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
© 2013 Avid Technology, Inc., (“Avid”), all rights reserved. This guide may not be duplicated in whole or in part without the written consent of Avid.
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
E3
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
Register your purchase online.
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
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
1
3
2
5
4
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.
to
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
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
5
61
3
4
4
2
7
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
23
10 649
1
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
1-2 3-4
WORD CLOCK
AES OUTPUT
AES INPUT
INPUTOUTPUT
NETWORK
2 x IN
2 x OUT
ECx
34
2
5
7
8
11
9
1
10
6
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
1
2
3
4
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
In
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Multi Select SHIFT
Default ALT
Fine CTRL
Command
Rec
Sel
Back
Application
1
Insert Pan
Aux Flip
Input EQ
9210
3
11412
5
13614
7
15816
9-16
1234
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
Solo
Mute
In
Sel
In
Sel
+20/Clip
+15
+9
+3
0
-3
-9
-15
-21
-30
Sel
60
40
30
20
10
5
0
6
12
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Rec
A
Page
Page
Back
Source
Page
Page
Gain
HPF
Comp
Pan
Aux
Flip
A
E
B
F
C
D
OK
User
Cancel
Multi
Assign
Config
Back
Page
Expnd
Page
Nudge Nudge
View 1 View 2
Workstation
Bank Bank
Solo
Clear
Mix to Mons
SHIFT
SHIFT
C
B
A
C
C
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
+9
+3
0
-3
-9
-15
-21
-30
60
40
30
20
10
5
0
6
12
Rec
Sel
A
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
1
EQ
LR
DY
Ch 1
Gain
1
EQ
LR
DY
Ch 1
Pan
1
EQ
LR
DY
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
OK
Cancel
A
B
C
D
E
F
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).
E
This switch banks Aux outputs 1–16 to the channel strips.
F
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
OK
Cancel
A
B
C
D
E
F
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.
OK
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.
In
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
In
Back
Page
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
Each processing function has a unique color associated with it that is displayed in the Channel Control LEDs. When a process­ing function is assigned t o Channel Control, the assigned function is also highlighted in that same color on-screen.
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.
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.
In
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
In
Sel
In
Sel
In
Sel
In
Sel
In
SelInSel
In
Sel
In
Sel
Insert VCAs
Monitors Mains
MatrixesAux/Grp
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
Top
Config
Back
Page
Expnd
Page
Application
1
9210
3
11412
5
13614
7
15816
9-16
View 1 View 2
Workstation
Solo
Clear
Mix to Mons
SHIFT
Multi Select SHIFT
Default CTRL
Fine ALT
Command
1234
SHIFT
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
Insert VCAs
Monitors Mains
MatrixesAux/Grp
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
In
Sel
In
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
1
9
2
10
3
11
4
12
5
13
6
14
7
15
8
16
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
OK
Cancel
A
B
C
D
E
F
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
5
0
6
Rec
Sel
A
Ch 1
Thrshold
1
EQ
LR
DY
User
Input
EQ
Ch 1
Expnd
Top
In
Back
Page
Page
1
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.
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
In
Sel
In
Sel
Monitors Mains
In
Sel
In
Sel
Top
Config
Back
Page
Expnd
Page
In
Sel
In
Sel
In
Sel
VCAsMatrixesAux/Grp
In
Sel
In
Sel
In
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.
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
EQ
CompLim
ExpGate
Aux 1-8
Aux 9-16 Var Grps
Ch 1
Expnd
Top
In
Back
Page
Page
1
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
EQ
Ch 1
Expnd
Top
In
Back
Page
Page
1
EQ
CompLim
ExpGate
Aux 1
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
EQ
CompLim
ExpGate
Aux 1-
Expnd
Top
In
Back
Page
Page
1
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.
EQ
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
3
Yes Yes Yes
Yes
3
3
3
Yes Yes Yes
Yes
1
1
1
1
1
1
Yes Yes Yes Yes Yes
Yes
1
1
1
1
1
1
1
Yes Yes
1
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
1
EQ
LR
DY
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
• 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
OK
Cancel
A
B
C
D
E
F
Ch 1
Pan
1
EQ
LR
DY
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
1
EQ
LR
DY
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
EQ
Ch 1
Expnd
Top
In
Back
Page
Page
1
Ch 1
Gain
1
EQ
LR
DY
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
1
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
1
EQ
LR
DY
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 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
8
Expnd
Top
In
Back
Page
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
8
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
1
Mono
2
Right
3
In
Sel
In
Sel
Monitors Mains
In
Sel
In
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
In
Sel
In
Sel
Monitors Mains
In
Sel
In
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)
Top of bus Pre fader Post fader
Pickoff points for Input Channels and FX Returns are configured as pre-or post-fader globally.
Configuring Input Channel Pre-or Post-Fader Pickoff Points
Pickoff points for Input Channels and FX Returns are configured as pre-or post-fader globally.
To configure the Direct Output pickoff point for Inputs:
1 Go to th e Options page and click the Pickoffs tab. 2 Under Input Strip Fader Pickoff Point, click Pre-Fader or
Post-Fader.
Direct Output controls in the Patchbay channel controls section
When a channel is selected, clicking the routing display in the Direct Out section of the Inputs our Outputs page jumps the screen view to the Patchbay. The selected channel is targeted in the Patchbay channel controls.
S3L System Guide96
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