Avid Technology VENUE SC48 User Manual

VENUE SC48 Guide

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and Software Version 2.8 for VENUE SC48 Systems

Digidesign

2001 Junipero Serra Boulevard

Daly City, CA 94014-3886 USA

tel: 650·731·6300

fax: 650·731·6399

Technical Support (USA)

tel: 650·731·6100

fax: 650·731·6375

Guide Part Number: 9322-61189-00 REV A 04/09

Product Information (USA)

tel: 650·731·6102

tel: 800·333·2137

International Offices

Visit the Digidesign website

for contact information

Webs ite

www.digidesign.com

Legal Notices

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This guide is copyrighted ©2009 by Digidesign, a division of Avid Technology, Inc.
(hereafter “Digidesign”), with all rights reserved. Under copyright laws, this guide
may not be duplicated in whole or in part without the written consent of
Digidesign.

003, 003 Rack, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20
I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo,
Avid Unity, Avid Unity ISIS, Avid Unity MediaNetwork, Avid Xpress, AVoption,
AVoption|V10, Beat Detective, Bruno, C|24, Command|8, Control|24,
D-Command, D-Control, D-Fi, D-fx, D-Show, DAE, Digi 002, Digi 002 Rack,
DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign
Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest,
DigiTranslator, DINR, DV Toolkit, EditPack, Eleven, Impact, Interplay, M-Audio,
MachineControl, Maxim, Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, OMF,
OMF Interchange, PRE, ProControl, Pro Tools M-Powered, Pro Tools,
Pro Tools|HD, Pro Tools LE, QuickPunch, Reel Tape, Reso, Reverb One, ReVibe,
RM1, RM2, RTAS, Smack!, SoundReplacer, Sound Designer II, Strike, Structure,
SYNC HD, SYNC I/O, Synchronic, TL Space, Velvet, X-Form, and Xpand! are
trademarks or registered trademarks of Digidesign and/or Avid Technology, Inc.
All other trademarks are the property of their respective owners.

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

Guide Part Number: 9322-61189-00 REV A 04/09

Comments or suggestions regarding our documentation?
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Communications & Safety Regulation Information

Compliance Statement

The model VENUE SC48 complies with the following standards regulating
interference and EMC:

• FCC Part 15 Class B

• EN55103-1 E3

• EN55103-2 E3

• AS/NZS 3548 Class B

• CISPR 22 Class B

Radio and Television Interference

This equipment has been tested and found to comply with the limits for a Class
B digital device, pursuant to Part 15 of the FCC Rules.

DECLARATION OF CONFORMITY

We, Digidesign, 2001 Junipero Serra Boulevard

Daly City, CA 94014-3886, USA

650-731-6300

declare under our sole responsibility that the product

VENUE SC48

complies with Part 15 of FCC Rules.

Operation is subject to the following two conditions: (1) this device may not
cause harmful interference, and (2) this device must accept any interference
received, including interference that may cause undesired operation.

Communication Statement

NOTE: This equipment has been tested and found to comply with the limits for a
Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are
designed to provide reasonable protection against harmful interference in a
residential installation. This equipment generates, uses, and can radiate radio
frequency energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio communications. However,
there is no guarantee that interference will not occur in a particular installation.
If this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment off and on, the user
is encouraged to try and correct the interference by one or more of the following
measures:

• Reorient or locate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which
the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

Any modifications to the unit, unless expressly approved by Digidesign, could
void the user's authority to operate the equipment.

Canadian Compliance Statement:

This Class B digital apparatus complies with Canadian ICES-003

Cet appareil numérique de la classe B est conforme à la norme NMB-003 du
Canada

Australian Compliance

CE Compliance Statement:

Digidesign is authorized to apply the CE (Conformité Europénne) mark on this
compliant equipment thereby declaring conformity to EMC Directive
89/336/EEC and Low Voltage Directive 73/23/EEC.

Input Rating

I/P: 100-120V~/220-240V~, 50/60 Hz, 200W

Safety Statement

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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. Digidesign Inc., has
been authorized to apply the appropriate UL & CUL mark on its compliant
equipment.

Warning

Important Safety Instructions

1) Read these instructions.

2) Keep these instructions.

3) Heed all warnings.

4) Follow all instructions.

5) Do not use this equipment near water.

6) Clean only with dry cloth.

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

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

9) Do not defeat the safety purpose of the polarized or grounding-type plug. 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.

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

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

12) Use only with a cart, stand, tripod, bracket, or table specified by the
manufacturer, or sold with the equipment. When a cart is used, use caution when
moving the cart/equipment combination to avoid injury from tip-over.

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

14) Refer all servicing to qualified service personnel. Servicing is required 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.

15) 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.

16) The equipment should be connected to a properly-grounded (earthed)
receptacle.

17) The main power switch is located on the back panel of the VENUE SC48. It
should remain accessible after installation.

18) The mains plug is used as the disconnecting device and shall remain readily
operable.

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

20) CAUTION! Danger of explosion if battery is incorrectly replaced.
Replace only with the same or equivalent type.

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Contents

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Part I Overview and Installation

Chapter 1. Introduction to VENUE SC48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

VENUE SC48 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

System Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

VENUE SC48 Expansion Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

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

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

Chapter 2. Configuring and Connecting SC48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Unpacking and Assembling the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Connecting the VENUE SC48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Connecting AC Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Connecting a VGA or DVI Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Connecting USB Keyboard and Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Connecting Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Connecting Synchronization, Control, and Lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Powering Up the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Setting the System Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Installing Other Optional Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

About Digital Input and Sample Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Part II System Description

Chapter 3. VENUE SC48 Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

VENUE SC48 Top Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Input Channels and Faders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Selected Channel Sections (ACS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Flex Channel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Output Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Master and Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Chapter 4. Basic Commands and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Config Mode and Show Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

System Lock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Global Modifier Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Software Screen Pages and Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Contents v

Chapter 5. Navigating and Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

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Banking Input Channels and FX Returns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Banking the Output Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Selecting and Targeting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Targeting Plug-In Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Screen Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Screen Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Input Channel Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Chapter 6. Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Using Channel Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

User Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Availability of Channel Control Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Chapter 7. Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Other Options and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Part III Signal Routing

Chapter 8. Inputs and Input Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Configuring Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Assigning Input Sources to Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Routing Input Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Using Built-In Dynamics and EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Using Inserts on Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Adjusting Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Flex Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Using Input Direct. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Chapter 9. Outputs and Output Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Configuring Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Assigning Busses to Hardware Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Routing Group Outputs to the Main Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Using Inserts on Output Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Adjusting Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Adjusting Main Bus Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Direct Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Assigning and Using VCAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

VENUE SC48 Guidevi

Chapter 10. Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

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Configuring Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Routing Inputs to Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Routing Group Outputs to the Main Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Managing Group Bus Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Group Bus Signal Flow Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Adjusting Group Bus Output Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Simple and Expert Operational Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Chapter 11. Aux Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Configuring Aux Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Routing Inputs to Aux Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Routing Aux Busses to Outputs and Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Adjusting Aux Send Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Managing Aux Bus Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Chapter 12. Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Configuring Matrix Mixers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Adjusting Matrix Mixer Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Adjusting Matrix Mixer Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Snapshot Data and Parameters for Matrix Mixers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Chapter 13. Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Accessing the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Overview of the Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Navigating the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Routing Channels in the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Warning when Stealing Inputs or Outputs in the Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

VENUE System Information Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Patch List Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Chapter 14. Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Channel Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

ACS Input and Dynamics Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Metering Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Metering Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Chapter 15. Solo and Monitor Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Solo Bus Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Selecting a Solo Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Solo Operation Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Solo Bus Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Soloing Single Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Solo Safing Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Monitor Bus Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Talkback, 2-Track and Oscillator Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Contents vii

Chapter 16. Muting and Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

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Muting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Function Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Part IV Processing

Chapter 17. Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Built-In Compressor/Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Built-In Expander/Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Adjusting Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Channel Modes Affecting Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Dynamics Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Side-Chain Keys and Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Chapter 18. EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Built-In EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Channel Modes Affecting EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Adjusting EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Graphic EQ for Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Adjusting EQ Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

EQ Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Chapter 19. Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Installing and Authorizing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Plug-in Version Checker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

USB Ports for iLoks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Overview of Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Plug-In Racks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Rack Slots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Assigning and Routing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Adjusting Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Plug-In Presets and Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Plug-In DSP Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Plug-In Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Plug-In Latency and Processing Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Part V Shows

Chapter 20. Shows and File Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Creating Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Loading Shows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Working with Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Transferring Settings, Shows and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Undoing Changes Using the History Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

VENUE SC48 Guideviii

Chapter 21. Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

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Snapshots Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Snapshot Controls on the SC48 Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Snapshots List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Creating Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Recalling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Recall Safe and Channel Automation Safe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Managing Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Making Changes to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Preview Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Undoing Snapshot Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Disabling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Adding MIDI Messages to Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Adding Tempo Data to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Adding Plug-In Data to Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Snapshot Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Snapshot Data Types and Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Chapter 22. Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

The Events Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Creating Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Creating Triggers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Creating Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Testing Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Resetting Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Snapshots and Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Default Settings, Templates and Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Tap Tempo for Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Trigger Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Action Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Chapter 23. Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Automating Recall of Snapshots with MIDI Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Remote Control of Snapshot Recall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Triggering of External Devices on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Sending MIDI Messages on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Synchronizing with Word Clock and Digital Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Chapter 24. Using the Standalone Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Installing the Standalone Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Simulating a VENUE Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Transfer and Filing Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Exporting System Information and Patchbay Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Contents ix

Part VI Specifications

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Chapter 25. Mechanical Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Chapter 26. Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Stage I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

FOH I/O. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Chapter 27. Signal Flow Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

VENUE SC48 Input Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

VENUE SC48 Output Signal Flow Diagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Chapter 28. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Problem Solving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

In Case of System Failure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Performing a Soft Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Hardware Monitoring Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Resetting Hardware Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Using the System Restore CD to Update or Restore the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Part VII Reference

Chapter 29. Console Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

GPI (General Purpose Interface). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

GPI Wiring Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Chapter 30. FWx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

FWx Capabilities and Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

FWx Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Pro Tools LE Requirements for FWx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Installing Pro Tools LE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Using FWx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Signal Routing for FWx Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Signal Routing for FWx Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Using Synchronization and Time Code with FWx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

VENUE SC48 Guidex

Chapter 31. ECx. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

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ECx Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

ECx Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Installing ECx Host Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Overview of ECx Setup and Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Connecting a Computer Directly to VENUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Connecting a Wireless Router or WAP to VENUE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Setting VENUE and Client IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Establishing a Wireless Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Enabling Remote Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Disconnecting ECx. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Changing the Ethernet Control Password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Contents xi

VENUE SC48 Guidexii

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Part I: Overview and Installation

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Chapter 1: Introduction to VENUE SC48

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Welcome to the VENUE SC48 live sound mixing console from Digidesign®. VENUE SC48, part of Digidesign’s modular VENUE
live sound environment, is a fully self-contained console with an intuitive control surface layout, a flexible I/O scheme, powerful
digital processing and integrated Pro Tools recording and playback.

VENUE SC48 Features

Figure 1. VENUE SC48 console

SC48 Control Features

• 16 bankable input channel strips, each with a touch-sen-
sitive fader, one multi-purpose assignable rotary encoder,
solo, mute and select controls

• 48 input channels with full processing, plus 8 stereo FX
Returns

• Built-In High-Pass Filter, Dynamics an d EQ pr oce ssors on
each input channel strip

• Level meters on each input channel strip

• Channel Control section for customizable center section
control of input settings, dynamics and EQ (or dyn/EQ
plug-ins) settings, and Aux Sends.

• 1 FlexChannel for full-time, high-resolution control of
your primary input (podium, lead vocal, soloist, or other)

• 8 multi-purpose Output faders strips, each with a
touch-sensitive fader, one multi-purpose encoder, solo,
mute and select controls

•1 Mains fader

• Up to 24 31-band Graphic EQs available for Outputs

• Main Busses configurable as Left–Center–Right or
Left–Right+Mono

SC48 Audio I/O

Stage I/O

• 48 analog mic/line inputs with mic preamps for stage
inputs. Each fully recallable input provides discrete,
selectable phantom power, input gain, polarity invert,
and a High-Pass filter

• 16 analog output channels (expandable up to 32) to con­nect to mains and monitors

FOH I/O

• Talkback mic input, with gain and phantom power

• Headphone output

• Analog and digital (AES) 2-Track inputs and outputs

• FWx port (FireWire 1394) providing 18 channels of fully
integrated recording and playback with a compatible
Pro Tools LE system

Chapter 1: Introduction to VENUE SC48 3

Synchronization, Control and Utility I/O

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• 4 external USB 2.0 inputs for keyboard, mouse, iLok USB
Smart Keys, and USB storage devices

• 1 internally-mounted, secure USB 2.0 port

•Videomonitor port (VGAand DVI connectors) for soft­ware screen display

• MIDI In and Out ports, providing 16 channels of MIDI
input and 16 channels of MIDI output

• Word clock I/O for digital clock synchronization

• RJ-45 (100 BaseT Ethernet) port for ECx Ethernet-based
remote control

• 2 GPI inputs and 2 GPI outputs (DB9)

• 2 three-pin XLR lamp light outputs

CPU, DSP, and System Drives

The VENUE SC48 also houses the CPU, DSP Mix Engine, hard
drive and CD-ROM drive that run the VENUE D-Show soft-
ware on your system. VENUE D-Show software is installed at
the factory. The CD-ROM drive lets you update or restore your
VENUE system software, and install compatible plug-ins from
their installer discs.

Power Supply Units (PSUs)

All VENUE SC48 units ship with at least one universal PSU
(100V to 240V nominal 50–60 Hz).

System Components

Included Components

All VENUE SC48 systems include the following:

VENUE SC48

• VENUE SC48 console

• One (1) or two (2) IEC power cables, North American
standard

• Monitor mount (for VGA screen, screen not included)

• Mouse tray (mouse/trackball not included)

• Accessory tray

• VENUE SC48 Guide

• VENUE Mouse Pad

•Dust cover

Software CDs, iLoks

• System Restore CD

• ECx Ethernet Control Software Installer CD

• Standalone Software Installer CD

• iLok USB Smart Key (for storing plug-in authorizations)

• Plug-in installer discs (if purchased) with pre-authorized
iLok

Additional Required Components

The following components must be purchased separately:

• Video Display (15-inch or greater flat-panel TFT display rec­ommended; 1024x768 minimum resolution). VGA and DVI
supported.

• USB keyboard and trackball/mouse (Windows compatible)

Optional Components

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

• USB flash disk (or other portable USB storage device for
transfer of Show data; 512 MB or larger recommended)

• Headphones with 1/4-inch jack (for FOH monitoring)

• Dynamic or condenser microphone and XLR mic cable
(for Talkback)

• Footswitches (up to 2)

• MIDI cables (for connecting external MIDI devices)

• BNC cables (for connecting Word clock between the
VENUE system and external digital devices)

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

• Two (2) Console lights

VENUE SC48 Guide4

VENUE SC48 Expansion Options

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The following options can be added to VENUE SC48 systems.
For details on all VENUE systems and options, visit the Digide­sign website (www.digidesign.com).

Each SC48 supports a maximum of three input cards and two
output cards.

Inputs You can replace any of the three input cards with a new
AI16 Analog Input card.

Outputs Output can be expanded to up to 32 channels for ex­panded analog output, for mixed analog/digital output, or for
personal monitoring.

• Analog outputs can be expanded by installing an addi­tional AO16 Analog Output card.

• Analog and digital output can be added by installing an
XO16 Analog/Digital Output card, providing eight
digital output channels in addition to eight more analog
outputs.

• For personal monitor mixing, the AT16 A-Net Output
card can be added to integrate VENUE SC48 with
Aviom® networks and Pro16

TM

Series mixers.

Water and Moisture

VENUE units 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 before power­ing the unit on.

Humidity ranges for storage and operation

Storage humidity range 5% to 95%, non-condensing

Operating humidity range 20% to 80%, non-condensing

Cleaning and Maintenance

If you need to clean the VENUE SC48 top surface, use a dry
cloth. Do not apply any cleaning solutions, spray cleaners, or
abrasives to the surface.

Connection Requirements

Power Connections

Each unit requires its own power connection for primary
power, and for redundant power on systems with dual PSUs.

Operational Requirements

Temperature and Ventilation

VENUE units 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 informa-
tion, see “Hardware Monitoring Window” on page 230.

Storage

VENUE SC48 should be stored and transported at tempera-
tures not lower than 0 degrees F (–18 degrees C) and not
exceeding 140 degrees F (60 degrees C).

Operation

VENUE SC48 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 front and back panels of VENUE SC48
should be exposed to ambient air. Do not block the ventila­tion holes on any VENUE SC48 component.

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.

VENUE SC48 power supplies are capable of operating at 50 to
60 Hz across a voltage range of 100 to 240 V.

SC48 with Redundant PSUs

When using an uninterruptable power supply (UPS) it is rec­ommended to connect one of the console power supplies to
the UPS and the other directly to house power.

Audio Connections

All VENUE SC48 analog audio inputs and outputs (except
Headphones) are balanced XLR or balanced 1/4-inch connec­tions. All VENUE SC48 external digital audio inputs and out­puts are AES/EBU (XLR) connections.

For more information on audio connectors and specifica­tions, see Chapter 26, “Audio Specifications.”

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

Chapter 1: Introduction to VENUE SC48 5

VENUE SC48 Guide6

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Chapter 2: Configuring and Connecting SC48

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The chapter shows how to get your SC48 console up and run­ning by doing the following:

• Unpack and assemble the console

• Connect the following to the VENUE SC48:

• Power (AC)

•Display (VGA/DVI)

• USB keyboard and mouse

• Audio (stage and FOH inputs and outputs)

• Synchronization and control (Ethernet, MIDI, or Word
clock) and lights

• Power up the system

• Install other optional software or updates

Unpacking and Assembling the Console

Unpacking the VENUE SC48

Always use at least two people when lifting or moving
VENUE SC48.

• Remove all components from the shipping packaging. Keep
included items organized, making sure to keep them with
their associated component after unpacking.

• Place the VENUE SC48 console on a table or other stable sur­face that leaves full access to the front and back panel con­nectors.

• Make sure all components are free of any bags, padding or
other materials.

Assembling the VENUE SC48

VENUE SC48 includes a Video Monitor Mount for your
VGA/DVI monitor, a mouse tray, and an accessories tray. Fol­low the illustrations on the next page to attach your video
monitor, mouse tray, and accessories tray to the console.

Chapter 2: Configuring and Connecting SC48 7

Video Mount, Mouse Tray, and Accessories Tray

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Figure 2. Video Mount, Mouse Tray and Accessory Tray

VENUE SC48 Guide8

Connecting the VENUE SC48

Power and Reset switches Stage InputsStage Outputs

FOH I/O

E

D

C

A

B

Power and Display

E

D

C

A

B

Power

VGA connector

DVI connector

monitor

SC48 front

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The back panel provides power, audio and other connectors, as well as the master power (on/off) and reset switches.

Figure 3. Back panel

Connecting AC Power

AC power connectors are located on the back panel. One (or
two) male, 3-pin North American standard IEC power sockets
with cable retaining clips are provided (one on standard SC48
units, and two on units ordered with a second redundant
power supply).

Power connectors on the back panel (two-PSU model shown)

To connect power to SC48:

 Connect the included IEC power cable(s) between the

Power connector(s) on SC48 and your power source.

Connecting a VGA or DVI Display

One VGA connector and one DVI connector are provided to
connect a VGA/DVI-compatible video display (not included).

Connecting USB Keyboard and Mouse

There are three USB 2.0/Type A ports on the front of the SC48
to connect a USB keyboard, trackball/mouse, or key disks.

Front panel USB ports for keyboard and mouse

To connect a USB keyboard and trackball/mouse:

 Connect them to the USB ports on the front of SC48.

Two more USB ports are also provided, one on the back panel
and one concealed within the console itself. For more infor­mation, see “Secure USB Port” on page 12.

VGA and DVI display connectors on the back panel

To connect a computer display:

 Plug a VGA or DVI display cable into either the VGA or DVI

connector. (These two ports mirror each other; they are not
discrete video outputs.)

Chapter 2: Configuring and Connecting SC48 9

Connecting Audio

Stage
Inputs

analog multicore (snake)

B

C

A

1–16

17–32

32–48

Stage

17–32

1–16

to
house/
mains,
monitors
zones

Outputs

D

E

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SC48 provides 48 analog mic/line inputs and up to 32 analog line outputs for stage audio, and a variety of analog and digital au­dio inputs and outputs for FOH/mix position audio. You can use an analog multicore snake cable (not included) to carry multiple
stage inputs and outputs to and from the console, or you can connect mics, instruments and other sources directly to SC48 an­alog mic/line inputs, and connect SC48 outputs directly to the inputs on your house/mains, monitors, or other destinations.

Stage Inputs 1–48

(Analog Mic/Line XLR Inputs)

The Stage Input section provides 48 channels of analog mic/line inputs (XLR), to connect stage input sources. Use a standard
analog snake, or connect sources directly to Stage inputs 1–48.

Figure 4. SC48 I/O slots A–C for stage inputs 1–48

Stage Outputs 1–16

(Analog Line XLR Outputs)

The Stage Output section provides up to 32 channels of stage output (XLR), to connect to house/mains, monitors, additional
zones, or feeds to other devices.

Figure 5. SC48 I/O slots D and E for stage Outputs 1–32

On standard systems with a single AO16 card in slot D, hardware outputs are numbered 1–16. Adding an AO16 or XO16 output
expansion card will add outputs to slot E, and those hardware outputs will be numbered 17–32.

VENUE SC48 Guide10

FOH Inputs and Outputs

Word Clock

Footswitch

Talkback

1394

FWx

GPI MIDI

2-Tr
AES

2-Tr

Analog

Gain

Input

15V

for ProTools LE

BNC

SC48 (back)

Word Clock Out

Set device to slave to
incoming Word Clock

External digital device

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The FOH I/O section provides connectors and controls for Talkback, 2-Track, Pro Tools and other sources and destinations used
at the mix position, as explained in the following sections.

Figure 6. FOH connectors and controls

Talkback

The Talkback Mic connector and controls allow connection of
a microphone for communicating to stage or through the
Mains. The Talkback Mic input is a female XLR connector. The
Talkback input has adjustable gain and switchable +15V
phantom power.

To connect a mic for Talkback:

 Plug a dynamic or condenser talkback microphone into the

back panel Talkback connector.

Do not connect an intercom system directly to the Talkback
input, as some intercom systems use a signalling voltage
which can damage the SC48 input card.

To adjust Talkback Gain:

 Turn the back panel Gain knob (or adjust the on-screen

Talkback level control in the Options > Misc page).

To enable or disable phantom power on the Talkback input:

 Slide the +15V switch to the right “on” position

2-Track Digital Inputs and Outputs

1394 (FWx)

This Firewire port is for integrated Pro Tools recording and
playback with VENUE FWx. FWx provides 18 channels of I/O
directly to a compatible Pro Tools LE system.

For more information, see Chapter 30, “FWx.”

Connecting Synchronization, Control, and Lights

SC48 provides the following connectors for synchronization,
control, and illumination.

Word Clock

To sync an external digital device to SC48 Word Clock Out:

 Connect the Word Clock Out on the SC48 back panel to the

corresponding digital device. Set the external device to slave
to the incoming word clock signal.

These 2-Track digital connections are used for input and out­put of digital audio material. The stereo AES/EBU connectors
support 24-bit, 48 kHz digital signals. Input signals with other
sample rates are sample-rate converted to 48 kHz.

2-Track Analog Inputs and Outputs

These 2-Track analog connections are used for input and out­put of analog audio material. These are balanced 1/4-inch TRS
connectors.

Using word clock from SC48 to clock an external device

MIDI

These MIDI In and Out Ports provide 16 channels of MIDI in­put and 16 channels of MIDI output to the system. The
MIDI I/O ports are used in sending and receiving Snapshot
MIDI messages, and in receiving MIDI Time Code from
external devices.

To make MIDI connections to SC48:

 Connect a compatible MIDI device to the MIDI In and MIDI

Out ports.

Chapter 2: Configuring and Connecting SC48 11

Footswitch 1 and 2

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Console Lights

Two female 1/4-inch TS footswitch jacks are provided for
switch input. Footswitches can be normally open or normally
closed, latching or momentary. Functions are assigned to
these jacks using the on-screen Options > Events page.

GPI 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 29, “Console Reference.”

GPI Applications

GPI inputs are connected to the outputs of a variety of switch­ing devices such as footswitches, momentary or latching
push-button switches, or logic outputs of a larger show con-
trol system. Example applications of GPI inputs include re-
mote toggling of a console 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 sequenc-
ers, 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 min-
imum 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.

Two XLR3-F jacks on the top of the unit let you connect con­sole lights (not included).

To use the console lights:

 Plug the console lights into the two Console Light XLR jacks

on the upper part of the back panel.

You can adjust the brightness of the console lights, and sepa­rately for the LED and displays, from the Options > Interac­tion page (see “Lights” on page 59).

Secure USB Port

One USB 2.0 port is located within the console 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. See Figure 2 on page 8
for an illustration that shows the location of the internal USB
port.

To access the internal USB port:

1 Remove the two screws holding the tray in place and slide

the tray out.

2 Insert (or remove) your iLok.

3 To reassemble, make sure the iLok is firmly seated in the tray

before sliding it back into the unit. Replace the two screws to
secure the tray.

GPI functions are managed using the Events List in the
Options > Events window. For more information, see
Chapter 22, “Events.”

To connect GPI devices to VENUE SC48:

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

port on the back panel of VENUE SC48.

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

external device.

ECx

One RJ-45 connector is provided for remote Ethernet control
of VENUE from a client computer (Mac or Windows laptop,
tablet, or similar).

For more information on ECx, see Chapter 31, “ECx.”

VENUE SC48 Guide12

Powering Up the System

Power

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Installing Other Optional Software

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

Power up the system in the following sequence:

1 Press the Power switch on the back panel of VENUE SC48

(located on the back panel, center top).

2 Turn on any connected computers for recording/playback.

3 Turn on the audio monitoring system.

Power switch

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 Power down VENUE SC48.

It is not possible to accidentally power off the console by
pressing the Power switch momentarily.

ECx, Plug-ins, and Other

After having unpacked, assembled, connected, and powered
up your SC48 system, you can go ahead and add any addi­tional software and plug-ins as explained in the following sec­tions.

VENUE SC48 is loaded at the factory with the most recent ver­sion of its operating software (VENUE D-Show software), as
well as the core set of VENUE plug-ins. You must manually in­stall software for the following:

ECx Ethernet Control If you want to take advantage of the
built-in Ethernet remote control option, install the ECx soft­ware from its included installer disc. For instructions, see
Chapter 31, “ECx.”

Plug-ins All plug-ins (except the included plug-ins) must be in-
stalled manually from their installer discs, or from copies of
the installers transferred to your USB key disk or other storage
device. For more information, see Chapter 19, “Plug-Ins.”

About Digital Input and Sample Rate Conversion

VENUE systems operate at a native sample rate of 48 kHz. The
2-Track AES inputs on the SC48 provide sample rate conver­sion on input, letting you connect a wide variety of digital
sources without having to be concerned with synchronization
and clock connections.

Setting the System Clock

When you first work with a VENUE system, make sure the sys-
tem clock time, date and time zone are set appropriately. The
system clock setting can affect data synchronization with por-
table storage devices. See “Synchronizing Settings, Shows and
Presets” on page 165.

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 57.

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.

After setting the system clock, do either of the following:

• To get started learning the console and configuring it, see
Chapter 3, “VENUE SC48 Control Overview.”

– or –

• If you want to install any other optional software first
(such as ECx, or included plug-ins) see the next section
(“Installing Other Optional Software” on page 13).

Sample rate conversion does, however, induce processing de­lay to the incoming digital signal.

Sample Rate Conversion Latency

The following table illustrates the sample rate conversion pro­cessing delay at various sample rates.

Minimum Additional Latency due to Sample Rate Conversion

External Sample Rate SRC Process Delay

32 kHz 1.50 ms

44.1 kHz 1.09 ms

48 kHz 1.00 ms

88.2 kHz 0.848 ms

96 kHz 0.833 ms

Chapter 2: Configuring and Connecting SC48 13

VENUE SC48 Guide14

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Part II: System Description

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Chapter 3: VENUE SC48 Control Overview

Global

A Input Channel Strips 1–16

A

B

Bus Outputs Mains

Meters

B Output Masters Section
C Flex Channel

C

D

D ACS (Assignable Channel Section): Selected Channel, Bus Assign and Channel Control

Modifiers

Console Mode

Snapshots

Mute Groups/

Monitoring

View
Mode

Function

E Masters and Global Controls (Snapshots, Mute Groups, Monitoring, Console and View Modes)

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VENUE SC48 Top Panel

The following figure identifies the main sections of the VENUE SC48 control surface:

Figure 7. Main control sections on VENUE SC48

VENUE SC48 provides 16 bankable input channel strips in the Input Channel section, eight bankable output channel strips plus
a Mains fader in the Output Masters section, the Flex Channel strip, and the ACS (or Selected Channel sections) including Input, Bus
Assigns and Channel Control. Surrounding these sections are the masters and global modifiers sections (Console Mode, snap­shots, metering, monitoring, and View Mode).

Chapter 3: VENUE SC48 Control Overview 17

Input Channels and Faders

Encoder Switches

Clip and Safe LEDs
Bus Assign LEDs

Meters

Encoders and LEDs

LCD Display

Select

Solo

Mute

Faders 1–8Banks A/B/C/D GEQ

FX Returns

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The Input section provides 16 faders and other controls for Input Channels and FX Returns. Additional channels are banked to
the 16 faders using the Bank A, B, C and D switches. All 16 input channels bank together.

Input faders can also be assigned to control FX Returns 1–8, or the output EQ (graphic EQ).

Each input channel strip includes a channel fader, channel Select, Mute and Solo switches, a rotary encoder, LCD display area and
meters for channel level and dynamics gain reduction. The encoders and associated assignment switches access Gain, Pan, HPF
and Aux Sends. Each bank of eight input channels provides a two-row LCD display that shows channel name, parameter names,
values and other data as appropriate for the current action. Additional input parameters are controlled by selecting one or more
channels to make them the target of the Selected Channel sections.

Figure 8. Input controls (Input Channels 1–8 shown)

Clip and Safe LEDs

At the top of each input strip are the Hidden Bank Clip and
Safe LEDs.

Hidden Bank Clip LED

The Hidden Bank Clip LED lights to indicate a meter clip on
an Input Channel or FX Return at the corresponding position
in an alternate bank of channels. It gives you an indication of
extreme signal level in a currently hidden (“off-bank”) layer.
This indicator obeys the same clipping threshold display rules
as the Input Channel meters (as set in the Options > Interac­tion page).

VENUE SC48 Guide18

Safe LED

The Safe LED indicates either an input strip’s Automation,
Solo, or Bank safe status, depending on the current Input Safe
Switch setting. See “Input Safe Switches” on page 58.

Auto Safe Mode If the Safe LED is lit, the channel will not re­spond to Snapshot-driven changes. If the LED is off, that
channel will respond to any applicable changes driven by
Snapshots (subject to the current Recall Safe settings, if any).

Solo Safe Mode If the Safe LED is flashing slowly, the channel
will not respond to solo commands (it will not be muted if an­other channel’s solo button is pressed). If the LED is off, that
channel will be silenced when soloing another channel.

Bank Safe Mode If the Safe LED is flashing rapidly, the chan-

LR

C/M

Comp/Lim

Input Level

EQ In/Out

Stereo

Gate

Gain Reduction

Encoder Assignment Switches

Encoders

LCD

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nel remains in place on the top fader layer when a different
Bank (A–D) is selected (it will be unlinked from console bank­ing). If the LED is off, the channel follows banking.

Stereo LED

A single yellow LED indicates a stereo input channel. The ste­reo channel LED flashes if a 10 dB or greater offset is detected
between left and right inputs.

Bus Assigns LEDs

These red LEDs indicate Mains bus (LR or C/M) assignment.

Bus Assign indicator LEDs on an Input Channel

 If the LR LED is lit, the input channel feeds the Left and

Right Main busses in either L–R or L–C–R panning mode (re­gardless of the Stereo Pan LED status).

 If the C/M LED is lit, the input channel feeds the C (center)

bus from the pan in L–C–R mode, or the M (mono) bus before
the pan. Stereo channels are summed to the mono bus.

Meters

Each Input Channel provides a Comp/Lim gain reduction me-
ter and an input level meter, plus LEDs for EQ, Stereo and Gate
status.

Color Channel Status

(none) Mono

Yellow Stereo

Gate Status LED

A single bi-color LED shows the current Expander or Gate
status.

Input Encoders and Assignment Controls

Each input channel features one assignable input encoder that
can be assigned to control input gain, HPF corner frequency,
pan/balance/width, and sends (Auxes).

The Encoder Assignment switches, located to the left of the
row of encoders, determine the function of the encoders on
Input Channels. The LCD displays the current function (see
“Input Channel LCD Displays” on page 20).

Input channel meters and LEDs

Comp Gain Reduction Meter

A 3-segment meter displays gain reduction for the channel
compressor/limiter.

Input encoders, assignment switches, and LCD (inputs 1–8)

Input Level Meter

A 6-segment meter displays input level and indicates clipping.
The top-most LED is bi-color and lights red to indicate clip­ping at any point in the channel.

For meter scales, see “Channel Meters” on page 107.

Rotary and Switch Functionality

VENUE rotary encoders are dual-function controls that pro­vide rotary and switch functions. In addition to adjusting pa­rameters by turning the encoder, you can toggle parameters
(such as taking the HPF in or out of circuit) by pressing the en­coder knob.

EQ Status LED

Encoder LEDs

A single red LED indicates EQ In/Out status as shown in the
following table.

Color EQ Status

(none) Not in circuit

Red In circuit

Two types of LEDs surround each encoder:

 The LED ring around the encoder displays the relative posi-

tion of its currently assigned parameter.

 Below each encoder is an indicator LED, which indicates pa-

rameter status (in/out), default setting, or other conditions re­lated to the current encoder function.

Chapter 3: VENUE SC48 Control Over view 19

Switches in the Encoder section assign each of the following

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parameters to the Input encoders:

Gain

Gain assigns the encoders to control input gain according to
the range available for this input (head amp gain for analog
inputs, digital gain for digital or line inputs). Pressing and
holding the encoder initiates Gain Guess, in which a nominal
input gain level is automatically set based on the incoming
signal.

Pan

Pan assigns the encoders to control channel Pan if the chan­nel is mono, or stereo channel balance if the channel is stereo.
The indicator LED lights when the pan is at center.

HPF

Display

Source Switch

The Source switch in the Display section changes the Channel
Name display to show the source input that is feeding each
channel.

Input Channel LCD Displays

There are two Input Channel LCD displays, one each for
Inputs 1–8 and 9–16.

Each LCD provides two rows of data with six characters per
row, per input channel. The upper and lower rows let you see
more than one type of channel data simultaneously, such as
channel name in the lower row and Aux Send levels in the up­per row. Data display depends on the current encoder assign­ment.

Input Encoder Assignments and Values

HPF (High Pass Filter)

HPF assigns the encoders to control the HPF corner frequency.
Pressing the encoder toggles the built-in HPF in and out of cir-
cuit. If the LED is lit, the filter is in circuit.

Send 1–2 to Send 15–16

These switches let you select one of two Aux sends in
odd/even pairs (Send 1–2 through Send 15–16).

 With mono sends, the first press of the switch selects the

odd numbered send (1, 3, 5, or 7) and the second press selects
the even numbered send (2, 4, 6, or 8). The switch lights green
for the odd-numbered selection, or yellow for the even-num-
bered selection.

 With stereo-linked sends, the first press of the switch con-

trols level for the bus pair, and the second press controls pan
for the bus pair. The switch lights green for level control, or
yellow for pan control.

Pressing an encoder toggles the send on or off. When the send
level is shown on the LED ring and the send is off, a single LED
lights. When the send is on, all LEDs light in a clockwise se­quence from the lower left to the send level.

Flip to Faders

When enabled, the current encoder parameter is mapped to
the faders. It can still be controlled from the encoder row, so
the channel fader mirrors the setting.

Using Flip to Faders, it is possible to control send level from
the faders, and pan on the encoders. For information, see
Chapter 11, “Aux Sends.”

The current encoder assignment, parameter or value is dis­played in the top row of the input displays. There are two
states the top row can be in: Parameter Value mode and Pa­rameter Name mode.

When necessary, the display abbreviates functions as shown
in the following table.

Table 4. Encoder Assignment Displays

Switch Display

Gain Input Gain

Pan Input Pan

HPF Frequency

Send (n) Aux (n) Level

Aux (n) Pan (stereo-linked sends only)
Variable Group (n) Level
Variable Group (n) Pan (stereo-linked sends only

Flip to Faders Aux (n) Level and Pan (stereo-linked sends

only)

Select Switch

The Select switch on each channel is used to target the chan­nel in the Selected Channel and/or Flex Channel sections, and
to include the channel in Multi-Select and Multi-Assign func­tions. A lit Select switch indicates the channel is selected. The
name of the currently selected channel is displayed in the
Channel Name display and in the Selected Channel display.
When multiple channels are selected, the Channel Name dis­play indicates which channel is the ACS target.

VENUE SC48 Guide20

Solo Switch

Bank A–D

FX Returns

GEQ

20–630 Hz

1–8

800–20kHz

Global
Modifiers

Faders

(1–8)

Global
Modifiers

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Fader Banking Controls

The Solo switch toggles the solo state of that channel. When
enabled, the Solo switch LED is lit. When the channel is in
Solo Safe mode, the Solo switch LED flashes. Channel Solo
latches on a momentary press, and automatically releases if
held for 2 seconds or more and released.

Mute Switch

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

Input Faders and Banking

Each channel features a 100mm motorized, touch-sensitive
fader. 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.

Bank A–D Banks the Input strips. Up to four banks (A through
D) can be used to access up to 48 inputs from the 16 Input
fader strips. Bank A is channels 1–16, Bank B is channels
17–32, and so on.

FX Returns Banks FX Return channels 1–8 to Input fader strips
1–8.

Important input channels can be put in Bank Safe mode, to
keep them at the top layer of faders at all times (ignore in­put banking). For more information, see “Bank Safe Mode
for Input Safe Switches” on page 34.

GEQ (Graphic EQ) Banks bands of graphic EQ to the faders.
Graphic EQs can be used on outputs only. For more informa­tion, see Chapter 18, “EQ.”

Global Modifier Switches

To the left of the Bank A–D switches are the global modifier
switches.

Input fader banking and assignment switches

Global modifiers

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).

Multi-Select (Shift) Lets you select multiple channels, and lets
you select multiple items in lists.

Default (Alt) Lets you reset a parameter, section, or channel to
default values. This switch also enables certain modes such as
Show VCA Members mode.

Fine (Ctrl) Lets you adjust rotary encoders with greater resolu­tion for finer control, or to select non-adjacent items in lists.

User This switch is reserved for future use.

For examples of these switches in use, see “Global Modifier
Switches” on page 29.

Chapter 3: VENUE SC48 Control Over view 21

Selected Channel Sections (ACS)

Dynamics

Gain Reduction
Meters

Channel Control

Inputs

Bus Assigns

+48V 20 dB Pad

Input Polarity

Stereo

Solo

Safe

Meters

LCD Display

L–R

C/Mono

Group 1–8

Stereo Pan

Encoders

LCD

User Input Plug-In EQ Comp/ Exp/ Aux Sends

Lim Gate 1-8 9-16

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The Selected Chan (selected channel, or Assignable Channel
Sections) include the Inputs, Bus Assigns, and Channel Con­trol sections, along with stereo channel meters, an LCD dis­play, and dynamics meters.

Selected Channel control and display sections

In addition, the Flex Channel provides a dedicated fader,
channel encoder, Select, Solo and Mute switches for the cur-
rently selected channel, with the ability to be unlinked from
input channel banking and selection (“latch” your most im-
portant input to the Flex Channel). For more information,
see “Flex Channel” on page 23.

The Stereo LED lights solid when a stereo input or output is
targeted. The Solo LED flashes any time a channel is in PFL,
AFL or Solo in Place mode.

Dynamics

Gain Reduction Meters

The meters in the Dynamics section provide dedicated meter­ing for built-in and plug-in dynamics processors.

Bus Assigns

The Bus Assigns switches are the primary routing controls for
the currently selected channel, letting you bus it directly to
the Mains (L–R) bus or to any other mono or stereo group.

Bus assign switches

Input

This section provides switches for channel phantom power,
input pad, polarity (phase), and Safe status.

Selected Channel Input controls, meters and displays

Meters

Below the Inputs switches are two 10-segment Selected Chan­nel meters, LEDS for Stereo and Solo state and a 6-character
LCD display.

The dual, 10-segment, bi-color LED meters indicate input level
and clip status for the currently targeted or Soloed channel.

For Selected Channel metering scale, see “Selected Channel
Level Meters” on page 108.

Channel Control

Gain, EQ, Dynamics, Plug-ins, Auxes

Channel Control is the “center section” panel for consistent
display and control of EQ, dynamics, and plug-in processing
and Auxes.

Channel Control encoders, LCD and mode switches

For optimal mixing flexibility, you can assign up to 8 param­eters as a custom User layout.

The 6-character Selected Channel display shows the name of
the currently selected channel. The Selected Channel display
temporarily reverts to a parameter display mode any time an
encoder is adjusted on the selected channel.

VENUE SC48 Guide22

Flex Channel

Encoder

Select/Latch

Mute

Fader

Solo

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The Flex Channel is a special fader strip that provides a dedi­cated fader, encoder, and LCD display along with channel Se­lect, Solo and Mute switches for the currently selected chan­nel. The Flex Channel can also be latched to any channel for
uninterrupted control of any vital channel.

Flex Channel

In its default Selected Channel mode the Flex Channel mirrors
the currently selected channel. The Flex Channel encoder fol-
lows the current Encoder Assignment mode (gain, pan, HPF,
or a send). The Flex Channel LCD shows the current channel
name.

To latch a channel to the Flex Channel from the console:

1 Select the input or output channel you want assigned to the

Flex Channel.

2 Press the Select/Latch switch on the Flex Channel. A dialog

appears on-screen asking you to confirm the assignment.

Double-press the Select/Latch switch to latch that channel
and clear the confirmation dialog in one action.

3 Press the Flex Channel Select/Latch switch again (or click

Latch on-screen) to confirm the assignment. Click Cancel to
cancel the assignment.

To latch the Flex Channel on-screen:

 Right-click on the desired channel in the lower fader display

and choose Latch <channel>.

To return to Selected Channel mode, do one of the following:

 Double-press the Flex Channel Select/Latch switch. The

(former) channel assigned to the Flex Channel becomes the
selected channel in the ACS, and the Flex Channel reverts to
Selected Channel mode.

– or –

Right-click the currently latched channel on-screen in the
lower fader display and choose Unlatch <channel>.

In the optional Flex Channel mode, the Flex Channel is
latched to the currently selected channel. Selecting a different
channel or changing fader banks will not change the assign-
ment of the Flex Channel, letting you keep constant control
over your most important signal. The Flex Channel LCD is red
when latched and green when not latched.

Chapter 3: VENUE SC48 Control Over view 23

Output Masters

Insert Mode

Output Encoders

LCD Display

Select

AFL

Mute

Output Faders

Mains fader

Select Mains

Mute Mains

Multi-Assign/Show VCA Members

Output bank switches

Prev and Next Page

Pan

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The Output Masters section includes eight bankable output channel strips, each with a fader, encoder and channel switches. The
Mains fader provides master level control over the Mains (house) output.

Figure 9. Input controls (Input Channels 1–8 shown)

Mains

Mains Fader

The Mains fader provides a single level control for the current
Mains output.

Mains Select and Mute

Above the Mains fader are Select and Mute switches for select-
ing and muting the current mains output, respectively.

Output Faders

The eight Output Faders control level for Aux 1–8, Aux 9–16,
Matrix busses, Group busses, and VCAs.

Output Fader Bank Switches

The Output faders and encoders are banked to the desired bus
using the Output Faders switches.

Aux 1–8 Assigns the Output Faders to Aux 1–8 levels.

Aux 9–16 Assigns the Output Faders to Aux 9–16 levels.

VCAs Assigns the Output Faders to control VCAs.

Output Mute, AFL and Select Switches

Above the faders are the Mute, AFL and Select switches.

Output Encoders and Display

The eight Output Encoders adjust Group bus pan to Mains,
Matrix input levels and pan, or plug-in parameters (when in
Inserts mode).

The Output Masters LCD display is a two-row display that
shows 6 characters in each row, per output bus. The display
shows the name, parameter or value currently being con­trolled in the Output Masters section.

The Prev Page and Next Page switches light to indicate addi­tional functions depending on the selected output or plug-in.
When lit, pressing either switch scrolls the Output Encoders.
The Inserts Mode switch puts the encoders in Inserts mode, in
which the Output encoders select and adjust plug-ins. The
Next Plug-in switch advances you to the next plug-in inserted
on the current channel.

Matrixes Assigns the Output Faders to control Matrix mixer
output levels.

Groups Assigns the Output Faders to control Group levels.

VENUE SC48 Guide24

Master and Global Controls

Store Recall

Select

NextPrevious

Options

Outputs

Snapshots

Plug-insPatchbay

Inputs

Filing

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Global and master controls are located in sections with a dark
background, and include the Console Mode, Snapshots, Mute
Groups/Function, Monitoring and View Mode sections.

Mute Groups

Mute Groups let you quickly mute multiple channels at the
same time. You can create and recall up to eight Mute Groups
by assigning one or more channels to each Mute Group.

See Chapter 16, “Muting and Mute Groups.”

Console Mode

The Config Mode switch toggles the system between Config
and Show modes. See “Config Mode and Show Mode” on
page 28.

Console Mode

Snapshots

The Snapshots section provides Store, Recall, Previous, Next,
and Preview mode switches, along with a Select encoder and a
6-character Snapshot LCD display.

Function Switches

In Function mode, this section provides eight Main Function
switches. The default assignments for the first four Function
switches include Preview mode on/off (F1), Copy (F3) and
Paste (F4).

Function switches can be assigned to perform any number
of actions using the Events List. For more information, see
Chapter 22, “Events.”

Cancel

This switch cancels the current operation, such as Multi-Select
or Multi-Assign modes.

View Modes

The View Mode switches (Options, Inputs, Outputs, Filing,
Snapshots, Patchbay, Plug-ins) display the corresponding
pages on-screen. Pressing a View Mode switch repeatedly cy­cles through the individual tabs of that page. For example,
pressing the Patchbay switch once displays the Patchbay page.
Pressing Patchbay again cycles through various tabs within
the Patchbay page.

Snapshots

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

Mute Groups/Function

Provides Mute Group assignment and selection in default
Mute Groups mode, or can be switched to provide eight Func­tion switches (F keys) in Function mode. The global Cancel
switch is also located in this section.

Mute Groups/Function

Snapshots

Chapter 3: VENUE SC48 Control Over view 25

Monitoring

Headphones

Mix to Monitors

Solo Clear

Bus Output Meters MainMetering

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The Monitoring section provides a level encoder for the Head­phone output (Monitor bus outputs).

Monitoring

Monitor bus delay can be set on-screen in the Options > Bus­ses page.

Meters

The Meter section includes the following:

Meters

Bus Output Meters 1–8

Eight Bus Output meters provide selectable metering of Out-
put busses.

L CM R

The Mains meters provide constant level indication of the
house (Mains) output.

For more information, see Chapter 14, “Metering.”

VENUE SC48 Guide26

Chapter 4: Basic Commands and Modes

Tool Tip

Cursor

Banner display Mode display

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Control Overview

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.

The software 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.

Software-Only Controls and Displays

Many configuration settings and options are only available
on-screen, including hardware configuration settings, busses,
plug-in installation, and system diagnostics. For more infor-
mation, see “System” on page 51.

Software Screen Banner Display

The software screen provides a banner display in the lower left
corner. This display is provided to maintain line-of-sight mix-
ing 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.

Status bar showing Tool Tip

Status Messages

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

Banner display showing current state of the system

Console and Software Screen Linking

The software screen is linked to console actions by default. For
example, selecting an input channel on the console changes
the screen to the Inputs page, and selecting an output bus
changes the screen to the Outputs page. You can customize
how VENUE targets channels to best match your working
style. For more information, see “Interaction” on page 58.

Chapter 4: Basic Commands and Modes 27

Config Mode and Show Mode

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System Lock

There are two main operating modes, Config Mode and Show
Mode. Use Config mode to set up your system and options;
use Show mode to mix your performance.

Config Mode

Config mode provides access to the configuration settings
that are typically performed as part of system setup (before
mixing). For example, you must be in Config mode to do any
of the following:

• Choose a Main mix format (L–R+M, or L–C–R)

• Designate the number and mono/stereo format of avail­able auxes and groups, combine two mono channels into
one stereo input channel, or split a stereo input channel
into two mono channels.

• Install plug-ins

• Assign plug-ins in the software racks

• Route side-chain inputs to plug-ins

• Initialize (or reset) hardware devices and options

• Change Matrix Source pickoff points

• Change Master Insert points

• Customize console and software interaction

• Move channels to different fader strips

• Perform system tests and diagnostics

Some Config mode operations interrupt audio throughput.

System Lock locks out all manual changes (console and screen
actions), allowing the operator to safely step away from the
system. Audio continues to pass but is not affected by console
controls until the operator disables System Lock.

System Lock is activated by clicking the LOCK button on the
Options > System page, which locks the console and hides the
on-screen controls. (System Lock is not available in the Stand­alone software.)

System Lock button on the Options > System page

Locking and Unlocking the System

To engage System Lock:

1 Go to the Option > Systems page.

2 Click the Lock button in the System section.

3 In the dialog that appears, click Lock.

On the console, the LCDs for each 8-channel fader bank dis­play System Locked.

On-screen, an Unlock button appears in the lower right corner
in front of a dimmed background image.

Show Mode

Show mode is the main operating mode for the system soft-
ware. All mixing and routing features are available, based on
your settings made in Config mode.

Toggling Between Config Mode and
Show Mode

To toggle between Config mode and Show mode, do one of the
following:

 Press the Console Mode switch (located above the Bus As-

signs).

– or –

 Double-click the Mode display in the Status Bar, located in

lower-right hand corner of the screen.

You can add your own custom images to display in place of
the default VENUE logo. See “Customizing the System
Lock Display” on page 29 for information.

To unlock the system (disengage System Lock):

 Do either of the following:

• Press and hold the Cancel button on the console 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 Locked

GPI All console GPI inputs and outputs are disabled while the
system is locked.

Footswitches All Footswitch inputs are disabled while the sys­tem is locked.

Events All Event triggers and actions that include console or
GPI/Footswitch functions are disabled while the system is
locked.

VENUE SC48 Guide28

MIDI and MTC

Multi-Select

Default

Fine

User

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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 back-
ground.

Multiple images are displayed one after the other for 20 sec-
onds in a random order. (Pressing the Spacebar advances to
the next image immediately.)

To install custom System Lock images:

1 Copy a .bmp or .jpg image file to a USB key disk or CD-ROM.

(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 the Options > System page.

Global Modifier Switches

VENUE SC48 provides a set of global modifier switches:
Multi-Select (Shift), Default (Alt), Fine (Ctrl) and User. These
are located to the left of the input faders

Global modifiers

These switches provide frequently used shortcuts that can be
applied to console actions and software screen interactions.

Multi-Select Switch

The Multi-Select (Shift) switch lets you select multiple Input
Channels and then apply an action to all selected channels.
Multi-Select is useful for batch routing and assignment of in­put channels.

Most channel functions support Multi-Select (or Multi-Assign)
as noted throughout this guide. For details on how to select
one or more channels, see “Selecting and Targeting Channels”
on page 36.

Default Switch

The Default (Alt) switch provides a quick way to reset a control
to its default setting (or “zero” the setting). It is equivalent to,
and interchangeable with, the Alt key on the keyboard.

4 Ctrl-click the Shutdown button.

5 Copy the image from your USB key disk to the following lo-

cation on the system drive:

User Data\D-Show\Images

6 Double-click the Return to D-Show icon on the Desktop to

restart VENUE D-Show software.

Examples of Using Default

To reset a fader to 0 dB:

1 Press and hold the Default switch.

2 Press the Select switch on the channel you want to reset.

To reset a single EQ parameter:

 Hold the Default switch and press the encoder or switch for

that parameter in the Channel Control section.

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

Chapter 4: Basic Commands and Modes 29

Fine Switch

Click page name to display

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The Fine (Ctrl) 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.

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.

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.

Software Screen Pages and Tabs

Viewing Pages

To view a page, do one of the following:

 Press a View Mode switch.

– or –

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

When additional tabs are available for a page, go to those tabs
by pressing the corresponding View Mode switch again to
cycle through the tabs on that page, or by clicking their names
on-screen.

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 pro-

cessors.

3 Press the Fine switch again to exit latching mode.

User

The User switch is reserved for future use.

Viewing pages

VENUE SC48 Guide30

Overview of Software Pages

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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 8, “Inputs and Input Routing.”

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

Filing (Load tab)

See Chapter 20, “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 9, “Outputs and Output Routing.”

Snapshots page

See Chapter 21, “Snapshots.”

Chapter 4: Basic Commands and Modes 31

Patchbay

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Options

Label your channels and assign input and output patching.

Patchbay (Outputs tab)

See Chapter 13, “Patchbay.”

Plug-Ins

Configure and arrange plug-in racks by assigning plug-ins;
patch/route and manage plug-ins.

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

Options page (System tab)

See Chapter 7, “Options.”

Plug-In page

See Chapter 19, “Plug-Ins.”

VENUE SC48 Guide32

Chapter 5: Navigating and Selecting Channels

Bank A–D

FX Returns

GEQ

1–8

800–20kHz

20–630 Hz

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Banking Input Channels and FX Returns

Many VENUE configurations utilize more physical inputs
than input faders. To navigate to channels beyond the num­ber of physical faders, the system provides channel banking
controls.

The Bank switches navigate the display of input channels on
the console.

• Input channel banks are accessed using the Bank A, B, C,
and D switches, located to the left of the input faders.

• FX Returns are accessed using the FX Returns 1–8
switches, located between input faders 1–8 and 9–16.

• Input Channels and FX Returns can be put in Bank Safe
mode, leaving them accessible regardless of the currently
selected bank.

Input Channel Banking

The Bank A, B, C and D switches affect all input faders.

FX Returns Banking

The FX Returns 1–8 switch banks FX Return channels to input
faders 1–8.

When the FX Return bank is selected, input faders 9–16 re­main banked on their current input channels. The Input bank
button flashes to indicate which bank is currently assigned to
these channels.

To bank FX Returns:

 Press the FX Returns 1–8 switch.

The FX Returns are banked to the input faders. Bank switch A,
B, C or D flashes in order to indicate the current bank assign­ment of other input faders.

To bank Input Channels while keeping FX Return channels on the
input faders:

 Press any unlit Bank switch (A, B, C, D).

To return input faders to Input Channel banking, do one of the
following:

 Press the lit FX Returns 1–8 switch.

– or –

 Press the flashing Bank switch (A, B, C, D).

Banking Graphic EQ Frequency Bands

When a built-in Graphic EQ is inserted on a currently targeted
output or bus, its frequency bands can be selected using the
Graphic EQ switches. This replaces Inputs 1–16 with either
bank of EQ bands shown for each Graphic EQ bank switch
(20-630 Hz, 800-20 kHz).

See Chapter 18, “EQ.”

Input fader banking and assignment switches

To bank Input Channels to the input faders:

 Press the appropriate Bank switch (A, B, C, or D).

Chapter 5: Navigating and Selecting Channels 33

Bank Safe Mode for Input Safe Switches

Safe switch

Safe buttons

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Bank Safe mode is a global Input Safe switch option available
in the Option > Interaction page.

When Bank Safe mode is enabled, input channels and FX Re­turns can be Bank Safed using their Input Safe switches on the
console, or on-screen. Bank Safed channels remain on the top
fader layer of the console regardless of the current active bank,
letting you temporarily “lock” the location of key input chan­nels (such as a lead vocal, pulpit mics and similar) or
FX returns to maintain immediate access while working with
channels on a different layer.

2 In the Input Safe Switches section, click to enable Act as

Bank Safes.

Choices for Input Safe Switches in the Options > Interaction page

On-screen, the Safe switches at the top of each fader display
the letter B to indicate Bank Safe mode. (See “On-Screen Dis­play of Safe Switch Status” on page 35.)

For example, imagine 16 total input channels assigned to four
banks (A through D) of an imaginary 4-fader console.

Default channel layout for a 4-fader example

Bank Fader 1 Fader 2 Fader 3 Fader 4

A

B

C

D

Channel 6 on Bank B is then Bank Safed. Selecting the various
banks gives the following results:

Channel layout with Bank Safe enabled on channel 6

Bank Fader 1 Fader 2 Fader 3 Fader 4

A

B

C

D

Note that channels 2, 10, and 14 no longer appear on the con-
sole (though they remain accessible on-screen).

When an input channel or FX Return is removed from Bank
Safe, the input channel that would normally appear in that
fader location on the currently selected bank automatically
re-appears.

Bank Safe is only available for Input channels (Output chan­nels cannot be Bank Safed). Bank Safe status for all channels is
stored with the Show file.

Ch 1 Ch 2 Ch 3 Ch 4

Ch 5 Ch 6Ch 7Ch8

Ch 9 Ch 10 Ch 11 Ch 12

Ch 13 Ch 14 Ch 15 Ch 16

Ch 1 Ch 6Ch 3Ch4

Ch 5 Ch 6Ch 7Ch8

Ch 9 Ch 6 Ch 11 Ch 12

Ch 13 Ch 6 Ch 15 Ch 16

You can also use the Event List to configure the Safe mode.
For more information, see Chapter 22, “Events.”

Using Bank Safe

To Bank Safe channels:

1 Make sure you have enabled Bank Safe mode for the Input

Safe switches.

2 Select one or more input channels.

3 Press the Safe switch in the Inputs area of the Selected Chan-

nel section.

Selected Channel, Input Safe switch

4 Press a Bank switch (A, B, C or D) to navigate to a different

bank. Notice that the channel you Bank Safed remains; corre­sponding channels on other banks, though not present on the
console, are still accessible on-screen.

Toggling Bank Safe On-Screen

To Bank Safe channels on-screen:

1 Make sure you have enabled Bank Safe mode for the Input

Safe switches.

2 Click the channel Safe buttons on-screen, located at the top

of each input channel strip.

Enabling and Using Bank Safe Mode

Bank Safe mode can be enabled on-screen from the Options >
Interaction page.

To enable Bank Safe mode on-screen:

1 Go to the Options > Interaction page.

Toggling Bank Safe on-screen

VENUE SC48 Guide34

Safe Switch LED and Indication

Safe LED

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Priority for Replacing Bank Safe Assignments

On VENUE SC48, the Safe LED at the top of each input strip
flashes rapidly to indicate Bank Safe is enabled on that chan­nel.

Channel Safe LED on VENUE SC48

When a Bank Safed channel is targeted, the Safe switch in the
Input section also flashes rapidly.

On-Screen Display of Safe Switch Status

The channel Safe switches at the top of each strip of the
on-screen faders light to indicate the current Safe status of
each channel. When lit, that channel is enabled for the cur-
rent Input Safe Switch mode (Automation, Solo, or Bank Safe).
Each on-screen Safe switch indicates the current Input Safe
Switch mode through use of a letter in the lit switch. For ex-
ample, on-screen Safe switches show the letter B if Bank Safe
mode is enabled and the channel is Bank Safed.

Bank Safe (two channels enabled)

Special Cases Affecting Bank Safe

Special rules and conditions are automatically applied to Bank
Safe status whenever you do the following:

•Bank to GEQ faders

• Move channels or shuffle channel layout

• Change the system configuration

GEQ Fader Mode

The following rules apply to resolve any potential collisions
between Bank Safed channel assignments:

• Input channels always replace any FX Returns that are
Bank Safed in that corresponding fader position.

• A lower numbered input channel always replaces a
higher numbered input channel in that corresponding
fader position.

In addition:

Make Stereo The Bank Safe status of the left channel is inher­ited by the newly created stereo channel.

Split Stereo The Bank Safe status of the stereo channel is ap­plied to each of the newly created mono channels.

Bank Safe and Backup Personality

Channel Bank Safe remains in effect and available if Bank Safe
mode is engaged. This ensures consistent and uninterrupted
fader control during the rare case of a system reset.

Modified Bank Safe functionality is available while the Backup
Personality is active. Specifically:

• Input Channel layout does not unexpectedly change
when the backup personality is activated or de-activated.

• Input Channel Safe LEDs automatically revert to display­ing Bank Safe status.

• The Safe switch in the Selected Channel Inputs section
flashes rapidly if one or more channels are Bank Safed.

• Pressing the flashing Inputs Safe switch clears the Bank
Safe status of all safed channels. Bank Safe status is not re­stored upon resuming normal operation, nor can it be
re-enabled for any channel while the Backup Personality
is active.

You cannot change the current Input Safe Switch mode while
the Backup Personality is active.

Selecting a GEQ fader bank overrides Bank Safe. Returning to
any fader bank (thus exiting GEQ Fader mode) restores the
previous input layout, including Bank Safe status. This applies
to channels 1–16 on VENUE SC48.

Moving or Shuffling Channels

Bank Safed channels shuffle accordingly when any operation
is performed that results in a re-ordering of input channels, in­cluding the following:

• Inserting or Removing a Blank Strip

•Moving a strip

• Splitting a stereo strip(s)

• Opening a Show file that was saved on a VENUE system
that used a different control surface layout than SC48.

After Resuming Normal Operation

Any changes to Bank Safe status made while the Backup Per­sonality is active will persist when normal operation resumes.
You can continue working uninterrupted knowing Bank Safe
status will not be reset to its state prior to when the Backup
Personality was activated.

Chapter 5: Navigating and Selecting Channels 35

Banking the Output Section

Press to
assign faders

Select

Click to select channel

Click to select
banks of 8

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Outputs are controlled using the Output faders and Encoders.

The Mains fader provides constant access to the house output
(Mains) bus, and does not follow Output fader banking.

To bank Auxes, Matrix, Groups, or VCAs to the Output faders:

 Press the corresponding switch in the Output Faders sec-

tion.

Bank switches for Output channels

Selecting and Targeting Channels

Each VENUE channel strip has a channel Select switch. The
Select switch targets that channel for routing or processing as-
signment. When a single channel is selected it becomes the
targeted channel, which can be adjusted from the console or
on-screen. Channels can also be selected by clicking their
fader strips on-screen.

To select a channel, do one of the following:

 Press the Select switch on the console channel strip.

– or –

Multi-Select (Shift)

Multi-Select lets you select multiple channels in order to apply
an action to them in one step.

To select multiple channels from the console:

1 Press and hold the Multi-Select switch (located next to the

input Bank switches). The switch flashes to indicate Multi–Se­lect mode.

2 Press Select on each channel you want to include in the se-

lection.

3 Release the Multi-Select switch.

4 Perform a routing assignment or other function (for exam-

ple, press a Bus Assign switch on one of the included chan­nels). The operation is applied to all selected channels.

You can use the Shift key on the keyboard or the Multi-Se­lect (Shift) switch to select multiple channels.

To exit Multi-Select mode, do one of the following:

 Press Cancel.

– or –

 Press the Select switch on a channel that is currently not se-

lected.

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 below the on-screen fader strips.

Shift-click to select additional banks or channels.

 Click anywhere in the on-screen channel fader strip, except

on the fader, mute, solo or safe buttons.

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 highlighted channel.

Clicking on-screen to select a channel

VENUE SC48 Guide36

See “Screen Controls” on page 38 for additional on-screen
features.

Multi-Assign

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Type Text Search

The Multi-Assign switch in the Output section is used to route
multiple channels to the selected output bus.

To assign one or more channels to an Aux, Group, or VCA:

1 Press one of the following switches in the Output Fader as-

signment section:

•Aux 1–8

•Aux 9–16

•Groups

•VCAs

2 Press the Multi-Assign switch near the Output encoders. The

flashing Multi-Assign switch and the banner display at the
lower left of the screen indicate Multi-Assign mode is enabled.

3 Press the Select switches on the channels you want to assign

to the Aux, Group, or VCA.

4 Select any other output to confirm the previous assignment

and proceed to assigning channels to the new selection. To
confirm the assignment and exit Multi-Assign mode, press the
flashing Multi-Assign switch.

5 To cancel the assignment do either of the following:

• Press the Cancel switch (in the Mute Groups/Function
section), or press the ESC key on your keyboard.

– or –

• Click Cancel in the on-screen Multi-Assign dialog box.

See Chapter 9, “Outputs and Output Routing.”

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 the ACS. (See
also “Selecting and Targeting Channels” on page 36.)

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 Tab key 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, Events or Filing 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 Tab key to cycle through and select any other items

that begin with the same letters.

Channel Numbers and Names

VENUE SC48 channel numbers 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 se lect the correspondin g

channel.

Type Text search can also be used to select snapshots and
events.

Targeting Plug- In Inser ts

Selecting a single channel targets that channel in the ACS.
This lets you enable Inserts Mode to use the Output encoders
to adjust plug-ins inserted on that channel.

For more information, see See Chapter 19, “Plug-Ins.”

Chapter 5: Navigating and Selecting Channels 37

Screen Controls

Fader in
channel strip section

section

Fader in

selected channel

Selected
channels

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Adjusting On-Screen Faders

Adjusting On-Screen Encoders

You can adjust on-screen rotary encoders by dragging directly
over the on-screen knob.

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

bottom 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.

To adjust an on-screen rotary encoder:

1 Click on the knob 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.

2 Move the fader on one of the selected channels.

The faders on the selected channels will move in ganged fash-
ion. 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).

Dragging multiple faders on-screen

VENUE SC48 Guide38

Adjusting a parameter value by dragging over its text box

Screen Shortcuts

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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 42.

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 Copy.

– or –

• Right-click within the upper channel display and choose

Copy.

Copying channel settings

You do not need to select the channel before copying its set­tings on-screen.

Reset Fader to 0

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.

You can also store and load settings as Input Channel Pre-
sets. For information, see “Input Channel Presets” on
page 42.

By default, Function switches 3 and 4 (F3 and F4) are pro-
grammed for Copy and Paste, respectively.

Using the Events List, Copy and Paste can be assigned to
any trigger. For more information, see Chapter 22,
“Events.”

To copy and paste channel settings from the console:

1 Press the Select switch on the channel you want to copy.

2 Press F3 to copy.

3 Press the Select switch on one or more destination channels

(the channel or channels to which you want to paste the cop­ied settings).

4 Press F4 to paste. The status displays shows a message con-

firming the Paste operation.

2 Select one or more destination channels. You 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.

Parameters and Channel Types

Input channels can only be copied or pasted to other Input
channels. Output channels can only be copied or pasted to
other channels of the same type (such as Aux, Group, PQ,
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

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.

Chapter 5: Navigating and Selecting Channels 39

Settings Excluded from Copy and Paste

Blank Strip

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Insert Blank Strip

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.

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 remain available during Backup Personality
mode.

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.

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 ste-
reo status of a channel.

Move Selected Strip

Moves a selected strip from its current position to a new loca-
tion. 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.

To move a fader 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 Strip Here from the pop-up menu.

Blank Strips On-Screen

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

Snapshots cannot store and recall custom console channel
position.

VENUE SC48 Guide40

Adding Blank Strips

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Blank strips can be inserted manually, and are also created au­tomatically when you use the Make Stereo command.

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.

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.

2 Right-click an input channel strip at the location where you

want to insert a blank strip and choose Insert Blank Strip. For
example, if you want to have a blank strip at channel strip 16,
right-click on channel 16.

You can also select a blank strip and choose Insert Blank Strip
to insert multiple blank strips.

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

96. For more information, see “Limits and Guidelines for
Blank Strips” on page 41.

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 In-

sert 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.

Automatically Inserting Blank Strips using Make Stereo

VENUE automatically creates blank strips when you use the
Make Stereo command in order to preserve the current chan-
nel 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.

Removing Blank Strips

Blank strips can be removed manually.

Manually Removing Blank Strips

To remove a blank strip:

 Right-click the blank strip you wish to remove and choose

Remove 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 96. These 96 positions
can be comprised of any combination of mono or stereo input
channels, as well as blank strips. (FX Returns are considered
separate and are not included in this count.)

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:

(96 – the number of input channels in System Configuration)
+ Number of stereo channels

For example:

• A 96 channel configuration with 96 mono channels can
have 0 blank strips.

• A 48 channel configuration with 48 mono channels can
have 48 blank strips

• A 48 channel configuration with 4 stereo channels can
have 52 blank strips (52 = 96 – 48 + 4)

Chapter 5: Navigating and Selecting Channels 41

Fader and Encoder Shortcuts

Channel Presets

Folders

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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 control 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.

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).

Channel Presets icon in the Inputs page

3 Specify a folder in which to save the preset, if the currently

selected folder is not appropriate, by clicking the Folder selec­tor and selecting a different folder.

4 Click New.

Channel Control

Channel Control provides a unified set of controls for input,
EQ and dynamics processing (or equivalent plug-ins), and Aux
Sends. You can also create a custom User assignment that in-
cludes any eight parameters.

To assign a compatible parameter to a Channel Control encoder:

 Right-click the on-screen channel fader and choose an en-

coder from the Channel Control sub-menu.

For more information, see Chapter 6, “Channel Control.”

Input Channel Presets

Input channel configuration (input name, gain, fader levels,
send levels and bus routing) 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.

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.

Input Channel Presets window

To preview and recall a saved Channel Preset:

1 Navigate to the Inputs page for the desired channel. Chan-

nel Presets can only be loaded into a single channel at a time.

2 Click the Channel Presets icon.

3 If necessary, click the Folders icon and select the appropriate

Channel Presets folder from the pop-up menu.

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
title bar.

• To cancel without changing settings, click Cancel.

To rename, duplicate, overwrite or delete a Channel Preset:

 Right-click the preset name in the Channel Preset window

and choose Rename, Duplicate, Delete, or Overwrite.

VENUE SC48 Guide42

Channel Compatibility and Input Channel Presets

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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.

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

preset do not match the current console 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 console con-
figuration has these Auxes unlinked. When the preset is re-
called 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.

Transferring 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 key disk or other storage device for
backup and transfer to other systems.

Input Channel Presets are supported on all systems running
VENUE D-Show software 2.5 or later, including the Stand­alone software.

For more information, see Chapter 20, “Shows and File
Management.”

Chapter 5: Navigating and Selecting Channels 43

VENUE SC48 Guide44

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Chapter 6: Channel Control

Function switches

1234567 8

Encoders

In switch for EQ and Dynamics

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Channel Control’s eight encoders and LCD displays are used
to control different functions such as Input, EQ, Comp/Lim,
Exp/Gate, Aux Sends 1-8, and Aux Sends 9-16. Channel Con­trol also lets you create a custom User set of controls for im­mediate access to any eight parameters.

Using Channel Control

Using Channel Control is as simple as selecting one or more
channels and choosing a Channel Control function to adjust
the desired parameters.

To start using Channel Control:

1 Select one or more channels.

2 Press a Channel Control function switch.

The Channel Control LCD identifies the parameter now
mapped to each encoder. On-screen, a matching color back­ground indicates the currently active Channel Control func­tion.

Adjust Parameters

To a dj us t p ar am eters in Channel Control:

 Press an encoder to toggle its parameter on/off (such as

turning an Aux send on/off).

Channel Control encoders 1-8 and Function switches

Channel Control operations for inputs, EQ and dynamics pro-
cessing, 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 man-
age the custom User assignment.

 Rotate an encoder to adjust its current parameter (such as

input gain, or comp/lim threshold).

To bypass a selected processor (toggle in/out):

 Press the In switch in the Channel Control section to toggle

the module in or out. When lit, the module is in/engaged;
when unlit, the module is out/bypassed.

To adjust a different type of parameter:

 Press a different Channel Control Function switch.

Chapter 6: Channel Control 45

Encoders, Display and Modifiers with

Color background

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Channel Control

Rotary and Switch Encoders

The encoders in the Channel Control section are dual-func­tion rotary/switch controls. For example, when Auxes are in
Channel Control, pushing an encoder toggles that send
on/off; rotating the encoder adjusts send level.

Color

LCD Displays

Each encoder has an associated LCD display that is
2 rows/6 characters per row. LCDs for each encoder show the
current parameter name in the upper row (long parameter
names will wrap down to the lower row of each LCD). Param­eter values are shown below the parameter name whenever an
encoder is being adjusted.

The LCD display mode can be changed to show all parameter
values all the time.

Each function uses a unique color in its switch LED that is also
shown on-screen to identify the currently assigned parame­ters. For example, when Channel Control is in EQ mode, the
on-screen EQ section for the selected channel will have a
green background.

On-screen color indication of Channel Control function

Function switches and background colors for Channel Con-
trol are listed in the following table.

Channel Control Functions and Color

Function Color

To toggle Channel Control LCDs between temporary and
persistent parameter value display:

1 Press and hold the Default (Alt) switch.

2 Press a Function switch in the Channel Control section.

Functions

The Channel Control function switches provide consistent,
preconfigured mappings for fast and familiar access to input,
EQ, dynamics, and Aux send parameters.

Input

Channel Control lets you adjust input gain, right offset, HPF,
pan, balance/width, delay, and direct outs.

To access Input parameters in Channel Control:

1 Select one or more channels.

2 Press the Input switch in the Channel Control section.

The following tables list Input parameter mapping for mono
and stereo channels in Channel Control.

Input white

EQ green

Comp/Lim blue

Exp/Gate yellow

Aux Sends 1-8 pink

Aux Sends 9-16 turquoise (blue/green)

VENUE SC48 Guide46

Mono Input Parameters in Channel Control

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Mono Input Channel Parameters in Channel Control

12345678

Rotate

Push

(Indicator

LED)

Stereo Input Parameters in Channel Control

Stereo Input Channel or FX Return Parameters in Channel Control

Rotate

Push

(Indicator

LED)

For more information about input channels, see Chapter 8,
“Inputs and Input Routing.”

Gain HPF

frequency

Guess
(green)

12345678

Gain Right Offset HPF

Guess
(green)

In (green)

Out (off)

frequency

In (green)

Out (off)

EQ

To access EQ parameters in Channel Control:

1 Select one or more channels.

2 Press the EQ switch in Channel Control.

3 Press the In switch to toggle the band in or out (a lit In

switch indicates the EQ is in circuit).

For complete information on using EQ, see Chapter 18, “EQ.”

Pan Delay Direct Out

level

Center
(green)

Balance Width Delay Direct Out

Center
(green)

Stereo
(green)

In (green)

Out (off)

In (green)

Out (off)

In (green)

Out (off)

level

In (green)

Out (off)

Plug-ins

The Channel Control Plug-In switch is available for EQ,
Comp/Lim and Exp/Gate functions only. Use it to toggle be­tween controlling built-in processing or a like (equivalent)
plug-in inserted on the channel. Plug-ins use the same control
mapping and text labels as their corresponding built-in func­tions. Plug-in parameters that don’t map to Channel Control
will not be available.

The Plug-in switch LED is only lit and active when a control­lable plug-in is already inserted and banked to Channel Con­trol. The In button toggles the bypass state of the plug-in; all
other parameters are adjusted identically to the built-in EQ,
compressor/limiter, or expander/gate.

Comp/Lim

To access compressor/limiter parameters in Channel Control:

1 Select one or more channels. (Built-in dynamics processing

is available on Input Channels and FX Returns only).

2 Press the Comp/Lim switch. The Comp/Lim switch LED

lights blue when engaged.

For more information, see Chapter 17, “Dynamics.”

Exp/Gate

To access expander/gate parameters in Channel Control:

1 Select one or more channels. (Built-in dynamics processing

is available on Input Channels and FX Returns only).

2 Press the Exp/Gate switch. The Exp/Gate switch LED lights

yellow when engaged.

For more information, see Chapter 17, “Dynamics.”

For more information, see Chapter 19, “Plug-Ins.”

Aux Sends 1-8 and Aux Sends 9-16

To access Auxes in Channel Control:

1 Select one or more channels.

2 Press the Aux Sends 1-8 or Aux Sends 9-16 switch in Channel

Control.

For more information, see Chapter 11, “Aux Sends.”

Chapter 6: Channel Control 47

User Assignment

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User mode lets you mix and match parameters from different
function types and save it as the single Channel Control User
assignment.

Creating a Custom User Assignment

To assign Channel Control encoders to parameters:

1 Double-press the Channel Control User switch to enter User

Assign mode.

The User assignment is stored with each Show file. A default
(factory) User assignment is provided to get you started
quickly.

To load the Default User assignment:

1 Select one or more channels.

2 Press the User switch (Channel Control Function switch).

3 Press the flashing In switch in the Channel Control section.

The factory Default User assignment is preconfigured to bring
the following parameters to the Channel Control section.

Default User map

Encoder Parameter Function (type)

1

2

3

4

Input Gain (rotate)

Gain Guess (push)

HPF Freq (rotate)

In/Out (push)

Low Mid Gain (rotate)

Q (push)

Low Mid Freq (rotate)

In/Out (push)

Input

EQ

2 Press a Channel Control encoder (1-8) to select it for assign-

ment.

3 On-screen, click to select the parameter you want mapped to

the selected Channel Control encoder. Continue clicking
other parameters. Each click assigns that parameter to the
next sequential Channel Control encoder, up to 8.

4 Press the flashing User switch to exit Assign mode and store

your assignments.

To make Channel Control assignments on-screen:

1 Right-click any available encoder.

2 Select a Channel Control encoder (1-8) from the Channel

Control sub-menu.

3 On-screen, click Done to confirm Assignment mode (or press

the flashing User switch), or click Cancel.

To clear the User assignment:

1 Double-press the Channel Control User switch to enter User

Assign mode.

2 Hold the Default (Alt) switch and press the flashing Channel

Control In switch.

5

6

7

8

Hi MId Gain (rotate)

In/Out (push)

Hi Mid Freq (rotate)

Q (push)

Comp/Lim Threshold Dynamics

Exp/Gate Threshold

All assignments are cleared, and the first encoder flashes in As­sign mode (ready to be re-assigned).

To clear a User assignment:

1 On-screen, right-click a parameter.

2 Choose Clear <param name> from the Channel Control

sub-menu.

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.

When no User assignments exist, the Channel Control In
switch flashes. This will be the case after a Clear Console, after
clearing all Channel Control assignments, after the first time
the console is powered on, or after loading a Show file from a
different system that does not support Channel Control.

VENUE SC48 Guide48

Availability of Channel Control Functions

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Channel Control functions will be available or unavailable depending on the type of channel currently selected, as shown in the
following table.

Table 7. Channel Types and Available Functions

Inputs EQ Comp/Lim Exp/Gate Aux 1-8 Aux 1-9

Input Channels

FX Returns

Aux Sends 1-8,
Aux Sends 9-16

Matrixes

Groups

VCAs

Mains LR, C/M

1 Built-in and plug-ins only

2 Plug-ins only

Yes Yes

Yes Yes

3

Yes

3

Yes

2

Yes

3

Yes

Yes

Yes

Yes

Yes

1

1

2

3

3

3

Yes

Yes

Yes

Yes

Yes

Yes

1

2

2

2

2

2

Yes

Yes

Yes

Yes

Yes

Yes

1

2

2

2

2

2

Yes Yes

Yes Ye s

3 Processing available, but not all parameters are available due to the type of bus/channel.

Chapter 6: Channel Control 49

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Chapter 7: Options

Edit

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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 screen provides the primary tools by which
you configure mixing, routing, and processing options.

• The Devices screen provides status, diagnostics, and op­tions for hardware components.

System

(System Configuration)

The System page lets you allocate DSP resources used for rout­ing and processing, configure Mains and Aux/Group busses,
reset the system (clear console), and quit (shut down VENUE).

This chapter shows you how to manage the most important
System and Devices settings, and describes the settings avail-
able in other Options screens.

Overview of Options

The Options page provides the following tabs:

• “System” on page 51

•“Busses” onpage53

• “Pickoffs” on page 55

•“Snapshots” on page55

•“Misc” on page56

•“Interaction” on page58

•“Devices” on page53

• Chapter 22, “Events”

• Plug-Ins (see “Installing and Authorizing Plug-Ins” on
page 143)

To display the Options page, do one of the following:

 Press the Options switch in the View Mode section.

– or –

 Click the Options tab on-screen.

To display different tabs of the Options page, do one of the
following:

 Press the Options switch repeatedly to cycle through avail-

able tabs.

– or –

Click the desired tab at the top of the Options page (System,
Busses, Pickoffs, Snapshots, Misc, Interaction, Devices, Events
or Plug-Ins).

The Plug-Ins tab is not available in D-Show Standalone
software.

To access the System Config page:

 Go to the Options page and click the System tab.

Basics of Editing System Settings

Settings available in the System screen can only be edited
while in Config mode.

Changing the system configuration will restart the D-Show
software and may interrupt audio.

In Config mode, the Edit button becomes available to let you
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.

System Configuration tab of the Options page

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).

VENUE SC48 Systems

System Configuration settings available with standard VENUE SC48

Input Channels FX Returns Graphic EQs

16, 24, 32, 48 8 0, 8, 16, or 24

To change a System Config option:

1 Put the system in Config mode.

2 Go to the Options page and click the System tab.

3 Click Edit.

4 Change a System Config, Main Bus, Inputs or Bus Configu-

ration option.

5 Click Apply to confirm and apply your new settings.

Chapter 7: Options 51

System Configuration Settings

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DSPs Available for Plug-Ins

The System Configuration section shows the current alloca­tion of system resources.

In Show mode, the System Config area is display-only. In
Config mode, you can edit the system configuration to allo­cate resources for mixing and processing.

To change a System Configuration setting:

1 Put the system in Config mode.

2 Click the Edit button on-screen.

3 Choose a new setting for Input Channels or Graphic EQs.

4 Click Apply to confirm the settings.

Designating the number of Input Channels

Mix Engines

The Mix Engine setting is determined by the number of DSP
Engine Cards detected and cannot be changed. VENUE SC48
comes supplied with two Mix Engines.

Channels

Choose the total number of Input Channels you need. This
number represents mono channels; each stereo channel uses
two mono channels.

The amount of DSP available for plug-ins depends on your
other System Config settings, and cannot be changed directly.
To change the amount of DSP available for plug-ins, reduce
the number of Input Channels or Graphic EQs.

Main Bus Settings

The Main Bus Settings let you configure the Main mix bus. See
“Configuring the Main Busses” on page 73.

Main Busses options in the System page

L–R plus Mono

This default setting provides a stereo bus, plus one mono bus.

L–C–R

This setting enables L–C–R mode, which lets you mix in
“3-across-the-front” mode.

Changing the Main Bus mode will restart the system soft­ware and may interrupt audio.

To change the Main Bus configuration:

1 Put the system in Config mode.

2 Go to the Options page and click the System tab.

3 Click Edit.

4 Click to choose a Main Bus mode.

You can configure the VENUE SC48 to use 16, 24, 32, or 48 In-
put Channels.

Choosing a lower number of Input Channels leaves more DSP
for plug-ins; choosing a higher number reduces the amount of
DSP available for plug-ins.

FX Returns

Choose the number of FX Return channels you need. On
VENUE SC48 the number of FW Returns is pre-configured to 8
stereo FX Return channels, and cannot be changed.

Graphic EQs

Choose the number of Graphic EQs you will need for output
processing. You can choose to have 0, 8, 16, or 24 Graphic
EQs. Choosing a lower number leaves more DSP for plug-ins;
choosing a higher number reduces the amount of DSP avail­able for plug-ins.

VENUE SC48 Guide52

5 Click Apply; the system restarts.

Bus Configuration Settings

The Bus Configuration Settings let you choose the Aux and
Group busses configuration. See “Configuring Aux and Group
Busses” on page 74.

Bus Configuration in Config/Edit mode

To change the Aux/Group Bus Configuration:

1 Put the system in Config mode.

2 Click the Edit button on-screen.

3 Click to select a Bus Configuration option.

4 Click Apply; the system restarts.

Devices

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The Devices page lets you view system connections, trouble­shoot hardware and reset VENUE system components.

To display the Devices tab:

 Click Options > Devices.

Other Options and Settings

Busses

The Busses page lets you customize characteristics for the Aux,
Solo, Matrix, and Main busses.

Busses tab of the Options page

Devices tab of the Options page

You can use this page to view component status after diagnos-
tics or troubleshooting.

To reset VENUE system hardware components:

1 Put the system in Config mode.

2 Go to the Options page and click the Devices tab.

3 Right-click any of the following hardware components:

• Console sections

• Stage or FOH Audio section

4 Choose Reset.

Simulating a VENUE Configuration with the
Standalone Software

With the VENUE D-Show Standalone software, you can use
the Devices page to simulate a VENUE system of any size for
purposes of preparing shows and training. See “Simulating a
VENUE Configuration” on page 212.

Auxiliaries

These options let you designate bus link status, pick off source,
and stereo pan behavior for Auxiliaries (Aux Send busses).
(Variable Group busses are available on VENUE Profile and
D-Show systems only).

For more information, see Chapter 11, “Aux Sends.”

Links When enabled, this option links the corresponding bus-
ses 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-mute,
and pre-fader (post-mute).

Follows Channel Pan Each channel can be panned indepen-
dently within each linked bus pair, or configured to follow the
channel pan by enabling the Follows Channel Pan option.

Chapter 7: Options 53

To change the Aux bus configuration:

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1 Put the system in Config mode.

To configure Solo settings on-screen:

1 Go to the Options page and click the Busses tab.

2 Go to the Options page and click the Busses tab.

3 Click Edit.

4 Configure the following settings:

• To link two mono Aux busses into a bus pair, select the
Link option for the corresponding pair.

• Specify the panning for channels routed to Aux bus pairs
with the Follows Channel Pan option.

• Click to select the pickoff point for each bus (Pre-EQ,
Pre-Mute, or Pre-Fader).

5 Click Apply to reconfigure the system.

– or –

Click Cancel to exit without changing system settings.

Solo and Monitor Operations

These settings customize Solo and Monitor bus mode and op-
eration.

2 Configure settings as needed:

To adjust Monitor Bus Delay, do one of the following:

 Adjust the Delay encoder on-screen.

 Click the Delay value shown on-screen, and manually enter

a new value.

To toggle Delay on or off:

 Click to toggle the Delay In switch on-screen.

Delay settings are retained when toggled off or on.

For more information on these features see “Solo and Mon­itor Busses” on page 111

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.

Solo controls in the Options > Busses page

Typ e Solo mode choices include PFL (Pre-Fader Listen), Stereo
AFL (After-Fader Listen), and Solo-In-Place.

Auxes/Var Groups Follow AFL Causes the controls for an Aux
Send or Variable Group Send to be automatically displayed on
the Input Channel encoders whenever the AFL switch is
pressed on the corresponding output bus.

AFL Follows Auxes Soloes the Aux (or Variable Group) bus cur-
rently being assigned to Input encoders.

Auto Cancel Soloing a channel strip automatically takes any
currently soloed channels out of solo.

Input Priority Makes soloed inputs temporarily replace soloed
output busses on the AFL/PFL bus.

Mix to Monitors Mirrors the functionality of the Mix to Moni­tors switch on the control surface.

Level Trim Mirrors the functionality of the Solo/PFL level con­trol on the control surface.

For more information on these features see Chapter 12,
“Matrix Mixers.”

Panning/Center Divergence

The Panning section provides control over center channel di­vergence when the Main Bus is set to L–C–R mode. See “Main
Bus Center Divergence Options” on page 78.

To set Center Divergence:

 Enter a value or drag in the Center Divergence text box and

press Enter.

Stereo Group Panning Operation

The Stereo Group Panning Operation options provide differ­ent levels of flexibility for how channels can be routed to
Groups.

To change Stereo Group Panning Operation:

1 Put the system in Config mode.

2 Click to select Simple or Expert mode.

For more information on these options, see “Simple and Ex­pert Operational Modes” on page 85.

Monitoring Sets the level of the headphone output.

Delay Sets a delay for time-aligning headphones to the house

system.

VENUE SC48 Guide54

Pickoffs

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Snapshots

The Pickoffs page lets you control the bus pickoff point on in­put strips, as well as specify source and insert points for output
busses. The Pickoffs page also provides master control for De­lay Compensation.

Pickoffs tab of the Options page

Settings for Delay Compensation

The Options > Pickoffs page provides three settings for Delay
Compensation: Off, Mix Only, and Mix and Inserts.

Off No Delay Compensation is applied.

Mix Only VENUE automatically compensates for delays in-

curred by the use of Groups routed to the Mains busses.

Mix and Inserts VENUE automatically compensates for delays
incurred by the use of plug-ins as well as those incurred by the
use of Groups routed to the Mains busses.

The Snapshots page provides several snapshot preference set­tings to optimize Snapshot operation.

Snapshots tab of the Options page

Snapshot General Preferences

The following settings are available in the Snapshots page.

See Chapter 21, “Snapshots.”

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.

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.

Throughout this guide, other Pickoff options are explained
where relevant.

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)

•HPF

Delay is stored as a unique (discrete) data type for each
channel.

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 page.

This option is for organizing Aux Sends for snapshot control
only, and does not directly affect Aux bus operation.

Chapter 7: Options 55

MTC (MIDI Time Code)

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Misc

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).

Frame Rate This option sets the frame rate that is used when
generating MTC.

Start Time This option sets the start time that is used when
generating MTC.

MIDI

Designates the channel on which snapshots send or receive
MIDI Bank Select and Program Change information.

See Chapter 23, “Synchronization.”

Snapshots Send on Channel This option sets snapshots to send
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 This option sets snapshots to
respond to incoming Bank Select and Program Change com-
mands on the selected MIDI channel.

The Miscellaneous page provides utility and other settings.

Misc tab of the Options page

Oscillator

Lets you choose the tone, frequency, and level for the built-in
oscillator, and route it to an available output.

Signal Lets you choose the type of oscillator tone to use.
Choices include sine, variable sine, and noise.

Frequency Lets you set the oscillator frequency.

Route Enables Route Osc to Selected mode, to assign the oscil-

lator signal to the currently selected output channel(s).

MIDI Snapshot Output Safe Safes (shuts off) VENUE MIDI out-
put when snapshots are recalled. This does not affect sending
of Bank Select and Program Change commands with the Snap-
shots Send on Channel option.

2-Track

Lets you set the level and input source for the 2-Track analog
and digital inputs, and route them to the desired outputs.

2-Track Level Lets you activate 2-Track input and set 2-Track
input level.

2-Track Input Selects which 2-Track input (analog, or digital) is
fed to the monitors and output busses.

Route Enables Route 2-Track to Selected mode, to assign the
2-Track signal to the currently selected output channel(s).

Talkback

Talkback Level Lets you activate Talkback and set Talkback in­put level.

Talkback Dim Level Sets the dim level, which is the amount of
attenuation applied to the mix on the output bus when Talk­back is activated.

Route Enables Route Talkback to Selected mode, to assign the
Talkback signal to the currently selected output channel(s).

VENUE SC48 Guide56

Routing Osc, 2-Track and Talkback

On/OffUnits

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Tap Tempo

Use the Patchbay to assign the Oscillator, 2-Track inputs, or
Talkback input to an Input or FX Return fader.

For more information, see Chapter 13, “Patchbay.”

You can use the on-screen Route buttons to route oscillator,
2-track and talkback signals to outputs.

To route the Oscillator, 2-Track, or Talkback outputs on-screen:

1 In the Options > Misc page, click the Route button in either

the Oscillator, 2-Track, or Talkback sections.

2 Do either of the following:

• If you had already selected the desired output, click to
confirm the currently displayed Route To mode (in the
lower left corner of the screen).

• Go to the Outputs page and click to select an output (it
flashes briefly, otherwise the Outputs page remains fo-
cussed on the currently selected Output channel).

3 In the confirmation dialog that appears, click Route to con-

firm your assignment or click Cancel to cancel without chang-
ing the current routing.

System Clock

Sets the date and time for the system.

Time of Day in Status Display

You can choose to show time of day in the lower right corner
of the screen in the Status display area. This optional display
can be configured for either 12 hour (AM/PM) or 24 hour for-
mat as follows:

To show time of day in the Status area:

1 Go to the Options > Misc page.

Lets you set the global system tempo, toggle system tempo
on/off, and choose to display tempo in BPM or ms.

On Turn on the global tempo sync by clicking the On switch
directly below the encoder so that it is lit (on).

Tem po Sets a system tempo value using the encoder or by typ­ing a value directly into the Tempo field.

Units Lets you choose Beats Per Minute (BPM) or Milliseconds
as the units for displayed values.

Tap Tempo controls in the Options > Misc page

Mouse

Pointer Speed and Mouse L/R Settings

You can 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 the Options > Misc page.

2 Do any of the following:

• To adjust cursor speed, click the Pointer Speed pop-up

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.

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.

Channel Delay

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

Chapter 7: Options 57

Interaction

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Meter

The Interaction page lets you configure behaviors for the Se­lected Channel (ACS) sections, Input Safe Switches, Lights,
Meter, Ethernet, and LCD Display.

Interaction tab of the Options page

Assignable Channel Selection

Options in this section set the mechanism by which channels
are targeted on the Selected Chan sections (also known as the
ACS, or Assignable Channel Section).

Metering settings provide the following options for meter bal­listics, peak, and clip indication.

Ballistics This option lets you choose RMS or Peak ballistics
for the control surface and on-screen meters.

Input Clip Margin and Output Clip Margin These options set the
level, relative to the maximum (full scale) level, at which a clip
is reported on a channel. When a clip is detected, the entire
channel meter turns red.

To set Input or Output clip margin:

1 Click in the dB Below Max edit box for Input Clip Margin or

Output Clip Margin.

2 Enter a value or drag to change the value and press Enter.

The entered value is interpreted as a relative dB value from the
maximum (where “Max” is considered +20 dBVU). For exam­ple, with the Input Clip Margin set to 6 dB below max (the de­fault), peak levels within 6 dB of maximum level will trigger a
clip indication

Clip Hold Time and Peak Hold Time These options specify how
long clips and peaks are held. Default is 2 seconds for both
Clip and Peak hold.

On the VENUE SC48 this setting can also affect the Channel
Control section and the Flex Channel.

To customize console 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

The Change Target By options let you specify whether the fol-
lowing actions target a channel on the ACS. More than one
option can be selected simultaneously.

• Touching Input Faders

• Engaging Input Solos

• Touching Output Faders

• Engaging Output Solos

Targeting Changes View Mode

The Targeting Changes View Mode option updates the
on-screen display to show the page for the channel targeted.
When this option is deselected, the on-screen display does not
update when a channel is targeted.

VENUE SC48 also provides the latchable Flex Channel. For
more information, see “Flex Channel” on page 71

Input Safe Switches

The Input Safe Switches let you control two independent Safe
functions: Automation Safe and Solo Safe. Only one of these
Safe functions can be viewed and controlled at a time.

Act as Automation Safes When selected, this option sets the
console Safe switches and on-screen channel Safe buttons to
toggle the Automation Safe status of the corresponding chan­nel. For more information, see Chapter 21, “Snapshots.”

Act as Solo Safes Solo Safe applies only to Input Channels
and FX Returns. When selected, this option sets the Safe
switches to toggle the Solo Safe status of the corresponding
channel. See “Solo Bus Operation” on page 113.

Act as Bank Safes When selected, this option sets the Safe
switches of Input Channels and FX Returns to toggle that
channel’s Bank Safe Status. (Bank Safe keeps channels at the
top fader layer, immune to input banking.) For more informa­tion, see “Bank Safe Mode for Input Safe Switches” on page 34.

Ethernet Control

Ethernet Control settings let you configure ECx Ethernet Con­trol for remote control of the VENUE system over a wireless
Ethernet network.

For more information, see Chapter 31, “ECx.”

VENUE SC48 Guide58

Lights

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Events

Console and LED/Display settings let you adjust the bright­ness of the following items:

Console Lights Adjust brightness of external lights connected
to the Console Lights connectors on the back panel.

LEDs and Displays Adjust brightness of LED and LCD displays
on the control surface.

Displays

These options let you customize the behavior of the control
surface LCDs.

Viewing Angle This option lets you configure the Selected
Channel and Snapshots LCD displays for optimum viewing.

Show Channel Strip Value While Moving Fader This option de­termines what is displayed in the Channel Name display
when a fader is adjusted. When selected (default), the Chan-
nel Name display switches from showing channel name to
showing the value (level) when a fader is adjusted. When de-
selected, the Channel Name displays do not show values
when a fader is adjusted.

Show VCA Contribution This option lets you display a second-
ary, transparent fader cap on each on-screen fader strip that
represents the effective gain of the channel (channel gain plus
associated VCA gain, if any). For more information, see “As-
signing and Using VCAs” on page 79.

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 22, “Events.”

Options > Events page

Plug-Ins

The Plug-Ins tab of the Options page is used to install plug-ins
on the VENUE system. The Plug-Ins tab is available on com­plete VENUE systems only. It is not available in the D-Show
Standalone software. See “Installing and Authorizing
Plug-Ins” on page 143.

Chapter 7: Options 59

VENUE SC48 Guide60

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Part III: Signal Routing

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Chapter 8: Inputs and Input Routing

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This chapter shows how to do the following:

• Configure inputs (system settings for input channels),
name channels, Make Stereo and Split to Mono)

• 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

Configuring Inputs

Two types of inputs are available: Input Channels and FX Re-
turns.

Input Channels

Input Channels are used to control inputs from stage and FOH
(local) audio inputs, from Pro Tools, or from bus-fed plug-ins.

Input channels can be mono or stereo. Each mono channel
controls one input, and each stereo channel controls two in-
puts in tandem. Input channels can appear on any of the in-
put channel strips. Up to 48 mono input channels are avail-
able. Input channels are displayed in banks on the 16 control
surface input channel strips.

FX Returns

Effects Return channels (or FX Returns) are used to control sig-
nals from bus-fed plug-ins, from external hardware, or from
Pro Tools.

FX Returns are always stereo, and appear on input channel
strips 1–8. Up to 8 stereo FX Returns are available.

Configuring Input Channels

5 Click Apply. The system restarts with the new Input Channel

configuration.

Audio will be interrupted when this configuration change
is applied.

Configuring FX Returns

VENUE SC48 provides 8 stereo FX returns, and this setting
cannot be changed. You can, however, use the Standalone
Software to simulate a different VENUE system and then con­figure the number of FX Returns, as available on those sys­tems. This can be useful if you are planning to transfer a Show
file to a larger VENUE system.

Combining Input Channels (Make Stereo)

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.

To combine two mono input channels into a single stereo
channel:

1 Put the system into Config mode.

2 Select two mono channels by doing either of the following:

• On the console, press and hold the Multi-Select switch,
then press Select on each of the two mono channel strips
you want to combine.

– or –

• On-screen, go to the Inputs page and click a fader strip to
select the first mono channel, then hold Shift and click
to select the second mono channel you want to combine.

3 Right-click either of the selected mono channels on-screen

and choose Make Selected Mono Strips Stereo.

VENUE SC48 can be configured to have 16, 24, 32, or 48 avail­able Input Channels.

To set the number of available Input Channels:

1 Put the system into Config mode.

2 Go to the Options page and click the System tab.

3 Click Edit.

4 Choose the number of channels from the Input Channels

pop-up menu.

Two mono inputs about to be combined into one stereo channel

Chapter 8: Inputs and Input Routing 63

Each selected channel is combined with the next-highest se-

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lected channel, even if the selected channels are not contigu­ous. Blank strips are created and inserted where necessary to
maintain channel layout in that bank. Parameter values from
the leftmost channel of each pair are applied to both chan­nels, and 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 in the Patchbay Input page

On the console, the channel St (Stereo) LED lights to indicate
that a channel is a stereo channel.

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.

Assigning Input Sources to Channels

Available input sources for Input Channels or FX Returns in­clude:

• Stage inputs (slots A, B and C)

• Local FOH inputs (2-Track sources, Talkback, Oscillator)

• Pro Tools outputs (FWx)

•Plug-In outputs

Inputs sources are assigned to Input Channels or FX Returns
in the Patchbay.

To assign an input source to an Input Channel or FX Return:

1 Go to the Patchbay page and click the Inputs tab.

2 To the left of the channel grid, click the Channels tab or the

FX Returns tab.

3 Click the Stage, FOH, or Pro Tools tab to display the desired

type of input sources.

4 Click in the channel grid to assign an input source to an In-

put Channel or FX Return.

Each selected stereo channel is split, placing the channels next
to each other on the console and in the Patchbay. Blank strips
are deleted to maintain channel layout.

Naming Channels

Input Channel and FX Return channel names can be changed
from the Inputs page or from the Patchbay.

To change the name of an Input Channel or FX Return channel:

1 Go the Patchbay page and click the Inputs tab.

2 Target the channel whose name you want to change by

pressing its Select switch or selecting it on-screen.

3 Double-click the channel name.

Changing the name of an Input Channel in the Inputs page

4 Type a new name and press Enter on the computer key-

board.

When naming channels in the Patchbay, you can dou­ble-click the channel name shown in the columns of the
grid and type a name; press Tab on the keyboard to go to the
next channel and Shift+Tab to go to the previous channel.

Assigning input sources in the Patchbay Inputs page

The Inputs tab of the Patchbay shows the input source and
destination above the grid. Input source is also shown below
the channel name in the Inputs and Patchbay Inputs page.

Input source assignment shown in the Inputs page

A single input source can be assigned to multiple Input Chan­nels or FX Returns (you can fan out a source to multiple chan­nels). Gain control, phantom power and pad settings are
linked across the channels. Each Input Channel or FX Return
may be fed by only one input source (multiple sources cannot
be routed to a single channel).

Assigning Bus-Fed Plug-Ins, Osc/Talkback/2-Track

Bus-fed plug-ins can be patched to Input Channels and FX Re­turns from the Plug-In Rack (see “Using Plug-Ins as a Bus Pro­cessor” on page 152).

You can also route the built-in Oscillator, Talkback input, and
2-Track sources to input channels (see “Routing the Oscilla­tor” on page 118).

VENUE SC48 Guide64

Routing Input Channels

Mains

Groups

Stereo Pan

Encoders

Aux

Sends

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Input Channels and FX Returns can be routed to the Mains,
Groups, Auxes, and Matrixes (as well as being assigned to
VCAs). This chapter shows how to route inputs using the con­trols available in the Input section and ACS.

VENUE SC48 has 8 Group busses that can be configured to be
mono or stereo as part of the overall Aux/Group bus configu­ration. For more information on configuring Group busses,
see “Configuring Aux and Group Busses” on page 74. For
more information on using Group busses, see Chapter 10,
“Groups.”

You can also configure signal routing from the Output sec­tion. See Chapter 9, “Outputs and Output Routing.”

Routing Channels to the Mains and
Groups Busses

Input Channels and FX Returns can be routed to the Mains
and Groups busses using the Bus Assigns section of the ACS.

To route a channel to Mains and Groups busses:

1 Target the channel by pressing its Select switch.

2 Do any of the following:

• To route to Mains, press the L–R (left and right) and/or
C/Mono (center/mono) switch in the Bus Assigns section so
that is lit.

• To route to a Group bus, press a Groups 1–8 switch.

The L–R and C/M LEDs on the channel light to indicate its
routing to the corresponding bus.

Routing Channels to Aux Sends

Input Channels and FX Returns can be routed to Aux sends us­ing the input encoders, or using the Channel Control section.

To route channels to Aux sends using the input encoders:

1 To access Aux Sends on the input channel encoders, press an

Encoder assign Aux Sends switch 1–2 through 15–16.

• The first press of an Aux Send switch assigns level control
of the odd-numbered send to the encoders. The switch
lights green to indicate an odd-numbered selection.

• The second press of an Aux Send switch assigns level con­trol of the even-numbered send to the encoders. The
switch lights yellow to indicate an even-numbered selec­tion.

Bus Assign switches

To route multiple channels to Mains and Groups busses:

1 Target the first channel you want to route by pressing its

Select switch.

2 Press and hold the Multi-Select switch (located to the left of

the input faders), then press the Select switches on the other
channels you want to route to the Main busses.

3 In the Bus Assigns section, press the Bus Assign L–R (left and

right), C/Mono (center/mono) and Group 1–8 switches to
route the selected channels to those busses.

The L–R, C/M and 1–8 Bus Assign LEDs on each channel light
to indicate routing to the corresponding busses.

Configuring Mains and Groups Busses

The Main busses can be configured to operate as L–R plus
Mono (Left–Right stereo plus a Mono channel), or as L–C–R
(Left–Center–Right). See “Configuring the Main Busses” on
page 73.

Encoder assignment switches for input channels

2 For each channel you want to assign to the selected Aux

Send bus, press its channel encoder so that its “On” indicator
LED lights.

3 To set the Aux Send level, do either of the following:

• Turn the encoder on each channel.

• Press the Flip to Faders switch, then adjust the channel
fader.

To route channels to Aux Sends busses using the Channel
Control section:

1 Target the first channel you want to route by pressing its Se-

lect switch.

2 Press and hold the Multi-Select switch next to the input fad-

ers, then press the Select switches on the other channels you
want to route to the Auxes.

Chapter 8: Inputs and Input Routing 65

3 In the Channel Control section, press the Aux Sends 1–8 or

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Encoders

Aux Sends 1–8

Aux Sends 9–16

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Aux Sends 9–16 switch to bank the Channel Control encoders
to those Auxes.

Routing Channels to Matrix Busses

Matrix source assignments determine input signal routing to
each of the Matrix mixers. Matrix source inputs can include
up to 12 inputs per mixer.

Matrix signal routing is performed from the Matrix tabs of the
Outputs page (see Chapter 12, “Matrix Mixers”).

Assigning Channels to VCAs

Channels can be assigned to VCAs for consolidated control of
multiple channels.

To assign one or more channels to a VCA:

1 Press the VCA switch to bank the Output Faders to VCAs.

2 Select the VCA (1-8) you wish to assign to by pressing its Se-

lect switch.

3 Press the Multi Assign switch near the Output encoders.

While engaged, the Multi Assign and output Select switch
LEDs flash.

Channel Control

4 Press the Channel Control encoder that corresponds to the

desired Aux Send bus so that its “On” indicator LED lights.

• The first press of an Aux Send switch assigns level control
of the odd-numbered send. The switch lights green to in-
dicate an odd-numbered selection.

• The second press of an Aux Send switch assigns level con-
trol of the even-numbered send. The switch lights yellow
to indicate an even-numbered selection.

5 Turn the encoder to set the Aux Send level.

Configuring Aux Busses (Aux Sends)

VENUE SC48 can be configured to have 8 or 16 Aux busses 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 Busses” on page 87).

Some VENUE systems also offer Variable Groups. To learn
more about these special busses, see the VENUE Profile
Guide or the VENUE D-Show Guide.

4 Press the Select switch on the inputs or outputs you want as-

signed to the currently targeted VCA. Use the Input and Out­put Fader bank switches to access the desired channel strips.

5 Press the Multi Assign switch again to confirm the action.

– or –

Select another VCA to confirm the current assignment but re­main in Multi Assign mode for the newly targeted VCA.

For more information on VCAs, see “Assigning and Using
VCAs” on page 79.

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 section or on-screen. For more
information on routing and assigning Direct Outputs, see “Di­rect Outputs” on page 78.

VENUE SC48 Guide66

Using Built-In Dynamics and EQ

Function switches

1234567 8

Encoders

In

Comp/Lim Exp/Gate

EQ

In switch

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Each Input Channel has built-in Dynamics processors, a
High-Pass Filter and a 4-band EQ; each FX Return has a
built-in 2-band 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. Built-in EQ processors are controlled
from the Channel Control section of the ACS.

Using Dynamics on Channels

A built-in Compressor/Limiter and Expander/Gate are avail­able on each Input Channel. Controls for all of the built-in dy­namics processors are provided in the Channel Control sec­tion, and an input/output curve appears on-screen.

Expander/Gate

To engage the built-in Expander/Gate on the selected channel:

 Press the Exp/Gate switch in the Channel Control section.

To adjust Expander/Gate controls:

1 Target a channel by pressing its Select switch.

2 Press the Exp/Gate switch in the Channel Control section.

The switch lights to indicate control of the Expander/Gate.

3 Press the In switch to engage the built-in expander/gate.

4 Press and/or rotate Channel Control encoders to adjust the

displayed parameters.

For more information, see Chapter 17, “Dynamics.”

Compressor/Limiter

To engage and adjust the built-in Compressor/Limiter:

1 Target a channel by pressing its Select switch.

2 Press the Comp/Lim switch in the Channel Control section.

The switch lights to indicate control of the Compressor/Lim-
iter.

3 Engage the built-in processor by pressing the In switch in

the Channel Control section.

4 Press and/or adjust the Channel Control encoders for the

displayed parameters.

Using Built-In EQ on Channels

A built-in High-Pass Filter and 4-band EQ are available on each
Input Channel, and a 2-band EQ is available on each FX Re­turn. Controls for built-in EQ processors are in the Channel
Control section, and an EQ response curve appears on-screen.

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.

To use the built-in EQ on a channel:

1 Target the channel by pressing its Select switch.

2 Do any of the following:

• To engage the channel High-Pass Filter, press the HPF
switch in the Encoder Assignment section. Toggle HPF
in/out on each channel by pressing its encoder; adjust
HPF frequency by rotating its encoder.

• To engage the built-in 4-band or 2-band EQ, press the EQ
switch in the Channel Control section, then press the
Channel Control In switch to put the EQ in circuit.

Controls for built-in dynamics processors in Channel Control

EQ switches in Channel Control

For more information, see Chapter 18, “EQ.”

Chapter 8: Inputs and Input Routing 67

Using Inserts on Channels

Click to
assign

Click to
go to the
Plug-In
Rack

Gain

HPF

Pan

Encoders

Aux
Sends

+48 V 20 dB Pad

Input Polarity

Safe

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You can use software plug-in inserts on any input channel or
FX return.

Using Plug-In Inserts on Channels

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 two ways: as inserts, or as ef­fects in a Send/Return arrangement.

Insert The plug-in is patched in at the insert point on an input
or FX return. Each input channel can have up to four plug-in
inserts.

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 or FX return.

Adjusting Input Controls

Input Gain

Input Gain is adjustable from the rotary encoders on each In­put Channel and FX Return. Mic inputs have a gain range
from +10 dB to +60 dB. Analog line inputs and digital inputs
have a gain range from –20 dB to +18 dB.

Gain Guess Feature

The automated Gain Guess function can be used to set a nom­inal level for a channel based on its incoming signal. When
you press and hold a rotary encoder assigned to input gain,
the system samples incoming signals and automatically sets
the channel gain and pad for a 0 dB reference when the en­coder is released. Gain Guess follows the current Meter mode
(Peak or RMS).

Inserting Plug-Ins on Channels

You can insert plug-ins on Input Channels and FX Returns di-
rectly from the Inputs page or from the Plug-In Rack.

To insert a plug-in on a channel:

1 Select a channel. If necessary, click to show the Inputs page.

2 In the Inserts section of the Inputs page, do one of the fol-

lowing:

• Click one of the four Inserts pop-up menus and choose a

plug-in directly from one of the Plug-In Rack submenus.

– or –

• Click one of the four Inserts buttons to go to the Plug-In

Rack, and route the signal to the plug-in using Plug-In
Rack controls.

Assigning a plug-in insert in the Inputs page

The name of the plug-in insert appears in the on-screen
Plug-In Insert display.

Gain Indicators

When Gain is displayed on the input encoders, the encoder’s
indicator LED lights to indicate that the gain is set to the de­fault value (+10 dB for analog inputs, and 0 dB for digital in­puts). Gain change is indicated by the encoder ring LEDs, and
gain value is shown in the channel display when adjusted.

Setting Input Gain

Gain can be controlled from individual channel strips or from
the ACS section.

Encoder assignment switches for input channels

For more information on using plug-ins in a Send/Return
arrangement, see “Using Plug-Ins as a Bus Processor” on
page 152.

VENUE SC48 Guide68

Input controls in the ACS

To adjust input gain from the encoders:

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1 In the Encoder Assignment section, press the Gain switch to

assign gain control to the channel encoders.

2 Rotate an encoder to adjust gain on its channel.

To adjust input gain from the ACS:

1 Select one or more channels to target them in the Channel

Control section of the ACS.

2 Press the Input switch in the Channel Control section.

Pan/Balance

Pan adjusts channel pan (for mono Input Channels) and ste­reo balance (for stereo Input Channels and FX Returns).

To adjust channel pan/balance from the encoders:

1 In the Encoder Assignment section, press the Pan switch to

assign pan/balance control to the rotary encoders.

2 Adjust the channel pan/balance by turning the assigned ro-

tary encoder.

3 Gain (with Gain Guess) is assigned to the first encoder in the

Channel Control section. Adjust the gain by turning the as­signed encoder.

To adjust input gain using Gain Guess:

1 Press and hold the assigned Gain encoder (input channel

encoder, or Channel Control encoder 1) while receiving an in­put signal. The LED flashes to indicate level sampling.

2 Release the rotary encoder. Gain will be set so the incoming

signal reaches 0 dB peak (if Peak mode is selected) or 0 dB RMS
(if RMS mode is selected).

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 fea-
ture lets you offset the gain of the right channel relative to the
left channel by –20 dB to +20 dB, within the overall gain lim-
its.

To adjust stereo channel gain offset from the console:

1 Select one or more channels to target them in the Channel

Control section.

2 Press the Input switch in the Channel Control section.

3 Adjust the Right Offset encoder.

To adjust channel gain offset for a stereo channel on-screen:

1 Go to the Inputs page and target the stereo channel.

To balance stereo signals from the ACS:

1 Select one or more channels to target them in the Channel

Control section of the ACS.

2 Press the Input switch in the Channel Control section.

3 Rotate the Balance encoder.

Stereo Width

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 stereo signals from the ACS:

1 Select one or more channels to target them in the Channel

Control section.

2 Press the Input switch in the Channel Control section.

3 Rotate the Width encoder.

To adjust width of a stereo channel on-screen:

1 Select one or more channels.

2 In the Inputs page, adjust width by turning the on-screen

Width rotary encoder. Turning the encoder clockwise moves
the width to full stereo, and counter-clockwise moves the
width to reverse stereo. The center position represents mono.

2 Adjust the right channel gain using the on-screen Right Off-

set 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.

Chapter 8: Inputs and Input Routing 69

High-Pass Filter

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Input Polarity (Phase) Invert

A built-in 4th-order High-Pass Filter can be engaged on each
Input Channel. The HPF corner frequency range is from 20 Hz
to 500 Hz.

To engage the built-in HPF from the Input encoders:

1 In the Encoder Assignment section, press the HPF switch to

assign HPF control to the rotary encoders.

2 Press a channel rotary encoder to insert the filter in that

channel. The rotary encoder “On” indicator LED lights when
the HPF is in circuit.

3 Adjust the HPF corner frequency by turning the assigned ro-

tary encoder.

To engage the built-in HPF from the ACS:

1 Select one or more channels to target them in the Channel

Control section of the ACS.

2 Press the Input switch in the Channel Control section.

3 Press the HPF encoder to toggle the HPF in/out.

4 Rotate the HPF encoder to adjust HPF frequency.

Phantom Power

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 Target the channel by pressing its Select switch.

2 Press the polarity inversion (Ø) switch in the ACS Input sec-

tion. The switch lights when the polarity is inverted.

Safe

The Safe switch toggles Automation Safe, Solo Safe, or Bank
Safe on/off. The current function of the ACS Safe switch is de­termined by the current Input Safe switch assignment in the
Options > Interaction page.

When a Safe mode is enabled for the currently selected chan­nel, the ACS Safe switch lights if that Safe mode is the cur­rently assign Input Safe Switch mode. Channel safe status is
also indicated by the lit or unlit state of each channel strip Safe
LED.

To configure the Safe switches for Automation, Solo or Bank
mode, see “Input Safe Switches” on page 58.

48V phantom power can be applied to any analog Stage input
assigned to an Input Channel or FX Return.

To apply phantom power to an input:

1 Assign a Stage input to a channel. See “Assigning Input

Sources to Channels” on page 64.

2 Target the channel by pressing its Select switch.

3 Press the +48V switch in the ACS Input section. The switch

lights when phantom power is applied.

If an input is moved to a different channel, the gain, pad,
and phantom power setting will move with the input.

20 dB Pad

A 20 dB pad can be applied to any analog Stage input assigned
to an Input Channel or FX Return.

To apply a 20 dB pad to a Stage input:

1 Target the channel by pressing its Select switch.

2 Press the 20 dB Pad switch in the ACS Input section. The

switch lights when the pad is applied to the Stage input.

To toggle the current Safe state of a channel:

1 Target the channel by pressing its Select switch.

2 Press the Safe switch in the ACS Input section. The switch

lights solid when the current channel is Automation Safe,
flashes when the channel is Solo Safe, and flashes rapidly
when in Bank Safe.

Delay

A variable delay can be applied to any Input Channel or FX
Return. The delay range is from 0 to 250 milliseconds.

To apply delay to a channel from the console:

1 Select one or more channels to target them in the Channel

Control section of the ACS.

2 Press the Input switch in the Channel Control section.

3 Press the Delay encoder to engage channel delay.

4 Adjust the Delay encoder to set the desired amount of chan-

nel delay.

The Gain Guess feature turns the Pad on or off as needed to
accommodate incoming signal level

VENUE SC48 Guide70

Channel Solo

Encoder

Select/Latch

Mute

Fade r

Solo

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Three Solo modes are available: Solo In Place (SIP), Pre-Fader
Listen (PFL), and After-Fader Listen (AFL), and several options
are available for configuring Solo bus operation. Channels can
also be implicitly soloed as part of a VCA.

See Chapter 15, “Solo and Monitor Busses.”

To solo a channel:

 Press the channel’s Solo switch. The Solo switch lights solid

to indicate the channel is explicitly soloed.

Channel Mute

To explicitly mute a channel:

 Press the Mute switch on the channel. The mute 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 chan-
nel being soloed, and as a member of a Mute Group or VCA.
For more information see Chapter 16, “Muting and Mute
Groups”

Channel Level

Channel level can be adjusted from the Input or FX Return
faders and using the on-screen faders. The currently selected
channel(s) can also be adjusted from the Flex Channel.

Input channel levels can also be affected by VCAs. For more
information, see “Assigning and Using VCAs” on page 79.

Flex Channel

The Flex Channel provides a dedicated fader, encoder, and
LCD display along with channel Select, Solo and Mute
switches for the currently selected input channel. The Flex
Channel can be latched to any input channel for uninter­rupted control of any vital input channel.

Flex Channel

In its default Selected Channel mode the Flex Channel mirrors
the currently selected input channel. The Flex Channel en­coder follows the current Encoder Assignment mode (Gain,
Pan, HPF, or an Aux Send). The Flex Channel LCD shows the
current channel name or encoder parameter in green.

In Flex Channel mode, the Flex Channel is latched (or locked)
on a channel. Selecting a different channel or banking to a dif­ferent bank or type of channels will not change the assign­ment of the Flex Channel, letting you keep constant control
over your most important signal.

Channel Faders

Channel Faders provide channel level control from –∞ (–INF)
to +12 dB. Use the faders on the console, or on-screen, to ad-
just individual channel levels.

For more information on input and output fader banking,
see Chapter 5, “Navigating and Selecting Channels.”

To latch the Flex Channel from the console:

1 Select the input or output channel you want assigned to the

Flex Channel.

2 Press the Select/Latch switch on the Flex Channel. A dialog

appears on-screen asking you to confirm the assignment.

Double-press the Select/Latch switch to latch that channel
and clear the confirmation dialog in one action.

3 Press the Flex Channel Select/Latch switch again (or click

Latch on-screen) to confirm the assignment. Click Cancel to
cancel the assignment.

The Flex Channel LCD shows red text when latched.

To latch the Flex Channel on-screen:

 Right-click on the desired channel and choose

Latch <channel>.

Chapter 8: Inputs and Input Routing 71

To return to Selected Channel mode:

Input Direct

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 Double-press the Flex Channel Select/Latch switch. The

(former) channel assigned to the Flex Channel becomes the
selected channel in the ACS, and the Flex Channel reverts to
Selected Channel mode.

– or –

• Right-click the currently latched channel on-screen and

choose Unlatch <channel>.

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 the Inputs page.

3 Click the Input Direct button in the Config section of the In-

puts page for the selected channel. The button flashes to indi-
cate Input Direct mode is active.

Input Direct button

VENUE SC48 Guide72

Chapter 9: Outputs and Output Routing

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This chapter shows how to do the following:

• Configure and name Mains, outputs and busses

• Assign outputs and busses to hardware outputs in the
Patchbay

• Route outputs to Mains, Groups, Aux Sends, and Matrix
mixers

• Using plug-in inserts, and using Graphic EQ on outputs

• Assign and route Direct Outputs

• Adjust output channel parameters

•Use VCAs

Configuring Outputs

The following types of output busses are available on VENUE
SC48: Mains, Groups, Auxes, and Matrixes.

Mains

The Main busses can be configured in L–R+M or L–C–R for-
mats. For more information, see “Configuring the Main Bus-
ses” on page 73.

The Main busses are controlled from the dedicated Mains con-
trols and fader in the Output section.

Groups

Eight Group busses are available. These Group busses can be
globa lly configured to be mono or stereo as part of the system
Aux/Group bus configuration. See “Configuring Aux and
Group Busses” on page 74.

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, Group or Mains busses plus up to 8 unique
Input Channels, FX Returns or hardware inputs.

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 output faders; matrix
inputs are controlled from the encoders when a particular ma­trix is selected.

See Chapter 12, “Matrix Mixers.”

Configuring the Main Busses

The Main busses can be configured to operate as either:

L–R plus Mono Pans signals between the left and right chan-
nels 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 may be interrupted or may change levels during this
configuration procedure.

To configure the Main busses:

1 Put the system into Config mode.

Group outputs can be controlled from the faders and encoders
in the Output section.

See Chapter 10, “Groups.”

Auxes

Up to 16 Aux busses are available. The number of available
Aux busses is set as part of the system Aux/Group bus config­uration. See “Configuring Aux and Group Busses” on page 74.

Aux bus outputs can be controlled from the Output faders.

For more information, see Chapter 11, “Aux Sends.”

2 Go to the Options page and click the System tab.

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.

Chapter 9: Outputs and Output Routing 73

Configuring Aux and Group Busses

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Auxes and Groups share the available system busses. Configu­ration options include the following:

16 Auxes + 8 Mono Groups Divides the available system bus­ses between 16 mono Aux busses and 8 mono Group busses.

8 Auxes + 8 Stereo Groups Divides the available system busses
between 8 mono Aux busses and 8 stereo Group busses.

Changing the name of an Output channel in the Outputs page

4 Type a new name and press Enter on the computer key-

board.

Audio may be interrupted or may change levels during this
configuration procedure

To configure the Aux/Group busses:

1 Put the system into Config mode.

2 Go to the Options page and click the System tab.

3 Click Edit.

4 Select a bus configuration.

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, all settings are
cleared (or set to default) from the current console settings
and from all stored snapshots, for all Groups.

When naming channels in the Patchbay, double-click the
channel name next to the grid to edit text; press Tab on the
keyboard to go to the next channel and Shift+Tab to go to
the previous channel.

Assigning Busses to Hardware Outputs

Mains, Groups, Auxes, and Matrix mixer outputs can be as­signed to any hardware output on the system. Available out­put destinations include:

• Stage audio outputs

• FOH (local) audio outputs

• Pro Tools recording inputs

To assign a bus or mixer output to a hardware output from the
Patchbay:

1 Go to the Patchbay page and click the Outputs tab.

2 To the left of the channel grid, click the Mains, Mtx (Matrix),

Aux or Grp (Groups) tab.

3 Click in the channel grid to assign a bus or Matrix mixer

output (listed on the left) to a hardware output (listed across
the top).

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 basis, and
appear as linked on all channels. For information on linking
Auxes, see “Linking Aux Busses for Stereo Operation” on
page 87.

Naming Channels

Output channel names can be changed from the Outputs page
or from the Patchbay.

To change the name of an Output channel:

1 Go to the Outputs page or the Patchbay page.

2 Target the channel whose name you want to change by

pressing its Select switch or selecting it on-screen.

3 Double-click the channel name.

VENUE SC48 Guide74

Assigning an output in the Patchbay Outputs page

The Patchbay Outputs page shows the name of the bus or
mixer and its destination. The destination is also displayed be­low the channel name in the Outputs page and Patchbay Out­puts page.

Output name and destination in the Patchbay Outputs page

Routing Group Outputs to the

Groups switch

Mains

Groups

Stereo Pan

L-R

C/M

Click to
assign

Click to
go to the
Plug-In
Rack

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Main Busses

You can route Group outputs to the Main busses from the con­sole or on-screen.

To route a Group output to the Main busses from the ACS:

1 Press the Groups switch in the Output Fader assignment sec-

tion to assign control of Group levels to the faders.

2 Click the Bus Assign buttons on-screen to toggle the bus as-

signment for the selected Group.

Assigning a Group output to the Main busses from the Output page

Using Inserts on Output Busses

You can use software plug-in inserts and graphic EQ on Mains,
Groups, Auxes, and Matrixes.

Assigning Groups to the Output faders

2 Select each Group that you want to assign to the Main bus-

ses by pressing their Select switches.

3 In the Bus Assigns section, press the L–R (left and right) or

C/Mono (center/mono) switch so that it is lit.

Bus Assign switches

4 Move the channel’s fader to set the Group output level.

Group Routing Indication on Output Encoders

Output encoder indicator LEDs indicate Main bus assign-
ments as follows:

Off Group routing to Mains is turned off.

Yell ow Group output is routed to the Mains L–R bus.

Green Group output is routed to the Mains C/M bus.

Red Group output is routed to both the Mains L–R bus and the

Mains C/M bus.

To route a Group output to the Main busses on-screen:

1 Go to the Outputs page and select the channel fader strip tor

the Group you want to route to the Main busses.

Using Plug-In Inserts on Output Busses

You can insert plug-ins on Output busses directly from the
Outputs page.

To insert a plug-in on an output bus:

1 Go to the Outputs page and target the bus where you want

to insert the plug-in.

2 In the Inserts section of the Outputs page, do one of the fol-

lowing:

• Click one of the four Inserts pop-up menus and choose a

plug-in directly from one of the Plug-In Rack submenus.

– or –

• Click one of the four Inserts buttons to go to the Plug-In

Rack, and route the signal to the plug-in using Plug-In
Rack controls.

Assigning a Plug-In Insert in the Outputs page

The name of the plug-in insert appears in the on-screen
Plug-In Insert button.

For complete instructions on plug-ins, see Chapter 19,
“Plug-Ins.”

Activating and Bypassing Inserts

After plug-in inserts are assigned to an Ou tput b us , t hey ca n b e
activated and bypassed on-screen using the corresponding
Output page controls.

Chapter 9: Outputs and Output Routing 75

Inserting the Built-In Graphic EQs on Output

Output bus selected (Group 1)

Graphic
EQ
Faders

GEQ
pop-up

Output
Fader
assignment
switches

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Busses

A built-in 31-band Graphic EQ can be inserted on any of the
following Output bus types: Mains, Groups, Auxes, and Ma­trixes. A maximum of 24 Graphic EQs are available, depend­ing on the how they are configured in the System Configura­tion settings.

For more information on configuring and using Graphic EQs,
see “Graphic EQ for Outputs” on page 138.

To insert a Graphic EQ on an Output bus:

1 Target the bus by pressing its Select switch.

2 In the Outputs page, click the 31-Band Graphic Equalizer tab.

3 Click the Graphic EQ pop-up menu and choose an available

mono or stereo Graphic EQ. The entire Graphic EQ is dis­played on-screen.

To create a level offset between linked Aux bus output faders:

1 Press one of the switches in the Output Fader assignment

section.

2 Do one of the following:

• Touch one linked bus output fader while moving the
other.

• Hold the Start (Win) key on the keyboard and move one
linked Aux bus fader on-screen.

The offset between the faders is maintained until the offset
causes a fader to reach its maximum or minimum value.

Output Polarity (Phase) Invert

The polarity of any output bus signal can be inverted. With
stereo outputs (stereo Group busses) only the left channel is
inverted.

To invert the polarity of an output bus:

1 Target the bus by pressing its Select switch.

2 Press the polarity inversion (Ø) switch in the ACS Input sec-

tion. The switch lights when the polarity is inverted.

Graphic EQ displayed in the Outputs page

Adjusting Output Controls

Outputs are controlled from the Output faders, encoders and
switches.

Output Levels

To control output levels from the Output faders:

1 Choose the output fader bank you wish to control.

Output Solo

To control the solo status of an output bus:

1 Press one of the switches in the Output section.

2 In the Output section, press an AFL switch to toggle the solo

status of the corresponding output bus.

You can set Output banking to follow AFL selection, and
vice versa. For more information on Solo bus operation, see
Chapter 15, “Solo and Monitor Busses.”

Output Mute

To control the mute status of an output bus:

1 Press one of the following switches in the Output section:

2 In the Output section, press a Mute switch to toggle the

mute status of the corresponding output bus.

For more information on Mute operation, see Chapter 16,
“Muting and Mute Groups.”

Output Fader controls

2 Move a fader to change the level of its assigned output.

VENUE SC48 Guide76

Output Delay

Select

Mute

Fader

Link

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A variable delay can be applied to any of the Main busses (L, R
and C/M), Aux bus outputs, and Matrix mixer outputs.

To apply delay to an Aux bus:

1 Target the Aux bus by pressing its Select switch.

2 Press the Channel Control Input switch.

3 Press the Delay rotary encoder to engage the delay.

4 Adjust the delay value by turning the Delay rotary encoder.

The amount of delay available depends on the type of output,
as follows:

• Up to 500 ms for Mains and Matrix mixers

• Up to 250 ms for Aux Sends

Adjusting Main Bus Controls

To control the Main bus output levels:

1 In the Outputs page, click the on-screen channel Link but-

tons for any combination of Left, Right, or Center/Mono out­put strips to assign control of the corresponding busses to the
Mains Fader.

Mains fader Link selectors in the Outputs page

2 Move the Mains fader to change the level of the assigned

busses.

Main Bus Output Levels

The Main bus output levels are controlled from the single
Mains Fader located to the right of the Output faders.

Mains Fader and controls in the Output section

The Left, Right, and Center/Mono busses can be controlled in­dependently or in tandem. You can create an offset between
any of the Main bus levels, and it will be preserved when con­trolling any combination of the Main busses. The offset be­tween the busses is maintained until at least one of the busses
is minimized or maximized.

Linking Mains

You can link any of the three Mains faders for grouped-control
of level and mute.

Main Bus Mute

The mute status of the Main busses is controlled from the
Mute switch located above the Mains Fader. When at least one
of the Main busses is muted while others (unlinked) are not,
the Mains mute switch flashes.

To control the mute status of the Main busses:

1 In the Outputs page, click the on-screen channel Link but-

tons for any combination of Left, Right, or Center/Mono out­put strips to assign control of the corresponding busses to the
Mains Fader.

2 Press the Mute switch to toggle the mute status of the as-

signed busses.

Main Bus Delay

A variable delay (from 0 to 500 ms) can be applied to any of
the Main busses.

To apply delay to a Main bus:

1 Target the Main bus where you want to apply delay by re-

peatedly pressing the Select switch in the Mains section, or by
selecting it on-screen.

2 Press the Channel Control Input switch.

3 Press the Delay encoder to enable delay.

4 Adjust the Delay value by turning the on-screen Delay ro-

tary encoder.

Chapter 9: Outputs and Output Routing 77

Main Bus Center Divergence Options

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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.

 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).

 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 the Options > Busses tab.

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 set-

ting.

To route a channel or bus to a Direct Output:

1 Target the channel or bus you want to route to a Direct Out-

put by pressing its Select switch.

2 In the Directs page of the Patchbay, click the tab for the

channel or bus type you are routing.

3 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 Directs page

Main Bus Automatic Delay Compensation

VENUE systems automatically compensate for delays incurred
by the use of Groups and insertion of plug-ins in the signal
path to the Main busses. Delays are automatically applied to
signals arriving at the Main busses from multiple destinations
to maintain the proper time alignment.

Monitoring the Main Mix

You can send the Main mix (the signal present on the Main
busses) to the Monitor bus for routing to the monitor bus for
headphones. See “Sending the Main Mix to the Monitor Bus”
on page 115.

Direct Outputs

All input channels and output buses feature Direct Outputs.

Available destinations for Direct Outputs include:

• Stage audio outputs

• FOH audio outputs

• Pro Tools recording inputs

• Plug-ins

Each output destination may be fed by only one Direct Output
signal (multiple Direct Output signals cannot be routed to a
single output).

4 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.

Selecting a Direct Output pickoff point in the Patchbay Directs page

5 On the console, press the Channel Control Input switch.

6 Press the Direct Out encoder so that its “On” indicator LED

lights.

7 Turn the Direct Out encoder to set the Direct Output level.

Up to 12 dB of gain can be added to the Direct Output signal.
Direct Output level is displayed in the Selected Channel dis­play, and controls are provided on-screen in the Patchbay, In­puts, and Outputs pages.

Direct Output Pickoff Points

The pickoff points for the Direct Output signal are selected in
the Directs page of the Patchbay. The following pickoff points
are available for each type of channel or bus:

Configuring Direct Output Pickoff Points

To configure the Direct Output pickoff point for Inputs:

1 Go to the Options page and click the Pickoffs tab.

VENUE SC48 Guide78

Pickoffs for Direct Outs

Effective gain (VCAs)

Channel level

Effective

Channel levels

gain (VCAs)

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Channel Type Available Pickoff Points

Input Top of channel

Insert return
Pre/post fader

FX Returns Top of return

Pre/post fader

3 Press the Multi-Assign switch to the right of the Output sec-

tion.

4 Press the Select switches on the Input Channels, FX Returns,

or Output channels you want to assign to the VCA.

5 Press the flashing Multi-Assign switch to confirm the assign-

ment, or press the Cancel switch to cancel the assignment.

Outputs Top of bus

Pre fader
Post fader

2 Under Input Strip Fader Pickoff Point, click Pre-Fader or

Post-Fader.

Matrix Mixers

Eight Matrix mixers are available for sending up to eight
mono mixes of input channels and busses to any available
hardware output or bus-fed plug-in.

Each Matrix is a 12-in/1-out mono mixer with assignable in-
put sources including Group busses or Aux busses, the 3 Main
busses (L–C–R or L–R+M) and any of up to 8 user-selectable
channels. Matrix input levels are controlled from the Output
encoders when a Matrix is selected. Adjacent Matrix inputs
can be linked or unlinked.

Odd/even pairs of Matrix mixers can be linked to form stereo
Matrix output busses. The master output of each Matrix mixer
is controlled from the Output faders.

See Chapter 12, “Matrix Mixers.”

Channel Strips Show VCA Contribution

The effective gain of any channel is equal to the combination
of its individual channel fader, plus any (all) VCA level
changes that affect that channel.

Input and output channels display the net effect of VCA level
(effective gain) on-screen. This lets you keep track of what all
currently assigned VCAs are doing to channels and busses at
all times.

On-Screen VCA Indication

VENUE displays effective gain as a second, transparent fader
cap on-screen in the fader displays of both the Inputs and Out­puts pages.

Selected Channel When the currently selected channel is un-
der VCA control, the net effect of all its assigned VCAs is
shown in the form of a transparent fader cap.

Assigning and Using VCAs

VCA controls emulate the operation of traditional Voltage
Controlled Amplifiers (VCAs). Up to eight VCA faders are
available for remote control of Input Channel and FX Return,
or Output channel fader gain.

VCAs control level of the assigned channels only. They do
not act as a summing output bus.

VCAs remotely control the fader gain of each channel as­signed to the VCA fader, but do not change the position of the
faders on those channels. The accumulated gain of a channel
belonging to several VCAs is limited to +12 dB.

Assigning Channels to VCAs

To assign channels to VCAs:

1 Press the VCAs switch in the Output faders section.

2 Select the VCA you want to target for membership assign-

ment.

Effective gain (VCA contribution) shown on the selected channel

Inputs and Outputs Pages In the Inputs and Outputs pages,
red “ghost” fader caps appear below the fader displays of
channels that are currently assigned to one or more VCAs.

Effective gain (VCA contribution) shown in the on-screen fader displays

The opacity of the ghost caps vary with the actual VCA levels:

• Lighter caps indicate smaller amounts of VCA gain.

• Brighter caps indicate larger amounts of VCA gain.

Chapter 9: Outputs and Output Routing 79

Turning Channel VCA Indication On and Off

Show VCA Contribution

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By default, channel VCA indication is on. You can turn off
VCA indication in the Options > Interaction page.

Displays settings in the Options > Interaction page.

To turn channel VCA indication off or on:

1 Go to the Options > Interaction page.

2 In the Displays section, click to enable (or disable) Show VCA

Contribution.

Showing VCA Members

VENUE SC48 lets you quickly view members (assigned chan-
nels) for Groups, VCAs and Mute Groups.

To view VCA membership:

1 Press the VCA switch to bank the Output faders to VCAs.

2 Press and hold the Default (Alt) switch, then press the Multi

Assign switch in the Output section. The Multi Assign switch
LED lights to indicate Multi Assign mode.

VCA assignments are shown in each channel strip LCD with a
flashing number (the number indicates the VCA to which
each channel is assigned).

To exit Show VCA Members mode:

 Press the Multi Assign switch or the Cancel button.

Using VCAs

To mute the members of a VCA:

 Press the Mute switch on the VCA channels whose members

you want to mute. The Mute LEDs on channels assigned to the
VCA flash to indicate they are implicitly muted by the VCA.

VCA Spill

You can “spill” a VCA to have only its assigned channels
banked to the Input section. VCA Spill lets you quickly access
only those channels assigned to a specific VCA and immedi­ately focus on those channels, without needing to search
through the input fader banks.

To spill a VCA:

1 Select the VCA output fader bank.

2 Double-press a VCA Select switch to spill its members across

the input faders.

The selected VCA Select switch LED flashes, as do the current
input Bank (A-D) or FX Return (1-8) switch. Any Bank Safed
channels are hidden (though their Bank Safe status is unal­tered).

If the VCA contains fewer than 16 members the channels are
right-justified within the input fader bank, in order to bring
channels as close as possible to the center of the console. Un­used channel strips are left blank and inactive.

If the VCA contains more than 16 members only the first 16
members are shown.

To cancel VCA Spill, do any of the following:

• Press or double-press the Select switch on the currently
spilled VCA.

• Press any Bank (A-D) switch.

• Press the FX Returns 1-8 switch.

• Press a GEQ switch.

• In the on-screen dialog, click Exit VCA Spill.

To adjust the levels of VCA members:

1 Press the VCAs switch to assign control of the VCAs to the

Output faders.

2 Move the fader for the VCA whose members you want to ad-

just.

To solo the members of a VCA:

 Press the Solo switch on the VCA channels whose members

you want to solo so that the Solo switch is lit.

Input channel solo mode (PFL or AFL) follows the current set­ting on the Options > Busses page.

Input channel solo mode (PFL or AFL) follows the current
setting on the Options > Buses page.

VENUE SC48 Guide80

Selecting Other VCAs While Spilled

Selecting another VCA while spill mode is active automati­cally spills that VCA.

Chapter 10: Groups

Groups 1–8

Groups switch

Mains

L-R

C/M

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This chapter shows how to do the following:

• Configure Group busses

• Route Groups

• Adjust Group bus parameters

Configuring Group Busses

The Output section has 8 available Group busses. Group out­puts can be assigned to the Main Output busses, to available
bus-fed plug-ins, to Matrix mixers, and to any hardware out-
puts on the systems.

Group busses can be globally configured to be mono o r stereo
as part of the Aux/Group bus configuration. See “Configuring
Aux and Group Busses” on page 74.

For information on routing input channels and FX Returns to
Groups, see “Routing Channels to the Mains and
Groups Busses” on page 65.

Routing Inputs to Group Busses

To route channels to any number of Group busses:

1 Target one or more channels.

2 In the Bus Assigns section, press any of the Group switches

so that they are lit.

Bus Assign switches to assign Groups to Mains

Routing Group Outputs to the Main Busses

You can route Group outputs to the Main busses from the ACS
or on-screen.

To route a Group output to the Main busses from the ACS:

1 Press the Groups switch in the Output Fader assignment sec-

tion to assign control of Group levels to the faders.

To route multiple channels to a single Group at a time:

1 Press the Groups switch to bank the Output faders to the

Groups busses.

2 Press the Select switch in the Output strip for the Group

(1–8) to which you want to assign channels.

3 Press the Multi-Assign switch near the Output encoders. The

Multi Assign and output Select switches flash.

4 Press the Select switch on the channels you want routed to

the selected Group.

5 Press the Multi Assign switch again to confirm the action.

– or –

 Select another Group to confirm the current assignment but

remain in Multi Assign mode to assign channels to the newly
targeted Group bus.

Assigning Groups to the Output faders

2 Select each Group that you want to assign to the Main bus-

ses by pressing their Select switches.

3 In the ACS Bus Assigns section, press the L–R (left and right)

or C/Mono (center/mono) switch so that it is lit.

Bus Assign switches to assign Groups to Mains

Chapter 10: Groups 81

To route a Group output to the Main busses on-screen:

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1 Go to the Outputs page and select the Group you want to

route to the Main busses.

2 Click the Bus Assign buttons on-screen to toggle the bus as-

signment for the selected Group.

To cancel Group Spill, do any of the following:

• Press or double-press the Select switch on the currently
spilled Group.

• Press any Bank (A-D) switch.

• Press the FX Returns 1-8 switch.

• Press a GEQ switch.

• In the on-screen dialog, click Exit Group Spill.

Selecting Other Groups While Spilled

Selecting another Group while spill mode is active automati­cally spills that Group.

Special Cases with Spill

Assigning a Group output to the Main busses from the Output page

Managing Group Bus Assignments

To help manage Groups, the following sections explain how
you can spill, view, copy (duplicate) and reset Groups and
Group bus assignments.

Group Spill

You can “spill” a Group to have only its assigned channels
banked to the Input section. Group Spill lets you quickly ac-
cess only those channels assigned to a specific Group and im-
mediately focus on those channels, without needing to search
through the input fader banks.

To spill a Group:

1 Select the Group output fader bank.

2 Double-press a Group Select switch to spill its members

across the input faders.

The selected Group Select switch LED flashes, as do the cur-
rent input Bank (A-D) or FX Return (1-8) switch. Any Bank
Safed channels are hidden (though their Bank Safe status is
unaltered).

Faders

If you are touching a fader at the same time as you invoke
Group Spill, that fader may be taken off-line. Let go of the
fader to bring it back online.

Viewing Group Bus Assignments

You can view Group bus assignments from the Input section
of the console or from an on-screen list of Group members.

Viewing Group Bus Assignments in the Input
Section

To view Group membership on the console:

1 Press the Groups switch to bank the Output faders to

Groups.

2 Press and hold the Default switch, then press the Multi As-

sign switch in the Output section.

Group numbers are shown (flashing) in each channel strip
LCD; the number indicates the Group to which each channel
is assigned.

If the Group contains fewer than 16 members the channels are
right-justified within the input fader bank, in order to bring
channels as close as possible to the center of the console. Un­used channel strips are left blank and inactive.

If the Group contains more than 16 members only the first 16
members are shown.

VENUE SC48 Guide82

Viewing Group Bus Assignments On-Screen

Currently selected output (Group)

Members

Pop-up

Click

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When a Group bus channel is targeted on-screen, its members
are shown in a list on the right side of the Outputs page.

2 Click the Input Assign pop-up menu at the bottom of the

Members list, choose Replace With Mix From, then choose the
Group whose assignments you want to copy to the currently
selected bus.

Copying input assignments between Groups

Resetting Group Bus Assignments

You can remove input assignments from a Group on-screen.

Group members shown in the Outputs page

Copying Assignments Between Groups

You can copy the current input assignments from one Group
bus to another. If the Groups are stereo, assignments can be
copied from other linked busses. This lets you quickly dupli-
cate monitor mixes.

Copying Group bus assignments overwrites all the assign-
ments on the destination Group bus.

To copy input assignments between Group busses:

1 Target the Group bus that you want to be the destination of

the copied assignments by selecting its on-screen channel
strip.

To remove an input assignment from a Group bus:

1 Select the Group bus you want to change so that its mem-

bers are displayed on-screen.

2 In the list of Group bus members, right-click the input as-

signment you want to remove and choose Unassign.

To remove all input assignments from a Group bus:

1 Select the Group bus you want to change so that its mem-

bers are displayed on-screen.

2 Click the pop-up menu at the bottom of the Members list

and choose Reset Mix.

Chapter 10: Groups 83

Group Bus Signal Flow Options

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Routing Signals to a Stereo Group Bus
Configuration

Routing Signals to a Mono Group Bus
Configuration

When configured as mono busses, the eight Groups can be fed
as 8 unlinked mono busses or up to 4 linked odd/even bus
pairs.

Unlinked Mono Busses

To use unlinked mono Group busses:

1 Make sure the Group busses are configured as mono busses.

See “Configuring Aux and Group Busses” on page 74.

2 While routing channels to Group busses, make sure the Ste-

reo Pan switch is off.

The Group switches in the ACS Bus Assigns section light green
to indicate mono operation. In this configuration, input sig-
nals are handled as follows:

Mono Input Signals Contributing mono signals are summed to
the mono Group bus. Any pan information from mono input
channels feeding the bus is ignored.

Stereo Input Signals Contributing stereo signals are summed
to the mono Group bus with no attenuation. The balance and
width information from each stereo input channel is ignored.

When configured as stereo busses, the eight Groups can be fed
as 8 true ster eo bus ses o r (in Ex pert mode only) as 8 dual mono
busses.

Stereo Busses

To use stereo Group busses:

1 Make sure the Group busses are configured as stereo busses.

See “Configuring Aux and Group Busses” on page 74.

2 When routing channels to any of the Group busses, make

sure the Stereo Pan switch is lit yellow.

When working with stereo Groups in Simple Mode, the
Stereo Pan switch is always lit to indicate all Groups
operate in true stereo.

Dual Mono Busses

Dual mono busses may only be used in Expert Mode. See
“Simple and Expert Operational Modes” on page 85.

Adjusting Group Bus Output Controls

Group Bus Output Levels

Linked Odd/Even Bus Pairs

To use linked mono Group bus pairs:

1 Make sure the Group busses are configured as mono busses.

See “Configuring Aux and Group Busses” on page 74.

2 While routing channels to Group busses, press the Stereo

Pan switch so that it lights yellow.

The Group switches in the ACS Bus Assigns section and the
Stereo Pan LED in the channel’s Bus Assign indicator light yel-
low to indicate stereo operation. In this configuration, input
signals are handled as follows:

Mono Input Signals Contributing mono signals are panned
across the linked odd/even Group bus pair. Pan information
from each mono input channel determines its pan position in
the bus pair.

Stereo Input Signals Contributing stereo signals are panned
across the linked odd/even Group bus pair. Balance and width
information from each stereo input channel determines its
contribution to the odd and even sides of the bus pair.

Group bus levels are adjusted just like other Output busses
(bank to Groups, adjust the fader). For more information, see
“Adjusting Output Controls” on page 76.

Group Bus Output Pan

Group bus output pan is controlled from the Output encoders.

Groups-to-Mains assignment is displayed by the indicator
LED for each Output encoder, when Groups are banked to the
Output faders. The Output encoder Pan switch cycles the en­coders and LCD to pan, balance and width parameters.

The pan controls adjust pan (when in mono Groups configu­ration) or stereo balance and width (when in stereo Groups
configuration) of the Group output to the Main busses only.
The Group outputs in the Patchbay are distinct left and right
channels.

To control mono Group output pan:

1 Bank the Output faders to Groups.

2 Press the Pan switch in the Output encoder section once to

assign control of Group pan to the Output encoders.

3 Turn a rotary encoder to adjust the pan for the correspond-

ing mono Group.

VENUE SC48 Guide84

To control stereo Group output balance and width:

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1 Press the Pan switch in the Output encoder section.

2 Turn a rotary encoder to adjust the balance for the corre-

sponding stereo Group.

3 Press the Group Pan switch in the Output Encoder assign-

ment section an additional time to assign Group width con­trol to the Output encoders.

4 Turn a rotary encoder to adjust the width for the corre-

sponding stereo Group.

To set the link status of individual mono Group busses on a
channel (Expert Mode only):

1 Make sure Stereo Group Panning is set to Expert Mode.

2 Select an input channel or FX return whose signal you want

to send to a Group bus. To select multiple channels, use the
Multi-Select switch next to the input faders.

3 In the Bus Assigns section, press the Stereo Pan switch. The

switch flashes yellow to indicate bus link mode.

4 Press any of the Group switches to link or unlink the bus

pairs (1–2, 3–4, 5–6, or 7–8). The Group switch pairs flash yel­low to indicate stereo linked, or flash green to indicate mono.

Simple and Expert Operational Modes

When configuring Group busses, you can choose between two
operational modes that provide different levels of flexibility:
Simple mode and Expert mode.

Setting the Operational Mode

To switch between Simple mode and Expert mode:

1 Put the system in Config mode.

2 Go to the Options page and click the Busses tab.

3 Under Stereo Group Panning Operation, select the mode you

want to use (Simple or Expert).

Setting the Group bus operational mode

Working with Mono Group Busses

When configured as mono busses, Groups can operate in the
following modes:

5 Press the flashing Stereo Pan switch to confirm the bus link

status for the selected channels.

Working with Stereo Group Busses

When configured as stereo busses, Groups can operate in the
following modes:

Simple Mode In Simple Mode, all 8 Group busses function
only as true stereo busses.

Expert Mode In Expert Mode, any of the 8 stereo Group busses
can be set to act as true stereo or as dual mono busses, on a per
channel basis.

To set the link status of individual stereo Group busses for a
channel (Expert Mode only):

1 Make sure Stereo Group Panning is set to Expert Mode.

2 Select an Input Channel or FX Return whose signal you

want to route to a Group bus. To select multiple channels, use
the Multi-Select switch next to the input faders.

3 In the ACS Bus Assigns section, press the Stereo Pan switch.

The switch flashes yellow to indicate bus link mode.

4 Press any of the Group switches (1–8) to set the correspond-

ing bus to stereo or dual mono. The Group switches flash yel­low to indicate stereo, or flash green to indicate dual mono.

Simple Mode

In Simple mode, either all Groups on a channel are mono, or
all Groups on a channel act as bus pairs.

Expert Mode

In Expert mode, any of the 4 bus pairs can be stereo linked in­dividually while leaving the other busses as mono, on a per
channel basis.

5 Press the flashing Stereo Pan switch to confirm the bus link

status for the selected channels.

To use dual mono Group busses (Expert Mode only):

1 Make sure the Group busses are configured as stereo busses.

See “Configuring Aux and Group Busses” on page 74.

2 Make sure the link status of the Group busses you want to

use is set to dual mono.

When routing channels to a dual mono Group bus, the Stereo
Pan switch will be off and the Group switch will light green to
indicate dual mono operation.

Chapter 10: Groups 85

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Chapter 11: Aux Sends

Bus Pair

Links

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This chapter explains the following Aux Sends operations:

• Configuring Aux Send busses

• Routing to Aux Sends

• Adjusting Aux Send parameters

• Managing Auxes

Auxes can be fed by input channels and FX returns, and can be
assigned to hardware outputs in the Patchbay.

Aux Send level controls provide a gain range of –INF to
+12 dB.

Configuring Aux Busses

Up to 16 Aux busses are available. Auxes can be mono, or
linked to form stereo pairs. The number of available Aux bus-
ses is set as part of the overall Aux/Group bus configuration.
(See “Configuring Aux and Group Busses” on page 74.)

Linking Aux Busses for Stereo Operation

When working with Aux busses, you can link odd/even bus
pairs and pan input signals into those bus pairs.

To link Aux bus pairs:

1 Put the system into Config mode.

2 Go to the Options page and click the Busses tab.

Mono Input Signals Contributing mono signals are panned

across the linked odd/even Aux bus pair.

• When the Follows Channels Pan option is off, panning
of the mono signal to the bus pair is controlled by the
Aux Pan control (the even-numbered send).

• When the Follows Channels Pan option is on, the pan in­formation from each mono input channel determines its
pan position in the bus pair.

Stereo Input Signals Contributing stereo signals are panned
across the linked odd/even Aux bus pair. Stereo width infor­mation from the input channel is applied to the bus signal.

• When the Follows Channels Pan option is off, balance of
the stereo signal to the bus pair is controlled by the Aux
Pan control.

When the Follows Channels Pan option is on, the balance
from each stereo input channel determines its contribution to
the odd and even sides of the bus pair.

Selecting Aux Send Pickoff Points

The system lets you set the pickoff point on Input Channels or
FX Returns channels for Aux Sends. Pickoff points are set for
each Aux bus independently. If any Aux busses are linked, the
pickoff point is set for the linked bus pair.

Each channel can be sent to an Aux either pre- or post-fader.
Pre-fade offers several choices of pickoff.

Pre-EQ Post-HPF and pre-EQ, Dynamics and Channel Inserts,
pre-Mute, and pre-Fader. The Aux Send is not affected by the
channel mute.

Pre-Mute Post-HPF, post-EQ, Dynamics, and Channel Inserts,
pre-Mute, and pre-Fader. The Aux Send is not affected by the
channel mute.

Pre-Fader Post-HPF, post-EQ Dynamics, and Channel Inserts,
post-Mute, and pre-Fader. The Aux Send is affected by the

Linking bus pairs in the Options > Busses page

3 Click Edit.

4 Click the checkboxes above any of the bus pairs to link or

unlink each pair.

5 Click Apply.

When Aux busses are linked, signals are handled as follows:

channel mute.

Chapter 11: Aux Sends 87

To set the Pre pickoff point for an Aux Send:

Pickoff
point
options

Encoders

Aux

Sends

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1 Go to the Options page and click the Busses tab.

Setting Aux bus pickoff points

2 Select a Pre pickoff point for any of the busses or linked bus

pairs by clicking the Pre-EQ, Pre-Mute, or Pre-Fader button.

To activate a Pre pickoff point for an Aux Send:

1 Go to the Inputs page and target the channel with the pick-

off point you want to activate.

2 Click the corresponding Pre button in the Aux Sends sec-

tion.

Routing Inputs to Aux Busses

You can send signals from any Input Channel or FX Return to
any number of Aux busses with the input encoders, Channel
Control section, Output section, or on-screen.

To route channels to Aux sends using the input encoders:

1 To access Aux Sends on the input channel encoders, press an

Encoder assign Sends switch 1–2 through 15–16.

Encoder assignment switches for input channels

Activating Pre pickoff for an Aux Send (Inputs page shown)

When the Pre button is lit, the selected Pre pickoff point is
used. When the Pre button is off, the pickoff point is
Post-Fader.

Classifying Auxes for Snapshots

You can classify Aux Sends as monitor sends (“Mon”) or as ef-
fects sends (“FX”) for the purposes of scoping and safing each

type separately in snapshots. See “Classifying Aux Sends” on
page 189.

2 For each channel you want to assign to the selected Aux

Send bus, press its channel encoder so that its “On” indicator
LED lights.

• The first press of an Aux Send encoder assigns level con­trol of the odd-numbered send. The switch lights green
to indicate an odd-numbered selection.

• The second press of an Aux Send encoder assigns level
control of the even-numbered send. The switch lights
yellow to indicate an even-numbered selection.

3 To set the Aux Send level, do either of the following:

• Turn the encoder on each channel.

• Press the Flip to Faders switch, then adjust the channel
fader.

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