Avid Technology S3L, S3, E3 System Manual

PN 9329-65306-00 REV A 8/13

S3L System Guide

and VENUE Software 4.1

Legal Notices

003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline, AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive, ArchiveII, Assi stant Station, Audiotabs, AudioStation, AutoLoop, AutoSync, Avid, AvidActive, AvidAdvanced Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS Assist Station, Avid Ignite, Avid Liquid, Avid Media Engine, Avid Media Processor, Avid MEDIArray, Avid Mojo, Avid Remote Response, Avid Unity, Avid Unity ISIS, Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX, BeatDetect ive, Beauty Without The Bandwidth, Beyond Reality, BF Essentials, Bomb Factory, Bruno, C|24, CaptureManager, ChromaCurve, ChromaWheel, Cineractive Engine, Cineractive Player, Cineractive Viewer, Color Conductor, Command|8, Control|24, Cosmonaut Voice, CountDown, d2, d3, DAE, D-Command, D-Control, Deko, DekoCast, D-Fi, D-fx, Digi 002, Digi 003, DigiBase, Digidesign, Digidesign Audio Engine, Digidesign Development Partners, Digidesign Intelligent Noise Reduction, DigidesignTDM Bus, DigiLink, DigiMeter, DigiPanner, DigiProNet, DigiRack, DigiSerial, DigiSnake, DigiSystem, Digital Choreography, Digital Nonlinear Accelerator, DigiTest, DigiTranslator, DigiWear, DINR, DNxchange, Do More, DPP-1, D-Show, DSP Manager, DS-StorageCalc, DV Toolkit, DVD Complete, D-Verb, Eleven, EM, Euphonix, EUCON, EveryPhase, Expander, ExpertRender, Fairchild, FastBreak, Fast Track, Film Cutter, FilmScribe, FlexEvent, FluidMotion, Frame Chase, FXDeko, HD Core, HD Process, HDpack, Home-to-Hollywood, HyperSPACE, HyperSPACE HDCAM, iKnowledge, Impact, Improv, iNEWS, iNEWS Assign, iNEWS ControlAir, InGame, Instantwrite, Instinct, Intelligent Content Management, Intelligent Digital Actor Technology, IntelliRender, Intelli-Sat, Intelli-Sat Broadcasting Recording Manager, InterFX, Interplay, inTONE, Intraframe, iS Expander, iS9, iS18, iS23, iS36, ISIS, IsoSync, LaunchPad, LeaderPlus, LFX, Lightning, Link & Sync, ListSync, LKT-200, Lo-Fi, MachineControl, Magic Mask, Make Anything Hollywood, make manage move|media, Marquee, MassivePack, MassivePack Pro, Maxim, Mbox, Media Composer, MediaFlow, MediaLog, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MIDI I/O, Mix Rack, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, NewsVision, Nitris, NL3D, NLP, NSDOS, NSWIN, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Painterly Effects, Palladium, Personal Q, PET, Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profi ler, Pro Tools, Pro Tools|HD, Pro Tools LE, Pro Tools M-Powered, Pro Transfer, QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi, Scorch, ScriptSync, SecureProductionEnvironment, Shape-to-Shape, ShuttleCase, Sibelius, SimulPlay, SimulRecord, Slightly Rude Compressor, Smack!, Soft SampleCell, Soft-Clip Limiter, SoundReplacer, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, SubCap, Sundance, Sundance Digital, SurroundScope, Symphony, SYNCHD, SYNC I/O, Synchronic, SynchroScope, Syntax, TDM FlexCable, TechFlix, Tel-Ray, Thunder, TimeLiner, Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, tools for storytellers, Transit, TransJammer, Trillium Lane Labs, TruTouch, UnityRAID, Vari-Fi, Video the Web Way, VideoRAID, VideoSPACE, VTEM, Work-N-Play, Xdeck, X-Form, and XMON are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

Bonjour, the Bonjour logo, and the Bonjour symbol are trademarks of Apple Computer, Inc.

Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries.

JetPLL, JET and Jitter Elimination Technology are trademarks of TC Applied Technologies, a division of TC Group Americas Inc. Th e JetPLL technology is used under sublicense from TC Applied Technologies, and is the intellectual property of Sonopsis Ltd. The JetPLL technology is protected by one or more U.S. and non-U.S. patents, the details of which can be found at www.tctechnologies.tc/patents.

This product may be protected by one or more U.S. and non-U.S. patents. Details are available at www.avid.com/patents.

Product features, specifications, system requirements, and availability are subject to change without notice.

Guide Part Number 9329-65306-00 REVA 8/13

Safety Compliance

Safety Statement

This equipment has been tested to comply with USA and Canadian safety certification in accordance with the specifications of UL Standards: UL60065 7th /IEC 60065 7th and Canadian CAN/CSA C22.2 60065:03. Avid Inc., has been authorized to apply the appropriate NTRL mark on its compliant equipment.

Warning

Important Safety Instructions

1) Read these instruction s .

2) Keep these instructions.

3) Heed all warnings.

4) Follow all instructions.

5) Only perform the services explicitly described in the install and or user manual. For services or procedures not outlined in the install or user manual, speak with authorized service personnel.

6) Do not use this equipment near water.

7) Clean only with dry cloth.

8) Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

9) Do not install near any heat sources such as radiators, heat registers, stoves, or other equipment (including amplifiers) that produce heat.

10) Do not defeat the safety purpose of the polarized or g rounding- type plu g. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

11) Protect power cords from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the equipment.

12) Only use attachments/accessories specified by the manufacturer.

13) For products that are not rack-mountable: Use only with a cart, st and, tripod, bracket, or table specified by the manufacture r , or sold with the equipment. When a cart is used, use caution when moving the cart/equipment comb ination to avoid injury from tip-over.

14) Unplug this equipment during lightning storms or when unused for long periods of time.

15) Refer all servicing to qualified service personnel. Servicing is re quired when the equipment has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the equipment, the equipment has been exposed to rain or moisture, does not operate normally, or has been dropped.

16) For products that are a Mains powered device: The equipment shall not be exposed to dripping or splashing and no objects filled with liquids (such as vases) shall be placed on the equipment.

Warning! To reduce the risk of fire or electric shock, do not expose this equipment to rain or moisture.

17) For products containing a lithium battery: CAUTION! Danger of explosion if battery is incorrectl y replaced. Replace only with the same or equivalent type.

18) The power inlet is the main disconnect device and should remain accessible. Disconnect the power cord before servicing the unit.

19) The equipment shall be used at a maximum ambient temperature of 40° C.

Rack-Mount Safety Instructions

1) Elevated Operating Ambient - If installed in a closed or multi-unit rack assembly, the operating ambient temperature of the rack environment might be greater than room ambient. Therefore, consider installing the equipment in an environment compatible with the maximum ambient temperature (Tma) specified by the manufacturer.

2) Reduced Air Flow - Installation of the equipment in a rack should be such that the amount of air flow required for safe operation of the equipment is not compromised. Stage 48 airflow is from the front of the chassis enclosure to the rear. Make allowances for cooling air to be available to the front panel surface and no restrictions at the rear.

3) Mechanical Loading - Mounting of the equipment in the rack shoul d be su ch that ahazardous condition is not achieved due to uneven mechanical loading.

4) Circuit Overloading - Consideration should be given to the connection of the equipment to the supply circuit and the effect that overloading of the circuits might have on overcurrent protection and supply wiring. Appropriate consideration of equipment nameplate ratings should be used when addre ssing this concern.

5) Reliable Earthing - Reliable earthing of rack-mounted equipment should be maintained. Particular attention should be given to supply connections other than direct connections to the branch circuit (for exa mple, use of powe r str ips).

Contents

Part I Overview

Chapter 1. Introduction to the S3L System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

S3L System Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

What’s Included. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Additional Required Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Optional Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Operational Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Connection Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

System Requirements and Compatibility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Registration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Conventions Used in This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Chapter 2. Configuring and Connecting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Unpacking and Assembling System Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Connecting Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Connecting Peripherals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Connecting the S3L System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Powering Up the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Confirming and Configuring System Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Audio and Control Connections, Switches, and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Installing Additional Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Part II Description

Chapter 3. S3L System Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

S3 Control Surface Top Panel Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Channel Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Channel Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Software Screen Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter 4. Banking and Selecting Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Banking Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Selecting and Targeting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Screen Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Screen Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Type Text Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Contents v

Chapter 5. Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Using Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Assigning Functions to Channel Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

User Assignment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Availability of Channel Control Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Chapter 6. Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Busses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Pickoffs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Misc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Part III Signal Routing

Chapter 7. Inputs and Input Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Configuring Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Assigning Input Sources to Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Routing Input Channels to Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Routing Inputs to Direct Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Adjusting Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Using Built-In EQ and Dynamics on Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Using Plug-In Inserts on Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Using Input Direct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Input Channel Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Chapter 8. Outputs and Output Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Configuring Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Assigning Busses to Hardware Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Using Built-In Comp/Lim and EQ on Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Using Inserts on Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Adjusting On-Screen Output Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Adjusting the Mains. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Direct Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

VCAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Automation Safing Output Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Managing Bus Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Chapter 9. Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Configuring Group Busses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Routing Groups to Mains. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Adjusting Group Output Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Group Bus Signal Flow Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

S3L System Guidevi

Chapter 10. Auxes and Variable Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Configuring Aux and Variable Group Busses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Routing Auxes and Variable Groups to Outputs, EQs, Dynamics and Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Adjusting Aux and Variable Group Send Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Adjusting Aux/Variable Group Output Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Chapter 11. Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Configuring Matrix Mixers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Assigning Input Sources to Matrixes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Adjusting Matrix Mixer Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Adjusting Matrix Mixer Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Snapshot Data and Parameters for Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Chapter 12. Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Accessing the Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Overview of the Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Navigating the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Assigning Channels in the Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Warning when Stealing Inputs or Outputs in the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Patch List Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Chapter 13. Solo and Monitor Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Selecting a Solo Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Configuring Solo and Monitor Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Using Solo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Solo Safing Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Using the Monitor Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Adjusting Monitor/Headphone Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Oscillator, Talkback, and 2-Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Chapter 14. Muting and Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Muting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Using Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Part IV Processing

Chapter 15. Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Dynamics Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Built-In Comp/Lim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Built-In Exp/Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Adjusting Dynamics Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Input Direct Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

On-Screen Dynamics Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Dynamics Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Using the Sidechain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Channel Control Dynamics Parameter Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Control Ranges for Built-In Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Contents vii

Chapter 16. EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

EQ Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Built-In EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Adjusting EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Adjusting EQ Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Graphic EQ for Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Input Direct Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

EQ Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Control Ranges for Built-In 4-Band EQ (All Modes). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Chapter 17. Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Plug-Ins Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Installing and Authorizing Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Plug-in Version Checker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

USB Ports for iLoks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Plug-In Racks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Rack Slots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Routing Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Adjusting Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Bypassing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Plug-In Presets and Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Plug-In DSP Usage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Initializing the Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Plug-In Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Plug-In Latency and Processing Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Chapter 18. Hardware Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Connecting External Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Assigning Hardware Inserts to Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Activating and Bypassing Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Setting the Hardware Insert Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Part V Shows

Chapter 19. Shows and File Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Creating Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Loading a Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Working with Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Transferring Settings, Shows and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Undoing Changes Using the History Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Chapter 20. Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Snapshots Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Creating Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Recalling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Recall Safe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Automation Safe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Managing Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Making Changes to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

S3L System Guideviii

Preview Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Undoing Snapshot Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Disabling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Adding MIDI, Plug-In, and Media Data to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Snapshot Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Snapshot Data Types and Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Chapter 21. Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

The Events Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Creating Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Creating Triggers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Creating Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Testing Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Resetting Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Snapshots and Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Default Settings, Templates and Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Tap Tempo for Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Trigger Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Action Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Chapter 22. Synchronization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Automating Recall of Snapshots with MIDI Time Code. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Remote Control of Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Triggering of External Devices on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Sending MIDI Messages on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Synchronizing with Word Clock and Digital Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Chapter 23. Using the Standalone Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Differences Between Standalone Software and a VENUE System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Installing the Standalone Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Simulating a VENUE Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Transfer and Filing Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Exporting System Information and Patchbay Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Part VI Recording and Playback

Chapter 24. 2-Track USB Recording and Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

USB Flash Drive Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Media Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Transport. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Recording Audio to USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Playing Back Audio from USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Managing USB Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Using Snapshots to Trigger Transport Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Using Events to Trigger USB Transport Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Contents ix

Chapter 25. Pro Tools Recording and Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Pro Tools Recording and Playback Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Pro Tools Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

S3L and Pro Tools Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Installing Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Connecting to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Enabling Direct Digital Splits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Using Virtual Soundcheck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Using Pro Tools Assignable I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Using Input Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Enabling VENUE Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Using VENUE Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Part VII Specifications and Troubleshooting

Chapter 26. Mechanical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

S3 Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

E3 Engine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Stage 16. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Power and Status LED Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Network Port Snake Act and Sig LEDs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Chapter 27. Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

S3 Control Surface Audio Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

E3 Engine Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Stage 16 Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Chapter 28. S3L System Signal Flow Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Monitor Bus Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Input Signal Flow Diagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Output Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Chapter 29. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Problem Solving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Performing a Soft Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Hardware Monitoring Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Resetting Hardware Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Offline or Unavailable Devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Utility Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Resetting the Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Using the System Restore Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

S3L System Guidex

Part VIII Reference

Chapter 30. GPI Port Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

GPI Port Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

GPI Wiring Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Chapter 31. ECx Ethernet Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

ECx Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Required Components for ECx. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

ECx Host and Client Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Overview of ECx Setup and Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Connecting a Computer Directly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Connecting a Wireless Router or WAP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Setting IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Establishing a Wireless Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Enabling Remote Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Disconnecting ECx. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Changing the Ethernet Control Password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Appendix A. E3 Engine Secure USB Port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Appendix B. Compliance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Environmental Compliance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

EMC (Electromagnetic Compliance) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Contents xi

Part I: Overview

Chapter 1: Introduction to the S3L System

Power

INPUT

ANALOG

OUTPUT

ANALOG

OUTPUT

AES DIGITAL

INPUT

ANALOG

OUTPUT

ANALOG

NETWORK

1234 5678

Welcome to the S3L digital live mixing syst em fr o m Avid®. The S3L system includes the S3 control surface, the E3 engine, and up to four Stage 16 remote I/O boxes, providing a compact, modular, scalable, and high-fidelity live mixing solution using ultra-reliable and low-latency Ethernet AVB audio network connections.

The S3L system uses the same intuitive and powerful VENUE software used by all other systems in the Avid live systems family, pro-

viding Show file portability between Avid live systems, direct Pro Tools

connectivity and interoperability, and support for

Pro Tools-compatible plug-ins.

S3L system components: S3 control surface (top), E3 engine (middle) and Stage 16 remote stage I/O box (bottom)

Chapter 1: Introduction to the S3L System 1

S3L System Features

S3L System Processing

The S3L system provides the following processing features and capabilities:

• 64 input processing channels, each with built-in High-Pass Filter, Dynamics and EQ processors

• 35 output processing channels, each with a built-in Compressor/Limiter and 4-band fully parametric EQ

• 16 assignable 31-band Graphic EQs available for output channels

• Three Main busses, configurable as Left–Center–Right or Left–Right+Mono

• 27 busses total (24 mix busses plus three Main busses), eight mono stereo-linkable Matrixes, and eight VCAs

• 20 plug-in rack slots for Pro Tools compatible plug-ins

S3L System Recording and Playback Features

S3L provides the following recording and playback capabilities:

• 64 channels of fully integrated recording and 64 channels of playback with a compatible Pro Tools system, including true Virtual Soundcheck capability

• VENUE Link, providing Pro Tools and VENUE interoperability and interconnection, including Pro Tools Transport control from the S3 control surface

• Built-in USB 2-track recording and playback

For Pro Tools compatibility information, go to our website at www.avid.com.

S3Control Surface

The S3 control surface provides system controls, mix position audio I/O, and control and utility connections.

System Controls

• 16 bankable fader strips, each with a touch-sensiti ve fa der, one multi-purpose assignable rotary encoder, solo, mute and select controls

• Level meters on each fader strip

• Channel Control section for control of input settings, Dynamics and EQ settings (built-in or plug-ins), and Aux sends

• Eight rotary encoders for global control of parameters such as output level controls and plug-ins

• Touch Strip for customizable control of system parameters

• Eight customizable function switches providing instant access to up to 16 system parameters

Audio I/O

• T wo analog mic/line XLR inputs with mic preamps for connecting microphones or line-level devices at the mix position

• Two analog line inputs and four analog line outputs for connecting other line-level devices at the mix position

Control and Utility Connections

• Two Neutrik etherCON RJ-45 Ethernet Network ports for connecting to the E3 engine and/or a compatible Pro Tools system

• Two USB ports for keyboard and mouse/trackball (only)

• One 1/4-inch stereo headphone connector

• One 1/4-inch TRS footswitch connector

• Two XLR console light connectors (LED console lights required)

E3 Engine

The E3 engine provides mix position audio I/O, and connections for synchronization, utility and control. The E3 engine also houses the main CPU, DSP, and system drives for the S3L system. The E3 engine is located at the mix position along with the console.

Audio I/O

• Four analog mic/line XLR inputs with mic preamps for connecting microphones or line-level devices at the mix position

• Four analog line-level XLR outputs

• Two stereo AES/EBU digital inputs

• Two stereo AES/EBU digital outputs

Synchronization, Control and Utility Connections

• Three Neutrik etherCON RJ-45 Ethernet Network ports for connecting to the S3 control surface and Stage 16 boxes

• One standard RJ-45 Ethernet port for connecting to a client computer or networking e quipment to en able ECx Ether net Control remote system control

• Three external USB 2.0 ports for connecting USB storage devices (for data transfer, and for 2-track recording and playback), iLok USB Smart Keys (for plug-in authorization), and compatible MIDI devices

• One internally-mounted, secure USB 2.0 port for an iLok

• 16 channels of MIDI input and 16 channels of MIDI output via a compatible external USB MIDI interface

• DVI video monitor port for software screen display

• Word clock I/O for digital clock synchronization

• One RJ-45 (100 BaseT Ethernet) port for ECx Ethernet Control remote system control

• One GPIO port (DB9 connector) providing two GPI inputs and two GPI outputs

S3L System Guide2

CPU, DSP, and System Drives

The E3 engine houses the CPU, Avid Pro Tools|HDX-powered DSP, and system drives that provide the processing power to run the VENUE software and plug-ins for your system. The USB ports on the E3 engine allow you to do the following:

• Update and restore your VENUE system software

• Install compatible plug-ins

• Transfer VENUE Show files and other data

• Record and play back 2-track audio

Stage 16

Stage 16 provides remote stage I/O for S3L systems in a 4U rack-mountable enclosure. The S3L system supports redundant audio snake connections to up to four Stage 16 boxes. Audio snake connection are made using supported Ethernet cables (see “Audio Network Connections” on page 5).

What’s Incl uded

S3 Control Surface

Each S3 control surface includes the following:

• S3 control surface

• Avid mouse pad

• One (1) external power supply

• One (1) IEC power cable, North American standard

• S3L System Quick Setup Guide

• Other documentation, including a Health and Safety Guide, a Welcome Letter, and a Registration card

• VENUE Tech Support card (for obtaining tech support for your system)

E3 Engine

Audio I/O

• 16 analog inputs with remotely controllable mic preamps and individually selectable phantom power

• Eight analog outputs

• Four AES digital output channels (on two stereo connectors)

Control Connections

• Two Neutrik etherCON RJ-45 Ethernet Network ports for connecting to the E3 engine and to other Stage 16 boxes

Power Supply Units (PSUs)

One external universal PSU (100V to 240V nominal 50–60 Hz) is provided with the console. The E3 engine and Stage 16 box each have an internal universal PSU (100V to 240V nominal 50–60 Hz).

Each E3 engine includes the following:

• E3 engine

• Hardware for rack installation

• Replacement screws

• One (1) IEC power cable, North American standard

• S3L System Software & Plug-Ins pack

• Pro Tools software package

• S3L Software Installation Guide

• Other documentation, including a Health and Safety Guide, a Welcome Letter, and a Registration card

• VENUE Tech Support card (for obtaining tech support for your system)

S3L System Software & Plug-Ins Pack

VENUE System Restore USB Drive

The VENUE System Restore USB Drive contains VENUE System Restore software. This software is used for S3L system maintenance only. Keep this drive with the system at all times.

Do not use this drive for anything other than VENUE System Restore software. Do not use this drive to store VENUE Show files, audio files, or any other data or software, including VENUE software updates.

S3L Plug-Ins iLok

An iLok USB key (2nd generation) is included in this package to store your S3L plug-in licenses. To run the S3L plug-ins on your S3L system, this iLok containing plug-in licenses must be connected to your E3 engine at all times.

For more information on the activation process for your S3L system software, go to www.avid.com/activationcard and select S3L.

Chapter 1: Introduction to the S3L System 3

Activation Card

The Avid S3L System Software & Plug-Ins Acti-

vation Card is used to activate your S3L software and plug-ins.

This activation process deposits the following iLok licens es into your iLok account:

• S3L plug-in licenses

• Live Sound Production Toolkit license

The activation process also deposits the following S3L software downloads and documentation into your Avid account:

• S3L plug-in installers

• Latest VENUE software update (if any)

• ECx Ethernet Control host and client software (for remote control of your S3L system)

• VENUE Standalone software

• Documentation (including the main guide for your system, the S3L System Guide)

• Avid AVB64 driver for Mac (installed on your Pro Tools computer)

A separate USB flash drive (not provided) is required to store software installers and documentation. Do not use the included VENUE System Restore USB Drive.

Pro Tools Software and the Live Sound Production Toolkit

Pro Tools software is included with the E3 engine, and is activated and downloaded separately from the S3L system software and plug-ins. The Live Sound Production Toolkit is an iLok license that enables up to 64 channels of I/O between your S3L system and your Pro Tools computer.

An iLok 2 is also included in the Pro Tools package to store your Pro Tools and Live Sound Production Toolkit licenses. Do not store S3L system plug-in licenses and Pro Tools licenses on the same iLok. You can, however, use the same iLok account to manage all iLok licenses.

Stage 16

Additional Required Components

The following required components must be purchased separately:

• Shielded Cat 5e (350 MHz) or better Ethernet cable with Neutrik etherCON

connectors (for audio network connec-

tions between components)

• Free-standing DVI-D compatible video monitor with 1024 x 768 minimum resolution (15-inch or greater flat-panel TFT display recommended) and cable

• Windows-compatible USB keyboard and trackball/mouse

• USB 2.0 flash drive(s) for storing software, installers, and documentation

Optional Components

The following components are optional, and must be purchased separately:

• Shielded Cat 5e (350 MHz) or better Ethernet cable for connections to Pro Tools

• Standard Cat 5e or better Ethernet cable for ECx Ethernet Control connections

• USB storage device for transfer of VENUE Show files and data (512 MB or larger recommended)

• USB 2.0 flash drive(s) for use with the built-in USB 2-track recording and playback features

• Headphones with 1/4-inch connector

• Footswitch with 1/4-inch connector

• BNC cables for word clock connections to/from external digital devices

• DB9 (9-pin) cable for connecting to GPI devices

• Two (2) LED console lights with XLR connectors

• Thunderbolt to Gigabit Ethernet adapter for connecting to the Thunderbolt port of a qualified Pro Tools computer

Each Stage 16 includes the following:

• Stage 16 remote I/O box

• Hardware for rack installation

• Replacement screws

• One (1) IEC power cable, North American standard

• S3L System Quick Setup Guide

• Other documentation, including a Health and Safety Guide, a Welcome Letter, and a Registration card

• VENUE Tech Support card (for obtaining tech support for

your system)

S3L System Guide4

Operational Requirements

Connection Requirements

Temperature and Ventilation

S3L system devices should be operated away from heat sources and with adequate ventilation.

Hardware monitoring and automatic warnings are provided for temperature, power and other factors. For more information, see “Hardware Monitoring Window” on page 294.

Storage

S3L system devices should be stored and transported at temperatures not lower than 0 degrees F (–18 degrees C) and not exceeding 140 degrees F (60 degrees C).

Operation

S3L system devices should be operated at temperatures not lower than 40 degrees F (4 degrees C) and not exceeding 104 degrees F (40 degrees C).

During operation, the bottom panels of the S3 control surface, the front and back panels of E3 engine, and the side panels of the Stage 16 should be exposed to ambient air. Do not block the ventilation holes on any S3L system component.

Do not operate in direct sunlight or at extreme ambient temperatures.

Water and Moisture

S3L system devices should be operated away from sources of direct moisture and should be kept clear of liquids that might spill into the units. If condensation is present on the unit, leave the unit to dry in ambient air for at least one hour befor e powering the unit on.

Storage humidity range 5% to 95%, non-condensing Operating humidity range 20% to 80%, non-condensing

Cleaning and Maintenance

Pow er Connections

Power connections on all S3L system devices are auto voltage-selecting (100 to 240V nominal, 90-260V maximal, 50–60 Hz).

Make sure your power source is correctly rated for the number of units you are connecting. A surge-protected power source (not included) is highly recommended.

Audio Connections

• All audio inputs and outputs (except Headphones) are balanced XLR and/or balanced 1/4-inch connections.

• All 1/4-inch connections support balanced (TRS) and unbalanced (TS) connections.

• All external digital audio inputs an d outputs are AES/EBU (XLR) connections.

For more information on audio connectors and specifications, see Chapter 27, “Audio Specifications.”

Audio Network Connections

Shielded Cat 5e (350 MHz) or better Ethernet cable with Neutrik etherCON dio network connections between the console, the E3 engine, and any Stage 16 boxes. Maximum distances of 100m are supported for all audio network connections.

connectors are required for primary and redundant au-

Pro Tools Connections

Shielded Cat 5e (350 MHz) or better Ethernet cable with RJ-45 connectors is required for the Ethernet AVB connection to Pro Tools.

ECx Ethernet Control Connections

Standard Cat 5e Ethernet cable with RJ-45 connectors are supported for ECx remote control connections to a client computer or wireless/wired router.

Use a dry cloth to clean the surfaces of the S3L components. Do not apply any cleaning solutions, spray cleaners, or abrasives to the surface.

System Requirements and Compatibility

Avid can only assure compatibility and provide support for hardware and software it has tested and approved. For complete system requirements and a list of qualified computers, operating systems, hard drives, and third-party devices, visit:

www.avid.com/compatibility

Chapter 1: Introduction to the S3L System 5

About www.avid.com

Conventions Used in This Guide

The Avid website (www.avid.com) is your best online source for information to help you get the most out of your system. The following are just a few of the services and features available.

Product Registration

Support and Downloads

Contact Customer Success (technical support); download software updates and the latest online manuals; browse the Compatibility documents for system requirements or search the online Knowledgebase.

Training and Education

Study on your own using courses available online or find out how you can learn in a classroom setting at a certified Avid training center.

Products and Developers

Learn about Avid products; download demo software or learn about our Development Partners and their plug-ins, applications, and hardware.

News and Events

Get the latest news from Avid or sign up for a

product demo.

Pro Tools Accelerated Videos

Watch the series of free tutorial videos. Accelerated Videos are designed to help you get up and running with Pro Tools and its plug-ins quickly.

Live Sound Webinars

Watch free tutorial videos and live sys-

tem-specific webinars to learn from the experts. To learn more about these and other resources available from

Avid, visit our website (www.avid.com).

All of our guides use the following conventions to indicate menu choices and key commands:

Convention Action

In the VENUE software, click

Options > System

File > Save Choose Save from the File menu

Control+N

Control-click

Right-click Click with the right mouse button

Options to display the Options tab, then click the System tab.

Hold down the Control key and press the N key

Hold down the Control key and click the mouse button

The names of Commands, Options, and Settings that appear on-screen are in a different font.

The following symbols are used to highlight important information:

User Tips are helpful hints for getting the most from your system.

Important Notices include information that could affect your data or the performance of your system.

Shortcuts show you useful keyboard or mouse shortcuts.

Registration

Review the enclosed Registration Information Card and follow the printed instructions to quickly register your purchase online. By registering, you become eligible to receive the following:

• Technical support information

• Software update and upgrade notices

• Hardware warranty information

Cross References point to related sections in this guide and other VENUE guides.

Hardware Switches on S3 Control Surface

The names of switches on the S3 control surface are in bold (such

Sel). The Shift switch on the S3 is indicated by bold text, in

as all-caps (

SHIFT) to distinguish it from references to the Shift key

on your QWERTY keyboard.

SHIFT and SHIFT Lock

The SHIFT switch on the S3 is used in conjunction with other keys to access secondary functions Some switches have secondary functions, highlighted in gray above the primary function (such as The following terminology is used to describe

Example:

is written as

< Bank/Home, where Home is the secondary function ).

SHIFT functions.

• “Press and hold the

SHIFT switch then press the Back/Top

switch”

• “Press

SHIFT+Back/Top”

S3L System Guide6

How to Use this PDF Guide

These are some useful features of this PDF:

• The Bookmarks on the left serve as a continuously visible table of contents. Click on a subject heading to jump to that page.

• Click a + symbol to expand that heading to show subheadings. Click the – symbol to collapse a subheading.

• The Table of Contents provides active links to their pages. Select the hand cursor, allow it to hover over the heading until it turns into a finger. Then click to locate to that subject and page.

• All cross references and Index entries are active links. Allow the hand cursor to hover over the reference until it turns into a finger and click to follow the reference.

• Select Find from the Edit menu to search for a subject.

Chapter 1: Introduction to the S3L System 7

Chapter 2: Configuring and Connecting

The chapter shows how to get your S3L system up and running by doing the following:

• Unpack and assemble the components

• Connect the following:

•Power

• Peripherals (monitor, USB keyboard and mouse)

• S3 control surface, E3 engine, and any Stage 16 remote I/O boxes

• Power up the system

• Configure system Stage I/O

• Set the system clock

• Connect Audio (S3 control surface, E3 engine, and Stage 16 inputs and outputs), synchronization, and lights

• Install other optional software or updates

Unpacking and Assembling System Components

Unpacking S3L System Components

 Remove all components from the shipping packaging.  Place the S3 control surface on a table or other stable surface

that leaves full access to its front and back panel.

 Locate the E3 engine at the mix position along with the S3

control surface.

 Make sure all components are free of any bags, padding or

other materials.

 Keep cables and other included items organized, making sure

to keep them with their associated component after unpacking.

Chapter 2: Configuring and Connecting 9

Configuring Stage 16 Rack Ears/Handles

Stage 16 can be rack-mounted, or it can be used freestanding. If you are using Stage 16 freestanding, you can configure the rack ears to function as handles. Rubber edging protects the box when used freestanding. To ensure proper airflow, make sure the vents on either side of Stage 16 are always exposed.

Stage 16 configured with Rack ears (left) and handles (right)

To configure the Stage 16 rack ears as handles:

1 Using a 3/32-inch hex wrench or hex driver, remove the 16 hex screws (eight per side) that secure the rack ears to the Stage 16.

Removing the rack ear/handle screws

S3L System Guide10

2 Remove the rack ears from the Stage 16. 3 Replace the rack ears on the Stage 16 so they function as handles, lining up the screw holes on the handles with the screw holes on

the Stage 16, and replace the 16 screws (eight per side).

Replacement screws are provided with the Stage 16 in case any screws are lost.

Replacing the rack ear/handles screws

Chapter 2: Configuring and Connecting 11

Connecting Power

A B

1-2 3-4

AES OUTPUT

INPUTOUTPUT

S3 Control Surface

The external PSU for the S3 control surface is connected to the DC input on the S3 and to your power source.

To connect power to the S3 control surface:

1 Connect one end of the included IEC power cable from the ex-

ternal PSU to your power source. Make sure the power cable is pushed all the way into the PSU.

Connecting the IEC power cable to the S3 control surface PSU

2 Connect the cable with the 4-pin connector that is attached to

the PSU to the DC power input on the back panel of the S3. To correctly align the pins on the connector with the power input, make sure the arrow on the connector faces up.

Stage 16

The AC power input for the Stage 16 is located on the back/bottom panel of the box. One male, 3-pin North American standard IEC power socket with cable retaining tie is provided. The input and power switch are recessed to allow the box to sit on its back.

To connect power to the Stage 16:

1 Connect the included IEC power cable from the AC power in-

put on the back of Stage 16 to your power source.

S3 control surface DC power input

E3 Engine

The AC power input for the E3 engine is located on the back panel.

To connect power to the E3 engine:

 Connect the included IEC power cable from the AC power in-

put on the back panel of the E3 engine to your power source.

E3 engine AC power input

S3L System Guide12

Stage 16 AC power input, power switch, and cable tie

2 (Optional) Secure the power cable to the rack using the built-in

cable tie.

Connecting Peripherals

A B C

3-4

1-2 3-4

WORD CLOCK

AES INPUT

NETWORK

2 x IN

2 x OUT

ECx

Connecting the S3L System

Connecting a Monitor

A DVI connector is provided on the E3 engine to connect a DVI-D compatible video monitor (not included).

E3 engine back panel DVI monitor port

To connect a monitor:

 Plug a DVI-D compatible monitor cable from the DVI connec-

tor on the back panel of the E3 engine to your DVI monitor.

VGA monitors are not compatible with the S3L system.

Connecting a USB Keyboard and Mouse

There are two USB 2.0 ports on the back of the S3 control surface to connect a USB keyboard and trackball/mouse.

After connecting power and peripherals, make audio network connections between S3L system components. You can also make audio network connections to Pro Tools, and to a router or client computer for remote control of your S3L system using ECx Ethernet Control.

• For connecting a single-Stage 16 system see “Connecting a Single-Stage 16 System” on page 14.

• For connecting a multiple-Stage 16 system, see “Connecting a Multiple-Stage 16 System” on page 15.

S3L Network Connections Overview

The S3L system has two discrete networks, the AVB audio network and the ECx Ethernet Control network. The AVB audio network connects all S3L system components and Pro Tools. The ECx network connects a client computer or other device (directly or via network equipment) to S3L to enable remote control of your system.

S3L System AVB Audio Network Connections

Direct connections are required for all AVB audio network connections between S3L system components, and between the S3 control surface and Pro Tools.

Do not connect network equipment such as routers, hubs and switches to any S3L system Network ports.

S3 control surface back panel USB ports

To connect a USB keyboard and trackball/mouse:

 Plug the keyboard and trackball/mouse into the USB ports on

the back of the S3 control surface.

Use these USB ports for mouse and keyboard connections only. Connect USB data storage devices and iLoks to available USB ports on the E3 engine.

When performing a system update or system restore, the keyboard and mouse must be connected to the E3 engine. See “Using the System Restore Software” on page 296.

S3L System Components

Connections are required between the S3 control surface and the E3 engine, and between the E3 engine and all Stage 16 boxes.

Pro Tools

You can connect a qualified computer running a compatible version of Pro Tools software to the S3 control surface for recording and playback I/O and for VENUE Link data communication. For more information on installing and using Pro Tools, see Chapter 25, “Pro Tools Recording and Playback.”

Use only the required audio network cables to make audio network connections between S3L system components and Pro Tools. See “Audio Network Connections” on page 5.

ECx Ethernet Control Connections

You can connect a network router, hub, switch, or a client computer directly to the

ECx port on the E3 engine and control the

S3L system remotely. ECx host and client software must be installed to enable ECx. For more information on installing and using ECx, see Chapter 31, “ECx Ethernet Control.”

Chapter 2: Configuring and Connecting 13

Connecting a Single-Stage 16 System

A B C

1-2 3-4

WORD CLOCK

AES OUTPUT

AES INPUT

INPUTOUTPUT

NETWORK

2 x IN

2 x OUT

ECx

INPUT

ANALOG

OUTPUT

ANALOG

OUTPUT

AES DIGITAL

INPUT

ANALOG

OUTPUT

ANALOG

NETWORK

1234 5678

To connect a single-Stage 16 system:

1 Connect an audio network cable from Network port A on the back of the S3 control surface to Network port A on the E3 engine. 2 Connect an audio network cable from an available Network port B on the E3 engine to Network port A on the Stage 16. 3 (Optional) To make a redundant audio network connection, connect an audio network cable from Network port C on the E3 engine

Network port B on the Stage 16.

4 (Optional) To connect to a Pro Tools computer for recordi ng and playback, connect a supported Ethernet cable from Network port B

on the S3 control surface to an available Ethernet port on the computer (or to a Thunderbolt port using a Thunderbolt to Ethernet adapter if an Ethernet connector is not present on the computer).

Do not connect network equipment such as routers, hubs and switches to any S3L system Network ports.

5 (Optional) To connect to a router or computer for ECx Ethernet Cont rol, connect a sta ndard Ethernet cable from the port labe led ECx

on the E3 engine to the router or client computer.

6 Proceed to “Powering Up the System” on page 16.

A single-Stage 16 S3L system with fully redundant audio network connections

S3L System Guide14

Connecting a Multiple-Stage 16 System

INPUT

ANALOG

OUTPUT

ANALOG

OUTPUT

AES DIGITAL

INPUT

ANALOG

OUTPUT

ANALOG

NETWORK

1234 5678

INPUT

ANALOG

OUTPUT

ANALOG

OUTPUT

AES DIGITAL

INPUT

ANALOG

OUTPUT

ANALOG

NETWORK

1234 5678

A B C

1-2 3-4

WORD CLOCK

AES OUTPUT

AES INPUT

INPUTOUTPUT

NETWORK

2 x IN

2 x OUT

ECx

INPUT

ANALOG

OUTPUT

ANALOG

OUTPUT

AES DIGITAL

INPUT

ANALOG

OUTPUT

ANALOG

NETWORK

1234 5678

INPUT

ANALOG

OUTPUT

ANALOG

OUTPUT

AES DIGITAL

INPUT

ANALOG

OUTPUT

ANALOG

NETWORK

1234 5678

Connections for a four-Stage 16 box system are shown, but the instructions are applicable for any system using more than one Stage 16.

To connect a multiple-Stage 16 system:

1 Connect an audio network cable from Network port A on the back of the S3 control surface to Network port A on the E3 engine. 2 Connect an audio network cable from Network port B on the E3 engine to Network port A on the first Stage 16. 3 Daisy-chain the first Stage 16 to the second Stage 16 by connecting an audio network cable from Network port B on the first Stage

Network port A on the second Stage 16.

16 to

4 If applicable, daisy-chain Stage 16 boxes 2 and 3, and 3 and 4 in the same manner. 5 (Optional) To make a redundant audio network connection, connect an audio network cable from Network port B on the last Stage 16

in the chain to

6 (Optional) To connect to a Pro Tools computer for recordi ng and playback, connect a supported Ethernet cable from Network port B

on the S3 control surface to an available Ethernet port on the computer (or to a Thunderbolt port using a Thunderbolt to Ethernet adapter).

Do not connect network equipment such as routers, hubs and switches to any S3L system Network ports.

7 (Optional) To connect to a router or computer for ECx Ethernet Control, connect a standard Ethernet cable from the port labeled ECx

on the E3 engine to the router or client computer.

8 Proceed to “Powering Up the System” on page 16.

Network port C on the E3 engine.

A four-Stage 16 S3L system (maximum configuration) with fully redundant audio network connections

Chapter 2: Configuring and Connecting 15

Powering Up the System

Power

INPU

ANAL

123

After connecting your system components, power up your system.

Faders on the S3 control surface move when power is turned on. Before powering up the S3 control surface, make sure all fader paths are clear.

Power up the system in the following sequence:

1 Power on the connected video monitor. 2 To power on the S3 control surface, locate the switch on the

back of the S3 and press the switch to the On position. The faders on the S3 jump, and the channel strip Select ( next to the faders flash to indicate that the S3 is booting up.

S3 control surface Power switch

Sel) switches

4 To power on the first Stage 16, do the following

• Locate the power switch on the back of the Stage 16 and press the switch to the On position. The Status LED on the front panel is lit solid yellow while Stage IO box initializes.

Power switch on the back of Stage 16

• W ait for the S tage 16 to initialize. Initialization is complete when the Power and Status LEDs on the Stage IO box front panel are lit solid green.

3 Power on the E3 engine by sliding the front-panel Power

switch to the right. The associated LED lights green, and the VENUE splash screen appears on the connected video monitor.

Power switch and lit LED indicating the device is powered on

Stage 16 Power and Status LEDs

5 Power on any other Stage 16 boxes in the system. 6 Turn on any connected computers for recording/playback. 7 Turn on the audio monitoring system. 8 Proceed to “Confirming and Configuring System Compo-

nents” on page 17.

Powering Down the System

Power down the system in the following sequence:

1 Turn off the audio monitoring system. 2 Turn off any connected computers for recording/playback. 3 Shut down your system by doing the following:

• Put the system into Config mode (see “Enabling Config Mode” on page 17).

• Go to the Options

• Click Shut Down.

• Click Shut Down again to confirm.

4 Power off the S3 control surface.

tab and click the System tab.

VENUE splash screen

S3L System Guide16

5 Power off any connected Stage 16 boxes.

Confirming and Configuring System

Top

Conﬁg

Back

Page

Expnd

Page

Components

Once you have connected and powered up your system, do the following to configure your system:

• Confirming System Components

• Put your system into Config mode

• Configure your system for the first time

You can reconfigure your system any time after the initial setup. See “Managing Stage I/O” on page 20.

Confirming System Components

After connecting and powering up system components, you can confirm system components in the VENUE software screen.

To confirm system components:

1 On-screen, click Options.

Enabling Config Mode

There are two main operating modes for the S3L system, Config mode and Show mode. Use Config mode to accomplish tasks such as setting up your system, configuring options, and installing software such as plug-ins and system updates. Use Show mode to mix your performance.

To enable Config mode, do one of the following:

1 Press the Config switch on the S3 control surface. The Config

switch lights, and the on-screen Status Bar.

Config switch on the S3 control surface

– or –

• On-screen, double-click the cated in lower-right hand corner of the screen. The switch lights, and

Config is indicated in the Mode display in

Mode display in the Status Bar, lo-

Config

Config is indicated in the Mode display.

Clicking Options

2 Click the Devices tab. All connected and powered on hardware

devices appear on the Devices tab. You can also edit hardware settings, and troubleshoot and reset VENUE system components using the Devices tab.

Devices tab

If any components do not appear, check all network connections between components, and make sure all components are powered on. For more information see Chapter 29, “Troubleshooting.”

3 Proceed to “Enablin g Config Mode."

Enabling Config mode on-screen

2 Proceed to “Configuring Your System for the First Time” on

page 18.

Chapter 2: Configuring and Connecting 17

Configuring Your System for the First

INPUT

ANALO

OUTPUT

ANALOG

123

Time

When you configure your system for the first time, you assign Stage 16 boxes to available tab. Each

Stage 1–4 slot corresponds to a Stage 1–4 hardware tab

in the VENUE Patchbay.

If you are using more than 48 Stage inputs, you must configure your system for 64 Input Channels. See “Setting the Input Channel Configuration” on page 72.

To configure your system for the first time:

1 Make sure your system is in Config mode. 2 Go to Options > Devices. 3 Locate the Unassigned section of the Options > Devices tab.

All connected and powered on Stage 16 boxes appear here.

Stage slots in the Options > Devices

5 Click the flashing Identify button to unlatch it. 6 Locate the Stage section. Empty Stage slots are indicated by

the text

7 Click- an d-dr ag the Stage 16 box to Stage slot 1 (the leftmost

Drag I/O Box Into Slot.

slot).

A Stage 16 assigned to slot 1 in the Options > Devices tab

The I/O on that Stage 16 is now available to be assigned to system input and output channels in the VENUE Patchbay under the

Stage 1 hardware tab.

Unassigned Stage 16 boxes in the Options > Devices tab

If any connected Stage 16 boxes do not appear in the Unassigned section, check network and power connections.

4 Click the Identify button on the first (left most) Stage 16 box to

latch the button on. The

Identify button on-screen flashes, and

the Power and Status LEDs on the front panel of the corresponding Stage 16 box flash.

Identify button

Stage 1 hardware tab in the Patchbay (Inputs shown).

Each assigned Stage 16 has on-screen LEDs that indicate the status of the device’s A and B Network ports. You can also mute all outputs on the Stage 16. See “Devices” on page 66 for more information.

8 If a second Stage 16 box is connected, identify it and drag it to

the second slot. The I/O on that Stage 16 is now available in the VENUE Patchbay under the

9 Repeat for any other connected Stage 16 boxes.

Stage 2 hardware tab.

You can reassign Stage 16 boxes at any time after the initial set up. Depending on hardware combinations being used, you may be required to. See “Managing Stage I/O” on page 20 for more information.

10 Proceed to “Naming System Components” on page 19.

Stage 16 Power and Status LEDs

S3L System Guide18

Naming System Components

How to Proceed

You can name the S3 control surface, the E3 engine, and any connected and assigned Stage 16. The device name is stored with the respective device, and stays with that device until it is changed. Names can be changed at any time.

To name the S3 control surface and the E3 engine:

1 In the Options > Devices tab, right-click the component

graphic and choose

2 Enter a name into the text box and press Enter.

Rename from the pop-up menu.

You can physically label a Stage 16 with its corresponding device name. A labeling plate on Stage 16 is provided for this purpose.

3 Proceed to “Setting the System Clock” on page 19.

Setting the System Clock

When you first work with a VENUE system, make sure the system clock time, date and time zone are set appropriately.

The system clock time can be shown in the Status bar for constant time-of-day display. For more information, see “System Clock” on page 63.

To set the System Clock:

1 Go the Options tab and click the Misc tab.

After setting the system clock, proceed to any of the following sections:

• To review the available audio and control connections, switches, and indicators on S3L system components, see “Audio and Control Connections, Switches, and Indicators” on page 21.

• To get started learning the S3 control surface and software, see Chapter 3, “S3L System Control Overview.”

• If you want to install any other optional software first (such as ECx or included plug-ins), see “Installing Additional Software” on page 25.

The S3L system comes pre-loaded with demo Show files, which offer preset system configurations for some of the most common mixing scenarios. See “Loading a Show” on page 182 for instructions on loading Show files.

2 In the System Clock section, click the Format pop-up menu to

set the time format (

3 Click the Edit button in the System Clock section.

Clicking the System Clock Edit button

4 Set the time, date, and current time zone.

12 Hour AM/PM or 24 Hour).

Time, Date, and Zone settings

5 Click Apply.

Chapter 2: Configuring and Connecting 19

Managing Stage I/O

Removing a Stage 16

When power-cycling your system and/or reconnecting Stage 16 boxes to the same E3 engine, the original

Stage 1–4 assignments

are automatically recalled, regardless of the order in which they are connected.

Depending on the hardware combinations being used, however, you may want or need to reconfigure system Stage I/O. For example, if you are mixing a nd matching S3L system components, you can remove previously connected Stage 16 boxes from your configuration, and add new Stage 16 boxes to your system.

You can reconfigure Stage I/O on the

Options > Devices tab any

time after the initial system set up and configuration. You can reassign connected Stage 16 boxes, remove Stage 16 boxes from the current configuration, and add new Sta ge 16 boxes to the c urrent configuration.

Reassigning a Stage 16

You can reassign an assigned Stage 16 to a different Stage 1–4 slot. For example, for a particular stage setup you may want to rearrange the order of Stage 16 boxes.

To reassign a Stage 16:

1 Put the system into Config mode. 2 Go to O ptions > Devices. 3 Click and drag any of the Stage 16 boxes that you want to re-

assign to the

Unassigned section. The Stage 16 is automati-

cally muted.

4 Click and drag each Stage 16 from the Unassigned section to

the desired empty

Stage slot. The Stage 16 is automatically

unmuted, and the I/O on that Stage box is now available to be assigned to VENUE system channels under the corresponding

Stage 1–4 hardware tab in the VENUE Patchbay.

You can remove a Stage 16 box from your configuration so that it does not appear in the

Options > Device tab. Do this if you are

removing a connected Stage 16 from your configuration, or if a Stage 16 from a previous configuration is not connected and you want to dismiss warning dialogs.

To remove a Stage 16 box from the current configuration:

1 Put the system into Config mode. 2 Go to Options > Devices. 3 Do either of the following depending on the status of the

Stage 16:

• To remove a connected Stage 16, right-click the graphic of the corresponding Stage 16 and choose

Disconnect.

• T o remove a Stage 16 that is not connected (indicated by an alert symbol over the device), right-clic k the graphic of the corresponding Stage 16 and choose

ment

Forget IO Box Assign-

The I/O for that Stage 16 is now grayed out under the correspond-

Stage 1–4 hardware tab in the Patchbay.

ing

Adding a Stage 16

Any Stage 16 not previously connected to the current E3 engine must be assigned to a

Stage 1–4 slot for its I/O to be availa ble to

the system.

To add a new Stage 16 to your system:

1 Put the system into Config mode. 2 Go to Options > Devices. 3 Connect the new Stage 16 box at any point in the audio net-

work and power it on. The Stage 16 appears in the section of the

Options > Devices tab.

Unassigned

4 Drag the new Stage 16 to the desired Stage 1–4 slot. The I/O

on that Stage box is now available to be patched to VENUE system channels under the corresponding

Stage 1–4 hardware

tab in the VENUE Patchbay.

5 If desired, name the assigned Stage 16 (see “Naming System

Components” on page 19).

S3L System Guide20

Audio and Control Connections, Switches, and Indicators

58 7

10 649

Before making any audio connections, make sure your audio monitoring system is turned down or muted.

S3 Control Surface Connections and Switches

S3 control surface back panel

Audio Connections

S3 control surface audio I/O is assigned to VENUE system channels using the Patchbay, under the

Console tab.

• To assign inputs, see “Assigning Input Sources to Channels” on page 74.

• To assign outputs, see “Assigning Busses to Hardware Outputs” on page 89.

1 – Analog Mic/Line Inputs 1–2

(Two XLR Connectors)

 Connect microphones and/or line-level analog audio sources

such as audio playback devices to these inputs.

2 – Analog Line Inputs 3–4

(Two 1/4-inch TRS Connectors)

 Connect line-level analog audio sources such as electronic

keyboards and effects units to these inputs.

3 – Analog Outputs 1–4

(Two XLR Connectors, Two 1/4-inch TRS Connectors)

 Connect these outputs to destinations such as system proces-

sors and near field monitors.

4 – Headphone Output

 Connect a standard 1/4-inch stereo headphone connector to

this connector. Volume is controlled using the Headphone volume knob located along the right-front edge of the S3 control surface.

5 – Network Ports A and B

(Two RJ-45 Ports with etherCON Connectors)

Each Network port has Act and Sig LEDs to indicate network status. See.“Network Port Snake Act and Sig LEDs” on page 277 for more information.

Control, Power and Light Connections

6 – USB Ports

 Connect a USB computer keyboard and a USB mouse for con-

trol of the VENUE system on-screen.

S3 control surface USB ports do not support iLoks, USB flash drives, or other types of USB devices. Use the USB ports on the E3 engine for these devices.

7 – Footswitch Connector

(1/4-inch TRS Connector)

 Connect a footswitch to this connector . The footswitch can be

normally open or normally closed, latching or momentary. Functions such as Tap Tempo for delay times are assigned to these connectors using the on-screen

8 – DC Power In

Options > Events tab.

This connector accepts the DC cable from the included power supply adapter.

9 – Power Switch

The rocker-type power switch applies power to the S3 control surface. It can be left in the On position for use with power sequencers.

 Connect the E3 engine to one of these ports using a supported

audio network cable.

 Connect a compatible Pro Tools system to one of these ports

using a supported audio network cable for integrated Pro Tools recording, playback and interoperability.

10 – Console Lights

(Two XLR-F Connectors)

 Connect console lights (not included) to these connectors. You

can adjust the brightness of the console lights from the on-screen

Options > Interaction tab (see “Lights” on page 65).

Chapter 2: Configuring and Connecting 21

E3 Engine Connections and Switches

A B C

1-2 3-4

WORD CLOCK

AES OUTPUT

AES INPUT

INPUTOUTPUT

NETWORK

2 x IN

2 x OUT

ECx

E3 engine back panel

Audio Connections

E3 engine audio I/O is assigned to VENUE system channels using the Patchbay, under the

Engine tab.

• To assign E3 engine inputs to VENUE system channels, see “Assigning Input Sources to Channels” on page 74.

• To assign outputs, see “Assigning Busses to Hardware Outputs” on page 89.

1 – Analog Mic/Line Inputs 1–4

(Four XLR Connectors)

 Connect microphones and/or line-level analog audio sources

such as audio playback devices to these inputs.

2 – Analog Outputs 1–4

(Four XLR Connectors)

 Connect these outputs to destinations such as system proces-

sors and near field monitors.

3 – AES Digital Inputs

(Two XLR AES/EBU Connectors)

 Connect digital audio sources such as effect units or playback

devices to these inputs. Four channels on two stereo connectors are provided. 24-bit, 48 kHz digital signals are supported.

Control and Power Connections

6 – USB 2.0 Ports

 Connect an iLok Smart Key (for plug-in authorization).  Connect USB flash drives or other compatible USB storage

devices for data transfer, and/or for 2-track recording and playback.

These ports also support MIDI connections.

MIDI Connections

Each USB port provides 16 channels of MIDI input and 16 channels of MIDI output to and from the system with a compatible MIDI interface. Connection to one MIDI interface is supported. You can send and receive snapshot MIDI messages, receive MIDI Time Code (MTC) from external devices, and send MTC to external devices.

Visit our website, www.avid.com/S3Lsupport, for a list of compatible MIDI interfaces.

To make MIDI connections:

 Connect a compatible MIDI interface to one of the USB ports

on the E3 engine. A valid MIDI connection is shown in the External Devices section of the

Options > Devices tab.

The AES digital inputs on the E3 engine provide sample rate conversion on input. See “About Digital Input and Sample Rate Conversion” on page 235 for more information.

4 – AES Digital Outputs

(Two XLR AES/EBU Connectors)

 Connect these outputs to digital output destinations such as

system processors and recording devices. Four channels on two stereo connectors are provided.

5 – Network Ports A, B, and C

(Two RJ-45 Ports with etherCON Connectors)

 Connect the S3 control surface and up to four Stage 16 boxes

to these ports using supported audio network cables.

S3L System Guide22

For more information on using MIDI with VENUE, see Chapter 22, “Synchronization.”

7 – DVI Monitor Port

 Connect a DVI monitor (not included) to view the VENUE

software screen.

8 – Word Clock I/O

(Two BNC Connectors)

These ports let you connect to the word clock ports of external digital devices to sync all digital devices in your system.

See “Synchronizing with Word Clock and Digital Audio Input” on page 234 for more information.

9 – GPI Port

10 – ECx Port

A 9-pin, female DB9 connector provides a 2-in/2-out GPI General Purpose Interface (GPI). For specifications, wiring diagrams and pinouts, see Chapter 30, “GPI Port Reference.”

GPI Applications

GPI inputs can be connected to the outputs of a variety of switching devices such as footswitches, momentary or latching push-button switches, or to the logic outputs of a larger show control system. Example applications of GPI inputs include remote toggling of an S3 control surface function such as Talkback, muting a channel, or recalling a specific snapshot.

GPI outputs connect to compatible inputs found on a variety of external devices such as LEDs, small relays, power sequencers, and logic inputs on show control systems.

Example applications of GPI outputs include the following:

• Triggering a sound effects playback machine when a specific snapshot is recalled.

• Lighting a tally light whenever a fader is raised above a minimum threshold.

• Flashing or lighting a custom beacon or LED as a reminder of vital console mode, such as Solo in Place.

• Initiating power up of amplifiers and other down-stream systems when VENUE system is started up or shut down.

GPI functions are managed using the Events list on the

Options > Events tab. For more information, see Chapter 21,

“Events.”

To connect GPI devices to the E3 engine:

1 Connect one end of a DB9 cable (not included) to the GPI port

on the back panel of the E3 engine.

This port provides connection to a computer or router to enable ECx Ethernet Control (remote control of the VENUE system). See Chapter 31, “ECx Ethernet Control” for more information.

11 – AC Power Input

The AC power input accepts a standard IEC AC power cable (included). The E3 engine power supply is auto power selecting (100V–240V, 50–60 Hz), and automatically works with a standard modular power cable when connected to an AC receptacle in any country.

Power Switch

(Front Panel)

The sliding power switch on the front panel of E3 engine powers the device on and off. The associated LED lights to indicate the E3 engine is powered on and ready for use.

Interior Secure USB Port

One USB 2.0 port is located within the E3 engine itself to connect and securely protect an iLok Smart Key. Use this port to keep one “master” iLok and its plug-in assets with the console at all times, safe from damage or loss.

The top panel of the E3 engine must be removed to access the secure USB port. See “E3 Engine Secure USB Port” on page 315.

Front Panel USB Port

Connect iLok Smart Keys (for plug-in authorization), USB flash drives (for data transfer and/or 2-track recording/playback) or other compatible USB devices to these ports.

2 Connect the other end to the appropriate GPI port on the exter-

nal device.

Chapter 2: Configuring and Connecting 23

Stage 16 Connections and Switches

INPUT

ANALOG

OUTPUT

ANALOG

OUTPUT

AES DIGITAL

INPUT

ANALOG

OUTPUT

ANALOG

NETWORK

1234 5678

5 6

Stage IO Box front panel

Stage 16 Audio Connections

Stage 16 audio I/O is assigned to VENUE system channels under

Stage 1–4 tabs in the Patchbay. Each Stage 16 has its own tab

the in the Patchbay, which corresponds to the slot the Stage 16 is assigned to in the

Options > Devices tab.

• T o assi gn S t age 16 inputs to VENUE system channels, see “Assigning Input Sources to Channels” on page 74.

• To patch outputs, see “Assigning Busses to Hardware Outputs” on page 89.

1 – Analog Mic/Line Inputs

(16 XLR Connectors)

 Connect microphones and other line-level sources to these in-

puts.

2 – Analog Outputs

(Eight XLR Connectors)

 Connect these outputs to destinations such as house/mains,

monitors, additional zones, and feeds to other devices.

3 – AES Digital Outputs

(Two XLR AES/EBU Connectors)

 Connect these outputs to destinations such as system proces-

sors, AES input-equipped power amplifiers, or feeds to other digital devices. Four channels on two stereo connectors are provided.

Stage 16 Control and Power Connections, Switches, and Indicators

5 – Power and Status LEDs

Two bi-color Power and Status LEDs on the front panel are provided to indicate operating mode status, error codes and warnings.

See “Power and Status LED Codes” on page 277 for more information on the LED codes.

6 – Mute Switch and LED

The Mute switch mutes all Stage 16 outputs. The switch LED flashes red to indicate that all outputs are muted. This switch mirrors the on-screen

To mute all Stage 16 box outputs:

 Slide the Mute switch towards the Mute LED and hold for 2

Mute button in the Options > Devices tab.

seconds. The Mute LED flashes red, and a dialog box appears on-screen indicating that outputs are muted on the respective Stage 16 box.

To unmute Stage 16 box outputs:

 Slide the Mute switch towards the Mute LED again until the

LED stops flashing. – or –

4 – Ethernet Ports A and B

(Two RJ-45 Ports with etherCON Connectors)

 Connect the E3 engine and other Stage 16 boxes to these ports

using supported audio network cables.

S3L System Guide24

 Click the Exit button in the Mute All Outputs dialog box

on-screen.

AC Power Input (Back Panel)

The recessed AC power input accepts a standard AC power cable (included). The Stage IO box power supply is auto power selecting (100V–240V, 50–60 Hz), and automatically works with a standard modular power cable when connected to an AC receptacle in any country.

AC Power Switch (Back Panel)

The Power switch applies power to the Stage 16 box. The power switch is latching, so that when left in the On position, the device powers up when AC power is applied to it, allowing for the use of power sequencers.

Installing Additional Software

After having unpacked, assembled, connected, and powered up your S3L system, you can manually install any additional software, as follows:

VENUE Software Update

A VENUE software update may be available for your system. If an update is available, download and install it.

To check your system software, in VENUE go to the Options > System tab

Plug-Ins

A core set of plug-ins are pre-installed on your system. Any additional plug-ins (such as the S3L Plug-In pack) must be activated and installed. See Chapter 17, “Plug-Ins” for installation and operational information.

ECx Ethernet Control

ECx Ethernet Control software must be installed on both your S3L system and your remote device. For instructions, see Chapter 31, “ECx Ethernet Control.”

Chapter 2: Configuring and Connecting 25

Part II: Description

Chapter 3: S3L System Control Overview

Mixer Close

Top

Home End

Top

Expnd

Top

Group

Channel

Dyn

Mix

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Multi Select SHIFT

Default ALT

Fine CTRL

Command

Rec

Sel

Back

Application

Insert Pan

Aux Flip

Input EQ

9210

11412

13614

15816

9-16

1234

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Solo

Mute

Sel

+20/Clip

+15

-3

-9

-15

-21

-30

Sel

Rec

Page

Back

Source

Page

Gain

HPF

Comp

Pan

Aux

Flip

User

Cancel

Multi

Assign

Conﬁg

Back

Page

Expnd

Page

Nudge Nudge

View 1 View 2

Workstation

Bank Bank

Solo

Clear

Mix to Mons

SHIFT

This chapter provides an overview of S3L system controls on the console and on-screen. Most VENUE features and controls that are used during a performance are available from both the console and on-screen. Changes made on one are immediately reflected in the other, letting you use almost any combination of console and screen controls to mix.

S3 Control Surface Top Panel Overview

The following figure identifies the three main sections of the S3 control surface.

Main control sections on the S3 control surface

A - Channel Section

The Channel section provides control of Input Channels, FX Returns, output channels and channel banking.

B - Channel Control

The Channel Control section provides control of processing functions and parameters for the currently selected input or output channel.

C - Global Controls

Global controls provide control of system-wide parameters. Modifier switches are also provided that modify the function of other controls.

Chapter 3: S3L System Control Overview 29

Channel Section

Solo

Mute

+20/Clip

+15

-3

-9

-15

-21

-30

Rec

Sel

The Channel section provides 16 channel strips to control input and output channels. Each channel strip has a fader, an assignable channel encoder to control adjustable channel parameters, and a display to show channel and associated parameter information. Channels are banked (assigned) to channel strips using the output channels can be banked to channel strips.

A–F and User bank switches, as well as the < Bank > and < Nudge > switches. Input and

Channel section

Channel Strips

Each channel strip provides a Solo and Mute switch, a 100mm motorized touch-sensitive fader, a channel select ( and a level meter. Each channel strip also features an assignable channel encoder and display.

Channel strip

S3L System Guide30

Sel) switch,

Solo

The Solo switch toggles the solo state of that channel. The switch is lit when that channel is soloed. When the channel is in Solo Safe mode, the switch flashes. The

Solo switch has momen-

tary and latching capabilities (see “Using Solo” on page 131).

Mute

The Mute switch mutes the channel at the (pre-fader) mute

point. The switch is lit when that channel is muted.

Fader

The fader adjusts the level of the currently banked channel. The Options > Interaction screen lets you enable touch-sensitive channel selection. When enabled, touching a channel fader automatically selects that channel and makes it the selected channel.

The faders can be moved even when they do not sense a touch. This allows use of the faders while wearing gloves, and also lets you “throw” a fader and have it stay where it lands (not snap back to where it was last touched).

Sel

The Channel Sel switch targets that channel for processing using Channel Control, and for inclusion in Multi-Select and Multi-Assign functions. The switch is lit when that ch annel is selected.

See “Selecting and Targeting Channels” on page 44.

Rec

This switch has no function for VENUE software.

Level Meter

Ch 1

Pan

Ch 1

Gain

Ch 1

Pan

Group Channel

Dyn

Mix

Insert Pan

Aux Flip

Input EQ

Gain

HPF

Comp

Pan

Aux

Flip

A 10-segment meter shows input level for input channels, and output level for output channels. Clipping at various points in the channel signal path is also indicated when the top most LED lights red. The metering points for input and output channels are selectable.

For information on configuring meters, see “Meter” on page 64.

Assignable Channel Encoders

Each channel strip features one assignable channel encoder for control of parameters such as input gain, Aux send levels, and pan/balance/width. Channel encoders are assigned functions using the Channel Encoder Assignment switches.

Channel encoder, Sel and In switches, and display (Input Channel shown)

Rotary and Switch Functions

Channel encoders are dual-function controls that provide rotary and switch functions. Each channel encoder has a corresponding

Sel) switch and In switch. The function of the channel en-

select ( coder and its corresponding switches depends on the parameter assigned to the encoder.

Channel Displays

The channel display shows information for the currently banked channel such as the channel number and/or name, the parameter that is currently assign ed to the channel e ncoder, and othe r useful information depending on the type of channel banked and the parameter currently assigned to channel control.

Level/Pan Indicator

When a parameter is assigned to an encoder, an indicator in the display shows the relative setting of that control. When a corresponding encoder is touched and/or adjusted, the display shows a numerical parameter value.

Channel Encoder Assignment Switches

The Channel Encoder Assignment switches assign channel parameters to the channel encoders.

Channel Encoder Assign switches

The text on the switches correspond to the parameters that can be assigned to the channel encoders, as follows:

Gain

This switch assigns control of input gain to the channel encoders. Head amp gain is available for analog inputs, and digital gain is available for digital or line inputs. Gain level is indicated in the channel display level indicator.

 The channel encoder In switch toggles the Pad (-20 dB) for

that channel on/off. The switch is lit when the Pad is on.

HPF

This switch assigns control of the High Pass Filter (HPF) corner frequency to the channel encoders. HPF corner frequency is indicated in the channel display

 The channel encoder In switch toggles the built-in HPF for that

channel in/out. The switch is lit when the HPF is in.

Comp

This switch assigns threshold control for the built-in Compressor/Limiter to the channel encoders. This control is available for input and output channels.

 The channel encoder In switch toggles the Compressor/Lim-

iter for that channel in/out. The switch is lit when the Comp/Lim is in.

Pan

This switch assigns control of channel pan if the channel is mono, or stereo channel balance if the channel is stereo, to the channel encoders. This control is available for input channels and Group busses.

 For stereo channels, the channel encoder Sel switch assigns

width to the channel encoders.

Channel display level indicator (left) and pan indicator (right)

Chapter 3: S3L System Control Overview 31

Aux

Source

Back

Page Page

Top

Multi

Assign

User

Cancel

This switch assigns control of Aux (and Variable Group)

send levels to the channel encoders.

 When the Aux switch is pressed, the Aux Select menu appears

across the 16 channel encoder displays. Pressing a channel encoder assigns the sends for the bus indicated in the corresponding display to all 16 channel encoders.

Page >

This switch assigns the next set of parameters to the channel encoders, where available. For example, when Aux 1 is assigned to the channel encoders, pressing this switch assigns Aux 2 to the channel encoders. The switch lights when there is a next page to go to. When on the last page, pressing the switch does nothing.

 The Page > Channel Navigation switch assigns the Aux sends

for the next bus to the channel encoders; pressing

< Page assigns

the previous group of Aux sends.

 The channel encoder In switch toggles the Aux send on/off for

that particular channel. The switch is lit when the send is on.

 The channel encoder Sel switch toggles that Aux send be-

tween pre- or post-fader for that particular channel. When the switch is lit, the send is set to pre-fader.

For more information, see Chapter 10, “Auxes and Variable Groups.”

Flip

When the Flip switch is enabled, the current parameters assigned to the channel encoders are controlled using the faders (flip to faders). The switch flashes when

Flip is enabled, and a

vertical arrow appears in the channel displays.

If you bank to a different set of channels while parameters are assigned to the channel encoders, those parameters remain on the channel encoders, and any adjustments to the channel encoders apply to the currently banked channels.

Channel Encoder Navigation Switches

Use the Channel Encoder Navigation switches to navigate through the available pages of parameters.

Fader Banking Controls

S3L provides controls for banking channels in layers and for banking channels horizontally.

For more information, see “Banking Channels” on page 43.

Bank A–F and User Bank Switches

Use these switches to bank channels to channel strips in layers.

Bank A–F and User Bank switches

The following switches are provided:

Channel Navigation Switches

The following switches are provided:

Back/Top

This switch displays the first screen of parameter con-

trols for the currently assigned function.

Source

This switch shows the sources of the currently banked channels in the channel displays, and the source of the currently selected channel in the Channel Control Display. For example, if the source for a channel is Stage 1 Analog Input 3, in the channel display and (if selected) in Channel Control.

< Page

This switch assigns the previous set of parameters to the channel encoders, where available. The switch lights when there is a previous set to go to. For example, when Aux 2 is assigned to the channel encoders, pressing this switch assigns Aux 1 to the channel encoders. When on the first page, pressing the switch does nothing.

S3L System Guide32

S1A3 appears

A–D

Bank switches A–D bank input channels to the channel strips

as follows:

A banks Input Channels 1–16

•

B banks 17–32,

•

• C banks 33–48

D banks 49–64 (or FX Returns 1–8 depending on your input

• channel configuration).

This switch banks Aux outputs 1–16 to the channel strips.

This switch banks Group/Variable Group outputs 1–8 to chan-

nel strips 1–8, and Matrix outputs 1–8 to channel strips 9–16.

User

This switch banks VCAs 1–8 to channel strips 1–8, and

Mains Left, C/Mono, and Right outputs to channel strips 13–16.

< Nudge > and < Bank > Switches

Mixer Close

Home End

Nudge Nudge

Bank Bank

Multi

Assign

User

Cancel

Multi-Assign, OK, and Cancel

These switches let you bank channels to Channel strips sequentially.

< Nudge > and < Bank > switches

The following switches are provided:

< Nudge

This switch moves channels one channel to the left. If input channels 17–32 are banked, pressing this switch banks input channels 16–31.

Nudge >

This switch moves channels one channel to the right. If input channels 17–32 are banked, pressing this switch banks input channels 18–33.

< Bank/Home

This switch moves channels one bank (16 channels) to the left. If input channels 17–32 are banked, pressing this switch banks input channels 1–16.

Bank/End >

This switch moves channels one bank (16 channels) to the right. If input channels 17–32 are banked, pressing this switch banks input channels 33–48.

Pressing SHIFT+Bank/Home or Bank./End > switches provide the Home and End shortcuts. For more information, see “Using the Home and End Shortcuts” on page 44.

These switches let you enter, confirm, cancel and exit multi-assignment and multi-selection modes, and on-screen dialog boxes.

OK and Cancel switches

The following switches are provided:

Multi-Assign

This switch enables Multi-Assign mode, letting you quickly assign multiple input channels to a selected output bus. See “Assigning Inputs to Matrix Busses” on page 76.

This switch confirms the current operation, such as confirm-

ing assignments made in Multi-Select mode.

Cancel

This switch cancels the current operation, such as exiting Multi-Select mode. Cancel also unlocks the system if it has been locked (see “System Information Export” on page 58).

Chapter 3: S3L System Control Overview 33

Channel Control

Channel Control provides consistent control and display of channel processing functions such as EQ, dynamics, and Auxes for the currently selected input or output channel. Channel Control features eight encoders, each with a corresponding Select ( switch, display, and color-coded LED. Four Channel Control Navigation switches are provided for navigating through parameters. You can also create a custom User set of controls.

For more information on using Channel Control, see Chapter 5, “Channel Control.”

Sel) switch, In

Channel Control showing the main Channel Control menu

Channel Control Encoders

Channel Control features eight dual-function encoders that provide switch and rotary functions.

 When the Channel Control main menu is shown in the Chan-

nel Control displays, pressing a Channel Control encoder assigns the parameters for the function shown in the corresponding display to the eight Channel Control encoders.

 When parameters are assigned to the encoders, rotating a

Channel Control encoder adjusts the individual parameter indicated in the corresponding display (such as EQ band gain or Aux send level).

Each Channel Control encoder has a corresponding select ( switch and

Sel

In switch, as follows:

This switch assigns a secondary parameter to the correspond-

Sel)

ing Channel Control encoder, where availabl e. For exam pl e, when the EQ function is assigned to Channel Control, pressing the

Sel switch next to the Channel Control encoder controlling

frequency assigns Q (frequency bandwidth) to the encoder.

This switch toggles an individual parameter on/off, where available. For example, when the EQ function is assigned to Channel Control, pressing the

In switch for the Channel Control

encoder controlling EQ Lo band gain toggles that filter in/out. The switch is lit when the parameter is enabled (in).

S3L System Guide34

Channel Control Displays

Expnd

Top

Back

Page

Channel Control Navigation Switches

The Channel Control displays show the Channel Control main menu. When a processing function is assigned to Channel Control, the displays show the available parameters. Each Channel Control display also features a color-coded LED and a level/pan indicator.

Channel Control LEDs

Level/Pan Indicator

The Channel Control Navigation switches let you navigate through the available pages of Channel Control parameters. A function

In (enable/bypass) switch is also provided, as well as a

shortcut for adjusting inserted plug-ins.

Channel Control Navigation switches

The following switches are provided:

Back/Top

This switch returns Channel Control to the Channel

Control main menu.

This switch toggles an entire processing function (such as EQ or Comp/Lim) in/out. The switch is lit when the function is enabled (in)

Page >/Expnd

Depending on the processing function currently assigned to Channel Control, this switch assigns either the next page of a processing function’s parameters (if available) or the set of parameters for the next available function. The switch is lit when a next page is available.

< Page

This switch either returns to the previous page of parameters for the currently assigned function (if applicable) or the set of parameters for the previous function. The switch is lit when a previous page is available.

Chapter 3: S3L System Control Overview 35

Global Controls

Sel

SelInSel

Sel

Insert VCAs

Monitors Mains

MatrixesAux/Grp

Sel

Top

Conﬁg

Back

Page

Expnd

Page

Application

9210

11412

13614

15816

9-16

View 1 View 2

Workstation

Solo

Clear

Mix to Mons

SHIFT

Multi Select SHIFT

Default CTRL

Fine ALT

Command

1234

SHIFT

Sel

Insert VCAs

Monitors Mains

MatrixesAux/Grp

Sel

Top

Conﬁg

Back

Page

Expnd

Page

Global controls provide control of global parameters and functions such as control of output bus levels, Matrix input and output levels, Monitor bus levels, screen navigation, and programmable events. Controls include eight Global Control encoders with associated switches and displays, six View Mode switches, eight customizable Function switches, Monitoring switches, a Touch Strip, Global Modifier switches, and two

SHIFT switches.

Global Controls

Global Control Encoders

Global Control encoders are dual function controls that provide rotary and switch functions. Each encoder has a corresponding select

Sel) switch and an In switch. The following functions can be controlled from the Global Control encoders and associated Navigation

( switches:

• Mains output controls (see “Adjusting the Mains” on page 93)

• Monitor bus output levels (see “Adjusting Monitor/Headphone Level” on page 134)

• VCAs (see “VCAs” on page 97)

• Matrix mixers input and output controls (see Chapter 11, “Matrix Mixers.”)

• Aux/Variable Group output controls (see “Adjusting Aux/Variable Group Output Parameters” on page 111)

• Plug-in parameter control (see“Adjusting Plug-Ins” on page 173)

This section provides an overview of Global Control. For instructions on using specific Global Control functions, see the chapters or sections referred to in the list above.

Global Control main menu

S3L System Guide36

Global Control Navigation Switches

Top

Conﬁg

Back

Page

Expnd

Page

View 1 View 2

The Global Control Navigation switches let you navigate through the available pages of Global Control parameters. A switch for toggling system operating modes is also provided.

Global Control Navigation switches

View Mode Switches

The View Mode switches provide navigation for the on-screen software pages and tabs.

The following switches are provided:

Back/Top

This switch returns Global Control to the Global Con-

trol main menu.

When Matrix sends are assigned to Global Control, pressing and holding SHIFT+Back/Top displays the Global Control main menu.

Config

This switch toggles the system between its two main operating modes, Config mode and Show mode. See “Enabling Config Mode” on page 17.

Page >

Depending on the function currently assigned to Channel

Control, this switch assigns either the next page of a function’s parameters (if available) or the set of parameters for the next available function. The switch is lit when a next page is available.

< Page

This switch either returns to the previous page of param-

eters (if applicable) or the set of parameters for the previous

func-

tion. The switch is lit when a previous page is available.

View Mode switches

The following switches are provided:

View 1 This switch displays the Inputs page, and is lit when the

page is active.

View 2 This switch displays the Outputs page, and is lit when the

page is active.

You can customize the View 1 and View 2 switches to display the pages of your choice. See “View Mode Switch 1 and 2 Assignments” on page 65.

View Up and Down (▲ and ▼)/ View Left and Right (◄ and ►)

These switches navigate between pages and tabs on-screen. See “Viewing Page and Tabs” on page 40.

Application/Workstation Switch

This switch has no function for VENUE software.

Chapter 3: S3L System Control Overview 37

Function Switches

9-16

Solo

Clear

Mix to

Mons

1234

Monitoring Switches

The Function switches can be customized to control a wide range of console parameters such as Mute Groups, snapshot recall, tap tempo, and transport controls for Pro Tools and built-in 2-track USB recording and playback. Eight Function switches are provided in two banks, providing 16 customizable functions. Actions are assigned to the Function switches using events, available on

Events tab (Options > Events).

the

For more information, see Chapter 21, “Events.”

The Monitoring switches provide controls for the VENUE Solo and Monitor busses.

Monitoring switches

The following switches are provided:

Solo Clear

Mix to Monitors

This switch clears all soloed channels.

This switch sends the Main mix signal to the Monitor bus. When enabled (lit), the Main mix is present in the Headphones (or other device connected to a hardware output assigned to the Monitor bus) whenever channels are not soloed.

Headphone Volume Control

The volume control for the Headphone output is located along the right-front edge of the console. This signal for the Headphone output is derived from the Monitor bus. Monitor bus controls are provided on the Monitoring Global Control encoder.

Global modifier switches

The following switches are provided:

1–8/9–16

These switches trigger actions assigned on the Events

tab.

To trigger an event using a Function switch:

 Press a Function switch 1–8 to trigger the action(s) assigned to

that switch.

9–16

This switch toggles the eight switches between Function

switch banks 1–8 and 9–16.

To toggle between Function switch banks 1–8 and 9–16:

 Press the 9–16 switch. The Bank switch lights, and switches

F9–F16 are active.

Show Me

This switch lets you see the event(s) on-screen that is

assigned to a Function switch.

Show Me Global Modifier switch

To see the event(s) assigned to a Function switch using the Show Me switch:

 Press the Show Me switch. The Events tab is displayed.

Headphone volume control

For more information, see “Using the Monitor Bus” on page 133.

Touch Strip

The Touch Strip is a touch-sensitive control that you can customize to control a wide range of console parameters using events.

Touch Strip

The Touch Strip has four “press zones” that can be assigned to control four separate events (similar to the Function switches). Pressing a Zone

For more information on assigning events to the Touch Strip, see Chapter 21, “Events.”.

1–4 triggers the event assigned to that zone.

S3L System Guide38

Global Modifiers

Multi Select SHIFT

Default CTRL

Fine ALT

Command

SHIFT

The Global Modifier controls provide frequently used shortcuts that can be applied to console actions and software screen interactions.

To adjust a control with fine resolution:

 Press and hold the Fine switch while moving a control. The

display associated with the adjusted control will show the values change at the corresponding resolution.

To adjust a control with fine resolution using only the keyboard and mouse, Ctrl-click the on-screen control and adjust.

Global Modifier switches

Multi-Select (Shift)

The Multi-Select switch lets you select multiple input channels and then apply an action to all selected channels for batch routing and assignment. For more information see “Selecting and Targeting Channels” on page 44.

You can also use Multi-Select to select multiple consecutive items in the Snapshots list, and in Media page Playlist and Library.

To Multi-Select using only the keyboard and a mouse, press the Shift key on the keyboard and select the items on-screen.

Default (CTRL)

The Default switch provides a quick way to reset a control to its default setting (or “zero” the setting).

Examples of Using Default

To reset a fader to 0 dB:

1 Press and hold Default. 2 Press the channel Sel switch on the channel you want to reset.

Momentary and Latching Modes

The Fine switch supports momentary and latching operation.

Momentary

In momentary mode, the Fine switch stays in effect

for as long as you hold down that modifier switch.

Latching

In latching mode, the Fine switch stays in effect until

you explicitly clear its active state.

To use the Fine switch in Momentary mode:

1 Press and hold the Fine switch. 2 Adjust a channel, parameter, or processor. 3 Release the Fine switch.

To use the Fine switch in latching mode:

1 Double-press the Fine switch. The switch LED lights. 2 Select or adjust one or more channels, parameters, or proces-

sors.

3 Press the Fine switch again to exit latching mode.

Command

This switch has no function for VENUE software.

To reset a single parameter in Channel Control:

 Hold the Default switch and press the encoder for that param-

eter in the Channel Control section.

To reset a parameter using only the keyboard and mouse, Alt-click the on-screen control.

To reset all parameters of a processing function in Channel Control:

 Hold the Default switch and press the Channel Control Navi-

In switch.

gation

Fine (ALT)

The Fine switch lets you adjust controls (except for faders) on the console or on-screen with maximum resolution. For example, if by default a control adjusts a parameter in units of 1 dB, the Fine switch allows adjustment in units of 0.1 dB.

You can also use

Fine to select multiple non-consecutive items in

the Snapshots list, and in the Media page Playlist and Library.

SHIFT

Some switches have secondary functions, highlighted in gray above the primary function (such as is the secondary function). To access these secondary functions, use either of the two

SHIFT switches located at the lower -left and

lower-right sides of the console surface.

SHIFT switch

To access the secondary function of a switch:

 Press and hold either SHIFT switch, then press the desired

switch.

To lock/unlock SHIFT:

 Press both SHIFT keys to simultaneously lock on SHIFT.  Press either SHIFT key to unlock.

Chapter 3: S3L System Control Overview 39

< Bank/Home, where Home

SHIFT can be locked on.

Software Screen Overview

The screen is not required in order to mix a performance, as all essential mixing controls are provided on the console. However, the screen is essential when setting up and configuring the system before a performance. For more information, see Chapter 6, “Options.”

Console and Software Screen Linking

The software screen is linked to console actions by default. You can customize how VENUE targets channels to best match your working style. For more information, see “Interaction” on page 64.

Software Screen Banner Display

The screen provides a banner display in the lower left corner. This display is provided to maintain line-of-sight mixing by showing the currently adjusted parameter (such as fader level or compression threshold) as you make changes to the parameter. The banner display also provides Tool Tip text and status messages.

Tool Tips

With the mouse or trackball, place the cursor over a screen item to see a brief explanation in the banner display.

Viewing Page and Tabs

To view a page, do one of the following:

 Press the View Left or View Right (

through pages horizontally. – or –

 Click the page name at the top of the screen.

Clicking the page name to view a page

To view a tab:

 Press the View Down (

Left

or View Right (◄ or ►) switch to scroll through the tabs

▼

) switch so it is lit, then press the View

of the current page (if applicable). – or –

◄ or ►

) switch to cycle

Cursor (top) and tool tip in the banner display (bottom)

Status Messages

The banner display alerts you to certain operating conditions such as Multi-Select and Multi-Assign modes.

Banner display (left) and Mode display (right)

 Click the tab name, below the page names on-screen.

Clicking the tab name

S3L System Guide40

Overview of Software Pages

Filing

The software screen provides the following pages and tabs.

Inputs

Select, name, configure, and adjust parameters for input channels and FX Returns.

Inputs page (analog input shown)

See Chapter 7, “Inputs and Input Routing.”

Load, save, and transfer shows and presets, and access the console History.

Filing page (History tab)

See Chapter 19, “Shows and File Management.”

Snapshots

Store and recall snapshots, and access the Recall Safe window.

Outputs

Select, name, configure, and adjust parameters for outputs.

Outputs page

See Chapter 8, “Outputs and Output Routing.”

Snapshots page

See Chapter 20, “Snapshots.”

Chapter 3: S3L System Control Overview 41

Patchbay

Media

Patch input and output channels to hardware inputs and outputs, and name channels.

Patchbay page (Inputs tab shown)

See Chapter 12, “Patchbay.”

Plug-Ins

Configure and arrange plug-in racks; and assign, patch/route, and manage plug-ins.

Configure, control, and monitor 2-track USB recording and playback.

Media page (Playback tab shown)

Options

Configure system, routing and metering options, set interaction, hardware and general preferences, install plug-ins, and access the Events window.

Plug-In page

See Chapter 17, “Plug-Ins.”

S3L System Guide42

Options page (System tab shown)

See Chapter 6, “Options.”

Chapter 4: Banking and Selecting Channels

Multi

Assign

User

Cancel

Banking Channels

The S3L system provides channel banking controls to navigate to channels beyond the number of available physical faders. Inputs (Input Channels and FX Returns) and outputs (Auxes, Groups, VCAs, Matrixes, and Mains) are banked using the bank switches, and the

Bank switches

< Nudge > and < Bank > switches.

Banking Inputs

The A-D bank switches let you bank Input Channels and FX Returns to the console channel strips in bank s of 16 channe ls. Channel names and numbers are indicated in the channel displays.

To bank Input Channels 1–16 to the channel strips:

 Press bank switch A.

To bank Input Channels 17–32 to the channel strips:

 Press bank switch B.

A–F and User

Banking Outputs

The E, F and User bank switches let you bank outputs to the channel strips. Channel names and numbers are indicated in the channel displays.

Outputs can also be accessed from the Global Control encoders. See “Selecting Outputs from Global Control” on page 45.

To bank Aux outputs 1–8/9–16 to the channel strips:

 Press bank switch E.

Channel strips 9–16 are blank if the system is configured for eight Aux sends.

To bank Group/Variable Group outputs 1–8 and Matrix outputs 1–8 to the channel strips:

 Press bank switch F.

• Groups 1–8 are banked to channel strips 1–8.

• Matrixes 1–8 are banked to channel strips 9–16.

A stereo Group is controlled using a single fader.

To bank VCAs 1–8 to the channel strips:

 Press the User bank switch. VCAs 1–8 are banked to channel

strips 1–8.

To bank the Main Left, Right, and C/Mono Mains faders to the channel strips:

 Press the User bank switch. Left, C/Mono, and Right Mains

faders are banked to channel strips 14, 15, and 16.

To bank Input Channels 33–48 to the channel strips:

 Press bank switch C.

To bank Input Channels 49–64 to the channel strips:

 Press bank switch D.

Banking FX Returns

When your system is configured with 48 Input Channels plus eight FX Returns, Bank switch Channel strips.

To bank FX Returns to the channel strips:

 Press bank switch D. FX Returns 1–8 are banked to channel

strips 1–8.

D banks FX Returns 1–8 to the

Chapter 4: Banking and Selecting Channels 43

Banking with < Nudge > and < Bank >

Mixer Close

Home End

Nudge Nudge

Bank Bank

Rec

Sel

Ch 1

Thrshold

User

Input

Ch 1

Expnd

Top

Back

Page

Switches

< Nudge > and < Bank > let you bank through channels horizon-

tally. You can also quickly return to the first bank or the last bank using the

< Nudge > and < Bank > switches

To bank channels one channel to the right:

 Press the Nudge > switch.

To bank channels one channel to the left:

 Press the < Nudge switch.

Home and End shortcuts.

Selecting and Targeting Channels

Selecting a channel targets that channel for processing in Channel Control or on-screen, and for Multi-Assign/Multi-Select.

Channels are selected as follows:

• Channels banked to channel strips on the console are selected using the channel strip

• Channels can be selected by clicking their fader strips on-screen.

• Output channels can be selected from the Global Control encoders using Global Control encoder

• Multiple channels can be selected using Multi-Select.

• Multiple channels can be assigned to outputs using Multi-Assign.

Output busses, Matrix outputs, and VCAs can be selected from the Global Control encoders. See “Selecting Outputs from Global Control” on page 45.

Sel switches.

To bank channels one bank (16 channels) to the right:

 Press the Bank > switch. The next set of 16 channels i s banked

to the channel strips

To bank channels one bank (16 channels) to the left:

 Press the < Bank switch. The previous set of 16 channels strips

is banked to the channel strips.

Using the Home and End Shortcuts

Using either SHIFT switches on the S3 control surface in conjunction with the

< Bank > switches provide the Home and End

banking shortcuts.

To bank to the first set of channels for the currently banked channel type:

 Press SHIFT+< Bank/Home. If input channels are banked, In-

put Channels 1–16 are banked to the channel strips. If output channels are banked, Aux outputs are banked.

To bank the last set of channels for the currently banked channel type:

 Press SHIFT+Bank >/End. If input channels are banked, Input

Channels 49–64 (or FX Returns 1–8 depending on your configuration) are banked to the channel strips. If output channels are banked, VCAs and Mains are banked.

Selecting a Banked Chann el

To select a channel from the channel strip:

1 Bank the desired channels to the channel strips. 2 Press the channel Sel switch next to the fader for the channel

you want to select.

Channel strip Sel switch

When a channel is selected, its channel number/name is underlined in the channel display.

Channel display indicating the channel is selected

The currently selected channel is also shown in the first Channel Control display at all times.

S3L System Guide44

Channel Control display showing the currently selected channel

Selecting Channels On-Screen

Click to select channel

Sel

Monitors Mains

Sel

Top

Conﬁg

Back

Page

Expnd

Page

Sel

VCAsMatrixesAux/Grp

Sel

To select a channel on-screen

 Click anywhere in the on-scr ee n fader strip, except on the

fader, mute, solo or safe buttons.

Clicking on-screen to select a channel

A channel can also be selected by touching the fader and/or soloing the channel. See “Channel Selection” on page 64.

Selecting Outputs from Global Control

Mains, Auxes, Groups/ Variable Group, VCAs and Matrixes can be selected from the Global Control encoders.

To select the Mains from the Global Control encoders:

1 Make sure the Global Control main menu is shown in the

Global Control displays.

Press the Back/Top Global Control Navigation switch to show the Global Control main menu.

2 Press the Global Control encoder Sel switch under the display

showing the adjacent bus.

Mains. Press the Sel switch again to select to select

To select the Aux and Groups/Variable Groups from the Global Control encoders:

1 Make sure the Global Control main menu is shown in the

Global Control displays.

2 Press the Aux/Grp Global Control encoder. Aux outputs 1–8

are assigned to the Global Control encoders.

Aux/Grp Global Control encoder

3 Press the encoder Sel switch under the display showing the

Aux output you want to select.

4 Do the following to access additional Aux and Group/V ariable

Group outputs, depending on the current global Bus Configuration setting:

• Press the

Page > Global Control Navigation switch to ac-

cess Group outputs 1–8 or Aux outputs 9–16 on the Global Control encoders.

• Press

Page > again to access Group or Variable Group out-

puts 1–8.

See “Bus Configuration Settings” on page 58 for more information on the available bus configuration options.

Mains Global Control encoder Sel switch

On-screen, the fader strip of the selected bus is highlighted blue.

Mains Global Control encoder Sel switch

To select VCAs from the Global Control encoders:

1 Make sure the Global Control main menu is shown in the

Global Control encoder displays.

2 Press the encoder under the display showing VCAs. VCAs 1–8

are assigned to the eight Global Control encoders.

3 Press the encoder Sel switch under the display showing the

VCA you want to select.

To select a Matrix Mixer for processing:

1 Make sure the Global Control menu is shown in the Global

Control displays.

2 Press the Matrixes Global Control encoder. Matrix outputs 1–8

are assigned to the Global Control encoders.

3 Press the Global Control encoder Sel switch under the display

showing the Matrix output you want to select.

Chapter 4: Banking and Selecting Channels 45

Selecting Multiple Channels

Click to select banks of 8

Fader in channel strip section

section

Fader in

selected channel

Selected channels

(Multi-Select)

Screen Controls

Multi-Select lets you select multiple channels in order to apply an action to them in one step, such as turning Aux sends on or off for multiple channels.

To select multiple channels from the console:

1 Press and hold the Multi-Select switch (located on the bottom

left of the console).

2 Press the channel strip Sel switch on each channel you want to

include in the selection.

3 Release the Multi-Select switch. The flashing Multi-Select,

OK and Cancel switches, and the banner display at the lower

left of the screen flash to indicate Multi–Select mode is enabled.

4 Perform a routing assignment or other function (for example,

press a Bus Assign switch on one of the included channels). The operation is applied to all selected channels.

You can also use the Shift key on the keyboard to select multiple channels.

To exit Multi-Select mode, do one of the following:

 Press the Multi-Select switch.

– or –

 Press the Cancel switch.

To select multiple channels on-screen:

 Press and hold the Multi-Select switch (or hold Shift on the

keyboard) and click the fader strips on-screen.

To select an 8-channel bank on-screen:

 Click the bank name (such as 1–8 or Aux 1–8) below the

on-screen fader strips. Shift-click to select additional banks or channels.

Adjusting On-Screen Faders

You can move on-screen faders independently or in ganged fashion.

To adjust a single fader on-screen, do one of the following:

 Drag a fader in the on-screen channel strip section at the bot-

tom of the screen. – or –

 Select a channel and move its fader in the on-screen selected

channel controls.

Dragging a fader on-screen

To move multiple faders on-screen in ganged fashion:

1 Select multiple channels on-screen by Shift-clicking. 2 Move the fader on one of the selected channels.

The faders on the selected channels will move in ganged fashion. Any offset between the faders is maintained until at least one of the faders is minimized (moved to –INF) or maximized (set to +12 dB).

Clicking a bank display to select multiple channels on-screen

To select all input channels or all output channels on-screen:

 Double-click any bank name below the on-screen fader strips

in the Input or Outputs screen.

To remove a channel from a selection:

 Control-click (or Fine-click) a highlig hte d cha nn el .

You can assign multiple input channels to an Aux, Group, or VCA using Multi-Assign. See “Assigning Inputs to Matrix Busses” on page 76.

S3L System Guide46

Dragging multiple faders on-screen

Adjusting On-Screen Encoders

Reset Fader to 0

You can adjust on-screen rotary encoders by dragging directly over the on-screen knob.

To adjust an on-screen encoder:

1 Click on the encoder so that it is highlighted. 2 Drag up to turn the encoder clockwise; drag down to turn the

encoder counter-clockwise.

Dragging over an encoder on-screen

Adjusting Values On-Screen

In addition to typing numeric values in text boxes, you can adjust parameter values and numeric option settings on-screen by dragging directly over the corresponding text box.

To adjust a value on-screen by dragging:

1 Click in the text box to select the value. 2 Drag up to increase the value; drag down to decrease the value.

Resets the fader position to zero.

Reset Selected Input Strips

Resets every parameter on the selected channel(s) to default settings.

Copy and Paste Channel

Channel settings can be copied in their entirety from one channel and pasted to one or more channels from the console or on-screen. Using the Events list, Copy and Paste can be assigned to any Function switch on the console. For more information, see Chapter 21, “Events.”

You can also store and load settings as Input Channel Presets. For information, see “Input Channel Presets” on page 84.

To copy and paste channel settings on-screen:

1 Do one of the following :

• Right-click on a channel fader in the fader display across the lower half of the screen and choose

– or –

• Right-click within the upper channel display and choose

Copy.

Adjusting a parameter value by dragging over its text box

Screen Shortcuts

The on-screen Fader display provides the following right-click shortcuts.

Right-clicking a fader on-screen

See also “Fader and Encoder Shortcuts” on page 50.

Copying channel settings

You do not need to select the channel before copying its settings on-screen.

2 Select one or more destination channels. Y ou can only paste to

selected channels.

3 Right-click on the lower fader strip on-screen, or on any

non-control area of the destination channel, and choose Paste to Selected Strip(s). The status displays shows a message confirming the Paste operation.

Chapter 4: Banking and Selecting Channels 47

Parameters and Channel Types

Input channels can only be copied or pasted to other Input channels. Output channels can only be copied or paste d to other cha nnels of the same type (such as Aux, Group, or Matrix). When pasting channel settings:

• Settings common to the source and destination channel are always pasted.

• Copied settings with no corresponding parameter in the destination channel are ignored.

• Settings in the destination channel with no corresponding parameters are left unchanged.

Copying and Pasting Mono and Stereo Channel Settings

Make Selected Mono Strips Stereo/Make Selected Stereo Strip Mono

Combines two selected mono channels into a single stereo channel, or splits a selected stereo channel into two mono channels. VENUE must be in Config mode to change the stereo status of a channel.

Move Selected Strip

Moves a selected Channel strip from its current position to a new location. When you move a Channel strip, other channels are moved (and renumbered) lower or higher to accommodate the moved channel.

VENUE must be in Config mode to move channel strips.

You can copy a mono channel and paste its settings to one or more stereo channels. Mono settings are applied equally to the left and right channels of the stereo destination. The stereo destination channel retains its current balance and width settings.

You can also copy a stereo channel and paste its settings to one or more mono channels. The left channel settings of the stereo source are applied to the mono channel(s). The mono destination channel retains its current pan setting.

Settings Excluded from Copy and Paste

Input Channels

The following Input channel parameters are not copied or pasted (the current settings of the destination channels are retained):

• Patchbay assignments, including Direct Outs

• Channel Name

• Hardware and software insert (plug-ins) assignments and in/out state.

Output Channels

The following Output channel parameters are not copied or pasted (the current settings of the destination channels are retained):

• Patchbay assignments, including Direct Outs

• Channel Name

• Hardware and software insert (plug-in) assignments and in/out status

• GEQ settings

• Output membership (the assignment of channels to an Aux, Group VCA, Matrix or PQ).

To copy GEQ settings, use the copy/paste GEQ shortcut or use GEQ Presets. Use the Replace with Mix (members) From command to replace output membership for an Aux, Group, VCA, Matrix or PQ.

To move a Channel strip:

1 Put the system in Config mode. 2 Select the channel you want to move. 3 On-screen, right-click on the destination strip (where you want

to move the selected channel).

4 Choose Move Selected Stri p Here from the pop-up menu. The

channel strip is moved before the destination strip.

Snapshots cannot store and recall custom console channel positions.

You can also drag and drop channels. See “Reordering Input Channels Using Drag and Drop” on page 73.

Insert Blank Strip

The Insert Blank Strip command lets you insert one or more blank (or “spacer”) strips anywhere among your input channels. In addition, blank strips are automatically inserted when you use the Make Stereo command to convert two mono input channels into a single stereo channel, preserving the channel layout.

Blank strips are strictly placeholders (no audio or any type or processing take place), and therefore consume no additional processing overhead or DSP resources.

Use blank strips to create obvious divisions between groups of instruments, or to optimize the bank placement of inputs on the console.

Blank strips are saved and loaded as part of the Show file.

Blank Strips on the Console

A blank strip has no LCD channel name display, and all of its physical controls and indicators are inactive. Blank strip faders are set to the bottom (–inf) position and always revert to this position if moved.

S3L System Guide48

Blank Strips On-Screen

Automatically Inserting Blank Strips using Make Stereo

Blank strips appear as a simple gray strip with no fader, buttons or meter. A blank strip can be right-clicked to reveal its context menu.

Blank strip in position 16, Right-click menu shown

Adding Blank Strips

Blank strips can be inserted manually, and are also created automatically when you use the Make Stereo command. You can also insert multiple blank strips.

Manually Inserting Blank Strips

Config mode must be enabled to add or remove blanks strips.

To manually add a blank strip:

1 Enable Config mode. 2 Right-click an input channel strip (or a blank strip) at the loca-

tion where you want to insert a blank strip and choose

Blank Strip

. For example, if you want to have a blank strip at

Insert

channel strip 16, right-click on channel 16.

All channels to the right of the insertion point (including the right-clicked channel) are shuffled one position to the right.

This command will be unavailable if the combined number of input channel strips plus blank strips equals or exceeds 64. For more information, see “Limits and Guidelines for Blank Strips” on page 49.

To insert multiple blank strips:

1 Enable Config mode. 2 Create a multi-selection of channels. 3 Right-click on one of the selected channels and choose Insert

Blank Strips at Selection

A blank strip is inserted in place of each selected channel strip, shifting all channels accordingly and maintaining the multi-selection.

VENUE automatically creates blank strips when you use the Make Stereo command in order to preserve the current channel layout. Similarly, blank strips may be automatically removed when you use the Split Stereo command to revert a stereo strip to its two contributing mono channels.

Make Stereo

A blank strip is automatically inserted at the location previously occupied by the right-side channel of the newly-formed stereo pair. There is no shuffling of the remaining input channels as a result of this operation.

Split Stereo

The behavior when splitting a stereo strip into two

mono strips is as follows:

• If a blank strip is located immediately adjacent to the (previously) stereo channel, the right channel of the stereo pair occupies this position and the blank strip is automatically removed. No other channels shuffle.

• If no blank strip is located immediately adjacent to the (previously) stereo channel, all channels to the right of the split point shuffle one position to the right and the right channel of the stereo pair is inserted.

Removing Blank Strips

To remove a blank strip:

 Right-click the blank strip you wish to remove and choose Re-

move Blank Strip

To remove all blank strips:

 Right-click any blank strip and choose Remove All Blank

Strips

. Blank strips are removed and all channels to the right

are shuffled one position to the left.

Limits and Guidelines for Blank Strips

The maximum number of fader strips is 64. These 64 positions can be comprised of any combination of mono or stereo Input Channels, FX Returns, as well as blank strips.

The maximum number of blank strips that can be used varies depending on the current system configuration and the number of stereo channels used in the configuration. This number can be calculated as:

64 - (the number of Input Channels - number of stereo inputs + FX Returns) = maximum number of blank strips

For example:

• A 64 channel configuration with 64 mono Input Channels can have no blank strips.

• A 48 channel configuration with 48 mono Input Channels and 8 FX Returns can have 8 blank strips. [64-(48-0+8) = 8]

• A 48 channel configuration with 4 stereo channels can have 12 blank strips. [64-(48-4+8) = 12]

Chapter 4: Banking and Selecting Channels 49

Fader and Encoder Shortcuts

The on-screen channel faders and encoders provide the following right-click shortcuts to reset individual parameters and channel strips.

Right-clicking channel strip controls on-screen

Reset Parameter

To reset an on-screen fader or encoder to its default value, do one of the following:

 Right-click the contro l and choose Reset.

– or –

 Alt-click the control.

Reset Channel

To reset an entire channel strip to its default settings:

 Right-click the on-screen channel fader and choose Reset

Strip

Type Text Search

Type Text search lets you use the keyboard for fast navigation to a channel, or to quickly go to a specific snapshot or event. You can enter the first characters of a channel name or the absolute channel number to target that channel on-screen or in Channel Control (see also “Selecting and Targeting Channels” on page 44.)

To search for and select a channel by name:

1 Go to the Inputs, Outputs, or Patchbay page. 2 Type the first few letters, channel number, or full name of the

channel. For example, type “s” to go to the first channel beginning with the letter s (such as Snare).

3 Press the T ab key on your keyboard to cycle through and select

any other channels beginning with that letter (such as Snare Top, Snare Bottom, or Strings).

To search for and select a list item by name (or number):

1 Go to the Snapshots page, Filing page, or the Events tab of the

Options page. Or, click to open any Presets window (built-in Dynamics or EQ presets, Input Channel presets, or Scope Sets).

2 Type the first few letters or number of the desired item. 3 Press the T ab key on your keyboard to cycle through and select

any other items that begin with the same letters.

Channel Numbers and Name s

Channel numbers in VENUE are “absolute” channel numbers. Renaming changes the displayed name associated with each channel, but the absolute channel number remains fixed.

To search for and select a channel by absolute number:

 Type a number on the keyboard to select the corresponding

channel.

S3L System Guide50

Chapter 5: Channel Control

User

Input

CompLim

ExpGate

Aux 1-8

Aux 9-16 Var Grps

Ch 1

Expnd

Top

Back

Page

Channel Control provides consistent control and display of processing functions for the currently selected input or output channel.

The Channel Control main menu

The following processing functions can be assigned to and controlled from Channel Control, and are shown in the Channel Control main menu:

• Input/output controls such as input gain, pad, pan/width/balance, polarity invert, and direct out level (input channels and output busses)

• EQ (input and output channels)

• Compressor/Limiter (input and output channels)

• Expander/Gate (input and output channels)

• Aux and Variable Group sends (input channels only)

• Plug-Ins (EQ, Comp/Lim, and Exp/Gate plug-ins on input and output channels)

Channel Control also lets you create a custom User set of controls for immediate access to up to 16 parameters.

Channel Control operations for inputs, EQ and dynamics processing, plug-ins, and Aux sends are detailed in the relevant sections of this guide. The rest of this chapter shows you the basics of Channel Control, as well as how to create and manage the custom User assignment.

Chapter 5: Channel Control 51

Using Channel Control

User

Input

Ch 1

Expnd

Top

Back

Page

CompLim

ExpGate

Aux 1

Ch 1

Lo Gain Lo Freq

Lo Gain

Multi Select SHIFT

Default CTRL

Fine ALT

Command

Using Channel Control is as simple as selecting a channel, assigning a processing function to Channel Control, and adjusting the available parameters.

To start using Channel Control:

1 Make sure the Channel Control main menu is shown in the

Channel Control displays. If necessary, press the Channel Control Navigation switch to return to the Channel Control main menu.

Back/Top

4 Do any of the following to adjust parameters:

• Rotate the Channel Control encoder under the display showing the parameter you want to adjust. For example, to adjust the gain for the low band of a channel EQ, rotate the encoder under the display showing

Channel Control display showing the Lo band EQ parameter

Lo Gain.

Back/Top Channel Control Navigation switch

2 Select a channel to target it for processing in Channel Control. 3 In the Channel Control section, press the Channel Control en-

coder under the display showing the function you want to adjust. For example, to adjust a built-in channel EQ, press the encoder under the display showing

Channel Control encoders

EQ.

The parameters for that processing function appear in the Channel Control displays.

• Press a Channel Control encoder

Sel switch to adjust a sec-

ondary parameter using that encoder, where available. For example, to adjust the Q (bandwidth) of the low band of a channel EQ, press the encoder

Sel switch under the display

showing Lo Freq, and rotate the encoder.

• Press a Channel Control encoder to enable a secondary parameter, where available.

To bypass an individual parameter (toggle in/out):

 Press an encoder In switch to toggle an individual parameter

in/out (such as toggling an individual EQ band in/out).

• When lit, the parameter is in (enabled).

• When unlit, the parameter is out (bypassed).

Lo frequency band enabled (lit Channel Control encoder In switch)

To reset an individual parameter to its default setting:

 Press and hold Default and press the Channel Control encoder

for the parameter you want to reset (such as resetting the Comp/Lim threshold to 0 dB).

S3L System Guide52

Default switch

To enable or bypass an entire EQ, Comp/Limp, or Exp/Gate

Input

CompLim

ExpGate

Aux 1-

Expnd

Top

Back

Page

Ch 1

Lo Gain

function (toggle in/out), do either of the following:

 When the main Channel Control menu is shown, press the

Channel Control encoder

In switch under the display showing

EQ, Comp/Lim, or Exp/Gate. The switch is lit when the processor is enabled (in).

Channel Control encoder In switch

 When a function is assigned to Channel Control, press the

Channel Control Navigation

In switch. The switch is lit when

the processor is enabled (in).

Channel Control LEDs

Each processing function has a unique color associated with it that is displayed in the Channel Control LEDs. When a processing function is assigned to Channel Control, the assigned function is also highlighted in that same color on-screen. For example, when EQ is assigned to Channel Control, the eight console Channel Control LEDs are lit green and the on-screen EQ section for the selected channel has a matching green background.

Channel Control Navigation In switch

To reset all parameters of a function to its default settings:

 With the main Channel Control menu is shown in the eight

Channel Control encoder displays, press and hold then press the Channel Control encoder

In switch below the

Default,

display showing the function you want to reset (such as resetting all EQ settings, including setting all EQ band Gains to 0dB).

To access additional parameters or the parameters for the next available function:

 Press the Page > Channel Control Navigation switch.

To return to the main Channel Control menu:

 Press the Back/Top Channel Control Navigation switch so

that the main Channel Control menu (such as

EQ)

appears in the Channel Control displays.

User, Input, or

Channel Control display showing an EQ parameter with a green LED (left) and the on-screen EQ section highlighted in green (right)

Channel Control LEDs and matching background colors are listed in the following table:

Channel Control Functions and Corresponding LED Colors

Function Color

User Red Input White EQ Green Comp/Lim Blue Exp/Gate Yellow Aux Sends 1-8 Pink Aux Sends 9-16 Turquoise (blue/green) Variable Groups 1–8 Purple

Chapter 5: Channel Control 53

Assigning Functions to Channel Control

See the following sections for information on assigning and adjusting processing functions using Channel Control:

Input Parameters

Some input parameters can also be adjusted from the assignable channel encoders.

See “Adjusting EQ” on page 153.

Comp/Lim

Exp/Gate

See “Adjusting the Built-In Exp/Gate” on page 145.

See “Adjusting Input Parameters” on page 77.

See “Adjusting the Built-In Comp/Lim” on page 144.

To create a custom User assignment in User Assignment mode:

1 Right-click any available encoder. 2 Select Enter User Assignment mode from the menu. 3 Click an on-screen encoder to assign control of the parameter

to Channel Control encoder 1.

4 Assign any other desired parameters. Subsequent parameters

are assigned to consecutive Channel Control encoders.

To clear a User assignment on-screen:

1 On-screen, right-click a parameter. 2 Choose Clear <parameter name> from the Channel Control

sub-menu.

EQ, Comp/Lim, and Exp/Gate Plug-Ins

You can toggle between controlling built-in processing or a like (equivalent) plug-in inserted on the channel. See “Adjusting Inserted Dynamics and EQ Plug-Ins” on page 173.

Aux and Variable Group Sends

See “Adjusting Sends Using

Channel Control” on page 109.

User Assignment

You can mix and match parameters from different function types and save it as a single Channel Control User assignment is stored with each Show file.

Creating a User Assignment

Custom User assignments are made on-screen, either individua lly or in User Assignment mode.

To create a custom User assignment:

1 Right-click any available encoder. 2 Select a Channel Control encoder (1-16) from the Channel

Control

menu.

User assignment. The

To clear all User assignments:

1 On-screen, right-click a parameter. 2 Choose Clear All Assignments. 3 Click Clear to confirm and clear all; click Cancel to cancel and

leave the User assignment unchanged.

Accessing the User Assignment

To access User assignment:

1 Select one or more channels. 2 Press the Channel Control encoder under the display showing

User. Assignments made to Channel Control encoders 9–16

are accessed on the second page of the User Channel Control parameters.

Assigning a parameter to Channel Control on-screen

S3L System Guide54

Availability of Channel Control Functions

The functions available on Channel Control depend on the type of channel currently selected, as shown in Table 1. Functions are listed across the top row, and channel types are listed in the left column.

Table 1. Channel Types and Available Functions

Variab le

Groups

Input Channels

FX Returns

Main L–R, C/M

Groups

Aux Sends 1-16, Variable Groups 1–8

Matrixes

Input Channel EQ Comp/Lim Exp/Gate Aux 1-8 Aux 9-16

Yes Yes Yes Yes

Yes Yes Yes

Yes

Yes Yes Yes

Yes

Yes Yes Yes Yes Yes

Yes

Yes Yes

Yes Yes Yes

Yes Yes Yes n/a n/a n/a n/a n/a n/a n/a n/a n/a n/a n/a n/a

n/a n/a n/a n/a

VCAs

n/a n/a n/a n/a n/a n/a n/a

1 Built-in and plug-ins 2 Plug-ins only 3 Processing available, but not all parameters are available due

to the type of bus/channel.

Chapter 5: Channel Control 55

Chapter 6: Options

The Options page provides several tabs. Of these, the System and Devices tabs are where most system configuration settings and options are enabled and customized:

• The System tab provides the primary tools by which you configure mixing, routing, and processing options.

• The Devices tab provides status, diagnostics, and options for hardware components.

This chapter shows you how to manage the most important System and Devices settings, and describes the settings available in other Options screens.

Overview of Options

The Options page provides the following tabs:

• “System” on page 57

• “Busses” on page 60

• “Pickoffs” on page 61

• “Snapshots” on page 62

• “Misc” on page 63

• “Interaction” on page 64

• “Devices” on page 66

• “Events” on page 67

• Plug-Ins (see “Installing and Authorizing Plug-Ins” on page 161)

System

(System Configuration)

From the System tab you can configure input channels, configure Mains and Aux/Group busses, reset the system, shut down your system, lock the system, and get system info.

Basics of Editing System Settings

Settings available in the System tab can only be edited while in Config mode.

In Config mode, the change settings. When a System Config setting is changed, the Apply button becomes available at the right of the screen to let you confirm and apply changes.

Changing system settings may restart and/or interrupt audio.

In Show mode, the Edit button is unavailable. This protects these settings from being changed during a performance (since changes to these settings can interrupt audio).

To change a system configuration option:

3 Put the system in Config mode. 4 Go to the Options page and click the System tab. 5 Click Edit.

Edit button becomes available to let you

Edit button on the Options > System page

6 Change a System Config, Main Bus, Inputs or Bus Configura-

tion option.

Click the Cancel button to return to the previous setting.

7 Click Apply to confirm and apply your new settings.

Apply button on the Options > System page

8 Return to Show mode when you are finished editing settings.

Chapter 6: Options 57

System Configuration Settings

Main Busses

In Show mode, the System Configuration section is display-only, showing the current allocation of system resources and bus settings.

In Config mode, you can edit system settings such as input channel configuration, bus configurations, and hardware I/O configurations.

Audio is interrupted when a System Configuration setting is applied. Do not change these settings during a performance.

System configuration settings are stored with Show files. See “System Configurations and Loading Shows” on page 183 for more information.

Input Channel Settings

You can choose one of the following input channel configurations:

• 48 Input Channels plus eight stereo FX Returns

• 64 Input Channels

For instructions, see See “Setting the Input Channel Configuration” on page 72..

The Main Busses settings let you choose the overall configuration for the Main busses.

For instructions, see “Configuring the Main Busses” on page 88.

Bus Configuration Settings

The Bus Configuration Settings let you choose the overall Aux and Group bus configuration.

For instructions, see “Configuring Aux and Group Busses” on page 88.

System Information Export

Info Button

The System Information Export feature lets you generate an HTML (text) document that details system hardware, software and currently loaded Show file configurations. This document can be read by any Internet browser, such as Internet Explorer, Mozilla Firefox, Safari, or Chrome.

The patch list can also be exported separately (for more information, see “Patch List Export” on page 126).

FX Returns

The number of available stereo FX Returns are indicated here. When your system is configured for 48 input channels, eight stereo FX Returns are available. When configured for 64 channels, no FX Returns are available.

In the 64-channel configuration, plug-in outputs can be returned to Input Channels. See “Routing a Plug-In as a Bus Processor” on page 172.

Graphic EQs

The number of Graphic EQs available (16) is pre-configured, and cannot be changed.

DSPs Available for Plug-Ins

The amount of DSP available for plug-ins is pre-configured, and cannot be changed.

Input Channel Source Settings

The options in this section let you globally choose between using Stage inputs or Pro Tools inputs as the source for your S3L system input channels.

The System Information document can be sent directly to production or rental companies to describe your exact system needs; alternately, the information can be re-formatted as desired by copying and pasting the data into a word processing or spreadsheet application.

To export VENUE System Information:

1 Insert a USB storage device into any available USB port on the

E3 engine.

2 Go to Options > System. 3 Click the Info button.

Export VENUE System Information button in Options > System

See Chapter 25, “Pro Tools Recording and Playback” for more information.

S3L System Guide58

4 Do any of the following:

• If you have more than one USB storage device connected, make sure the correct USB device is selected. If it is not, click Next Disk to cycle through each available disk until the correct one is selected.

• Click Save to proceed and export system info to the selected USB disk.

• Click Cancel to dismiss the dialog without exporting.

System Lock

System Lock is activated by clicking the LOCK button on the Options > System page, which locks the S3 control surface and hides the on-screen controls. (System Lock is not available in the Standalone software.)

To engage System Lock:

1 Go to Option > Systems.

5 Click OK to confirm the export procedure.

You can now remove the USB device —from there, you can transfer the exported file to a personal computer for printing, formatting, archiving or distribution.

Standalone Software

When exporting System Info from the Standalone software, the exported System Information file is displayed immediately using the default browser installed on your computer.

VENUE System Information Contents

Exported VENUE System Information is saved as an HTML file, and the file name includes the date and time of the export. Contents include the following (not all data will be generated from the Standalone software):

Avid VENUE

System Information

Lists the date and time the Info file was gen-

erated.

E3 Engine Configuration

Lists the current hardware configura-

tion of the E3 engine.

System Software

Lists the software version, ECx version, Ether-

net configuration, and the current IP address of the E3 engine.

Stage Configuration

Installed Plug-Ins

Lists the state of the four Stage slots.

Lists version and other information (as reported by each plug-in) for all currently installed plug-ins. The list groups plug-ins by whether they are Enabled or Disabled. Enabled and In Use plug-ins appear at the top, followed by any remaining enabled (but not In Use) plug-ins. A link for plug-in updates is also provided.

2 Click the Lock button in the System section.

System Lock button.

3 In the dialog that appears, click Lock.

On-screen, an

Unlock button appears in the lower right corner in

front of a dimmed background image.

You can add your own custom images to display in place of the default VENUE logo. See “Customizing the System Lock Display” on page 60 for information.

To unlock the system (disengage System Lock):

 Do either of the following:

• Press and hold the

Cancel switch on the S3 control surface

for two seconds.

– or –

• Click

Unlock in the lower right corner of the screen.

The Unlock button is hidden after a few seconds. Touch the mouse or keyboard to bring it back.

System Status while Locke d

GPI

All system GPI inputs and outputs are disabled while the sys-

tem is locked.

Footswitches

All Footswitch inputs are disabled while the sys-

tem is locked.

Events

All Event triggers and actions are disabled while the sys-

tem is locked.

Show File Information

Lists the name, file path, date and time of

the most recently loaded Show file.

System Configuration

Lists information found on the Options >

System page.

DSP Usage

Lists the processes assigned to each DSP of each Mix Engine card. Information is sub-divided by Mix Engine as displayed in the Engine section on the Options > Devices page.

Patch List

Lists the contents of each Patchbay page. A complete patch list is included in the System Information Export, or a detailed patch list can be exported separately from the Patchbay (see next).

Chapter 6: Options 59

MIDI and MTC

Troubleshooting

While the system is locked:

• Snapshots continue to be recalled via MTC, either internally or externally generated.

• The system continues to respond to snapshot changes via incoming MIDI program change commands if the Snapshots Respond option is selected on the Options > Snapshots page.

• The system continues to send MIDI program changes when a snapshot is recalled if the Snapshots Send option is selected on the Options > Snapshots page.

• The system continues to send MIDI messages stored within snapshots, provided the MIDI data type is scoped.

MTC can be disabled using the CHASE MTC button on the Snapshots page. Also, the sending and receiving of MIDI data can be turned off by deselecting the MIDI options on the Options > Snapshots page.

Customizing the System Lock Display

You can manually add one or more custom images to display during System Lock, rather than the default VENUE logo background.

Multiple images are displayed one aft er t h e o t he r f or 20 sec on ds in a random order. (Pressing the Spacebar advances to the next image immediately.)

This section provides the following troubleshooting options:

Clear Console

The Clear Console button resets al l parameters on all channels to their factory default settings.

System Test

System Test is hardware diagnostics software for the S3L system. Only use System Test at the request of a qualified VENUE technician to diagnose specific hardware problems.

Busses

The Busses tab lets you customize characteristics for the Aux, Solo, Matrix, and Main busses.

To install custom System Lock images:

1 Copy a BMP or JPG image file to a USB storage device. (For

optimal results image resolution should be 1024 x 768; smaller or larger images can be used, but will be centered or scaled, respectively.)

2 Put the system into Config mode. 3 Go to Options > System. 4 Ctrl-click the Quit button. 5 Copy the image from your USB storage device to the follow-

ing location on the system drive: User Data(D):\D-Show\Images

6 Double-click the Return to VENUE software icon on the Desk-

top to restart VENUE software.

Update

The Update button is used to perform software updates on your system. Updates performed using the from system restores and system updates using the System Restore software.

Update button are distinct

Busses tab of the Options tab

Auxiliaries and Variable Groups

These options let you designate bus link status, pickoff point, and stereo pan behavior for Auxiliaries (Aux/Variable Group busses).

Links

When enabled, this option links the corresponding busses into bus pairs. Control changes affect both mono Aux busses, and the Follows Channel Pan option becomes available.

Pickoff

These options let you designate the pre-fader pickoff point feeding each bus. Choices include Pre-EQ, Pre-EQ Post Mute, Pre-Mute, and Pre-Fader (post-mute).

For more information on Aux/Variable Group pre-fader pickoff points, see Chapter 10, “Auxes and Variable Groups.”

Follows Channel Pan

pendently within each linked bus pair, or configured to follow the channel pan by enabling the Follows Channel Pan option.

Each channel can be panned inde-

S3L System Guide60

Solo and Monitor Operations

These settings customize Solo and Monitor bus mode and operation.

Solo controls on the Options > Busses tab

To configure Solo settings on-screen:

1 Go to the Options page and click the Busses tab. 2 Configure settings as needed:

For more information, see “Configuring Solo and Monitor Options” on page 130

Pickoffs

The Pickoffs tab lets you control the bus pickoff point on input strips, as well as specify source and insert points for output busses. The Pickoffs tab also provides master control for Delay Compensation.

Matrixes

The Matrixes section lets you link and unlink Matrix to form stereo Matrix busses.

Links

When enabled, these options link corresponding mono Matrix busses into stereo-linked pairs. Control changes then affect both mono Matrix busses.

For more information on these features see Chapter 11, “Matrix Mixers.”

Panning

The Panning section provides control over center channel divergence when the Main Bus is set to L–C–R mode, and Stereo Group Mode settings.

Center Divergence

When the Main busses are set to L–C–R (Left-Center-Right) mode, the Center Divergence setting determines amount of center-panned signal sent to the center output.

To set Center Divergence:

 Enter a value or drag in the Center Divergence text box and

press Enter.

Pickoffs tab of the Options page

Delay Compensation

Three settings for Delay Compensation are provided, as follows:

Off

No Delay Compensation is applied.

Mix Only

by the use of Groups routed to the Main busses.

Mix and Inserts

incurred by the use of plug-ins as well as those incurred by the use of Groups routed to the Main busses.

Throughout this guide, other Pickoff options are explained where relevant.

VENUE automatically compensates for delays incurred

VENUE automatically compensates for delays

Delay Compensation can be set in either Show or Config mode.

For more informations, see “Mains Center Divergence Options” on page 94.

Chapter 6: Options 61

Snapshots

The Snapshots tab provides several snapshot preference settings to optimize snapshot operation.

For more information on using snapshots, see Chapter 20, “Snapshots.”

Aux Mon and Aux FX

These settings let you classify individual Aux Sends (including linked bus pairs) as monitor sends (“Mon”) or as effects sends (“FX”), which lets you scope each type separately from the Snapshots tab.

This option is for organizing Aux Sends for snapshot control only, and does not directly affect Aux bus operation.

MTC (MIDI Time Code)

The MIDI Time Code options let you control MTC operational modes, frame rate, and Start Time.

Modes

Available MTC modes are MTC Off, MTC Read (slave),

and MTC Generate (master).

Snapshots tab of the Options page

Snapshot General Preferences

The following settings are available in the Snapshots tab.

Center Last Recalled Snapshot

Manages the display of the Snapshots list so that the last recalled snapshot is always centered vertically, letting you maintain display of adjacent snapshots in the list.

Default Crossfade Time

Defines the length of time it takes to crossfade between fader levels when recalling snapshots. Maximum crossfade time is 99.9 seconds.

Crossfade Pan, Balance, and Width

All Pan, Balance and Width

parameters follow the default snapshot crossfade time.

PRE

The options in the PRE section let you specify which parameters are recalled with Snapshots whose scope includes Pre settings. Click to toggle whether recalled Input snapshot data includes the following:

• Gain, Pad, and Phase

• +48V (phantom power)

Frame Rate

This option sets the frame rate that is used when gen-

erating MTC.

Start Time

This option sets the start time that is used when gener-

ating MTC.

MIDI

These settings designate the MIDI channel on which Snapshots send or receive MIDI Bank Select and Program Change information.

See Chapter 22, “Synchronization.”

Snapshots Send on Channel

Bank Select and Program Change commands on a selected MIDI channel. This provides a quick and easy way to send a MIDI command every time a snapshot is fired, without having to embed a MIDI program change within each snapshot.

Snapshot Send on Channel does not need to be turned on in order to send other types of MIDI data that are embedded in snapshots, such as note on/off or MMC.

Snapshots Respond to Channel

spond to incoming Bank Select and Program Change commands on the selected MIDI channel.

This option sets snapshots to send

This option sets snapshots to re-

Delay is stored as a unique (discrete) data type for each channel.

S3L System Guide62

Misc

The Miscellaneous (Misc) tab provides utility and other settings.

Misc tab of the Options page

The system clock setting can affect data synchronization with portable storage devices. See “Synchronizing Settings, Shows and Presets” on page 185.

Show Time in Status Area

You can choose to show time of day in the lower right corner of the screen in the Status display area.

To show time of day in the Status area:

1 Go to Options > Misc. 2 In the System Clock section, enable the Show Time in Status

Area

option.

3 Select a format for the displayed time: 12 hour (AM/PM) or 24

hour

Time of day is shown whenever the status of the plug-in racks is OK; plug-in rack status messages (if any) temporarily replace time of day display to alert you to plug-in rack status.

Oscillator

These options let you choose the tone, frequency, and level for the system’s built-in Oscillator, and let you route it to the desired outputs.

2-Track

This section lets you route a pair of Console or Engine analog or digital hardware inputs (including USB 2-Track inputs) directly into any output using the 2-Track inputs. This allows you to send audio to the selected outputs without using a system channel to, for example, confirm system audio output.

To use the USB 2-Track for playback and recording, see Chapter 24, “2-Track USB Recording and Playback.”

Talkback

This sections lets you route a single Con sole or Engine ana log input directly into any output bus using the Talkback circuit. This allows you to send talkback to outputs (such as Auxes feeding stage monitors) without having to use a system channel.

See “Oscillator, Talkback, and 2-Track Controls” on page 134 for more information.

System Clock

This section lets you set the date and time for the system, as well as display preferences. See “Setting the System Clock” on page 19 for instructions.

Changing the system clock while using a timed iLok license (for a plug-in with a demo period, or for a plug-in rental) may expire the plug-in authorization.

Channel Delay

This section lets you set the display units on all applicable input and output delay controls. This makes it possible to set the delay based on any of the following:

• delay time (in milliseconds)

• distance to the source (in feet or meters)

• number of samples of delay

Tap Tempo

This section lets you enable and adjust the settings for Tap Tempo. Tap Tempo lets you quickly establish a system tempo to use as a beat clock for delay and echo plug-ins that support Tempo Sync.

See “Tap Tempo for Plug-ins” on page 225 for more information.

Mouse

Pointer Speed and Mouse L/R Settings

This section lets you customize the response speed for the trackball (or mouse) and on-screen cursor, and reverse the left/right assignment of the Trackball buttons, from the Options > Misc page.

To customize Pointer Speed:

1 Go to Options > Misc. 2 Do any of the following:

• To adjust cursor speed, click the menu and choose a higher value for faster response, or a lower value for a slower response.

• To reverse the left/right assignment of the two Trackball buttons, click to enable

Switch Buttons.

Pointer Speed pop-up

Chapter 6: Options 63

Interaction

The Interaction tab lets you configure behaviors for selected channels, Input Safe Switches, Lights, Meter, Ethernet, and LCD Display.

Meter

The following display options can be configured for meters. These options affect the 16 channel meters on the S3 control surface and on-screen.

Metering options in the Interactions tab of the Options page

Meter Ballistics

This option lets you choose RMS or Peak ballistics for the control surface and on-screen meters.

Interaction tab of the Options page

Channel Selection

Options in this section determine how channels are selected for targeting in Channel Control and on-screen.

To customize control surface and screen interaction:

1 Go to the Options page and click the Interaction tab. 2 Set the following Assignable Channel Selection options:

Change Target By

selected for targeting in Channel Control and on-screen. Select any or all of the following options:

• Touching Input Faders

• Engaging Input Solos

• Touching Output Faders

• Engaging Output Solos

Targeting Changes View Mode

on-screen display to show the page for the currently selected channel. When this option is deselected, the on-screen display does not update when a channel is targeted.

These options let you specify how a channel is

This option updates the

RMS Ballistics

(Default) Meters follow the characteristics of a damped analog meter. In this mode, meter response and decay is slower than in Peak mode, providing an average reading of the metered signal. A single LED shows the peak level for the designated Peak Hold Time.

Peak Ballistics

Meters follow the characteristics of a standard peak meter. In this mode, meter response is instantaneous, showing the true peak level of the metered signal.

You can set Pro Tools metering to mirror VENUE metering. See “VENUE Metering Options in Pro Tools” on page 259.

Clipping Indication

VENUE meter clip indicators are proximity warnings that show when an input or output signal reaches or exceeds the configured Clip Margin.

Clipping can occur at several points throughout the signal chain. A clip at any one of these points is indicated by lighting the top LED red on the meter. For more information on the location of clip detect points, refer to Chapter 26, “Signal Flow Diagrams.”

Clip Margin

The Clip Margin setting lets you configure the amount of headroom you want before clipping indication begins. Clip Margin is expressed as dB below maximum (where maximum is a peak level of +20 dB VU).

S3L System Guide64

Clip Margin can be set within a range of 0 dB to 30 dB below maximum, and is configured separately for inputs and outputs.

To set the Clip Margin:

1 Go to Options > Interaction. 2 Under Meter, enter values for Input Clip Margin Bel ow Max and

Output Clip Margin Below Max.

3 Press Enter to confirm the setting.

Clip Hold Time

Ethernet Control

The Clip Hold Time determines how long a clip indication lasts after the last clipped signal. Clip Hold Time can be set within a range of 0–20 seconds.

To set the Clip Hold Time:

1 Go to Options > Interaction. 2 Under Meter, enter a value for the Clip Hold Time. 3 Press Enter to confirm the setting.

Metering Points

These options let you choose the point in the signal path where the signal is picked off for metering input and output channels.

Input Channels Metering Point

Choose one of the following op-

tions to set the input channel metering point:

• Top of Channel

•Insert Return

• Post-Fader (Pre-Mute)

Output Channels Metering Point

Choose one of the following

options to set the output channel metering point:

• Top of Channel

• Post-Fader (Post-Mute)

Ethernet Control settings let you configure the following:

ECx Network Settings

These settings let you configure ECx Ethernet Control to remot ely control of your system ove r a wired or wireless Ethernet network. See Chapter 31, “ECx Ethernet Control.”

VENUE Link Settings

These settings let you configure VENUE Link to integrate a Pro Tools system with VENUE. See “VENUE Link” on page 256.

Lights

Console and LED/Display settings let you adjust the brightness of the following items:

Console Lights

the Lights connectors on the S3 control surface.

LEDs and Displays

the control surface.

Dim Consoles Displays After

and LEDs on the control surface after the interval selected in the pop-up menu.

Touch any control on the control surface or move the mouse to undim the displays.

Adjust brightness of external lights connected to

Adjust brightness of LED and displays on

Automatically dims the displays

Input Safe Switches

These options let you set the Safe Mode for the Input Channel and FX Return Safe buttons. Safe mode for Input Channels and FX Returns is enabled globally, and can be set to one of the following modes:

Act as Automation Safes

suspend the effect of snapshots on all parameters of the channel. For more information, see “Automation Safe” on page 198

Output Channel Safe switches and buttons are always set to Act as Automation Safes.

Act as Solo Safes

prevents that channel from being implicitly muted when any other channel is soloed. See “Solo Safing Channels” on page 132.

You can use Events to program a Function switch or other trigger to cycle through Input Safe Switch modes. For more information see Chapter 21, “Events.”

Automation Safing a channel lets you

Solo Safing an Input Channel or FX Return

Displays

These options let you customize the behavior of the on-screen display.

Show Channel Strip Value While Moving Fader

termines what is displayed in a Channel encoder display when its corresponding fader is adjusted. When selected (default), the Channel encoder display switches from showing channel name to showing the value (level) when a fader is adjusted. When deselected, the Channel encoder displayed does not show the level values when the fader is adjusted.

Show VCA Contribution

This option lets you display a secondary, transparent fader cap on each on-screen fader strip that represents the effective channel gain (channel gain plus associated VCA gain, if any). For more information, see “VCAs” on page 97.

View Mode Switch 1 and 2 Assignments

These options let you choose the software page that is displayed on-screen when you press the

View 1 or View 2 View Mode

switch on the S3 control surface.

To edit a View Mode switch assignment:

1 Click the View Switch 1 box or the View Switch 2 box.

This option de-

2 From the pop-up menu, select a software page you want the se-

lected View Mode switch to target.

Chapter 6: Options 65

Devices

The Devices tab lets you view and edit system connections, edit hardware settings, provides troubleshooting and diagnostic options, and provides network information.

Stage 16 Network Port A and B LEDs

When a Stage 16 is assigned to a Stage slot on the Devices tab, on-screen LEDs are provided to indicate the status of the physical A and B

Stage 16 Network Port LEDs

Network ports on that device

LED Color Network Port Status

Devices tab of the Options page

External Devices

The External Devices section provides icons to show the status of S3L system connections to Pro Tools, an external word clock device, and a MIDI device. Each icon is lit whenever a valid connection is detected by the S3L system.

Managing Stage 16 Boxes

You can manage connected Stage 16 boxes on the Devices tab. You can identify Stage 16 boxes, mute Stage 16 outputs, and view the status of Stage 16 audio network connections.

Identifying Stage 16

The Identify button on an on-screen Stage 16 icon lets you identify the physical Stage 16 that corresponds to that Stage 16.

To identify a connected Stage 16:

 Click the Identify button on the Stage 16 box to latch the button

on. The Status LEDs on the front panel of the corresponding Stage 16 box flash.

Identify button on-screen flashes, and the Power and

Green

Amber

Red flashing

Off

This port is connected to the E3 engine. Both LEDs are lit when the Stage 16 is part of a redundant configuration.

This port is connected and is part of a non-redundant daisy-chain.

The port has lost a connection with a device. When canceled via dialog box, it turns off.

This port does not have a connection with a device. For example, it is a device at the end of a non-redundant daisy-chain.

Troubleshooting and Diagnostics

You can reset each hardware component individually and view the Hardware Monitoring window from the Devices tab. See “Resetting Hardware Components” and “Hardware Monitoring Window” on page 294 for more information.

Viewing Device MAC Addresses

The S3, E3 engine, each connected Stage 16, and a connected Pro Tools computer has a unique MAC address for networking purposes. You can view the MAC addresses of these devices.

To view the MAC address of a device:

 Right-click a hardware component icon to view its MAC ad-

dress.

Viewing E3 Engine DSP resources

Muting Stage 16 Outputs

The Mute button on the Devices tab mirrors the function of the

Mute switch on the Stage 16 front panel. Mute is only available

for assigned Stage 16 boxes.

Stage 16 I/O is muted when unassigned to a Stage slot on the Devices tab.

To mute the outputs of a Stage 16:

 Click the Mute button for any assigned Stage 16.

S3L System Guide66

In the Engine section, the DSP usage window shows how the DSPs in your system are allocated. See “Plug-In DSP Usage” on page 176 for more information.

Simulating a VENUE Configuration with the Standalone Software

With the VENUE Standalone software, you can use the Devices tab to simulate a VENUE system of any size for purposes of preparing shows and training. See “Simulating a VENUE Configuration” on page 238.

Events

The Events tab of the Options page lets you use the Event list to customize the function of switches, footswitches and General Purpose Interface (GPI)-connected devices.

For information, see Chapter 21, “Events.”

Events tab of the Options page

Plug-Ins

The Plug-Ins tab of the Options page is used to install plug-ins on the system. The Plug-Ins tab is not available in the VENUE Standalone software.

See “Installing and Authorizing Plug-Ins” on page 161.

Chapter 6: Options 67

Part III: Signal Routing

Chapter 7: Inputs and Input Routing

This chapter describes how to do the following:

• Configure system settings for input channels, including setting the input channel configuration, naming channels, combining two channels into a stereo channel, and reordering channels

• Assign input sources to input channels in the Patchbay

• Route input channels to Mains, Groups, and Aux Sends, to Matrix mixers and other output busses, and to plug-ins

• Adjust input channel parameters

• Store input channel parameters as presets, and recall those presets

Configuring Inputs

The S3L system provides the following two types of input channels:

Input Channels

puts, Console, and Engine audio inputs, inputs from Pro Tools, and inputs from bus-fed plug-ins. Input Channels can be mono or stereo. Each mono channel controls one input, and each stereo channel controls two inputs in tandem. Input Channels can appear on any of the input channel strips. Up to 64 mono Input Channels are available. Input channels are assigned in banks of 16 to the channel strips on the S3 control surface.

FX Returns

control signals from bus-fed plug-ins and external hardware (such as outboard effect processors), from USB playback o utputs (for playback of tracks from a connected USB drive), and from Pro Tools (to monitor a recording, for example). Microphones can also be assigned to FX Returns. FX Returns are always stereo.

The S3L system can be configured with Input Channels only, or with a combination of Input Channels and FX Returns. Input channels can also be named, combined into a stereo channels, and reordered.

Sources for Input Channels include Stage 16 in-

Effects return channels (or FX Returns) are used to

Chapter 7: Inputs and Input Routing 71

Setting the Input Channel Configuration

Naming Input Channels

You can choose one of the following input channel configurations:

• 48 Input Channels plus eight stereo FX Returns

• 64 Input Channels

The Input Channel numbers (48 and 64) represent mono input processing channels, not physical hardware inputs. Each stereo channel uses two mono channels. Input channel configurations are stored with Show files.

If there are more input processing channels available than physical hardware inputs, then you can use the “extra” input processing channels for advanced monitor mixing workflows. For more information, see “Assigning a Source to Multiple Input Channels” on page 75.

To set the number of available Input Channels:

1 Put the system into Config mode. 2 Go to Options > System. 3 Click Edit. 4 Choose 48 or 64 from the Input Channels pop-up menu.

Input Channel and FX Return channel names can be changed from the Inputs page. Channel names can be up to 32 characters in length. When displayed on the S3 control surface, names are abbreviated to fit the display

Channel names can also be changed on the Patchbay page. See “Naming Channels from the Patchbay” on page 123.

To change the name of an Input Channel or FX Return channel:

1 Go the Inputs page. 2 Select the channel whose name you want to change. 3 Double-click the channel name.

Changing the name of an Input Channel on the Inputs page

4 Type a new name and press Enter on the computer keyboard.

Two mono inputs about to be combined into one stereo channel

5 Click Apply. The system restarts with the new Input Channel

configuration.

Audio will be interrupted when this configuration change is applied.

S3L System Guide72

Combining Input Channels (Make Stereo)

Splitting Stereo Channels

Pairs of mono input channels can be combined to make stereo channels, whose left and right sides are then controlled by one input channel strip. Stereo channels can also be split back into mono channels.

To combine two mono input channels into a single stereo channel:

1 Put the system into Config mode. 2 Multi-Select two adjacent Input Channels 3 Right-click either of the selected mono channels on-screen and

Make Selected Mono Strips Stereo.

choose

Two mono inputs about to be combined into one stereo channel

 Each selected channel is combined with the next-highest se-

lected channel, even if the selected channels are not consecutive.

 Blank strips are created and inserted where necessary to main-

tain channel layout in that bank.

To split a stereo channel into two mono channels:

1 Put the system into Config mode. 2 Select the stereo channel you want to split. 3 Right-click the selected channel and choose Split Selected

Stereo Strip to Mono

Each selected stereo channel is split, placing the channels next to each other on the S3 control surface and in the Patchbay. Delete blank strips manually to maintain channel layout, if necessary.

Reordering Input Channels Using Drag and Drop

Input channel strips can moved and reordered by dragging and dropping an input channel on-screen.

To reorder an input channel:

1 Put the system into Config mode. 2 Go to th e Inputs page. 3 Target the input channel that you want to move by clicking the

channel’s on-screen fader strip.

4 Drag the channel, denoted by the blue line, to the desired loca-

tion and release the button on the mouse.

 Parameter values from the left most channel of each pair are

applied to both channels

 The pan control becomes a Balance/Width control.  Combined channels are shown in the Patchbay as left and right

sides of the Input Channel name. FX Returns are always stereo, so they cannot be combined or split.

Stereo Input Channel on the Input tab of the Patchbay

Reordering an Input channel 8 using drag and drop

The location of the channel changes on the control surface and on-screen (on the Inputs page and in the Patchbay). The original hardware input for the channel remains the same, and all other channel parameters are preserved.

You can select and reorder multiple input channel strips. Shift click multiple fader strips and drag them to the new location.

Channels can also be moved using the Move Selected Strip right-click command. See “Move Selected Strip” on page 48.

Chapter 7: Inputs and Input Routing 73

Assigning Input Sources to Channels

S1A4

Pan

Inputs sources can be assigned to any Input Channel or FX Return using the Patchbay. In the Patchbay, each S3L system component has a corresponding hardware tab that displays the available hardware input sources, as follows:

Hardware Tabs Component Hardware Inputs

Stage 1–4 Stage 16 analog inputs

E3 engine analog inputs, USB 2-track play-

Engine

Console S3 control surface analog mic and line inputs

back inputs (USB), and built-in Oscillator (Osc) inputs

The channel source (hardware input) and its destination (channel name/number) is shown above the hardware tabs.

Channel source and destination shown on the Inputs tab of the Patchbay

Channel source information is also shown under the channel name on the

Inputs and the Patchbay > Inputs pages, and in the

Channel encoder and Channel Control displays on the S3 control surface when the

Source switch is engaged.

Pro Tools

Assignable Ethernet AVB Inputs from Pro Tools (see “Inputs from Pro Tools” on page 75 for more information).

Plug-in outputs can also be an input source, as in an effect Send/Return arrangement. See “Creating an Effect Send/Return” on page 107.

To assign a single input source to an Input Channel or FX Return:

1 Go to the Inputs tab of the Patchbay. 2 To the left of the channel grid, do either of the following

• Click the

Channels tab to display Input Channels.

FX Returns tab to display FX Returns (if avail-

able).

Shift-click any number of Channel Type and/or hardware tabs to select and display multiple tabs in the Patching Grid.

3 Along the top of the channel grid, click any of the hardware

tabs to display hardware input sources.

4 Place the cursor over the Patching Grid. The cursor changes to

a crosshair, and line s extend above and to the left of the current cursor location to identify the column and row in which it is located.

5 Click in the row for the channel and in the column for the hard-

ware I/O source. The destination crosspoint sets the targeted channel.

Channel source on the Inputs page (top) and in the Channel encoder display (bottom)

To assign multiple channels in a single action, do either of the following:

 Click and drag vertically, horizontally , or at an angle to assign

multiple patch points in a single action.

 Click the Default Assignment button and click Assign in the

confirmation dialog to assign all Stage inputs currently displayed in the channel grid to multiple consecutive Input Channels.

Clicking the Default Assignment button

To assign all available Stage inputs to all Input Channels consecutively, select all Stage hardware tabs and click the Default Assignment button.

Assigning input sources in the Patchbay

S3L System Guide74

Inputs from Pro Tools

The following types of inputs from Pro Tools are provided:

Virtual Soundcheck Inputs

input as its source is automatically assigned a corresponding Pro Tools Virtual Soundcheck input. Virtual Soundcheck inputs are typically sourced from a Pro Tools session created specifically for performing Virtual Soundchecks.

Virtual Soundcheck inputs are highlighted in purple in the Patchbay patching grid (under the Inputs > Pro Tools tab), and their Patchbay assignments cannot be changed. See “Using Virtual Soundcheck” on page 259.

Any S3L input channel with a Stage

Assigning a Source to Multiple Input Channels

A hardware input source can be assigned to multiple Input Channels or FX Returns in the Patchbay (you can fan out a source to multiple channels).

Channels assigned to the same input source share a common preamp gain and a common Virtual Soundcheck input button. Adjusting the gain on one channel automatically adjusts the gains on the fanned-out channels. All other channel functions (such as EQ, dynamics, routing, and panning) remain independent, making it convenient to have a channel appear on one input strip to bus and process it for the house mix, and on another input strip with different processing for monitor mixing.

Using multi-assigned inputs requires additional input channels be available in the current System Configuration. If you are using all available stage inputs, you must increase the number of Input Channels in the Options > System page.

Virtual Soundcheck input button

Assignable Pro Tools Inputs

not assigned a Stage input as a source, assignable Pro Tools inputs are available, up to the maximum number of available Pro Tools I/O channels (64 or 32). Assignable Pro Tools inputs can be assigned to any system Input Channel or FX Return.

Assignable inputs can be used to monitor your Pro Tools recording on your S3L system, or to incorporate pre-recorded audio tracks into your live mix. See “Using Pro Tools Assignable I/O” on page 261.

For more information, see Chapter 25, “Pro Tools Recording and Playback”.

For system input channels that are

Assigning Bus-Fed Plug-Ins and the Oscillator

Bus-fed plug-ins can be assigned to Input Channels and FX Returns from the Plug-In Rack (see “Routing a Plug-In as a Bus Processor” on page 172).

You can also assign the built-in Oscillator to input channels (see See “Using the Oscillator” on page 134.).

Chapter 7: Inputs and Input Routing 75

Routing Input Channels to Outputs

Multi

Assign

User

Cancel

Ch 1

Pan

Input Channels and FX Returns can be routed to Mains and Groups, and Matrixes. Signals from Input Channels and FX Returns can be sent to Aux and Variable Group busses, and channels can be assigned to VCAs.

Routing Inputs to the Mains and Groups

Input Channels and FX Returns can be routed to the Mains L-R, Mono/Center, and Groups on the S3 control surface using Multi-Assign, or on-screen.

When assigning channels to the Mains using Multi-Assign, channels are always assigned to both the Left and Right busses regardless of which bus is selected or their linked status. Channels are assigned to the C/Mono bus separately.

See “Adjusting the Mains” on page 93 for more information

To route channels to the Mains or Groups using Multi-Assign:

1 Do any of the following:

• To route to the Main L-R, select the Left or Right Mains channel.

• To route to the Center/Mono bus, select the Center/Mono channel.

• To route to a Group bus, select the desired Group bus.

To route a channel to the Mains and Groups busses on-screen:

1 Select one or more channels. 2 Do any of the following on-screen:

• To route to Mains, click the

L–R (left and right) and/or

C/Mono (center/mono) button in the Bus Assigns section so it is lit.

• To route to a Group bus, click a Groups

The

L–R, C/Mono, and Groups 1–8 buttons light to indicate its

1–8 button.

routing to the corresponding bus.

Assigning an input to the Mains Left-Right bus

LR is shown in its corresponding channel encoder display to indi-

cate when a channel is routed to the Main L-R busses.

“Selecting and Targeting Channels” on page 44.

2 Press the Multi-Assign switch (or button on the Outputs page).

The flashing

Multi-Assign, OK and Cancel switches, and the

banner display at the lower left of the screen indicate Multi-Assign mode is enabled.

Multi-Assign switch

3 Bank Input Channels/FX Returns to the channel strips and

press the channel route to the currently targeted output.

4 To confirm the assignment and exit Multi-Assign mode, press

OK switch,

the

5 To cancel the assignment, press the Cancel switch, or press the

Esc key on your keyboard.

Sel switches for the channels you want to

Mains routing shown in the channel encoder display

Assigning Inputs to Matrix Busse s

Each of the eight available Matrix mixers can receive up to 12 channels of input. Input sources can be any combination of Auxes, Groups or Mains, or any other input source via one of the eight available Matrix User inputs.

Sending Inputs to Auxes and Variable Groups

Signals from Input Channels and FX Returns can be sent to Aux and Variable Group output busses using the channel encoders, Channel Control, or on-screen. See “Adjusting Aux and Variable Group Send Controls” on page 108.

S3L System Guide76

Configuring Aux Busses (Aux Sends)

Group Channel

Dyn

Mix

Insert Pan

Aux Flip

Input EQ

Gain

HPF

Comp

Pan

Aux

Flip

Ch 1

Gain

The S3L system can be configured to have 8 Auxes and 8 stereo Groups, 16 Auxes and 8 mono Groups, or 16 Aux busses and 8 Variable Groups (24 bus) as part of the overall Aux/Group bus configuration. Mono Aux buses can be linked in odd/even pairs to function in stereo (see “Configuring Aux and Group Busses” on page 88).

Adjusting Input Parameters

Input parameters can be adjusted on the S3 control surface or on-screen. For a description of on-screen input controls, see “Adjusting Input Controls On-Screen” on page 81.

Input Gain

Assigning Inputs to VCAs

Input channels can be assigned to VCAs for consolidated control of multiple channels.

To assign one or more channels to a VCA:

1 Select the VCA to which you want to route channels. 2 Press the Multi-Assign switch. 3 Bank input channels and select the channels you want to as-

sign to the VCA.

4 To confirm the assignment and exit Multi-Assign mode, press

OK switch.

the

5 To cancel the assignment, press the Cancel switch.

For information on using VCAs, see “VCAs” on page 97.

Routing Inputs to Direct Outputs

All Input Channels and FX Returns have Direct Outputs, which can be assigned to hardware outputs, used as inputs to plug-ins, and sent to Pro Tools. Direct Outs are assigned in the Patchbay, and can be controlled from Channel Control or on-screen. For more information on routing and adjusting Direct Outputs, see “Direct Outputs” on page 95.

All S3L system analog mic/line XLR inputs have a gain range from +10 dB to +60 dB. All system digital inputs (including AES digital inputs, USB playback inputs, and inputs from Pro Tools) and 1/4-inch TRS line inputs have a gain range from –20 dB to +18 dB. An automated Gain Guess feature for quick and easy gain setting is provided.

If a hardware input is assigned to a different channel, gain, pad, and phantom power settings move with the input.

Adjusting Input Gain

Input Gain can be controlled from the S3 control surface using the channel encoders and Channel Control. Input Gain level is indicated in the corresponding channel encoder and Channel Control displays.

To adjust channel input gain from the channel encoders:

1 Bank Input Channels and/or FX Returns to the channel strips. 2 Press the Gain Channel Encoder Assign switch to assign gain

control to the channel encoders.

Gain Channel Encoder Assign switch

3 Adjust the gain for each banked channel by rotating the corre-

sponding channel encoder. The gain level setting for each channel is indicated in its corresponding channel display.

Gain assigned to the channel encoders

Chapter 7: Inputs and Input Routing 77

To adjust channel input gain from Channel Control:

User

Input

Ch 1

Expnd

Top

Back

Page

Ch 1

Gain

1 Select one or more channels to target them in Channel Control. 2 Make sure the Channel Control main menu is shown in the

Channel Control displays (

Exp/Gate, Aux 1–8, Aux 9–16,

User, Input, EQ, Comp/Lim,

and Var Groups).

Setting Right Offset on Stereo Channels

On stereo Input Channels and FX Returns, the Gain control affects both the left and right channels. The Right Offset feature lets you offset the gain of the right channel relative to the left channel by –20 dB to +20 dB, within the overall gain limits.

Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu.

3 Press the Channel Control encoder under the display showing

Input.

Input Channel Control encoder

4 Gain (with Gain Guess) is assigned to the first encoder in

Channel Control. Adjust the gain by rotating the encoder.

Using Gain Guess

The automated Gain Guess function can be used to set a nominal level for a channel based on its incoming signal. When you enabled Gain Guess, the system samples incoming signals and automatically sets the channel Input Gain and pad for a 0 dB reference. Gain Guess follows the current Meter mode (Peak or RMS).

To adjust Right Offset from Channel Control:

1 Select one or more input channels. 2 Make sure the Channel Control main menu is shown in the

Channel Control displays.

3 Press the Channel Control encoder under the display showing

Input.

4 Under the display showing Right Offset, adjust the offset by ro-

tating the assigned Channel encoder.

Stereo Level Offset Indication

The Stereo LED below the channel meter flashes when the difference in signal level between the left and right channels is 12 dB or greater.

20 dB Pad

A 20 dB pad can be applied to any analog input assigned to an Input Channel or FX Return.

To apply a 20 dB pad from the channel encoders:

1 Press the Gain Channel Encoder Assign switch to assign Gain

control to the channel encoders.

To engage Gain Guess:

1 On-Screen, click and hold the Guess button. The LED flashes

to indicate level sampling.

2 Release the button. Input Gain will be set so the incoming sig-

nal reaches 0 dB peak (if Peak mode is selected) or 0 dB RMS (if RMS mode is selected).

Engaging Gain Guess on-screen

S3L System Guide78

2 Press the channel encoder In switch to toggle the pad in/out.

Channel encoder In switch

To apply a 20 dB pad from Channel Control:

1 Select one or more input channels. 2 Make sure the Channel Control main menu is shown in the

Channel Control displays.

3 Press the Channel Control encoder under the display showing

Input.

4 Under the display showing Gain, press the corresponding en-

In switch to toggle the pad in/out. A lit In switch indi-

coder cates the Pad is in.

The Gain Guess feature turns the Pad on or off as needed to accommodate incoming signal level

48V (Phantom Power)

Stereo Width

48V phantom power can be applied to any analog input assigned to an Input Channel or FX Return.

To apply 48V from the Channel Control:

1 Select an input channel. 2 Make sure the Channel Control main menu is shown in the

Channel Control displays.

3 Press the Channel Control encoder under the display showing

Input.

4 Press the Page > Channel Control Navigation switch to assign

the second page of input parameters to Channel Control.

5 Under the display showing 48V, press the corresponding en-

In switch to toggle phantom power for the selected chan-

coder nel in/out.

Pan/Balance

Pan adjusts channel pan (for mono channels) and stereo balance (for stereo channels). On stereo channels, width controls are provided. A channel’s pan/balance/width setting is indicated in its corresponding channel display.

To adjust channel pan/balance from the channel encoders:

1 Bank Input Channels and/or FX Returns.

Width adjusts the stereo image of stereo Input Channels and FX Returns by controlling ganged pan positions of the left and right channels, in opposite directions.

Width can be adjusted from full L–R, to mono, to full reversed L–R. Width controls are not available on mono channels.

To adjust width of a stereo channel from the channel encoders:

1 Bank Input Channels and/or FX Returns. 2 Press the Pan switch in the Channel Encoder Assign section to

assign control of balance to the channel encoders.

3 Press a channel encoder Sel switch to assign width control to

that channel encoder.

4 Rotate the corresponding encoder to adjust the width for the

corresponding channel.

To adjust width of a stereo channel from Channel Control

1 Select one or more input channels. 2 Make sure the Channel Control main menu is shown in the

Channel Control displays.

3 Press the Channel Control encoder under the display showing

Input.

4 Rotate the encoder under the display showing Width.

2 Press the Pan Channel Encoder Assign switch to assign

pan/balance to the Channel encoders.

3 Ro tate the encod er und er the display showing Pan/Balance.

To adjust channel pan/balance from Channel Control:

1 Select one or more Input Channels or FX Returns. 2 Make sure the Channel Control main menu is shown in the

Channel Control displays.

3 Press the Channel Control encoder under the display showing

Input.

4 Ro tate the encod er und er the display showing Pan/Balance.

Chapter 7: Inputs and Input Routing 79

HPF

(High-Pass Filter)

A built-in 4th-order High-Pass Filter can be enabled on each Input Channel or FX Return. The HPF corner frequency range is from 20 Hz to 500 Hz. HPF can be controlled using the Channel encoders or Channel Control. A channel’s HPF setting is indicated in its corresponding display.

To adjust the built-in HPF from the channel encoders:

1 Bank Input Channels and/or FX Returns. 2 Press the HPF Channel Encoder Assign switch to assign HPF

to the channel encoders.

3 Press the channel encoder In switch to toggle the filter in/out. 4 Adjust the corner frequency by rotating the corresponding en-

coder.

To adjust the built-in HPF from Channel Control:

1 Select an input channel. 2 Make sure the Channel Control main menu is shown in the

Channel Control displays.

3 Press the Channel Control encoder under the display showing

HPF.

4 Adjust the HPF corner frequency by rotating the correspond-

ing encoder.

Safe

Safe toggles Automation Safe or Solo Safe on/ off for Inpu t Channels and FX Returns, depending on the current Safe mode setting. Safe mode is enabled globally for Input Channels and FX Returns

Options > Interactions page (see “Input Safe Switches” on

on the page 65).

To toggle the Solo Safe status of a channel on-screen:

 Click the Safe button at the top of the fader strip to toggle Solo

Safe status of the channel. On-screen, the Safe switch flashes green and displays the letter

Enabling Safe switches

S when a channel is Solo Safed.

Channel Solo

Three Solo modes are available: Solo In Place (SIP), Pre-Fader Listen (PFL), and After-Fader Listen (AFL). Several other options are also available for configuring Solo bus operation. Additionally, channels can be implicitly soloed as part of a VCA.

5 Press the Channel Control encoder In switch to toggle the HPF

in/out.

Input Polarity Invert

(Phase Reverse)

The polarity of any Input Channel or FX Return signal can be inverted. With stereo channels, only the left channel is inverted.

To invert the polarity of a channel:

1 Select an input channel. 2 Make sure the Channel Control main menu is shown in the

Channel Control displays.

3 Press the Channel Control encoder under the display showing

Input.

4 Press the Page > Channel Control Navigation switch to access

the second page of Input parameters.

5 Be lo w the enc od er la be le d Polarity, press the corresponding

Channel Control encoder

In switch to toggle polarity in/out.

To solo a channel:

 Press the Solo switch on the channel strip. The switch lights

solid to indicate the channel is explicitly soloed.

The Solo switch has momentary and latching capabilities. See “Using Solo” on page 131.

Channel Mute

To explicitly mute a channel:

 Press the Mute switch on the channel strip. The switch lights

solid to indicate the channel is explicitly muted.

Channels can be muted in three ways: explicitly with the channel mute switch; implicitly as a result of another channel being soloed, and as a member of a Mute Group or VCA. See “Muting and Mute Groups” on page 137.

Channel Level

Channel faders provide channel level control from – (–INF) to +12 dB. Use the faders on the S3 control surface or on-screen to adjust individual channel levels.

Input channel levels can also be affected by VCAs (see “VCAs” on page 97).

S3L System Guide80

For more information on input and output fader banking, see Chapter 4, “Banking and Selecting Channels.”

Adjusting Input Controls On-Screen

Ch 1

Lo Gain

The software screen Input section lets you adjust input parameters on-screen.

On-screen Input controls

To adjust input parameters on-screen:

1 Select a channel. 2 Adjust the on-screen controls as needed:

• For controls such as the fader, Gain, and Pan, click the fader/knob and drag to adjust the parameter.

• For button controls such as 48V and Pad, click the button to toggle its on/off state.

Using Built-In EQ and Dynamics on Inputs

Each Input Channel and FX Return has a built-in 4-band EQ and two Dynamics processors: a Compressor Limiter (Comp/Lim) and an Expander/Gate (Exp/Gate). If the channel is a stereo channel, processor controls are linked and apply to both the left and right sides of the channel.

Using Built-In EQ on Inputs

One of two EQ types can be selected for the built-in EQ, on a per-channel basis: a full-spectrum parametric digital EQ or an analog-modeled EQ. EQ can be controlled from Channel Control or on-screen.

For more information, including a description of the on-screen EQ controls and display, see Chapter 16, “EQ.”

To use the built-in EQ on a channel:

1 Select one or more Input Channels. 2 Make sure the Channel Control main menu is shown in the

Channel Control displays (

Exp/Gate, Aux 1–8, Aux 9–16, Var Groups)

Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu.

3 Press the Channel Control encoder under the display showing

EQ. EQ controls are assigned to the Channel Control encoders.

User, Input, EQ, Comp/Lim,

To reset an on-screen Input parameter to its default value, do one of the following:

 Alt-click the control.

 Right-click the control and ch oose Reset.

To reset an entire channel to its default settings:

 On-screen, right-click the on-screen fader and choose

Resetting a channel

– or –

Reset Ch <n>.

Resetting a channel also unassigns any hardware input assigned to the channel.

Channel Control showing the Lo Gain EQ parameter

4 Press the In switch in the Channel Control Navigation section

to toggle the EQ processor in/out.

5 Adjust the Channel Control encoders for the displayed param-

eters. An EQ response curve appears on-screen when adjusting EQ parameters.

6 Press the Analog button on-screen to toggle between the two

EQ types.

Chapter 7: Inputs and Input Routing 81

Using Built-In Dynamics on Inputs

Ch 1

Thrshold

Built-In Dynamics can be controlled from the Channel encoders, Channel Control, and on-screen. An input/output curve appears on-screen when adjusting dynamics parameters.

For more information, including a description of the on-screen Dynamics controls and displays, see Chapter 15, “Dynamics.”

Comp/Lim

The built-in Comp/Lim can be engaged and its threshold can be adjusted from the channel encoders. Channel Control provides comprehensive control of Comp/Lim parameters.

To engage and adjust the built-in Comp/Lim from Channel Control:

1 Select one or more input channels. 2 Make sure the Channel Control main menu is shown in the

Channel Control encoder displays.

3 Press the Channel Control encoder under the display showing

Comp/Lim. Compressor/limiter controls are now available on

the Channel Control encoders.

4 Press the In switch in the Channel Control Navigation section

to toggle the Comp/Lim processor in/out.

5 Adjust the Channel Control encoders for the displayed param-

eters.

To engage and adjust the built-in Comp/Lim from the channel encoders:

1 Bank Input Channels and/or FX Returns. 2 Press the Comp Channel Encoder Assignment switch.

Comp/Lim threshold controls for the banked channels are assigned to the channel encoders.

Comp/Lim Threshold assigned to channel encoders

3 Press a channel encoder In switch to toggle the Comp/Lim for

that channel in/out.

DY is shown in the channel encoder dis-

play when either of a channel’s built-in Dynamics processors is engaged.

Exp/Gate

The built-in Exp/Gate can be controlled from Channel Control.

To engage and adjust Exp/Gate controls:

1 Select one or more channels. 2 Make sure the main Channel Control menu is shown in the

Channel Control displays.

3 Press the Channel Control encoder under the display showing

Exp/Gate. Expander/gate controls are now available on the

Channel Control encoders.

4 Press the In switch in the Channel Control Navigation section

to toggle the Exp/Gate processor in/out.

DY is shown in the

channel encoder display when either of a channel’s built-in Dynamics processors is engaged.

5 Adjust the Channel Control encoders for the displayed param-

eters.

For more information, see Chapter 15, “Dynamics.”

4 Rotate a channel encoder to adjust the Comp/Lim threshold for

that channel. The threshold setting is indicated in the display.

S3L System Guide82

Using Plug-In Inserts on Inputs

Plug-Ins are arranged in virtual racks, which allow signals to be sent to and from each plug-in as if it were an external processor. Plug-Ins can be used in the two following ways:

Insert

The plug-in is patched in at the insert point on an input

channel. Each input channel can have up to two plug-in inserts.

To toggle a plug-in on/off (in/out of circuit):

1 Select the channel on which the plug-in is inserted. 2 Go to the Inputs page and click the in/out button next to the de-

sired plug-in to toggle it in/out of circuit. When the button LED is lit, it indicates that the plug-in is in-circuit. When unlit, the plug-in is out-of-circuit (bypassed).

Send/Return

Signal is sent to the plug-in over any of the system busses (usually an Aux Send or a Direct Out) and routed back to an Input Channel or FX return. See “Creating an Effect Send/Return” on page 107.

For more information, see Chapter 17, “Plug-Ins.”

You can also insert outboard hardware. See Chapter 18, “Hardware Inserts.”

Inserting Plug-Ins on Inputs

You can insert plug-ins on Input Channels and FX Returns directly from the Inputs page or from the Plug-In Rack.

To insert a plug-in on a channel:

1 Select an input channel. If necessary, click to show the Inputs

page.

2 In the Inserts section of the Inputs page, do one of the follow-

ing:

• Click one of the two plug-in insert pop-up menus buttons and choose a plug-in directly from one of the Plug-In Rack submenus.

– or –

• Click one of the two plug-in insert slot buttons to go to the Plug-In Rack, and route the signal to the plug-in using Plug-In Rack controls.

Plug-In In/Out button

Using Input Direct

Input Direct mode lets you completely bypass the built-in dynamics and EQ processing, and all inserts on input channels and FX returns. This mode routes the input signal directly from the Top of Channel pickoff to the channel fader.

To bypass all processing on an input channel or FX return:

1 Target the channel by pressing its Select switch. 2 Go to th e Inputs page. 3 Click the Input Direct button in the Config section of the Inputs

page for the selected channel. The button flashes to indicate Input Direct mode is active.

Input Direct button

Click to assign (left); click to go to the plug-in rack (right)

The name of the plug-in insert appears in the on-screen Plug-In Insert display.

Chapter 7: Inputs and Input Routing 83

Input Channel Presets

Input channel configurations can be stored and recalled as Input Channel Presets. Input Channel Presets can be previewed, recalled and transferred just like other VENUE preset files, letting you quickly configure channels from among a library of favorite setups.

To preview and recall a saved Channel Preset:

1 Navigate to the Inputs page for the desired channel. Channel

Presets can only be loaded into a single channel at a time.

2 Click th e Channel Presets icon. 3 If necessary, click the Folders icon and select the appropriate

Channel Presets folder from the pop-up menu.

When an Input Channel is stored or recalled as a preset, all parameters are affected except the following:

• Patchbay assignments, including Direct Outs

• Hardware and software insert (plug-in) assignments and in/out state.

Selecting a channel preset automatically loads the saved settings into the selected channel. Depending on the stored settings this may dramatically change channel level and signal routing. Use caution when previewing Input Channel Presets with a live source.

To store a channel as an Input Channel Preset:

1 Configure an input channel as desired. 2 Click the Channel Presets icon (the folder icon located to the

right of the Channel Routing indicator and +/– buttons).

4 Do any of the following:

• To preview an existing Channel Preset, click its name in the Channel Presets window.

• To load the currently selected Channel Preset, press Enter or click the Close box (

X) in the Channel Presets window ti-

tle bar.

• To cancel without changing settings, click

To rename, duplicate, overwrite or delete a Channel Preset:

 Right-click the preset name in the Channel Preset window and

Rename, Duplicate, Delete, or Overwrite.

choose

Cancel.

Channel Compatibility and Input Cha nnel Presets

The following describe how different types of channel data is handled when storing or loading Input Channel Presets.

Channel Names and Presets

New presets automatically inherit the current Input Channel Name, or you can give them a custom name in the Presets window. The default channel number (such as “Ch 16") is used for the preset name if the channel has an empty (null) name.

Channel Presets icon in the Inputs page

3 Specify a folder in which to save the preset, if the currently se-

lected folder is not appropriate, by clicking the Folder selector and selecting a different folder.

4 Click New.

Input Channel Presets window showing the Folder selector (top) and the New button (bottom)

S3L System Guide84

Loading Mono and Stereo Channel Presets

You can load mono Channel Presets into stereo channels, and stereo Channel Presets into mono channels.

Loading Mono to Stereo

Mono settings are applied equally to the left and right channels of the stereo destination. The stereo destination channel retains its current balance and width settings.

Loading Stereo to Mono

When loading a stereo preset into a mono Input Channel, the left channel settings in the stereo preset are applied to the mono destination channel. The mono destination channel retains its current pan setting.

Channel Compatibility

When storing and loading Input Channel presets, remember the following:

 Group bus assignments are not applied if the settings in the pre-

set do not match the current system Bus Configuration

 Aux send level or pan settings for individual aux pairs are not

applied if the stored stereo link/unlink state does not match the current link/unlink state. For example, assume the stored preset has Aux 1–2 linked, but the current system configuration has these Auxes unlinked. When the preset is recalled Aux 1 and Aux 2 will retain their current settings (they will not be updated), while all other Auxes are updated to the preset settings.

Transfe rring Input Channel Presets

Input Channel Presets are available as Built-In Presets in the Transfer tab of the Filing page. This lets you transfer your Channel Presets to a USB storage device or other storage device for backup and transfer to other systems.

Input Channel Presets are supported on all systems running VENUE software 2.5 or later, including the Standalone software.

For more information, see Chapter 19, “Shows and File Management.”

Chapter 7: Inputs and Input Routing 85

Chapter 8: Outputs and Output Routing

This chapter shows how to do the following:

• Configure and name outputs

• Assign outputs and busses to hardware outputs in the Patchbay

• Use built-in EQ and Dynamics on outputs

• Insert and use plug-ins and Graphic EQs on outputs

• Adjust on-screen output parameters

• Adjust Mains

• Use Direct Outs

• Use VCAs

• Manage bus assignments

Configuring Outputs

The following types of output busses are available: Mains, Groups (or Variable Groups), and Auxes. Eight Matrix mixers are also provided.

Mains

Three Main busses are available: Left, Right, and Center/Mono. Mains can be configured in L–R+M or L–C–R formats. For more information, see “Configuring the Main Busses” on page 88.

Mains can be controlled from the channel strips or from the Mains Global Control encoder.

Auxes

Up to 16 Aux busses are available. The number of available Auxes is set as part of the overall system Bus Configuration setting. See “Configuring Aux and Group Busses” on page 88.

Aux outputs are controlled from the channel strips by pressing Fader Bank switch

See Chapter 10, “Auxes and Variable Groups.”

E, and from the Global Control encoders.

Variable Groups

When Variable Groups are enabled, the eight Group busses operate in much the same way as Aux busses, letting you send independently controllable signals to all 24 busses in the system.

Variable Group outputs are controlled the same way as Groups. Variable Groups are enabled as part of the overall system Bus

Configuration setting. See “Configuring Aux and Group Busses” on page 88.

Matrix Mixers

Eight Matrix mixers are available. Each Matrix mixer is a discrete 12-in/1-out (mono) submixer, with the ability to link adjacent Matrix mixers into stereo pairs. Matrix mixer input sources can include up to 12 inputs, selectable from any combination of Aux, Groups or Mains plus up to 8 unique Input Channels, FX Returns or hardware inputs.

Groups

Eight Group busses are available. Groups can be globally configured to be mono or stereo as part of the overall system Bus Configuration setting. See “Configuring Aux and Group Busses” on page 88.

Group outputs are controlled from the channels strips by pressing Fader Bank switch Control encoders.

See Chapter 9, “Groups.”

F (channel strips 1–8), and from the Global

User Source input assignments are stored in Snapshots as part of their distinct Matrix data type.

Pre- and post-fader tap for Matrix sources are assigned in the Pickoffs tab of the Options page.

Matrix outputs are controlled from the Global Control encoders. Matrix inputs are controlled from the Global Control encoders when a particular matrix is selected in Global Control.

See Chapter 11, “Matrix Mixers.”

Chapter 8: Outputs and Output Routing 87

Configuring the Main Busses

The Main busses can be configured to operate as either:

4 Select one of the three available bus configuration.

L–R plus Mono

Pans signals between the left and right channels

to the L–R bus, and sums signals to a separate mono bus.

L–C–R

Pans signals across left, center and right channels.

Audio is interrupted when a System Configuration setting is applied. Do not change these settings during a performance.

To configure the Main busses:

1 Put the system into Config mode. 2 Go to Options > System. 3 Click Edit.

Setting the Main bus configuration

4 Select the configuration for the Main Busses. 5 Click Apply. The system restarts with the new Main bus con-

figuration.

Configuring Aux and Group Busses

Auxes and Groups/Variable Groups share available system busses. Configuration options include the following:

16 Auxes + 8 Mono Groups

between 16 mono Aux busses and 8 mono Group busses.

8 Auxes + 8 Stereo Groups

between 8 mono Aux busses and 8 stereo Group busses.

16 Auxes + 8 Variable Groups (24 bus)

system busses between 16 mono Aux busses and 8 Variable Group busses (enables Variable Groups mode).

Divides the available system busses

Divides the available

Selecting a bus configuration

5 Click Apply. The system restarts with the new bus configura-

tion.

Data Cleared When Changing Bus Configurations

When the bus configuration is changed, settings for Groups are cleared (or set to default) from all current settings and from all stored snapshots.

Linking Aux Busses

You can link odd/even bus pairs and pan input signals into those bus pairs. Aux bus pairs are linked on a global ba sis, and ap p ea r as linked on all channels. For information on linking Auxes, see “Linking Aux Busses for Stereo Operation” on page 105.

Naming Output Channels

Output channel names can be changed from the Outputs page. Channel names can be up to 32 characters in length. Names are abbreviated to fit the displays on the S3 control surface.

Channel names can also be changed from the Patchbay page. See “Naming Channels from the Patchbay” on page 123.

To change the name of an Output channel:

1 Go to th e Outputs page. 2 Select the channel whose name you want to change. 3 Double-click the channel name.

Audio may be interrupted or may change levels during this configuration procedure.

Graphic EQ and/or 4-band channel EQ settings may be lost when configuring Aux and Groups busses, so save any important EQ settings before reconfiguring. See “EQ Settings and Presets” on page 157.

To configure the Aux/Group/Variable Group busses:

1 Put the system into Config mode. 2 Go to Options > System. 3 Click Edit.

S3L System Guide88

Changing the name of an Output channel on the Outputs page

4 Type a new name and press Enter on the computer keyboard.

When naming an Aux or Variable Group output channel, the name appears in the individual Aux and Var Group (if applicable) Send displays on the Inputs page, on the Outputs page, and in the Patchbay.

Assigning Busses to Hardware Outputs

Mains, Groups/Variable Groups, Auxes, and Matrix mixer outputs can be assigned to any hardware output on the system using the Patchbay. In the Patchbay, each S3L system component has a corresponding hardware tab that displays the available hardware output destinations, as follows:

Hardware Tabs Component Hardware Outputs

Stage 1–4 Stage 16 analog and AES digital outputs

The name of the source (bus or mixer) and its destination (hardware output) is shown above the hardware tabs, and below the channel name in the

Output source and destination on the Patchbay page

Outputs and the Patchbay > Outputs tab.

Engine

Console S3 control surface analog outputs

Pro Tools

E3 engine analog and AES digital outputs, and USB 2-track recording outputs

Assignable Ethernet AVB outputs to Pro Tools (see “Inputs from ProTools” on page 75 for more information).

For more information using on the Patchbay, see Chapter 12, “Patchbay.”

To assign a bus or mixer output to a hardware output from the Patchbay:

1 Go to the Patchbay and click the Outputs tab. 2 To the left of the channel grid, click the Mains, Mtx (Matrix),

Aux

or Grp (Groups) tab to display those output channels in the

grid.

3 Along the top of the channel grid, click any of the following

tabs to display available hardware output destinations:

Stage 1–4 tabs

•

• Console

• Engine

• Pro Tools

4 Click in the channel grid to assign a bus or Matrix mixer output

(listed on the left) to a hardware output destination (listed across the top).

Output name and destination shown in the outputs page

Pro Tools Recording Outputs

The following types of recording outputs to Pro Tools are provided:

Direct Digital Splits

input as its source is automatically sent to Pro Tools as a unprocessed direct digital split of that Stage input. Recording direct digital splits are an essential part of the Virtual Soundcheck workflow.

Direct digital split outputs are highlighted in purple in the Patchbay patching grid (under the Outputs > Pro Tools Patchbay assignments cannot be changed.

Assignable Pro Tools Outputs

are not assigned a Stage input as a source, assignable Pro Tools outputs are available, up to the maximum number of available Pro Tools I/O channels.

Assignable outputs can be used to send the Main L/R mix, submixes from any output bus, and the Direct Out of S3L system I/O channel to Pro Tools.

For more information, see Chapter 25, “Pro Tools Recording and Playback”.

Any S3L system input channel with a Stage

tab), and their

For system input channels that

Assigning a Matrix mixer output to a Stage IO box hardware output

Chapter 8: Outputs and Output Routing 89

Using Built-In Comp/Lim and EQ on

Group Channel

Dyn

Mix

Insert Pan

Aux Flip

Input EQ

Gain

HPF

Comp

Pan

Aux

Flip

Aux 8

Thrshold

Expnd

Top

Back

Page

Outputs

Each Mains, Aux, Group, and Matrix output channel has a built-in Compressor/Limiter (Comp/Lim) and a 4-band parametric EQ. If the channel is a stereo channel, the processor controls are linked and apply to both the left and right sides of the channel. Dynamics and EQ can be controlled using the Channel encoders, Channel Control, and on-screen.

Processor controls for the Main Left and Right busses are always linked, while the C/Mono bus has independent processor controls.

Using Comp/Lim on Outputs

Comp/Lim can be engaged and the threshold can be adjusted from the channel encoders. Channel Control provides comprehensive control of Comp/Lim parameters.

For more information, including a description of the on-screen Dynamics controls and displays, see Chapter 15, “Dynamics.”

To engage and adjust the built-in Comp/Lim from Channel Control:

1 Select one or more output channels. 2 Make sure the main Channel Control menu is shown in the

Channel Control displays.

Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu.

3 Press the Channel Control encoder under the display showing

Comp/Lim. Comp/Lim parameters are now available on the

Channel Control encoders.

4 Press the In switch in the Channel Control Navigation section

to toggle the processor in/out.

To engage and adjust the built-in Comp/Lim from the Channel encoders:

1 Bank the output channels you wish to control. 2 Press the Comp Channel Encoder Assignment switch.

Comp Channel Encoder Assignment switch

3 Press the channel encoder In switch to toggle the processor

in/out.

4 Rotate the channel encoder to adjust the threshold. An in-

put/output curve appears on-screen when adjusting dynamics parameters.

Controls for built-in dynamics processors in Channel Control

5 Adjust the Channel Control encoders for the displayed param-

eters. An input/output curve appears on-screen when adjusting dynamics parameters.

When transferring S3L Show files containing output channel Comp/Lim and/or EQ processing to VENUE D-Show, Profile, Mix Rack and SC48 systems, these settings are not transferred.

Comp/Lim Threshold assigned to a channel encoder

S3L System Guide90

Using Built-In EQ on Outputs

Aux 8

Lo Gain

One of two EQ types can be selected for the built-in EQ, on a per-channel basis: a full-spectrum parametric digital EQ or an analog-modeled EQ. EQ can be controlled from Channel Control or on-screen.

For more information, including a description of the on-screen EQ controls and display, see Chapter 16, “EQ.”

To use the built-in EQ on an output:

1 Select an output bus. 2 Make sure the main Channel Control menu is shown in the

Channel Control displays.

3 Press the Channel Control encoder under the display showing

EQ. EQ controls are now available on the Channel Control en-

coders.

Output EQ control in Channel Control

Using Inserts on Outputs

Software plug-ins and graphic EQs can be inserted on Mains, Groups, Auxes, and Matrixes.

You can also insert outboard hardware. See Chapter 18, “Hardware Inserts.”

Inserting Plug-Ins on Outputs

Plug-ins can be inserted on outputs directly from the Outputs page.

To insert a plug-in on an output bus:

1 Go to th e Outputs page and select the bus where you want to

insert the plug-in.

2 In the Inserts section of the Outputs page, do one of the follow-

ing:

• Click one of the two plug-in directly from one of the Plug-In Rack submenus.

– or –

• Click one of the two Rack, and route the signal to the plug-in using Plug-In Rack controls.

Inserts pop-up menus and choose a

Inserts buttons to go to the Plug-In

4 Press the In switch in the Channel Control Navigation section

to toggle the EQ processor in/out.

5 Adjust the Channel Control encoders for the displayed pa ram-

eters. An EQ response curve appears on-screen when adjusting EQ parameters.

6 Press the Analog button on-screen to toggle between the two

EQ types.

Accessing Comp/Lim and EQ Controls On-Screen

Built-In Comp/Lim and EQ on output channels can be adjusted using on-screen controls.

To access the built-in Comp/Lim and EQ on-screen:

1 Go to the Outputs page and select the bus you want to adjust. 2 Click the Channel tab.

Click to assign (left); click to go to the plug-in rack (right)

The name of the plug-in insert appears in the on-screen Plug-In Insert button.

For complete instructions on plug-ins, see Chapter 17, “Plug-Ins.”

To toggle a plug-in on/off (in/out of circuit):

1 Select the channel on which the plug-in is inserted. 2 Go to the Outputs page and click the in/out button next to the

desired plug-in to toggle it in/out of circuit. When the button LED is lit, it indicates that the plug-in is in-circuit. When unlit, the plug-in is out-of-circuit (bypassed).

Output channel Channel tab

Plug-In In/Out button

Chapter 8: Outputs and Output Routing 91

Inserting Built-In Graphic EQs on Outputs

Built-in 31-band Graphic EQs can be inserted on Mains, Groups, Auxes, and Matrixes. 16 Graphic EQs are available.

To insert a Graphic EQ on an Output bus:

1 Go to the Outputs page and select the bus where you want to

insert the Graphic EQ.

2 Click the 31-Band Graphic Equalizer tab. 3 Click the Graphic EQ selector and choose an available mono

or stereo Graphic EQ.

Adjusting On-Screen Output Controls

The software screen Output section lets you adjust output parameters on-screen.

Selecting a Graphic EQ

The entire Graphic EQ is displayed on-screen.

For information on configuring and using Graphic EQs, see “Graphic EQ for Outputs” on page 156.

On-screen Output controls

To adjust output parameters on-screen:

1 Select an output channel. 2 Adjust the on-screen controls as needed:

• For controls such as the fader and delay, click the fader/knob and drag to adjust the parameter.

• For Mute and Polarity Invert, click the buttons to toggle their state.

To reset an on-screen output parameter to its default value, do one of the following:

 Alt-click the control.

– or –

 Right-click the control and choose Reset.

To reset an entire output channel to its default settings:

1 Put the system into Config mode. 2 Right-click the on-screen fader for the output you want to reset

and choose

Reset <name of output>.

Resetting a channel also deassigns any plug-in, hardware input and GEQ assigned to the channel.

S3L System Guide92

Adjusting the Mains

Left

Mono

Right

Sel

Monitors Mains

Sel

Top

Conﬁg

Back

Page

Expnd

Page

Left

Master

Mono

Master

Right

Master

Mains can be adjusted using the channels strips and the Global Control encoders. Mains can also be controlled on-screen (see “Adjusting On-Screen Output Controls” on page 92).

Mains Output Levels

By default, level control for the three Main busses (Left, C/Mono, and Right) are linked. When linked, adjusting one level cont ro l affects the levels of the other linked busses. Any or all Main busses can be unlinked for independent level control of each bus (see “Unlinking Mains” on page 94).

Using the Channel Strips

When Mains are banked to channel strips, each Main bus appears on its own channel strips. Level offsets can be created for any linked Main busses from the channel strips.

To adjust Mains output levels from the channel strips:

1 Press the User bank switch. Mains Left, C/Mono, and Right

busses are banked to channel strips 14, 15, and 16 respectively.

Using the Global Control Encoders

The Mains Global Control encoder provides a single level control for the currently linked Main busses. You can also assign each Main bus to its own Global Control encoder.

To adjust Mains output levels from the Global Control encoder:

1 Make sure the Global Control main menu is shown in the

Global Control displays.

Press the Back/Top Channel Control Navigation switch to return to the global Control Main menu.

2 Adjust the Mains Global Control encoder to change the level

of the currently linked Main busses. The level indicator in the display shows the level setting for the currently linked Main busses.

Channel displays showing Mains assigned to channel strips

2 Adjust any of the three faders to change the level for all three

Main busses.

3 To create a level offset between Main busses, hold the faders

for the channels you do not want to adjust, and adjust the desired fader.

Mains Global Control encoder

To assign each Main bus to its own Global Control encoder:

 Press the Mains Global Control encoder. Adjust any of the en-

coders to change the level for all three Main busses.

Main busses assigned to the Global Control encoders

Chapter 8: Outputs and Output Routing 93

Unlinking Mains

Sel

Monitors Mains

Sel

Top

Back

Expnd

Page

You can unlink any of the three Main busses for discrete control of Mains levels.

To unlink the Mains:

 In the Outputs page, click the on-screen channel Link boxes for

the Left, Center/Mono, and/or Right fader strips so they are unchecked.

To toggle the mute status of each Main bus independently:

1 From the Global Control encoders, do the following:

• Press the encoder under the display showing

Mains to as-

sign each Main bus to its own Global Control encoder.

• Press the

In switch under the display showing the Main bus

you want to mute so that the switch is unlit.

2 From the channel strips, do the following:

• Bank the Mains to the channel strips.

• Press the channel

Mute switch for any of the banked Mains.

The switch lights solid to indicate the channel is explicitly muted.

Mains Delay

A variable delay (from 0 to 500 ms) can be applied to any of the Mains. C/Mono delay is always independent, regardless of linked/unlinked status.

Unlinking a Mains fader

Mains Mute

Mains can be muted from the channel strips or from the Global Control encoders.

Channels can be muted in three ways: explicitly with the channel mute switch; implicitly as a result of another channel being soloed, and as a member of a Mute Group or VCA. For more information see Chapter 14, “Muting and Mute Groups”

To control the mute status of linked Main busses from the Global Control encoders:

 Press the In switch under the display showing Mains.

• The In switch LED is lit green when the Mains are unmuted.

In switch LED is unlit when the Mains are muted.

• The

To apply delay to a Main bus:

1 Select one or more Mains busses. 2 Make sure the main Channel Control menu is shown in the

eight Channel Control encoder displays.

3 Press the Channel Control encoder under the display showing

Input.

4 Under the display showing Delay, press the Channel Control

encoder

5 Adjust the corresponding encoder to set the desired amount of

In switch to toggle the channel Direct Output in/out.

channel delay.

Mains Center Divergence Options

When the Main busses are set to L–C–R (Left-Center-Right) mode, the Center Divergence setting determines the amount of center-panned signal sent to the center output.

 When Center Divergence is set to 100%, a channel panned to

center is sent to the center output only.

 When Center Divergence is set to 0%, a channel panned to

center is sent equally to the left and right outputs only (phantom center).

Mains Global Control Encoder In switch indicating that the Mains are muted

S3L System Guide94

 A Center Divergence setting between 0% and 100% sends a

center-panned channel to the left, center, and right outputs with the center channel more prominent as the value increases towards 100%.

To set Center Divergence:

1 Go to Options > Busses. 2 In the Panning section, click in the Center Divergence field

and drag up/down to increase/decrease the value (or type in a new value).

3 Press Enter or Return on your keyboard to confirm the setting.

Mains Automatic Delay Compensation

You can set the S3L system to automatically compensate for delays incurred by the use of Groups and insertion of plug-ins in the signal path to the Mains. Delays are automatically applied to signals arriving at the Mains from multiple destinations to maintain the proper time alignment.

Direct Outputs

Each Input Channel, FX Return, output bus, and Matrix mixer features a Direct Output. Each channel Direct Output provides a discrete level control that can be useful for tasks such as recording to Pro Tools or USB.

To set Delay Compensation:

1 Go to the Options page and click the Pickoffs tab. 2 In the Delay Compensation section, select one of the following

options:

Off

No Delay Compensation is applied.

Mix Only

VENUE automatically compensates for delays incurred

by the use of Groups routed to the Mains.

Mix and Inserts

VENUE automatically compensates for delays incurred by the use of plug-ins as well as tho se incurred by the use of Groups routed to the Mains.

Monitoring the Main Mix

You can send the Main mix (the signal present on the Main busses) to the Monitor bus to monitor the main mix on headphones or near field monitors. See “Sending the Main Mix to the Monitor Bus” on page 134.

Assigning Direct Outputs

Direct Outputs are assigned to available hardware outputs on the Directs tab of the Patchbay page. Each hardware output destination may be fed by only one Direct Output signal (multiple Direct Output signals cannot be routed to a single output).

To assign a channel to a Direct Output:

1 Go to the Patchbay page and click the Directs tab. 2 To the left of the channel grid, click the Channels (Input Chan-

, FX Returns, or Outputs tab to display those channels in

nels) the grid.

3 Along the top of the channel grid, click any of the following

tabs to display available hardware output destinations:

Stage 1–4 tabs

•

• Console

•Engine

• Pro Tools

4 Click in the channel grid to route the channel or bus (listed on

the left) to an available output (listed across the top).

Assigning a Direct Output in the Patchbay

5 Select the pickoff point for the Direct Output by clicking the

letter to the right of the channel or bus name and choosing from the pop-up menu. See “Direct Output Pickoff Points” on page 96.

Selecting a Direct Output pickoff point in the Patchbay

Chapter 8: Outputs and Output Routing 95

Adjusting Direct Outputs

Direct Output Pickoff Points

Up to 12 dB of gain can be added to the Direct Output signal. Direct Output level controls are provided in Channel Control, and on-screen in the Patchbay page.

To adjust Direct Outputs from Channel Control:

1 Select the input or output channels that you want to control. 2 Make sure the main Channel Control menu is shown in the

Channel Control encoder displays.

Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu.

3 Press the Channel Control encoder under the display showing

Input.

4 Under the display showing Direct, press the Channel Control

encoder

5 Adjust the corresponding encoder to set the desired amount of

In switch to toggle the channel Direct Output in/out.

channel Direct Out level.

To adjust Direct Outputs on-screen:

1 Go to Patchbay > Directs. 2 Click a channel name in the column of the grid so it is high-

lighted. The selected channel is now targeted in the channel controls to the left of the grid.

3 In the Direct Out section, do the following:

• Click the

In button to toggle the Direct Output on/off.

• Click and drag the level control to adjust the Direct Output level.

The “pickoff point” is the point in the signal path where the audio signal is sent to the Direct Output. The pickoff points for Direct Output signals are selected in the

Directs tab of the Patchbay

page. The following pickoff points are available for each type of channel or bus:

Pickoffs for Direct Outs

Channel Type Available Pickoff Points

Input-channels and FX Returns

Outputs

Top of channel Insert return Pre-or post-fader (configured globally)

Avid Technology S3L, S3, E3 System Manual

Specifications and Main Features

Frequently Asked Questions

User Manual