flightcase holds the external touch screen and has arms for the touchscreen and a laptop either side!!
!!The system is set up for either Cat 6 or Fibre with patch panels for both and 6x SFP ports but there is no multicore with the package!!

Photos on request.

More details

1.06.485
Used

58,990.00 €

58,990.00 € per Set

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About this product

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.

Manufacturer Description

Active: Powered. An active crossover is electrically powered and divides the line-level signal prior to amplification. An active speaker includes an active crossover and built-in amplifier. Amplifier: A component that increases the gain or level of an audio signal.Balanced Input: A connection with three conductors: two identical signal conductors that are 180 degrees out of phase with each other, and one ground. This type of connection is very resistant to line noise. Bandpass: A two-part filter that cuts both higher and lower frequencies around a center band. A bandpass enclosure cuts high frequencies by acoustic cancellation and low frequencies by natural physical limitations on bass response. Bandwidth: In audio, the range of frequencies a device operates within. In video, the range of frequencies passed from the input to the output. Bandwidth can also refer to the transmission capacity of an electronic communications device or system; the speed of data transfer…very important when planning a meeting for the attendees to stay connected. Bass: Low frequencies; those below approximately 200 Hz. CD: Compact Disc. Ubiquitous digital audio format. Uses 16-bit/44.1-kHz sampling rate PCM digital signal to encode roughly 74 or 80 minutes of two- channel, full-range audio onto a 5-inch disc. Channel: In components and systems, a channel is a separate signal path. A four-channel amplifier has at least four separate inputs and four separate outputs.Crossover: A component that divides an audio signal into two or more ranges by frequency, sending, for example, low frequencies to one output and high frequencies to another. An active crossover is powered and divides the line-level audio signal prior to amplification. A passive crossover uses no external power supply and may be used either at line level or, more commonly, at speaker level to divide the signal after amplification and send the low frequencies to the woofer and the high frequencies to the tweeter. Crossover Frequency: The frequency at which an audio signal is divided. 80 Hz is a typical subwoofer crossover point and is the recommended crossover point in theatrical and home THX systems. Frequencies below 80 Hz are sent to the subwoofer; signals above 80 Hz are sent to the main speakers.Decibel (dB): A logarithmic measurement unit that describes a sound's relative loudness, though it can also be used to describe the relative difference between two power levels. A decibel is one tenth of a Bel. In sound, decibels generally measure a scale from 0 (the threshold of hearing) to 120-140 dB (the threshold of pain). A 3dB difference equates to a doubling of power. A 10dB difference is required to double the subjective volume. A 1dB difference over a broad frequency range is noticeable to most people, while a 0.2dB difference can affect the subjective impression of a sound.Delay: The time difference between a sonic event and its perception at the listening position (sound traveling through space is delayed according to the distance it travels). People perceive spaciousness by the delay between the arrival of direct and reflected sound (larger spaces cause longer delays).Diaphragm: The part of a dynamic loudspeaker attached to the voice coil that produces sound. It usually has the shape of a cone or dome.Diffusion: In audio, the scattering of sound waves, reducing the sense of localization. In video, the scattering of light waves, reducing hot spotting, as in a diffusion screen.Digital Audio Server: Essentially a hard drive, a digital audio server stores compressed audio files (like MP3 or WMA). Most include the processing to make the files, and all have the ability to play them back.Dispersion: The spread of sound over a wide area.Distortion: Any undesired change in an audio signal between input and the output.Dolby B: A noise-reduction system that increases the level of high frequencies during recording and decreases them during playback.Dolby C: An improvement on Dolby B that provides about twice as much noise reduction.Dolby Digital: An encoding system that digitally compresses up to 5.1 discrete channels of audio (left front, center, right front, left surround, right surround, and LFE) into a single bitstream, which can be recorded onto a DVD, HDTV broadcast, or other form of digital media. When RF-modulated, it was included on some laser discs, which requires an RF-demodulator before the signal can be decoded. Five channels are full-range; the .1 channel is a band-limited LFE track. A Dolby Digital processor (found in most new receivers, preamps, and some DVD players) can decode this signal back into the 5.1 separate channels. Most films since 1992's Batman Returns have been recorded in a 5.1 digital format, though a number of films before that had 6-channel analog tracks that have been remastered into 5.1.Dolby EX: An enhancement to Dolby Digital that adds a surround back channel to 5.1 soundtracks. The sixth channel is matrixed from the left and right surround channels. Often referred to as 6.1. Sometimes referred to as 7.1 if the system uses two surround back speakers, even though both speakers reproduce the same signal. Software is backwards-compatible with 5.1 systems, but requires an EX or 6.1 processor to obtain additional benefit.Dolby Pro Logic: An enhancement of the Dolby Surround decoding process. Pro Logic decoders derive left, center, right, and a mono surround channel from two-channel Dolby Surround encoded material via matrix techniques. Dolby Pro Logic II: An enhanced version of Pro Logic. Adds improved decoding for two-channel, non-encoded soundtracks and music. Driver: A speaker without an enclosure; also refers to the active element of a speaker system that creates compressions and rarefactions in the air.DSP: Digital Signal Processing. Manipulating an audio signal digitally to create various possible effects at the output. Often refers to artificially generated surround effects derived from and applied to two-channel sources.DTS: Digital Theater Systems. A digital sound recording format, originally developed for theatrical film soundtracks, starting with Jurassic Park. Records 5.1 discrete channels of audio onto a handful of laser discs, CDs, and DVDs. Requires a player with DTS output connected to a DTS processor.DTS ES: An enhanced version of the 5.1 DTS system. Like Dolby's Surround EX, a sixth channel is added. In some cases (DTS ES Discrete), the sixth channel is discrete. Software is backwards-compatible with 5.1 systems, but requires an ES or 6.1 processor to obtain additional benefit. Neo: 6 is a subset of DTS ES that creates 6.1 from material with fewer original channels.Dynamic Range: The difference between the lowest and the highest levels; in audio, it's often expressed in decibels. In video, it's listed as the contrast ratio.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. 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 amicrophone 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.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.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.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.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.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.surround processor portion of the receiver and the input of the amplifier portion of the receiver.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.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. 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 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. 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.

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