VENUE | S3L X System Guide

Transcript

1 VENUE | S3L-X System Guide and VENUE | Software 4.5

2 Legal Notices © 2014 Avid Technology, Inc., (“Avid”), a ll rights reserved. This guide may not be duplicated in whole or in part without the written consent of Avid. 003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline, AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive, Archive II, Assistant Station, Audiotabs, AudioStation, AutoLoop, AutoSync , Avid, Avid Active, Avid Advanced Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS Assist Station, Avid Ignite, Avid Liquid, Avid Media Engine, Avid Media Processor, Avid MEDIArray, Avid Mojo, Avid Remo te Response, Avid Unity, Avid Unity ISIS, Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX, Beat Detective, Beauty Without The Bandwidth, Beyond Reality, BF Essentials, Bomb Factory, Bruno, C|24, CaptureManager, ChromaCurve, ChromaWheel, Cineractive Viewer, Color Conductor, Cineractive Engine, Cineractive Player, Command|8, Control|24, Cosmonaut Voice, CountDown, d2, d3, DAE, D-Command, D-Control, Deko, DekoCast, D-Fi, D-fx, Digi 002, Digi 003, DigiBase, Digidesign, Digidesign Audio Engine, Digidesign Development Partners, Digidesign Intelligent Nois e Reduction, Digidesign TDM Bus, erial, DigiSnake, DigiLink, DigiMeter, DigiPanner, DigiProNet, DigiRack, DigiS ital Nonlinear Accelerator, DigiTest, DigiSystem, Digital Choreography, Dig DigiTranslator, DigiWear, DINR, DNxchange, Do More, DPP-1, D-Show, DSP Manager, DS-StorageCalc, DV Toolkit, DVD Complete, D-Verb, Eleven, EM, Euphonix, EUCON, EveryPhase, Expander, ExpertRender, Fairchild, FastBreak, Fast Track, Film Cutter, FilmScribe, FlexEvent, FluidMotion, Frame Chase, FXDeko, HD Core, HD Proc ess, HDpack, Home-to-Hollywood, HyperSPACE, HyperSPACE HDCAM, iKnowledge, Impact, Improv, iNEWS, iNEWS Assign, iNEWS ControlAir, InGame, Instantwrite, Instinct, Intelligent Content Management, Intelligent Digital Actor Technology, IntelliRender, Intelli-Sat, Intelli-Sat Broadcasting Recording Manager, InterFX, Interplay, inTONE, Intraframe, iS Expander, iS9, iS18, iS23, iS36, ISIS, IsoSync, LaunchPad, LeaderPlus, LFX, Lightning, Link & Sync, ListSync, LKT-200, Lo-Fi, MachineControl, Magic Mask, Make Anything Hollywood, make manage move|media, Marquee, Ma ssivePack, MassivePack Pro, Maxim, Mbox, Media Composer, MediaFlow, MediaLog, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MIDI I/O, Mix Rack, Moviestar, Mult iShell, NaturalMat ch, NewsCutter, NewsView, NewsVision, Nitris, N L3D, NLP, NSDOS, NSWIN, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Painterly Effects, Palladium, Personal Q, PET, Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profiler, Pro Tools, Pro Tools|HD, Pro Tools LE, Pro Tools M-Powered, Pro Transfer, QuickPunch, QuietDrive, Realti me Motion Synthesis, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi, Scorch, ScriptSync, SecureProductionEnvironment, Shape-to-Shape, ShuttleCase, Sibelius, SimulPlay, SimulRecord, Slightly Rude Compressor, Smack!, Soft SampleCell, Soft-Clip Limiter, SoundReplacer, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, SubCap, Sundance, Sundance Digital, SurroundScope, Symphony, SYNC HD, SYNC I/O, Synchronic, SynchroScope, Syntax, TDM FlexCable, TechFlix, Tel-Ray, Thunder, TimeLiner, Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, tools for storytellers, Transit, TransJammer, Trillium Lane Labs, TruTouch, UnityRAID, Vari-Fi, Video the Web Way, VideoRAID, VideoSPACE, VTEM, Work-N-Play, Xdeck, X-Form, and XMON are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries. Bonjour, the Bonjour logo, and the Bonjour symbol are trademarks of Apple Computer, Inc. Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. JetPLL, JET and Jitter Elimination Technology are trademarks of TC Applied Technologies, a division of TC Group Americas Inc. The JetPLL technology is used under sublicense from TC Applied Technologies, and is the intellectual property of Sonopsis Ltd. The JetPLL te chnology is protected by one or more U.S. and non-U.S. patents, the details of which can be found at www.tctechnologies.tc/patents. This product may be protected by one or more U.S. and non-U.S. patents. Details are available at www.avid.com/patents. Product features, specifications, system requirements, and availability are subject to change without notice. Guide Part Number 9329-65470-00 REV B 7/15

3 Rack-Mount Safety Instructions Safety Compliance 1) Elevated Operating Ambient - If installed in a closed or multi-unit rack Safety Statement assembly, the operating ambient temperature of the rack environment might be greater than room ambient. Therefore, consider installing the equipment in an This equipment has been tested to comply with USA and Canadian safety environment compatible with the maximum ambient temperature (Tma) certification in accordance with the specifications of UL Standards: UL60065 7th specified by the manufacturer. /IEC 60065 7th and Canadian CAN/CSA C22.2 60065:03. Avid Inc., has been authorized to apply the appropriate NTRL mark on its compliant equipment. 2) Reduced Air Flow - Installation of the equipment in a rack should be such that Warning the amount of air flow required for safe operation of the equipment is not he front of the chassis enclosure to the compromised. Stage 48 airflow is from t rear. Make allowances for cooling air to be available to the front panel surface and no restrictions at the rear. 3) Mechanical Loading - Mounting of the equipment in the rack should be such eved due to uneven mechanical loading. that ahazardous condition is not achi 4) Circuit Overloading - Consideration should be given to the connection of the equipment to the supply circuit and the ef fect that overloading of the circuits on and supply wiring. Appropriate might have on overcurrent protecti Important Safety Instructions consideration of equipment nameplate ra tings should be used when addressing this concern. 1) Read these instructions. 5) Reliable Earthing - Reliable earthing of rack-mounted equipment should be 2) Keep these instructions. maintained. Particular attention should be given to supply connections other than direct connections to the branch circuit (for example, use of power strips). 3) Heed all warnings. 4) Follow all instructions. 5) Only perform the services explicitly described in the install and or user manual. For services or procedures not outlined in the install or user manual, speak with authorized service personnel. 6) Do not use this equipment near water. 7) Clean only with dry cloth. 8) Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 9) Do not install near any heat sources such as radiators, heat registers, stoves, or other equipment (including amplifiers) that produce heat. 10) Do not defeat the safety purpose of the polarized or 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. 11) Protect power cords from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the equipment. 12) Only use attachments/accessories specified by the manufacturer. 13) For products that are not rack-mountable: Use only with a cart, stand, tripod, facturer, or sold with the equipment. bracket, or table specified by the manu When a cart is used, use caution when moving the cart/equipment combination to avoid injury from tip-over. 14) Unplug this equipment during lightning storms or when unused for long periods of time. 15) Refer all servicing to qualified service personnel. Servicing is 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 expo sed to rain or moisture, does not operate normally, or has been dropped. 16) For products that are a Mains powered device: The equipment shall not be exposed to dripping or splashing and no objects filled with liquids (such as vases) shall be placed on the equipment. electric shock, do not expose this Warning! To reduce the risk of fire or equipment to rain or moisture. 17) For products containing a lithium battery: y is incorrectly repl CAUTION! Danger of explosion if batter aced. Replace only with the same or equivalent type. 18) The power inlet is the main disconnect device and should remain accessible. Disconnect the power cord before servicing the unit. 19) The equipment shall be used at a maximum ambient temperature of 40° C.

4 Contents Part I Overview uction to the VENUE | S3L-X System Chapter 1. Introd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 S3L-X System Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 S3 Control Surface Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 E3 Engine Features Stage 16 Remote Stage Box Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 What’s Included . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Additional Required Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Optional Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Operational Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Connection Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Chapter 2. Configuring and Connecting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Unpacking and Assembling System Components Connecting Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Connecting Peripherals . . . . . . . . . 10 Connecting an S3L-X System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Powering Up the System . . . . . . . . 13 Confirming System Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Enabling Config Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Setting Up a Basic System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Setting Up a Shared Input Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Setting the System Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Managing Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 How to Proceed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Audio and Control Connections, Switches, and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Installing Additional Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 iv Contents

5 Part II Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Chapter 3. S3L-X System Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 S3 Control Surface Top Panel Overview Channel Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Software Screen Overview . . . . . . 37 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Chapter 4. Banking and Selecting Channels Banking Channels . . . . . . . . . . . . . 41 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting and Targeting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Screen Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Screen Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Type Text Search Chapter 5. Channel Control . . . . . . . . . . 53 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Assigning Functions to Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 User Assignment . . . . . . . . . . . . . 56 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Expanding Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Availability of Channel Control Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Chapter 6. Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pickoffs . . . . . . . . . . . . . . . . . . . . 63 Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Misc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Devices Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Part III Signal Routing Chapter 7. Inputs and Input Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Configuring Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 4 Assigning Input Sources to Channels Routing Input Channels to Outputs 76 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Routing Inputs to Direct Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Adjusting Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Using Built-In EQ and Dynamics on Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Using Plug-In Inserts on Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Using Input Direct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Input Channel Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Working with Inputs in a Shared Input Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 v Contents

6 Chapter 8. Outputs and Output Routing 86 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Outputs . . . . . . . . . . . 86 Assigning Busses to Hardware Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Using Built-In Comp/Lim and EQ on Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Using Inserts on Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Adjusting On-Screen Output Controls Adjusting the Mains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Direct Outputs VCAs . . . . . . . . . . . . . . . . . . . . . . 96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Automation Safing Output Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Managing Bus Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Working with Outputs in a Shared Input Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 9. Groups . . . . . . . . . . . . . . . . . 100 Configuring Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Routing Groups to Mains . . . . . . . 100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adjusting Group Output Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 0 Group Spill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Group Bus Signal Flow Options . . 102 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 10. Auxes and Variable Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 04 Configuring Aux and Variable Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Routing Auxes and Variable Groups to Outputs, EQs, Dynamics and Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Adjusting Aux and Variable Group Send Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Adjusting Aux/Variable Group Output Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 trix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 11. Ma . . . . . . . . . . . 112 . . . . . . 113 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Matrix Mixers Assigning Input Sources to Matrixes 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Adjusting Matrix Mixer Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Adjusting Matrix Mixer Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Snapshot Data and Parameters for Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Chapter 12. Patchbay Accessing the Patchbay . . . . . . . 119 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Overview of the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Navigating the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Assigning Channels in the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Warning when Stealing Inputs or Outputs in the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Patch List Export Chapter 13. Solo and Monitor Busses . 126 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting a Solo Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Configuring Solo and Monitor Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Using Solo . . . . . . . . . . . . . . . . . 128 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Solo Safing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Using the Monitor Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Adjusting Monitor/Headphone Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Oscillator, Talkback, and 2-Track Controls vi Contents

7 Chapter 14. Muting and Mute Groups . 134 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Muting Channels . . . . . . . . . . . 134 Using Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Part IV Processing Chapter 15. Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Dynamics Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Built-In Comp/Lim . . . . . . . . . . . . 139 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Built-In Exp/Gate Adjusting Dynamics Plug-Ins . . . . 141 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Input Direct Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 On-Screen Dynamics Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Dynamics Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Using the Sidechain Channel Control Dynamics Parameter Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Control Ranges for Built-In Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Chapter 16. EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 EQ Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Built-In EQ Parameters . . . . . . . . 148 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adjusting EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Adjusting EQ Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Graphic EQ for Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Input Direct Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 EQ Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Control Ranges for Built-In 4-Band EQ (All Modes) . . . . . . . . . . . . . . . 156 Chapter 17. Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Plug-Ins Quick Start . . . . . . . . . . 156 Installing and Authorizing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Plug-in Version Checker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . USB Ports for iLoks . . . . . . . . . . . 160 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Plug-In Racks Rack Slots . . . . . . . . . . . . . . . . . 164 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Routing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Adjusting Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Bypassing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Plug-In Presets and Snapshots Plug-In DSP Usage . . . . . . . . . . . 171 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Initializing the Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Plug-In Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Plug-In Latency and Processing Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Chapter 18. Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Connecting External Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Assigning Hardware Inserts to Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Activating and Bypassing Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Setting the Hardware Insert Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 vii Contents

8 Part V Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Chapter 19. Shows and File Management . . . . . . . . . . . . . 175 Creating Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Loading a Show . . . . . . . . . . . . . 176 Working with Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Transferring Settings, Shows and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Undoing Changes Using the History Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Chapter 20. Snapshots Snapshots Page . . . . . . . . . . . . . 181 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Recalling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Recall Safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Automation Safe Managing Snapshots . . . . . . . . . 193 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Making Changes to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Preview Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Undoing Snapshot Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Disabling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Adding MIDI, Plug-In, and Media Data to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Snapshot Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Snapshot Data Types and Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Chapter 21. Events . . . . . . . . . . . . . . . . 209 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Events Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 Creating Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Creating Triggers . . . . . . . . . . . . 215 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Testing Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Resetting Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Snapshots and Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Default Settings, Templates and Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Tap Tempo for Plug-ins Trigger Types . . . . . . . . . . . . . . . 223 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Action Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Chapter 22. Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Automating Recall of Snapshots with MIDI Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Remote Control of Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 29 Triggering of External Devices on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Sending MIDI Messages on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Synchronizing with Word Clock and Digital Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 viii Contents

9 Chapter 23. Using the Standalone Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Differences Between Standalone Software and a VENUE System . . . . . . . . . 232 System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Installing the Standalone Software 232 Simulating a VENUE Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Transfer and Filing Quick Start . . 233 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Exporting System Information and Patchbay Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Part VI Recording and Playback Chapter 24. 2-Track USB Recording and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 USB Flash Drive Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 Media Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 Transport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 Recording Audio to USB Playing Back Audio from USB . . . 242 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Managing USB Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Using Snapshots to Trigger Transport Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Using Events to Trigger USB Transport Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Controlling USB 2-Track Recording and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Chapter 25. Pro Tools Recording and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 Pro Tools Recording and Playback Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 Pro Tools Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 S3L-X and Pro Tools Overview . . 250 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Installing Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Connecting to Pro Tools . . . . . . . 251 Enabling Direct Digital Splits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Using Virtual Soundcheck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Using Pro Tools Assignable I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using Input Mode . . . . . . . . . . . . 257 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Enabling VENUE Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Using VENUE Link Controlling Pro Tools from Global Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Part VII Specifications and Troubleshooting Chapter 26. Mechanical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 S3 Control Surface E3 Engine . . . . . . . . . . . . . . . . . 267 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stage 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Power and Status LED Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Network Port Snake Act and Sig LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Chapter 27. Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 S3 Control Surface Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 E3 Engine Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Stage 16 Audio Specifications ix Contents

10 Signal Flow Diagrams Chapter 28. S3L-X System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Monitor Bus Signal Flow Diagram . . . . . 278 Input Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Output Signal Flow Diagram Chapter 29. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Problem Solving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Performing a Soft Reset . . . . . . . 283 Hardware Monitoring Window . . . 283 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resetting Hardware Components 284 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Offline or Unavailable Devices Utility Mode . . . . . . . . . . . . . . . . 284 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resetting the Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Using the System Restore Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 85 Part VIII Reference Chapter 30. GPI Port Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GPI Port Specifications . . . . . . . . 288 GPI Wiring Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 31. ECx Ethernet Control . . . . 291 ECx Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Required Components for ECx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 ECx Host and Client Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Appendix A. E3 Engi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 ne Secure USB Port Appendix B. Configuring St age 16 Rack Ears/Handles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Appendix C. Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Environmental Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 EMC (Electromagnetic Compliance) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Index x Contents

11 Part I: Overview

12 Chapter 1: Introduction to the VENUE | S3L-X System ® . The S3L-X system includes the S3 control surface, the E3 en- Welcome to the VENUE | S3L-X digital live mixing system from Avid gine, and up to four Stage 16 remote I/O boxes, providing a compact, modular, scalable, and high-fidelity live mixing solution u sing ul- tra-reliable and low-la tency Ethernet AVB audi o network connections. The S3L-X system uses the same intuitive and powerful VENUE software used by al l other systems in the Avid live systems family, ® connectivity and interoperability, and support for providing Show file portability betwee n Avid live systems, direct Pro Tools Pro Tools-compatible plug-ins. The S3L-X system allows provides St age input sharing: share up to four Stage 16 remote stage boxe s between multiple E3 engines, with auto matic gain tracking for shared inputs. E3 Power ANALOG INPUT INPUT ANALOG 56 78 1234 OUTPUT ANALOG ANALOG OUTPUT NETWORK OUTPUT AES DIGITAL S3L-X system components: S3 control surface (top), E3 engine (middle) and Stage 16 remote stage I/O box (bottom) 1 Chapter 1: Introduction to the VENUE | S3L-X System

13 S3 Control Surface Features S3L-X System Features The S3 control surface provides system controls, mix position au- S3L-X System Processing dio I/O, and control and utility connections. The S3L-X system provides the following processing features and capabilities: System Controls with a touch-sensitive fader, • 16 bankable fader strips, each each with built-in High-Pass • 64 input processing channels, one multi-purpose assignable rota ry encoder, solo, mute and Filter, Dynamics and EQ processors select controls • 35 output processing channels, each with a built-in Com- • Level meters on each fader strip pressor/Limiter and 4-ba nd fully parametric EQ ontrol of input settings, Dy- • Channel Control section for c • 16 assignable 31-band Graphi c EQs available for output namics and EQ settings (built-in or plug-ins), and Aux sends channels • Eight rotary encoders for globa l control of parameters such • Three Main busses, configurable as Left–Center–Right or as output level controls and plug-ins Left–Right+Mono • Touch Strip for customizable control of system parameters • 27 busses total (24 mix busses plus three Main busses), eight mono stereo-linkable Matrixes, and eight VCAs • Eight customizable function switches providing instant ac- cess to up to 16 system parameters • 40 plug-in rack slots for Pro Tools compatible plug-ins Audio I/O S3L-X System Recording and Playback Features ts with mic preamps for con- • Two analog mic/line XLR inpu el devices at the mix posi- necting microphones or line-lev cording and play back capabili- S3L-X provides the following re tion ties: • Two analog line inputs and four analog line outputs for con- • 64 channels of fully integrated recording and 64 channels of necting other line-level devices at the mix position playback with a compatible Pro Tools system, including true Virtual Soundcheck capability Control and Utility Connections • VENUE Link, providing Pro T ools and VENUE interopera- • Two Neutrik etherCON RJ-45 Ethernet Network ports for including Pro Tools Transport bility and interconnection, connecting to the E3 engine an d/or a compatible Pro Tools control from the S3 control surface system • Built-in USB 2-track recording and playback • Two USB ports for keyboard and mouse/trackball (only) ents and a list of qualified For complete system requirem • One 1/4-inch stereo headphone connector computers, operati ng systems, and third-party devices, • One 1/4-inch TRS footswitch connector visit www.avid.com/S3Lsupport tors (LED console lights re- • Two XLR console light connec quired) Stage Input Sharing age input sharing capabilities: S3L-X provides the following st Standalone DAW Control and Audio remote stage boxes between mul- • Share up to four Stage 16 Interface tiple E3 engines S3 provides the following features as a standalone studio control- • Automatic gain tracking on a per-channel basis across all E3 ler and Ethernet AVB audio interf ace with compatible computers es, even during a snapshot engines and applied at all tim running EuControl 3.2 or higher: store or recall TM -aware DAWs, including Pro Tools, • Control of EUCON • Independent control of the full range of input gain control Apple Logic, Steinberg Cu base/Nuendo, MOTU Digital (+10dB to +60dB) from every E3 on the network Performer, Cakewalk SONAR, and more. • Intelligent communication between E3 engines providing • Integrated automation controls ongoing device connectivity, assignment, health and status • Integrated transport controls monitoring , including two mic inputs and Main and • 4x6 audio interface • Redundant connections to shared Stage 16 units in sup- Alt monitoring outputs, all controllable from the surface configurations ported connection For complete information on using S3 standalone, see the S3 User Guide. For compatib ility information and a FAQ, visit . www.avid.com/S3-Surface-Support 2 Chapter 1: Introduction to the VENUE | S3L-X System

14 Stage 16 Remote Stage Box Features E3 Engine Features I/O for S3L-X systems in a 4U and connections tion audio I/O, The E3 engine provides mix posi Stage 16 provides remote stage rack-mountable enclosure. The S3L-X system supports redun- control. The E3 engine also for synchronization, utility and dant audio snake connec tions to up to four Stage 16 boxes. Audio houses the main CPU, DSP, and sy stem drives fo r the S3L-X sys- the mix position along with the tem. The E3 engine is located at snake connection are made using supported Ethernet cables (see console. ). Audio Network Connections Audio I/O Audio I/O • 16 analog inputs with remotely controllable mic preamps • Four analog mic/line XLR inputs with mic preamps for con- and individually sele ctable phantom power necting microphones or line-lev el devices at the mix posi- tion • Eight analog outputs • Four analog line-level XLR outputs ls (on two stereo connectors) • Four AES digital output channe • Two stereo AES/EBU digital inputs • Two stereo AES/EBU digital outputs Control Connections • Two Neutrik etherCON RJ-45 Ethernet Network ports for and to other Stage 16 boxes connecting to the E3 engine Synchronization, Control and Utility Connections • An internal universal PSU (100V to 240V nominal 50–60 • Three Neutrik etherCON RJ-45 Ethernet Network ports for Hz) accepting standard IEC AC power cables connecting to the S3 control surface and Stage 16 boxes • One standard RJ-45 Ethernet port for connecting to a client computer or networking equipment to enable ECx Ethernet Control remote system control • Three external USB 2.0 ports for connecting USB storage devices (for data transfer, and for 2-track recording and ys (for plug-in authoriza- playback), iLok USB Smart Ke tion), and compatib le MIDI devices • One internally-mounted, secure USB 2.0 port for an iLok • 16 channels of MIDI input and 16 channels of MIDI output al USB MIDI interface via a compatible extern • DVI video monitor port for software screen display • Word clock I/O for digita l clock synchronization • One RJ-45 (100 BaseT Ethernet) port for ECx Ethernet Control remote system control • One GPIO port (DB9 connector) providing two GPI inputs and two GPI outputs • An internal universal PSU (100V to 240V nominal 50–60 Hz) accepting standard IEC AC power cables CPU, DSP, and System Drives The E3 engine houses the CPU, Avid Pro Tools|HDX-powered de the processing power to run DSP, and system drives that provi the VENUE software and plug-i ns for your system. The USB ports on the E3 engine allow you to do the following: • Update and restore your VENUE system software • Install compatible plug-ins • Transfer VENUE Show files and other data • Record and play back 2-track audio 3 Chapter 1: Introduction to the VENUE | S3L-X System

15 Activation Card The Avid S3L-X System Software & Plug-Ins What’s Included Activation Card is used to activate your S3L-X software and plug-ins. This activation proces s deposits the following iLok li- S3 Control Surface censes into your iLok account: • S3L-X plug-in licenses Each S3 control surface includes the following: • Live Sound Production Toolkit license • S3 control surface • Avid mouse pad The activation process also depo sits the following S3L-X soft- ware downloads and documentat ion into your Avid account: • One (1) external universal power supply (100V to 240V nominal 50–60 Hz) • S3L-X plug-in installers • One (1) IEC power cable, North American standard • Latest VENUE software update (if any) • S3L-X System Quick Setup Guide • ECx Ethernet Control host and client software (for remote , a • Other documentation, including a Health and Safety Guide control of your S3L-X system) Welcome Letter, and a Registration card • VENUE Standalone software • VENUE Tech Support card (for obtaining tech support for • Documentation your system) • EuControl 3.2 software (enables S3 to be used as a stand- alone studio controller for EUCON-enabled DAWs, includ- E3 Engine ing Pro Tools) Each E3 engine includes the following: A separate USB flash drive (not provided) is required • E3 engine rs and documentation. Do not to store software installe • Hardware for rack installation use the included VENUE System Restore USB Drive. • Replacement screws Software and the Live Sound Production Pro Tools • One (1) IEC power cable, North American standard Toolkit • S3L-X System Software & Plug-Ins pack Pro Tools software is included with the E3 engine, and is acti- • Pro Tools software package from the S3L-X system soft- vated and downloaded separately S3L-X System Quick Setup Guide • ware and plug-ins. The Live Sou nd Production Toolkit is an iLok • S3L-X Software Installation Guide license that enables up to 64 ch annels of I/O between your S3L-X system and your Pro Tools computer. • S3L-X Quick Start Guide reference card Health and Safety Guide , a • Other documentation, including a the Pro Tools package to store An iLok 2 is also included in Welcome Letter, and a Registration card Sound Production Toolkit li- your Pro Tools and Live • VENUE Tech Support card (for obtaining tech support for system plug-in licenses and censes. Do not store S3L-X your system) iLok. You can, however, use Pro Tools licenses on the same the same iLok account to manage all iLok licenses. S3L-X System Software & Plug-Ins Pack Stage 16 The VENUE System Re- VENUE System Restore USB Drive E System Restore software. store USB Drive contains VENU Each Stage 16 includes the following: X system maintenance only. Keep This software is used for S3L- • Stage 16 remote I/O box this drive with the system at all times. • Hardware for rack installation Do not use this drive for any thing other than VENUE Sys- • Replacement screws tem Restore software. Do not use this drive to store North American standard • One (1) IEC power cable, VENUE Show files, audio files , or any other data or soft- • S3L-X System Quick Setup Guide ware, including VENUE software updates. • Other documentation, including a Health and Safety Guide , a An iLok USB key (2nd generation) is in- S3L-X Plug-Ins iLok Welcome Letter, and a Registration card cluded in this package to store your S3L-X plug-in licenses. To • VENUE Tech Support card (for obtaining tech support for run the S3L-X plug-ins on your S3L-X system, this iLok contain- your system) ected to your E3 engine at all ing plug-in licenses must be conn times. activation process for your For more information on the to www.avid.com/activation- S3L-X system software, go card and select S3L-X. 4 Chapter 1: Introduction to the VENUE | S3L-X System

16 Additional Required Components Operational Requirements ts must be purchased sepa- The following required componen Temperature and Ventilation rately: operated away from heat S3L-X system devices should be • Shielded Cat 5e (350 MHz) or better Ethernet cable with equate ve ntilation. sources and with ad connectors (for audio network connec- Neutrik etherCON tions between components) Hardware monitoring and automatic warnings are provided ible video monitor with • Free-standing DVI-D compat for temperature, power and other factors. For more informa- 1024 x 768 minimum resolution (15-inch or greater tion, see Hardware Monitoring Window . recommended) and cable flat-panel TFT display Storage • Windows-compatible USB ke yboard and trackball/mouse • USB 2.0 flash drive(s) for storing software, installers, and S3L-X system devices should be stored and transported at tem- documentation peratures not lower than 0 degrees F (–18 degrees C) and not ex- ceeding 140 degrees F (60 degrees C). Operation Optional Components S3L-X system devices should be operated at temperatures not The following components are op tional, and must be purchased lower than 40 degrees F (4 degrees C) and not exceeding separately: 104 degrees F (40 degrees C). • Shielded Cat 5e (350 MHz) or better Ethernet cable for con- nections to Pro Tools During operation, the bottom panels of the S3 control surface, the • Standard Cat 5e or better Ethernet cable for ECx Ethernet ne, and the side panels of the front and back panels of E3 engi Control connections Stage 16 should be exposed to am block the ven- bient air. Do not tilation holes on any S3L-X system component. • USB storage device for transf er of VENUE Show files and data (512 MB or larger recommended) or at extreme ambient tempera- Do not operate in direct sunlight • USB 2.0 flash drive(s) for use with the built-in USB 2-track tures. recording and playback features • Headphones with 1/4-inch connector Water and Moisture • Footswitch with 1/4-inch connector S3L-X system devices should be operated away from sources of connections to/from external • BNC cables for word clock direct moisture and should be kept clear of liquids that might spill digital devices into the units. If condensation is present on the unit, leave the unit • DB9 (9-pin) cable for connecting to GPI devices t one hour before powering the unit to dry in ambient air for at leas on. • Two (2) LED console lights with XLR connectors • Thunderbolt to Gigabit Ethern et adapter for connecting to 5% to 95%, non-condensing Storage humidity range the Thunderbolt port of a qualified Pro Tools computer Operating humidity range 20% to 80%, non-condensing Cleaning and Maintenance Use a dry cloth to clean the surfaces of the S3L-X components. ons, spray cleaners, or abrasives Do not apply any cleaning soluti to the surface. 5 Chapter 1: Introduction to the VENUE | S3L-X System

17 About www.avid.com Connection Requirements The Avid website (www.avid.com) is your best online source for Power Connections information to help you get the most out of your system. The fol- ices and features available. lowing are just a few of the serv system devices are auto volt- Power connections on all S3L-X age-selecting (100 to 240V nominal, 90-260V maximal, 50–60 Register your purchase online. Product Registration Hz). Support and Downloads Contact Customer Success (technical correctly rated for the number of Make sure your power source is es and the latest online manu- support); download software updat units you are connecting. A surge-protected power source (not in- stem require- als; browse the Compatibility documents for sy cluded) is highly recommended. ments or search the online Knowledgebase. Training and Education Study on your own using courses Audio Connections available online or find out how you can learn in a classroom set- • All audio inputs and outputs (except Headphones) are bal- ting at a certified Avid training center. anced XLR and/or balanced 1/4-inch connections. • All 1/4-inch connections support balanced (TRS) and unbal- Products and Developers Learn about Avid anced (TS) connections. re or learn a products; download demo softwa bout our Develop- ment Partners and their plug-in s, applications, and hardware. inputs and outputs are AES/EBU • All external digital audio (XLR) connections. Get the latest news from Avid or sign up for a News and Events product demo. For more information on audi o connectors and specifica- tions, see Audio Specifications. Watch the series of free tutorial Pro Tools Accelerated Videos videos. Accelerated Videos are designed to help you get up and Audio Network Connections running with Pro Tools and its plug-ins quickly. Shielded Cat 5e (350 MHz) or be tter Ethernet cable with Neutrik deos and live sys- Watch free tutorial vi Live Sound Webinars etherCON connectors are required for primary and redundant au- tem-specific webinars to learn from the experts. dio network connection s between the console, the E3 engine, and any Stage 16 boxes. Maximum di stances of 100m are supported To learn more about these and other resources available from for all audio network connections. ite (www.avid.com). Avid, visit our webs Pro Tools Connections Registration Shielded Cat 5e (350 MHz) or better Ethernet cable with RJ-45 connectors is required for th e Ethernet AVB connection to ion Card and follow Registration Informat Review the enclosed Pro Tools. register your purchase online. the printed instructions to quickly By registering, you become elig ible to receive the following: • Technical support information ECx Ethernet Control Connections • Software update and upgrade notices rnet cable with RJ-45 connectors are sup- Standard Cat 5e Ethe • Hardware warranty information tions to a client computer or ported for ECx remote control connec wireless/wired router. System Requirements and Compatibility Avid can only assure compatibility and provide support for hard- it has tested and approved. For complete sys- ware and software tem requirements and a list of qua lified computers, operating sys- tems, hard drives, and third-party devices, visit: www.avid.com/compatibility 6 Chapter 1: Introduction to the VENUE | S3L-X System

18 SHIFT and SHIFT Lock Conventions Used in This Guide in conjunction with other The SHIFT switch on the S3 is used All of our guides use the following conventions to indicate menu s Some switches have second- keys to access secondary function choices and key commands: ary functions, highlighted in gr ay above the primary function : (such as < Bank/Home , where Home is the secondary function). Convention Action The following terminology is used to describe SHIFT functions. Options > System In the VENUE software, click Example: Options to display the Options tab, then click the System tab. SHIFT switch then press the Back/Top • “Press and hold the switch” File > Save Choose Save from the File menu is written as Hold down the Control key and Control+N press the N key ” SHIFT+Back/Top • “Press Hold down the Control key and click Control-click the mouse button How to Use this PDF Guide Click with the right mouse button Right-click These are some useful features of this PDF: rve as a continuously visible • The Bookmarks on the left se Commands The names of that appear Options Settings , and , table of contents. Click on a subject heading to jump to that on-screen are in a different font. page. The following symbols are used to highlight important informa- • Click a + symbol to expand that heading to show subhead- tion: ings. Click the – symbol to collapse a subheading. active links to their pages. • The Table of Contents provides User Tips are helpful hints for getting the most from your sys- to hover over the heading un- Select the hand cursor, allow it tem. til it turns into a finger. Then click to locate to that subject and page. d affect your Important Notices include inform ation that coul blue are active links. Click to follow • All cross references in data or the performance of your system. the reference. • Select Find from the Edit menu to search for a subject. Shortcuts show you useful keyboard or mouse shortcuts. Cross References point to related sections in this guide and other VENUE guides. Hardware Switches on S3 Control Surface The names of switches on the S3 control surface are in bold (such as Sel). The Shift switch on the S3 is indicated by bold text, in all-caps ( ) to distinguish it from references to the Shift key SHIFT on your QWERTY keyboard. 7 Chapter 1: Introduction to the VENUE | S3L-X System

19 Chapter 2: Configuring and Connecting The chapter shows how to get you r system up and running by do- Unpacking and Assembling System ing the following: Components • Unpack and assemb le the components • Connect the power and peripherals (monitor, USB keyboard Unpacking System Components and mouse) Remove all components from the shipping packaging.  • Connect your system in either of the following configurations:  a table or other stable surface Place the S3 control surface on • Connect one S3, one E3 and up to four Stage 16s in a basic its front and back panels. that leaves full access to system Locate the E3 engine  at the mix position along with the S3 • Connect two S3s, two E3s and up to four Stage 16s in a control surface. shared input configuration Make sure all components are free of any bags, padding or  • Power up the system other materials. • Confirm system components  Keep cables and other included items organize d, making sure • Enable Config mode ated component after unpacking. to keep them with their associ • Set up the system for the first time • Set the system clock ce, E3 engine, and Stage 16 in- • Connect Audio (S3 control surfa onization, and lights puts and outputs), synchr • Install other optiona l software or updates 8 Chapter 2: Configuring and Connecting

20 Stage 16 Connecting Power The AC power input for the Stage 16 is located on the back/bot- tom panel of the box. One male, 3-pin North American standard S3 Control Surface IEC power socket with cable retaining tie is provided. The input The external PSU for the S3 control surface is connected to the low the box to sit on its back. and power switch are recessed to al DC input on the S3 and to your power source. You can reconfigure the rack ears on Stage 16 as handles. To connect power to the S3 control surface: See Configuring Stage 16 Rack Ears/Handles. 1 Connect one end of the included IEC power cable from the ex- To connect power to the Stage 16: ternal PSU to your power source . Make sure the power cable is 1 Connect the included IEC powe r cable from the AC power in- pushed all the way into the PSU. put on the back of Stage 16 to your power source. Connecting the IEC power cable to the S3 control surface PSU Connect the cable with the 4-pin 2 connector that is attached to the PSU to the DC power input on the back panel of the S3. To connector with the power input, correctly align the pins on the make sure the arrow on the connector faces up. Stage 16 AC power input, power switch, and cable tie 2 (Optional) Secure the power cable to the rack using the built-in S3 control surface DC power input cable tie. E3 Engine gine is located on the back The AC power input for the E3 en panel. To connect power to the E3 engine:  Connect the included IEC power cable from the AC power in- put on the back panel of the E3 engine to your power source. INPUT AES OUTPUT 3-4 1-2 OUTPUT A B E3 engine AC power input 9 Chapter 2: Configuring and Connecting

21 Connecting an S3L-X System Connecting Peripherals pherals, make audio network After connecting power and peri Connecting a Monitor connections between system co mponents. You can also make router or client computer for connections to Pro Tools, and to a the E3 engine to connect a A DVI connector is provided on remote control of your S3L-X system using ECx Ethernet Con- DVI-D compatible video monitor (not included). trol. that includes one E3 engine • For connecting a basic system AES INPUT Connecting a Basic Sys- and one S3 control surface, see tem . ECx 3-4 1-2 3-4 input system that includes • For connecting a shared Stage Connecting a Shared Stage In- two E3s and two S3s, see NETWORK 2 x IN put Configuration . 2 x OUT WORD CLOCK A B C S3L-X Network Connections Overview E3 engine back panel DVI monitor port The S3L-X system has two discrete networks, the AVB audio network and the ECx Ethernet Control network. The AVB audio To connect a monitor: network connects all S3L-X sy stem components and Pro Tools. Plug a DVI-D compatible monitor cable from the DVI connec-  The ECx network connects a client computer or other device (di- tor on the back panel of the E3 engine to your DVI monitor. rectly or via network equipment) to S3L-X to enable remote con- trol of your system. VGA monitors are not compatible with the S3L-X system. AVB Audio Network Connections Connecting a USB Keyboard and Mouse Direct connections are required for all AVB audio network con- There are two USB 2.0 ports on the back of the S3 control surface components, and between the S3 nections between S3L-X system to connect a USB keyboard and trackball/mouse. control surface and Pro Tools. Do not connect network equi pment such as routers, hubs and switches to any S3L-X system Network ports. S3L-X System Components Connections are required between the S3 control surface and the E3 engine, and between the E3 e ngine and all Stage 16 boxes. For S3 control surface back panel USB ports shared Stage input configurations, connections between all E3 engines on the network are required. To connect a USB keyboard and trackball/mouse:  Plug the keyboard and trackball/ mouse into the USB ports on Pro Tools the back of the S3 control surface. You can connect a qualified computer running a compatible ver- ouse and keyboard connections Use these USB ports for m S3 control surface or the E3 en- sion of Pro Tools software to the only. Connect USB data storage devices and iLoks to avail- gine for recording and playback I/O and for VENUE Link data able USB ports on the E3 engine. ion on installing and using communication. For more informat Pro Tools, see Pro Tools Recording and Playback. When performing a system update or system restore, the Use only the required audio network cables to make audio nnected to the E3 engine. keyboard and mouse must be co n S3L-X system components network connections betwee See Using the System Restore Software . and Pro Tools. See Audio Network Connections. ECx Ethernet Control Connections When configuring a shared St age input system, make sure the mouse is attached to the E3 engine. You can connect a network router, hub, switch, or a client com- puter directly to the ECx port on the E3 engine and control the S3L-X system remotely. ECx host and client software must be in- stalled to enable ECx. For shared Stage input systems, each E3 can have its own ECx connection. For more information on in- stalling and using ECx, see ECx Ethernet Control. 10 Chapter 2: Configuring and Connecting

22 Connecting a Basic System ndant four-Stage 16 boxes. Make redu single S3, a single E3 and up to This section shows how to connect a basic system comprised of a by connecting the last Stage 16 in audio network connections the chain back to the E3 engine. To connect a multiple-Stage 16 system: 1 on the E3 engine. Network port C Connect an Ethernet cable from Network port A on the back of the S3 control surface to port A on the first Stage 16. 2 Connect an Ethernet cable from Network port A on the E3 engine to Network on the first B port Network an Ethernet cable from If applicable, daisy-chain the first Stage 16 to the second Stage 16 by connecting 3 Stage 16 to A on the second Stage 16. Network port Net- always connecting port 4 If applicable, daisy-chain Stage 16 boxes 2 and 3, and 3 and 4 in the same manner, B of one Stage 16 to work port A of the next device. Do not connect Network ports of the same letter between Stage 16 boxes. For example do not connect of the next Stage 16 in a daisy-chain configuration. Network port A of one Stage 16 to Network port A B on the last Stage 16 in the 5 (Redundant) To make a redund ant Ethernet connec tion, connect an Ethernet cable from Network port chain to port B on the E3 engine. Network port 6 (Optional) To connect to a Pro Tools computer for recordin g and playback, connect a suppo rted Ethernet cable from Network net on the S3 control surface to an available Ethernet port on the computer (or to a Thunderbolt port using a Thunderbolt to Ether B adapter). L-X system Network ports. Do not connect network equipment such as routers, hubs and switches to any S3 7 (Optional) To connect to a router or comp uter for ECx Ethernet Control, connect a st andard Ethernet cable from the port labeled ECx on the E3 engine to the router or client computer. . 8 Proceed to Powering Up the System = Primary audio network connections = Optional audio network connections = Redundant audio network connections S3 Control Surface 6 Top Top In Config Back Back Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Expnd Expnd Page Page Page Page In In In In In In In In In In In In In In In In Pro Tools Mixer Close Top Source Nudge Nudge Back End Home Page Page Bank Bank Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel In In In In In In In In In In In In In In In In Input EQ View 2 View 1 HPF Gain Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Mix Dyn Pan Comp Insert Pan Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Channel Group Flip Aux Flip Aux Workstation 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 Application 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 2 1 E A Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel 9 10 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 A A A A A A A A A A A A A A A A 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 4 3 Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec F B 12 11 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 Multi 6 5 C 14 13 Assign 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 8 7 OK D 16 15 +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 9-16 Cancel User -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 Solo Mix to Clear Mons Fine Multi Select Default Command 1234 SHIFT SHIFT CTRL SHIFT ALT 1 7 E3 ECx Ethernet Control Power E3 Engine 2 5 ANALOG ANALOG ANALOG ANALOG INPUT INPUT INPUT INPUT INPUT INPUT INPUT INPUT ANALOG ANALOG ANALOG ANALOG 56 78 1234 56 78 1234 56 78 1234 56 78 1234 OUTPUT OUTPUT OUTPUT OUTPUT ANALOG ANALOG ANALOG ANALOG ANALOG ANALOG ANALOG ANALOG OUTPUT OUTPUT OUTPUT OUTPUT 3 4 4 NETWORK NETWORK NETWORK NETWORK OUTPUT OUTPUT OUTPUT OUTPUT AES DIGITAL AES DIGITAL AES DIGITAL AES DIGITAL Stage 16 Stage 16 Stage 16 Stage 16 A basic S3L-X system 11 Chapter 2: Configuring and Connecting

23 Connecting a Redundant Ring Network To connect S3L-X in a redundant ring network: C on the corresponding on each S3 control surface to A Network port Ethernet cable from Connect a supported Network 1 port E3 engine. The S3 control surface must alwa ys be connected Netw ork port C on the corresponding E3 engine. Network 2 Daisy-chain the E3 engines together by c onnecting Ethernet cables between available ports on the E3 engines. on the first Stage 16. ) to A Network 3 Connect an Ethernet cable from an available port Network port on the first E3 (“FOH” in Figure 1 Daisy-chain Stage 16s together by connecti ng Ethernet cables between available Network ports on the Stage 16s, always connecting 4 from port B between devices. A to port 5 connect an Ethernet cable from an available port to the last E3 engine in Network (Redundant) From the last Stage 16 in the chain, the E3 engine daisy-chain. After making connections, power up all S3L-X system devices and assign S3 control surfaces and Stage 16 remote stage boxes to de- 6 VENUE | S3L-X System Guide for instructions. sired E3 engines in the network. See the for additional information. (Optional) If you are connecting Pro Tools computers, refer to the 7 What’s New in VENUE 4.5.2.pdf . present, Avid recommends that If multiple Pro Tools systems are onfigure S3L-X system devices be- you first connect, power on, and c fore connecting and confi guring Pro Tools computers. When using a Pro Tools computer, make sure to always connect the computer to port B on the S3 control surface, not to any E3 engines or Stage 16s. . Powering Up the System Proceed to 8 FOH = Primary audio network connections Top Top In Config Back Back = Optional audio network connections Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Expnd Expnd Page Page Page Page In In In In In In In In In In In In In In In In Mixer Close Top Source Nudge Nudge Back Home End Page Page Bank Bank Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel In In In In In In In In In In In In In In In In = Redundant audio network connections Input EQ View 1 View 2 HPF Gain Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Mix Dyn Pan Comp Insert Pan Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Channel Group Flip Aux Aux Flip Workstation 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 Application 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 2 1 E A Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel 10 9 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 A A A A A A A A A A A A A A A A 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 Rec 4 3 Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec F B 11 12 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 Multi 6 5 C 14 13 Assign 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 8 7 OK D 16 15 +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 9-16 Cancel User -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 7 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 Solo Mix to Clear Mons ANALOG INPUT INPUT Multi Select Default Fine ANALOG Command 1234 SHIFT SHIFT CTRL SHIFT ALT 56 78 1234 OUTPUT ANALOG ANALOG OUTPUT NETWORK 1 OUTPUT AES DIGITAL E3 3 Power 4 ANALOG INPUT INPUT ANALOG 1234 56 78 OUTPUT ANALOG ANALOG OUTPUT NETWORK 2 OUTPUT AES DIGITAL 4 ANALOG INPUT INPUT 7 ANALOG 56 78 1234 OUTPUT ANALOG E3 E3 ANALOG OUTPUT NETWORK Power Power 2 OUTPUT 5 AES DIGITAL 4 ANALOG INPUT Top Top In Config Top Top Back Back In Config Back Back INPUT ANALOG Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Expnd Expnd Page Page Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Expnd Expnd Page Page Page Page Page Page In In In In In In In In In In In In In In In In In In In In In In In In In In In In In In In In 56 78 1234 OUTPUT ANALOG Close Mixer Top Source Nudge Nudge Close Mixer Top Back Source Nudge Nudge Back ANALOG OUTPUT End Home Page Page End Home Bank Bank Page Page Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel 1 1 Bank Bank Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel In In In In In In In In In In In In In In In In In In In In In In In In In In In In In In In In NETWORK EQ Input View 2 View 1 HPF Gain Input EQ View 2 View 1 HPF Gain Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo OUTPUT Dyn Mix Pan Comp Mix Dyn AES DIGITAL Insert Pan Pan Comp Pan Insert Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Channel Group Flip Aux Channel Group Aux Flip Flip Aux Aux Flip Workstation 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 Workstation Application 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 Application 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 2 1 E A Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel 10 9 2 1 E A Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel 9 10 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec 4 3 F B 12 11 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec 4 3 F B 11 12 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 Multi 6 5 C Multi 13 14 Assign 6 5 C 14 13 Assign 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 8 7 OK D 16 15 +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip 8 7 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 OK D 16 15 +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 9-16 Cancel User 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 9-16 Cancel User -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 Solo Mix to Solo Mix to Mons Clear Clear Mons Fine Default Multi Select Command 1234 SHIFT SHIFT Fine Multi Select Default SHIFT ALT CTRL Command 1234 SHIFT SHIFT CTRL SHIFT ALT Monitors Broadcast Figure 1. A shared Stage input configuration 12 Chapter 2: Configuring and Connecting

24 To power on the first Stage 16, do the following 6 Powering Up the System • Locate the power switch on the back of the Stage 16 and After connecting your system components, power up your sys- press the switch to the On position. The Status LED on the tem. front panel is lit solid yellow while Stage IO box initializes. , if multiple Pro Tools systems In shared input configurations mmended that you power on each are present it is highly reco E3 and enable the E3 engine on each Pro Tools computer be- fore connecting the E3 engines together. See Connecting to Pro Tools . Power up the system in the following sequence: 1 If applicable, power on routers for use with ECx remote con- trol. Power switch on the back of Stage 16 Power on the connected video monitor. 2 • Wait for the Stage 16 to initialize. Initialization is complete Power on the E3 engine by sliding the front-panel Power 3 when the Power and Status LEDs on the Stage IO box front ciated LED lights green, and the switch to the right. The asso panel are lit solid green. VENUE splash screen appears on the connected video moni- tor. . INPU ANAL 123 Power ANALOG OUTPUT Stage 16 Power and Status LEDs Power switch and lit LED indicating the device is powered on 7 Power on any other Stage 16 boxes in the system. . 8 Turn on the audio monitoring system. Proceed to Confirming Syst . em Components 9 Powering Down the System Power down the system in the following sequence: Turn off the audio monitoring system. 1 VENUE splash screen Turn off any connected computers for recording/playback. 2 Power on any connected comput ers for recording/playback. 4 Shut down your system by doing the following: 3 Enabling Config • Put the system into Config mode (see e move when power is turned Faders on the S3 control surfac Mode ). on. Before powering up the S3 c ontrol surface, make sure all fader paths are clear. . Options System tab page and click the • Go to the • Click Shut Down. 5 To power on the S3 control surface, locate the switch on the Shut Down • Click again to confirm. back of the S3 and press the switch to the On position. The 4 Power off the S3 control surface. channel strip Select ( Sel ) switches next to the faders flash to indicate that the S3 is booting up. 5 Power off any connected Stage 16 boxes. S3 control surface Power switch 13 Chapter 2: Configuring and Connecting

25 Enabling Config Mode Confirming System Components Con- There are two main operating modes for the S3L-X system, After connecting and powering up system components, you can mode. Use Config mode to accomplish tasks confirm system components in the VENUE soft Show ware screen. fig mode and such as setting up your system, configuring options, loading To confirm system components: re such as plug-ins and system Show files, and installing softwa updates. Use Show mode to mix your performance. . Options On-screen, click 1 To enable Config mode, do one of the following: Config Press the Config switch on the S3 control surface. The 1 switch lights, and is indicated in th Config e Mode display in the on-screen Status Bar. Top Config Back Clicking Options Expnd Page tab. All connected and powered on hard- Devices Click the 2 Page ware devices appear on the De vices tab. You can also edit Config switch on the S3 control surface hoot and reset VENUE system hardware settings, and troubles components using the Devices tab. – or – • On-screen, double-click the Mode display in the Status Bar, lo- cated in lower-right hand corner of the screen. The Config switch lights, and Config is indicated in the Mode display. Enabling Config mode on-screen 2 ing depending on the system: Proceed to one of the follow Setting Up a • For a basic non-shared Stage input system, see Devices tab Basic System . Setting Up a Shared • For a shared Stage input system, see ar, check all network con- If any components do not appe Input Configuration . nections between components, and make sure all compo- nents are powered on. For more information see Trouble- shooting . on initial setup S3 control In shared Stage input systems, cted. You must first assign surfaces do not appear as conne each S3 to an E3. 3 nfig Mode Enabling Co Proceed to . 14 Chapter 2: Configuring and Connecting

26 5 Click the flashing Identify button to unlatch it. Setting Up a Basic System 6 Stage section. Empty Stage slots are indicated by Locate the When you initially configure a ba sic system, you assign Stage 16 the text Drag I/O Box Into Slot. boxes to available tab. Options > Devices slots in the Stage (the leftmost 1 Stage Click-and-drag the Stage 16 box to 7 slot Each Stage hardware tab in Stage 1–4 slot corresponds to a 1–4 slot). the VENUE Patchbay. You can reconfigure your system any time after the initial setup. See Managing Connections . If you are using more than 48 Stage inputs, you must con- figure your system for 64 Input Channels. See Setting the Input Channel Configuration. To configure your system for the first time: is in Config mode. Make sure your system 1 2 Options > Devices . Go to A Stage 16 assigned to slot 1 in the Options > Devices tab Locate the Unassigned section of the Options > Devices tab. 3 The I/O on that Stage 16 is now available to be assigned to system Stage 16 boxes appear here. All connected and powered on input and output cha nnels in the VENUE Patchbay under the hardware tab. Stage 1 Unassigned Stage 16 boxes in the Options > Devices tab Stage 1 hardware tab in the Patchbay (Inputs shown). If any connected Stage 16 boxes do not appear in the Un- assigned section, check ne twork and power connections. Each assigned Stage 16 has on-screen LEDs that indicate the status of the device’s A and B Network ports. You can Identify Click the 4 button on the first (left most) Stage 16 box to also mute all outputs on the Stage 16. See Devices for latch the button on. The Identify button on-screen flashes, and more information. the Power and Status LEDs on the front panel of the corre- sponding Stage 16 box flash. 8 If a second Stage 16 box is connected, identify it and drag it to the second slot. The I/O on that Stage 16 is now available in the VENUE Patchbay under the Stage 2 hardware tab. 9 Repeat for any other connected Stage 16 boxes. You can reassign Stage 16 boxes at any time after the initial set up. Depending on hardware combinations being used, you may be required to. See for Managing Connections Identify button more information. . Assigning S3 Control Surfaces to E3 Engines Proceed to 10 123 UTPUT NALOG Stage 16 Power and Status LEDs 15 Chapter 2: Configuring and Connecting

27 Assigning Stage 16 Remote Stage Boxes Setting Up a Shared Input After pairing S3 control surfaces to E3 engines, you can then as- Configuration sign Stage 16 boxes to available Options > De- slots in the Stage This section shows how to configure your system for sharing vices page. Stage inputs between multiple E3s, which includes: In a shared input configuration, the E3 to which a Stage 16 is as- Assigning S3 Control Surfaces to E3 Engines • signed becomes the of that Stage 16, and the other E3s in Master • Assigning Stage 16 Remote Stage Boxes Master/slave config- . of that Stage 16 Slaves the network are the uration is performed on a per-Stage 16 basis. An E3 engine can be You can reassign Stage 16 boxes at any time after the initial the Master of one Stage 16 and the Slave of another. set up. Depending on hardware combinations being used, you may be required to. See Managing Connections for Before assigning Stage 16s in shared configurations, you should more information. take into account the differences in functionality between Master and Slave E3s for Stage 16 inputs: Assigning S3 Control Surfaces to E3 Engines Slave E3 Master E3 Functionality Yes Stage 16 Input Mic Pre- No By default, an E3 engine automa tically connects to the first S3 amp Control control surface it detects on the network. However, you can as- sign any S3 to any E3 on the network. When assigned to an E3, Yes Input Channel Digital Gain Yes the S3 controls the parameters associated with the E3 it is as- Control ment, and E3 will automatically signed to. After the initial assign Control of Stage 16 pad Yes (analog pad) Yes (digital pad) attempt to reconnect to the most recently assigned S3, though this can be changed (see Managing S3–E3 Connections in Shared Yes No Control of Stage 16 phan- tom power Input Configurations for more information). Yes n/a Gain Tracking To assign an S3 to an E3: Yes Routing to Stage 16 Out- No Go to the Options > Devices page. 1 puts 2 Right-click the Console graphic and choose Select Console . Routing to/from local IO Yes Yes (Console and Engine I/O) 3 Choose the desired S3 from the list of available S3s. Any S3 r E3 appears in italics. already claimed by anothe Yes Patching Stage Inputs to Yes Input Channels/ Reordering Input Chan- Yes Yes nels Mute All Outputs function- No Yes ality from GUI Yes Yes Mute All Outputs status indication Yes Identify functionality from Yes Selecting an S3 GUI 4 to the desired S3 by adjust- Confirm that you have connected Yes Yes Identify status indication ng sure that the corresponding ing a fader on the S3 and maki Ability to rename an Yes No on-screen fader moves. assigned Stage 16 must first be unas- If you have incorrectly assigned S3s, they Ability to unassign a Stage Yes No signed from the E3s they are currently assigned to. See Man- 16 Input Configura- tions in Shared aging S3–E3 Connec tions . ng with inputs in shared in- For more information on worki put configurations, see Inputs in a Working with . Assigning Stage 16 Remote Stage Boxes Proceed to 5 Shared Input Configuration . 16 Chapter 2: Configuring and Connecting

28 To assign a Stage 16 and designate your system as the Master for Setting the System Clock that Stage 16: 1 is in Config mode. Make sure your system When you first work with a VENUE system, make sure the sys- tem clock time, date and time zone are set appropriately. Options > Devices Go to 2 . shown in the Status bar for The system clock time can be Unassigned 3 Locate the section of the Options > Devices tab. display. For more information, see constant time-of-day 4 Identify Click the button on the first (left most) Stage 16 box to System Clock . latch the button on. The button on-screen flashes, and Identify the Power and Status LEDs on the front panel of the corre- To set the System Clock: sponding Stage 16 box flash. tab and click the Options Go the 1 Misc tab. Identify Click the flashing 5 button to unlatch it. 2 Format pop-up menu to In the System Clock section, click the set the time format ( or 24 Hour). 12 Hour AM/PM Stage section. Empty slots are indicated by Stage Locate the 6 the text Drag I/O Box Into Slot. button in the System Clock section. Edit Click the 3 Mas- 7 Click-and-drag the Stage 16 box to an empty Stage slot. ter graphic of the Stage 16 indicating your appears next to the E3 is the Master for that particular Stage 16. Master and Slave status for Stage 16s are indicated as follows: Master When an E3 is Master of a Stage 16, the I/O on the Stage hed to system input and output 16 is now available to be patc channels in your VENUE Patchbay, and the Stage tabs are high- lighted in green to indicate Master status. Clicking the System Clock Edit button Slave When an E3 is Slave to a St age 16 (for example, when an- already assigned a Stage 16), other E3 on the network has Slave Set the time, date, and current time zone. 4 . is displayed slot. Stage Stage next to the Stage 16 graphic in the outputs for that Stage 16 are greyed out in your Patchbay and the outputs are unavailable . Stage inputs are freely available for patching. The tabs are highlighted in amber to indicate Stage Slave status. Time, Date, and Zone settings 5 Apply. Click eft) and Slave (right) statuses Assigned Stage 16s showing Master (l on the Options > Devices page Stage tabs showing Master (left) and Slave (right) statuses on the Patchbay page . Setting the System Clock Proceed to 8 17 Chapter 2: Configuring and Connecting

29 Removing a Stage 16 Managing Connections You can remove a Stage 16 box from your configuration so that n be named and After the initial setup, devices on the network ca it does not appear in the Options > Device tab. Do this if you are renamed, reassigned, removed, and added to the current configu- m your configuration, or if a removing a connected Stage 16 fro ration. Stage 16 from a previous configuration is not connected and you warning dialogs. want to dismiss Naming System Components To remove a Stage 16 box from the current configuration: You can name the S3 control surface, the E3 engine, and any con- 1 Put the system into Config mode. vice name is stored with the nected and assigned Stage 16. The de ce until it is changed. respective device, and stays with that devi > . 2 Go to Options Devices Names can be changed at any time . Though not required, naming 3 Do either of the following depending on the status of the components is highly recommended when operating a shared in- Stage 16: put system. • To remove a connected Stage 16, right-click the graphic of To name the S3 control surface and the E3 engine: Disconnect. the corresponding Stage 16 and choose not connected (indicated by an • To remove a Stage 16 that is 1 In the Options > Devices tab, right-click the component right-click the graphic of the alert symbol over the device), graphic and choose Rename from the pop-up menu. corresponding Stage 16 and choose Forget IO Box Assign- 2 Enter a name into the text box and press Enter. ment . The I/O for that Stage 16 is now grayed out under the correspond- Managing Stage 16 Connections ing Stage 1–4 hardware tab in the Patchbay. and/or reconnecting Stage 16 When power-cycling your system boxes to the same E3 engine, the original assignments Stage 1–4 Adding a Stage 16 are automatically recalled, regard less of the order in which they Any Stage 16 not previously conne cted to the current E3 engine are connected. must be assigned to a Stage 1–4 slot for its I/O to be available to Depending on the hardware comb inations being used, however, the system. you may want or need to reconfigure system Stage I/O. For ex- To add a new Stage 16 to your system: ample, if you are mixing and matching S3L-X system compo- nents, you can remove previously connected Stage 16 boxes from 1 Put the system into Config mode. your configuration, and add new Stage 16 boxes to your system. > Go to 2 . Options Devices Options > Devices tab any You can reconfigure Stage I/O on the Connect the new Stage 16 box at any point in the audio net- 3 time after the initial system set up and configuration. You can re- work and power it on. The Stage 16 appears in the Unas- remove Stage 16 boxes from assign connected Stage 16 boxes, signed Options > Devices section of the tab. n, and add new Stage 16 boxes to the cur- the current configuratio rent configuration. Stage 1–4 Drag the new Stage 16 to the desired 4 slot. The I/O on that Stage box is now avai lable to be patched to VENUE Reassigning a Stage 16 system channels unde r the corresponding Stage 1–4 hardware tab in the VENUE Patchbay. You can reassign an assigned Stage 16 to a different Stage 1–4 stage setup you may want to re- slot. For example, for a particular Assigning S3 If desired, name the assigned Stage 16 (see 5 arrange the order of Stage 16 boxes. In shared input configura- Control Surfaces to E3 Engines ). tions, you can only reassign a Stage 16 from a Master E3. To reassign a Stage 16: 1 Put the system into Config mode. . 2 Go to Devices Options > 3 Click and drag any of the Stage 16 boxes that you want to re- assign to the Unassigned section. The Stage 16 is automati- cally muted. Click and drag each Stage 16 from the 4 Unassigned section to the desired empty Stage slot. The Stage 16 is automatically unmuted, and the I/O on that Stage box is now available for patching in the Patchbay. 18 Chapter 2: Configuring and Connecting

30 None Managing Stage 16 Connections in Shared Input Configurations None The command you disconnect th e E3 from its currently time your power on your shared After the initial setup, the next paired S3. Use this option if you have paired to the wrong S3 on input S3L-X system, the previous Master/Slave relationships be- rate the E3 without an S3 and the network, or if you want to ope tween Stage 16s and E3s are maintained. When the E3 Master for you want to ignore network connection prompts. not detected or is lost, the fol- a given Stage 16 in the network is To disconnect an S3 from an E3: lowing dialogs are presented: 1 Go to the Options > Devices page. Appears when the E3 Master in Master Engine Not Detected the previous configuration is either not powered on or is not con- 2 None . On subse- Right-click the Console graphic and choose nected. quent restarts, the E3 will not a ttempt to pair with any S3s on the network. Any pairings to an S3 must be made manually us- Master Engine Lost er is disconnected Appears if the E3 Mast ing Select Console. the audio network connection is from the network, for example if broken or the Master E3 loses power. If your mouse and/or keyboard are connected to the S3, se- Connect them to the E3 to re- lecting None will disable them. In both cases, you can choose to do either of the following: gain connectivity. You can reconnect them to the S3 when it is Master/Save relationship and • Maintain the current Stage 16 assigned to an E3. ster E3 were still online (if, continue to operate as if the Ma for example, the Master E3 has lost power) • Become the Master of any Slave Stage 16s (if, for example, How to Proceed you do not expect the former E3 Master to come back on- After setting the system clock, pr oceed to any of the following . Reassigning a Stage 16 line). See sections: • To review the available a udio and control connections, Managing S3–E3 Connections in Shared switches, and indicators on S3L-X system components, see Input Configurations Audio and Control Connection s, Switches, and Indica- After the initial setup, the next time your power on your S3L-X tors . system an E3 will automatically attempt to reconnect to the most ntrol surface and software, see • To get started learning the S3 co recently assigned S3. The com- None and Remember Console S3L-X System Control Overview. mands bsequent S3-E are provided to manage su 3 connections. optional software first (such as • If you want to install any other ECx or included plug-ins), see Installing Additional Soft- Remember Console ware . Remember Console command lets you set whether or not The the E3 automatically attempts to reconnect to the most recently demo Show files, mes pre-loaded with The S3L-X system co d by default, and is the recom- connected S3. This option is enable which offer preset system configurations for some of the ecific S3 to always be paired mended setting when you want a sp most common mixing scenarios. See Loading a Show for option is useful if you have mul- with a specific E3. Disabling this instructions on lo ading Show files. tiple E3s and S3s that may or may not be used together regularly. To enable/disable Remember Console: Go to the page. Options > Devices 1 Remember Con- 2 Right-click the Console graphic and choose sole Remember Console is enabled; when . When checked, unchecked it is disabled. e system is used (after a • When enabled, the next time th ple) the E3 engine automatically at- power-cycling, for exam tempts to reconnect to the initially paired S3. This option re- mains enabled until it is disabled. power-ups the E3 attempts to • When disabled, on subsequent S3 it detects on the network connect to the first available 19 Chapter 2: Configuring and Connecting

31 Audio and Control Connections, Switches, and Indicators ections, make sure your audio monitoring system is turned down or muted. Before making any audio conn S3 Control Surface Connections and Switches 10 6 4 9 10 3 5 8 7 1 2 S3 control surface back panel Audio Connections assigned to VENUE system chan- S3 control surface audio I/O is Sig LEDs to indicate net- Each Network port has Act and nels using the Patchbay, under the tab. Console work status. See. Network Port Snake Act and Sig Assigning Input Sources to Chan- • To assign inputs, see LEDs for more information. nels . Control, Power and Light Connections Assigning Busses to Hardware • To assign outputs, see Outputs . 6 – USB Ports 1 – Analog Mic/Line Inputs 1–2 Connect a USB computer keyboard and a USB mouse for con-  (Two XLR Connectors) trol of the VENUE system on-screen. -level analog audio sources Connect microphones and/or line  S3 control surface USB ports do not support iLoks, USB such as audio playback devices to these inputs. flash drives, or other types of USB devices. Use the USB ports on the E3 engine for these devices. 2 – Analog Line Inputs 3–4 (Two 1/4-inch TRS Connectors) 7 – Footswitch Connector  Connect line-level analog audi o sources such as electronic (1/4-inch TRS Connector) keyboards and effects units to these inputs. nnector. The footswitch can be  Connect a footswitch to this co normally open or normally close d, latching or momentary. Func- 3 – Analog Outputs 1–4 tions such as Tap Tempo for delay times are assigned to these (Two XLR Connectors, Two 1/4-inch TR S Connectors) connectors using the on-screen tab. Options > Events  ions such as system proces- Connect these outputs to destinat sors and near field monitors. 8 – DC Power In This connector accepts the DC cable from the included power 4 – Headphone Output supply adapter. ereo headphone connector to Connect a standard 1/4-inch st  this connector. Volume is controlled using the Headphone volume 9 – Power Switch knob located along the right-front edge of the S3 control surface. The rocker-type power switch applies power to the S3 control surface. It can be left in the On position for use with power se- 5 – Network Ports A and B quencers. (Two RJ-45 Ports with etherCON Connectors)  Connect the E3 engine to one of these ports using a supported 10 – Console Lights audio network cable. (Two XLR-F Connectors) Connect a compatible Pro Tools sy stem to one of these ports  Connect console lights (not included) to these connectors. You  cable for integrated Pro Tools using a supported audio network the console lights from the can adjust the brightness of nd interoperability. recording, playback a on-screen tab). Options > Interaction 20 Chapter 2: Configuring and Connecting

32 E3 Engine Connections and Switches AES INPUT 3 4 11 1 10 ECx INPUT AES OUTPUT 3-4 1-2 3-4 1-2 7 NETWORK 2 2 x IN 2 x OUT OUTPUT WORD CLOCK C A B 9 8 6 5 E3 engine back panel Audio Connections Control and Power Connections E3 engine audio I/O is assigned to VENUE system channels us- 6 – USB 2.0 Ports ing the Patchbay, under the Engine tab.  Connect an iLok Smart Key (for plug-in authorization). • To assign E3 engine inputs to VENUE system channels, see Connect USB flash drives or other compatible USB storage  Assigning Input Sources to Channels . for 2-track recording and play- devices for data transfer, and/or Assigning Busses to Hardware • To assign outputs, see back. Outputs . These ports also support MIDI connections. 1 – Analog Mic/Line Inputs 1–4 MIDI Connections (Four XLR Co nnectors) -level analog audio sources Each USB port provides 16 channels of MIDI input and 16 chan-  Connect microphones and/or line such as audio playback devices to these inputs. nels of MIDI output to and from the system with a compatible MIDI interface. Connecti on to one MIDI interface is supported. 2 – Analog Outputs 1–4 You can send and receive snapshot MIDI messages, receive (Four XLR Co nnectors) MIDI Time Code (MTC) from exte rnal devices, and send MTC to external devices. ions such as system proces-  Connect these outputs to destinat sors and near field monitors. Visit our website, www.avid.c om/S3L-Xsupport, for a list of compatible MIDI interfaces. 3 – AES Digital Inputs (Two XLR AES/EBU Connectors) To make MIDI connections: Connect digital audio s  ources such as effect units or playback  Connect a compatible MIDI interface to one of the USB ports devices to these inputs. Four channels on two stereo connectors on the E3 engine. A valid MIDI connection is shown in the Ex- are provided. 24-bit, 48 kHz di gital signals are supported. section of the ternal Devices Options > Devices tab. The AES digital inputs on the E3 engine provide sample rate ing MIDI with VENUE, see For more information on us conversion on input. See About Digital Input and Sample Synchronization. Rate Conversion for more information. 7 – DVI Monitor Port 4 – AES Digital Outputs cluded) to view the VENUE Connect a DVI monitor (not in  (Two XLR AES/EB U Connectors) software screen. to digital output de Connect these outputs  stinations such as system processors and recording devices. Four channels on two 8 – Word Clock I/O stereo connectors are provided. (Two BNC Connectors) e word clock ports of external These ports let you connect to th 5 – Network Ports A, B, and C digital devices to sync all di gital devices in your system. (Two RJ-45 Ports with etherCON Connectors) Connect the S3 control surface  and up to four Stage 16 boxes See Synchronizing with Word Clock and Digital Au- to these ports using supported audio network cables. dio Input for more information. 21 Chapter 2: Configuring and Connecting

33 9 – GPI Port 10 – ECx Port provides a 2-in/2-out GPI Gen- A 9-pin, female DB9 connector This port provides connection to a computer or router to enable ntrol of the VENUE system). ECx Ethernet Control (remote co eral Purpose Interface (GPI). For specifications, wiring diagrams and pinouts, see See ECx Ethernet Control GPI Port Reference. for more information. GPI Applications 11 – AC Power Input The AC power input accepts a standard IEC AC power cable e outputs of a variety of switch- GPI inputs can be connected to th (included). The E3 engine power supply is auto power selecting ing devices such as footswit ches, momentary or latching automatically works with a (100V–240V, 50–60 Hz), and push-button switches, or to the logic outputs of a larger show con- when connected to an AC standard modular power cable trol system. Example applications of GPI inputs include remote receptacle in any country. toggling of an S3 control surface function such as Talkback, mut- ing a specific snapshot. ing a channel, or recall Power Switch (Front Panel) GPI outputs connect to compatible inputs found on a variety of external devices such as LEDs, small relays, po wer sequencers, engine powers The sliding power switch on the front panel of E3 and logic inputs on show control systems. indicate the ated LED lights to the device on and off. The associ E3 engine is powered on and ready for use. outputs include the following: Example applications of GPI ck machine when a specific • Triggering a sound effects playba Interior Secure USB Port snapshot is recalled. One USB 2.0 port is located within the E3 engine itself to connect a fader is raised above a mini- • Lighting a tally light whenever Key. Use this port to keep one and securely protect an iLok Smart mum threshold. “master” iLok and its plug-in assets with the console at all times, beacon or LED as a reminder of • Flashing or lighting a custom safe from damage or loss. vital console mode, such as Solo in Place. must be removed to access The top panel of the E3 engine of amplifiers and other down-stream sys- • Initiating power up the secure USB port. See E3 Engine Secure USB Port. tems when VENUE system is started up or shut down. Front Panel USB Port GPI functions are managed using the Events list on the Options > Events tab. For more information, see Events. Connect iLok Smart Keys (for pl ug-in authorization), USB flash 2-track recording/playback) or drives (for data transfer and/or To connect GPI devices to the E3 engine: other compatible USB devices to these ports. Connect one end of a DB9 cable (n ot included) to the GPI port 1 on the back panel of the E3 engine. Connect the other end to the appropriate GPI port on the exter- 2 nal device. 22 Chapter 2: Configuring and Connecting

34 Stage 16 Connections and Switches ANALOG INPUT 1 INPUT ANALOG 5 6 56 78 1234 OUTPUT ANALOG 2 ANALOG OUTPUT NETWORK OUTPUT AES DIGITAL 3 4 Stage 16 Box front panel Stage 16 Control and Power Connections, Stage 16 Audio Connections Switches, and Indicators Stage 16 audio I/O is assigned to VENUE system channels under the Stage 16 has its own tab tabs in the Patchbay. Each Stage 1–4 5 – Power and Status LEDs in the Patchbay, which corresponds to the slot the Stage 16 is as- Two bi-color Power and Status LEDs on the front panel are pro- signed to in the Options > Devices tab. status, error codes and warn- vided to indicate operating mode VENUE system channels, see • To assign Stage 16 inputs to ings. Assigning Input Sources to Channels . for more information Power and Status LED Codes See Assigning Busses to Hardware • To patch outputs, see on the LED codes. Outputs . 6 – Mute Switch and LED 1 – Analog Mic/Line Inputs (16 XLR Connectors) switch mutes all Stage 16 outputs. The switch LED Mute The flashes red to indicate that all outputs are muted. This switch mir-  Connect microphones and other line-level sources to these in- rors the on-screen Options > Devices tab. Mute button in the puts. To mute all outputs on the Stage 16: 2 – Analog Outputs (Eight XLR Connectors) s the Mute LED and hold for 2 Slide the Mute switch toward  box appears seconds. The Mute LED flashes red, and a dialog Connect these outputs to destin  ations such as house/mains, uts are muted on the respective on-screen indicating that outp monitors, additional zones, and feeds to other devices. Stage 16 box. 3 – AES Digital Outputs To unmute Stage 16 box outputs: (Two XLR AES/EBU Connectors) Slide the Mute switch towards  the Mute LED again until the  Connect these outputs to destinat ions such as system proces- LED stops flashing. sors, AES input-equipped power amp lifiers, or feeds to other dig- ital devices. Four channels on tw o stereo connectors are provided. – or – button in the Mute All Outputs dialog box  Click the Exit 4 – Ethernet Ports A and B on-screen. (Two RJ-45 Ports with etherCON Connectors)  Connect the E3 engine and other Stage 16 boxes to these ports AC Power Input and Switch (Back Panel) using supported audio network cables. The Power switch applies power to the Stage 16 box. The power switch is latching, so that when left in the On position, the device powers up when AC power is applied to it, allowing for the use of power sequencers. 23 Chapter 2: Configuring and Connecting

35 Installing Additional Software After having unpacked, assembled, connected, and powered up your S3L-X system, you can manually install any additional soft- ware, as follows: VENUE Software Update A VENUE software update may be available for your system. If an update is available, download and install it. To check your system software, in VENUE go to the Options > System tab Plug-Ins A core set of plug-ins are pre-installed on your system. Any additional plug-ins (such as the S3L-X Plug-In pack) must be activated and installed. See Plug-Ins for installation and oper- ational information. ECx Ethernet Control ECx Ethernet Control software must be installed on both your S3L-X system and your remote device. For instructions, see ECx Ethernet Control . 24 Chapter 2: Configuring and Connecting

36 Part II: Description

37 Chapter 3: S3L-X System Control Overview This chapter provides an overview of S3L-X system controls on the console and on-screen are . Most VENUE features and controls that he used during a performance are available from both the console and on-screen. Changes made on one are immediately reflected in t other, letting you use almost any combination of console and screen controls to mix. S3 Control Surface Top Panel Overview in sections of the S3 control surface. The following figure identifies the three ma B C Top Top In Config Back Back Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Expnd Expnd Page Page Page Page In In In In In In In In In In In In In In In In Mixer Close Top Source Nudge Nudge Back Home End Page Page Bank Bank Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel In In In In In In In In In In In In In In In In EQ Input View 1 View 2 HPF Gain Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Mix Dyn Pan Comp Pan Insert Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Channel Group Flip Aux Aux Flip Workstation 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 Application A C 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 2 1 E A Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel 9 10 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 A A A A A A A A A A A A A A A A 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 4 3 Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec Rec F B 12 11 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 Multi 6 5 C 13 14 Assign 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 8 7 OK D 16 15 +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip +20/Clip 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +9 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 +3 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 9-16 Cancel User -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 -3 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -9 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -21 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 Solo Mix to Mons Clear Fine Default Multi Select Command 1234 SHIFT SHIFT CTRL ALT SHIFT C Main control sections on the S3 control surface A - Channel Section The Channel section provides control of Input Channe ls, FX Returns, output cha nnels and channel banking. B - Channel Control des control of processing functi ntly selected input or output ons and parameters for the curre channel. The Channel Control section provi C - Global Controls hes are also provided that modify the function of othe Global controls provide control of system-wide parameters. Modifier switc r con- trols. 26 Chapter 3: S3L-X System Control Overview

38 Channel Section The Channel section provides 16 channel strips to control input a ble chan- r, an assigna nd output channels. Each channel strip has a fade nel encoder to control adjustable channel parameters, and a display to show channel and associated parameter information. Chann els are banked (assigned) to channel strips using the User bank switches, as well as the < Bank > and < Nudge > switches. Input and A–F and output channels can be banked to channel strips. Channel section annel. The switch is lit when Toggles the solo state of that ch Solo Channel Strips that channel is soloed. When the channel is in Solo Safe mode, Mute and switch, a 100mm Each channel strip provides a Solo the switch flashes. The switch has momentary and latching Solo der, a channel select ( motorized touch-sensitive fa ) switch, Sel capabilities (see ). Using Solo and a level meter. Each channel st rip also features an assignable channel encoder and display. Mutes the channel at the (pre-fa Mute der) mute point. The switch is lit when that channel is muted. Solo the currently banked chan- The fader adjusts the level of Fader nel. The Options > Interaction sc reen lets you enable touch-sen- Mute sitive channel selection. When enabled, touching a channel fader and makes it the selected chan- automatically selects that channel nel. 12 6 en they do not sense a touch. The faders can be moved even wh Sel while wearing gloves, and also This allows use of the faders 0 A lets you “throw” a fader and have it stay where it lands (not 5 Rec snap back to where it was last touched). 10 20 Targets that channel for processing using Channel Control, Sel +20/Clip t and Multi-Assign functions. and for inclusion in Multi-Selec 30 +15 +9 The switch is lit when that channel is selected. +3 40 0 -3 60 -9 -15 . Selecting and Targeting Channels -21 -30 Has no function for VENUE software. Rec Channel strip 27 Chapter 3: S3L-X System Control Overview

39 Level Meter Shows input level for inpu Channel Encoder Assignment Switches t channels, and output at various points in the chan- level for output channels. Clipping The Channel Encoder Assignment switches assign channel pa- indicated when the top most LED lights red. nel signal path is also rameters to the channel encoders. The metering points for input and output channels are selectable. . For information on configuring meters, see Meter Input EQ HPF Gain Assignable Channel Encoders Each channel strip features on e assignable channel encoder for Mix Dyn Pan Comp Pan Insert send levels, and control of parameters such as input gain, Aux pan/balance/width. Channel encode rs are assigned functions us- ing the Channel Encoder Assignment switches. Group Channel Flip Aux Aux Flip LR 1 Ch 1 Channel Encoder Assign switches EQ Pan The text on the switches correspo nd to the parameters that can be DY assigned to the channel encoders, as follows: to the channel encoders. Head Gain Assigns control of input gain inputs, and digita l gain is avail- amp gain is available for analog inputs. Gain level is indicated in the chan- able for digital or line nel display level indicator.  switch toggles the Pad (-20 dB) for In The channel encoder Channel encoder, Sel and In switches, and display (Input Channel shown) is lit when the Pad is on. that channel on/off. The switch Rotary and Switch Functions Assigns control of the High Pa ss Filter (HPF) corner fre- HPF quency to the channel encoders. HPF corner frequency is indi- Channel encoders are dual-function controls that provide rotary cated in the channel display and switch functions. Each ch annel encoder has a corresponding select ( switch. The function of the channel en- In ) switch and Sel In switch toggles the built-in HPF for  The channel encoder ches depends on the parameter coder and its corresponding swit is lit when the HPF is in. that channel in/out. The switch assigned to the encoder. Comp Assigns threshold control for the built-in Compres- sor/Limiter to the channel encoders . This control is available for Channel Displays input and outpu t channels. The channel display shows information for the currently banked switch toggles the Compressor/Lim- In  The channel encoder channel such as the channel number and/or name, the parameter iter for that channel in/out. The switch is lit when the Comp/Lim that is currently assigned to the channel encoder, and other useful is in. of channel banked and the pa- information depending on the type rameter currently assigned to channel control. Pan Assigns control of channel pan if the channel is mono, or balance eo, to the channel en- if the channel is ster stereo channel Level/Pan Indicator coders. This control is availabl e for input channels and Group busses. an encoder, an indicator in the When a parameter is assigned to display shows the relative setting of that control. When a corre- switch assigns  Sel For stereo channels, the channel encoder sponding encoder is touched and/or adjusted, the display shows a width to the channel encoders. numerical parameter value. LR LR 1 1 Ch 1 Ch 1 EQ EQ Pan Gain DY DY Channel display level indicator (left) and pan indicator (right) 28 Chapter 3: S3L-X System Control Overview

40 Aux riable Group) send levels to Assigns control of Aux (and Va Fader Banking Controls the channel encoders. S3L-X provides controls for banking channels in layers and for When the switch is pressed, the Aux Select menu appears Aux  banking channels horizontally. across the 16 channel encoder di splays. Pressing a channel en- See or more information. Banking Channels coder assigns the sends for the bu s indicated in the corresponding display to all 16 channel encoders. Bank A–F and User Bank Switches The Channel Navigation switch assigns the Aux sends  Page > to channel strips in layers. Use these switches to bank channels for the next bus to the channel encoders; pressing < Page assigns the previous group of Aux sends. switch toggles the Aux send on/off for In The channel encoder  A E ch is lit when the send is on. that particular channel. The swit switch toggles that Aux send be-  The channel encoder Sel B F tween pre- or post-fader for that particular channel. When the switch is lit, the send is set to pre-fader. Multi C Assign See for more information. Auxes and Variable Groups Flip Assigns the current parameters assigned to the channel en- OK D coders to the faders (flip to fa ders). The switch flashes when Flip is enabled, and a vertical arrow appears in the channel displays. Cancel User Channel Encoder Navigation Switches Bank A–F and User Bank switches tion switches to navigate Use the Channel Encoder Naviga The following switches are provided: through the available pages of parameters. A–D Bank input channels to the channel strips as follows: A banks Input Channels 1–16 • Top Source Back B banks 17–32, • • banks 33–48 C Page Page D banks 49–64 (or FX Returns 1–8 depending on your input • channel configuration). Channel Navigation Switches Banks Aux outputs 1–16 to E the channel strips. The following switches are provided: Banks Group/Variable Group out F puts 1–8 to channel strips Back/Top Displays the first screen of parameter controls for the 1–8, and Matrix outputs 1–8 to channel strips 9–16. currently assigned function. User Banks custom User Layouts to the channel strips. The de- Shows the sources of the currently banked channels in Source fault User Layout contains VCAs 1–8 and a unified Mains fader the channel displays, and the source of the currently selected pending on their linked/unlinked (controlling Mains L, R, C/M de channel in the Channel Control Display. For example, if the status). See for more information. User Layouts source for a channel is Stage 1 Analog Input 3, S1A3 appears in the channel display and (if selected) in Channel Control. Assigns the previous set of parameters to the channel en- < Page coders, where available. The switch lights when there is a previ- ous set to go to. For example, when Aux 2 is assigned to the chan- nel encoders, pressing this switch assigns Aux 1 to the channel encoders. When on the first page, pressing the switch does noth- ing. meters to the channel encod- Assigns the next set of para Page > ers, where available. For example, when Aux 1 is assigned to the channel encoders, pressing this switch assigns Aux 2 to the chan- there is a next page to go to. nel encoders. The switch lights when When on the last page, pressing the switch does nothing. 29 Chapter 3: S3L-X System Control Overview

41 < Nudge > and < Bank > Switches Multi-Assign, OK, and Cancel irm, cancel and exit multi-as- These switches let you bank channels to Channel strips sequen- These switches let you enter, conf tially. s, and on-screen dialog boxes. signment and multi-selection mode Close Mixer Nudge Nudge A E Home End B F Bank Bank < Nudge > and < Bank > switches Multi C The following switches are provided: Assign the left. If input chan- Moves channels one channel to < Nudge is switch banks input channels nels 17–32 are banked, pressing th OK D 16–31. Nudge > Moves channels one channel to the right. If input chan- Cancel User is switch banks input channels nels 17–32 are banked, pressing th 18–33. < Bank/Home Moves channels one bank (16 channels) to the OK and Cancel switches left. If input channels 17–32 are banked, pressing this switch The following switches are provided: banks input channels 1–16. Enables Multi-Assign mode, letting you quickly Multi-Assign Bank/End > 16 channels) to the right. Moves channels one bank ( assign multiple input channels to a selected output bus or User If input channels 17–32 are banked, pressing this switch banks in- Layout. See Assigning Inputs to Matrix Busses and Assign- put channels 33–48. ing Channels to a User Layout for more information. Bank/End > switches pro- Pressing SHIFT+Bank/Home or Confirms the current operation, such as confirming assign- OK vide the Home and End shortcuts. For more information, ments made in Multi-Select mode. see Using the Home and End Shortcuts . Cancels the current operation, Cancel such as exiting Multi-Se- lect mode. Cancel also unlocks th e system if it has been locked. 30 Chapter 3: S3L-X System Control Overview

42 Channel Control Channel Control provides consistent control and display of chan EQ, dynamics, and Auxes for the cur- nel processing functions such as l. Channel Control features rently selected input or output channe a corresponding Select ( eight encoders, each with Sel ) switch, In switch, display, and color-coded LED. Four Channel Control Navigation switches are pr ovided for navigating through parameters. You can also create a custom User set of controls. . Channel Control For more information on using Channel Control, see Mix Group Sends Pan Dyn Inserts Channel Control showing the main Channel Control menu Each Channel Control encoder has a corresponding select ( ) Sel Channel Control Encoders switch and switch, as follows: In Channel Control features eight dua l-function encoders that pro- tary functions. vide switch and ro parameter to the corresponding Channel Sel Assigns a secondary Control encoder, where available. For example, when the EQ  When the Channel Control main menu is shown in the Chan- function is assigned to Channel Control, pressing the Sel switch nel Control displays, pressing a Channel Control encoder assigns next to the Channel Control encoder controlling frequency as- the parameters for the function shown in the corresponding dis- signs Q (frequency bandwidth) to the encoder. play to the eight Chan nel Control encoders. In r on/off, where available. For Toggles an individual paramete When parameters are assigned to the encoders, rotating a  assigned to Channel Control, example, when the EQ function is Channel Control encoder adjusts the individual parameter indi- pressing the In switch for the Channel Control encoder con- (such as EQ band gain or Aux cated in the corresponding display at filter in/out. The switch is trolling EQ Lo band gain toggles th send level). lit when the parameter is enabled (in). 31 Chapter 3: S3L-X System Control Overview

43 Channel Control Displays Channel Control Navigation Switches The Channel Control displays show the Channel Control main The Channel Control Navigati on switches let you navigate menu. When a processing function is assigned to Channel Con- Channel Control parameters. A through the available pages of lable parameters. Each Channel function trol, the displays show the avai In (enable/bypass) switch is al so provided, as well as a and a level/pan a color-coded LED Control display also features ng inserted plug-ins. shortcut for adjusti indicator. Channel Control LEDs Top In Back associated with it has a unique color Each processing function l Control LEDs. When a process- that is displayed in the Channe Expnd ing function is assigned to Channel Control, the assigned function Page Page is also highlighted in th at same color on-screen. Channel Control Navigation switches Level/Pan Indicator The following switches are provided: When a parameter is assigned to an encoder, an indicator in the display shows the relative setting of that control. When a corre- Back/Top This switch returns Channel Control to the Channel sponding encoder is touched and/or adjusted, the display shows a Control main menu. numerical parameter value. This switch toggles an entire processing function (such as EQ In or Comp/Lim) in/out. The switch is lit when the function is en- abled (in) Page >/Expnd Depending on the proce ssing function currently either the next assigned to Channel Control, this switch assigns or the rs (if available) page of a processing function’s paramete set of parameters for the next available function. The switch is lit when a next page is available. Pressing SHIFT + Page > Expnd “expands” the currently assigned Channel Control parameters across the entire top row of 16 encoders. See Expanding Channel Control for more information. the previous page of param- < Page This switch either returns to the set eters for the currently assign ed function (if applicable) or unction. The switch is lit when a of parameters for the previous f previous page is available. 32 Chapter 3: S3L-X System Control Overview

44 Global Controls vels, Matrix input and outpu t levels, as control of output bus le parameters and functions such Global controls provide control of global Monitor bus levels, screen navigation, and programmable events. Co ntrols include eight Global Cont rol encoders with associated tion switches, Monitoring sw itches, a Touch Strip, Global switches and displays, six View Mode swit ches, eight customizable Func Modifier switches, and two switches. SHIFT Matrixes Insert VCAs Aux/Grp Mains Monitors Top Config Back Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Expnd Page Page In In In In In In In In In In In In In In In In View 1 View 2 Workstation Application 2 1 9 10 4 3 12 11 6 5 13 14 8 7 15 16 9-16 Solo Mix to Clear Mons Multi Select Default Fine SHIFT Command 1234 SHIFT SHIFT ALT CTRL Global Controls Global Control Encoders and switch functions. Each encoder has a corresponding s ontrols that provide rotary elect Global Control encoders are dual function c ( In Sel switch. The following functions can be controlled from the Global Control encoders and associated Navigation ) switch and an switches: ) Adjusting the Mains • Mains output controls (see Headphone Level ) Adjusting Monitor/ • Monitor bus out put levels (see ) VCAs •VCAs (see Matrix Mixers ) • Matrix mixers input and output controls (see Adjusting Aux/Va riable Group Output Parameters ) • Aux/Variable Group output controls (see ) Adjusting Plug-Ins • Plug-in parameter control (see This section provides an overview of Gl specific Global Control functions, see the obal Control. For instructions on using chapters or sections refe rred to in the list above. Insert VCAs Matrixes Aux/Grp Monitors Mains Top Config Back Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Expnd Page Page In In In In In In In In In In In In In In In In Global Control main menu 33 Chapter 3: S3L-X System Control Overview

45 Global Control Navigation Switches View Mode Switches The Global Control Navigation switches let you navigate The View Mode switches provide navigation for the on-screen through the available pages of Global Control parameters. A software pages and tabs. switch for toggling system operating modes is also provided. View 2 View 1 Top Config Back Expnd Page Page Global Control Navigation switches The following switches are provided: View Mode switches This switch returns Global Control to the Global Con- Back/Top The following switches are provided: trol main menu. s page, and is lit when the This switch displays the Input View 1 page is active. When Matrix sends are assign ed to Global Control, press- ing and holding SHIFT+Back /Top displays the Global uts page, and is lit when the This switch displays the Outp View 2 Control main menu. page is active. Config This switch toggles the system between its two main op- and View 2 switches to dis- You can customize the View 1 Show mode. See Config mode and erating modes, Enabling Con- play the pages of your choice. See View Mode Switch 1 fig Mode . and 2 Assignments Page > Depending on the function currently assigned to Chan- ▼ )/ View Left and Right ( and ◄ ▲ and View Up and Down ( Control, this switch assigns either the next page of a func- nel een pages and ta bs on-screen. These switches navigate betw ) ► or tion’s parameters (if available) the set of parameters for the See Viewing Page and Tabs next available function. The switch is li t when a next page is available. Application/Workstation Switch < Page param- to the previous page of This switch either returns This switch has no function for VENUE software. or eters (if applicable) the set of parameters for the previous func- tion. The switch is lit when a previous page is available. 34 Chapter 3: S3L-X System Control Overview

46 Function Switches Monitoring Switches omized to control a wide range The Function switches can be cust The Monitoring switches provide controls for the VENUE Solo and Monitor busses. of console parameters such as Mu te Groups, snapshot recall, tap r Pro Tools and built-in 2-track tempo, and transport controls fo USB recording and playback. Ei ght Function switches are pro- Solo Mix to vided in two banks, providing 16 customizable func tions. Actions Mons Clear itches using events, available on are assigned to the Function sw the tab ( Options > Events). Events Monitoring switches Events See for more information. The following switches are provided: This switch clears all soloed channels. Solo Clear This switch sends the Main mix signal to the Mix to Monitors 1 2 Monitor bus. When enabled (lit), the Main mix is present in the 10 9 Headphones (or other device connected to a hardware output as- signed to the Monitor bus) whenever channels are not soloed. 4 3 12 11 Headphone Volume Control The volume control for the Headphone output is located along the 6 5 14 13 right-front edge of the console. This signal for the Headphone output is derived from the Monitor bus. Monitor bus controls are provided on the Monitoring Global Control encoder. 8 7 15 16 9-16 Global modifier switches The following switches are provided: These switches trigger actions assigned on the 1–8/9–16 Events Headphone volume control tab. Using the Monitor Bus For more information, see . To trigger an event using a Function switch: to trigger the action(s) assigned to  Press a Function switch 1–8 Touch Strip that switch. ive control that you can custom- The Touch Strip is a touch-sensit 9–16 This switch toggles the eight switches between Function console parameters using events. ize to control a wide range of switch banks 1–8 and 9–16. To toggle between Function switch banks 1–8 and 9–16: 123 4 Press the switch. The Bank switch lights, and switches 9–16  are active. F9–F16 Touch Strip Show Me This switch lets you see the event(s) on-screen that is nes” that can be assigned to The Touch Strip has four “press zo assigned to a Fu nction switch. control four separate events (similar to the Function switches). Pressing a Zone 1–4 triggers the event assi gned to that zone. ng events to the Touch Strip, For more information on assigni see Events . Show Me Global Modifier switch Global Modifiers To see the event(s) assigned to a Function switch using the Show Me switch: The Global Modifier controls provide frequently used shortcuts that can be applied to console actions and software screen inter- Press the Show Me switch. The Events tab is displayed.  actions. 35 Chapter 3: S3L-X System Control Overview

47 resolution using only the key- To adjust a control with fine Multi Select Fine Default Command control and adjust. board and mouse, Ctrl-click the on-screen SHIFT CTRL ALT Momentary and Latching Modes Global Modifier switches Multi-Select (Shift) The switch supports momentary and latching operation. Fine The switch lets you select Multi-Select multiple input channels Momentary In momentary mode, the Fine switch stays in effect lected channels for batch routing and then apply an action to all se for as long as you hold down that modifier switch. and assignment. For more information see Selecting and Tar- itch stays in effect until In latching mode, the Fine sw Latching geting Channels . its active state. you explicitly clear You can also use Multi-Select to select multiple consecutive To use the Fine switch in Momentary mode: items in the Snapshots list, and in Media page Playlist and Li- brary. Press and hold the switch. 1 Fine To Multi-Select us ing only the keyboard and a mouse, press 2 Adjust a channel, parameter, or processor. the Shift key on the keyboard and select the items switch. Fine 3 Release the on-screen. To use the Fine switch in latching mode: Default (CTRL) Fine Double-press the 1 switch. The switch LED lights. Default The switch provides a quick way to reset a control to its 2 Select or adjust one or more channels, parameters, or proces- default setting (or “ zero” the setting). sors. Examples of Using Default 3 Press the switch again to exit latching mode. Fine To reset a fader to 0 dB: Command Default Press and hold 1 . This switch has no function for VENUE software. Sel Press the channel 2 switch on the channel you want to reset. SHIFT To reset a single parameter in Channel Control: switch and press the encoder for that param-  Hold the Default Some switches have secondary fu nctions, highlighted in gray eter in the Channel Control section. above the primary function (such as < Bank/Home , where Home is the secondary function). To access these secondary only the keyboard and mouse, To reset a parameter using functions, use either of the two SHIFT switches located at the Alt-click the on-screen control. lower-left and lower-right si des of the console surface. SHIFT can be locked on. To reset all parameters of a processing function in Channel Control:  Hold the Default switch and press the Channel Control Navi- SHIFT gation In switch. Fine (ALT) SHIFT switch The rols (except fo r faders) on the Fine switch lets you adjust cont To access the secondary function of a switch: console or on-screen with maxi mum resolution. For example, if switch, then press the desired  SHIFT Press and hold either by default a control adjusts a parameter in units of 1 dB, the Fine switch. switch allows adjustment in units of 0.1 dB. to select multiple non-consecutive items in Fine You can also use To lock/unlock SHIFT: the Snapshots list, and in the Me dia page Playlist and Library. . SHIFT SHIFT Press both  keys to simultaneously lock on To adjust a control with fine resolution: Press either SHIFT key to unlock.   Press and hold the Fine switch while moving a control. The sted control will show the val- display associated with the adju ues change at the corresponding resolution. 36 Chapter 3: S3L-X System Control Overview

48 Viewing Page and Tabs Software Screen Overview To view a page, do one of the following: The screen is not required in order to mix a performance, as all es- ► or ◄ ( View Right or View Left Press the  ) switch to cycle d on the console. However, the sential mixing controls are provide through pages horizontally. up and configuring the system be- screen is essential when setting fore a performance. For more information, see Options. – or – Click the page name at the top of the screen.  Console and Software Screen Linking The software screen is linked to console actions by default. You can customize ho w VENUE targets channels to best match your working style. For more information, see Interaction . Software Screen Banner Display splay in the lower left corner. The screen provides a banner di intain line-of-sight mixing by This display is provided to ma showing the currently adjusted pa rameter (such as fader level or compression threshold) as you ma ke changes to the parameter. The banner display also provides Tool Tip text and status mes- sages. Tool Tips Clicking the page name to view a page With the mouse or trackball, place the cursor over a screen item to To view a tab: see a brief explanation in the banner display.  Press the View Down ( ▼ ) switch so it is lit, then press the View Left ) switch to scroll through ► or View Right ( ◄ or the tabs of the current page (if applicable). – or –  Click the tab name, below the page names on-screen. Cursor (top) and tool tip in the banner display (bottom) Status Messages rtain operating conditions such The banner display alerts you to ce as Multi-Select and Multi-Assign modes. Clicking the tab name Banner display (left) and Mode display (right) 37 Chapter 3: S3L-X System Control Overview

49 Filing Overview of Software Pages Load, save, and transfer shows and presets, and access the con- The software screen provides the following pages and tabs. sole History. Inputs Select, name, configure, and adjust parameters for input channels and FX Returns. Filing page (History tab) Shows and File Management. See Inputs page (analog input shown) Snapshots Store and recall snapshots, and access the Recall Safe window. See Inputs and Input Routing. Outputs Select, name, configure, and adjust parameters for outputs. Snapshots page Snapshots. See Outputs page S3L-X System Control Overview. See 38 Chapter 3: S3L-X System Control Overview

50 Patchbay Media channels to hardware inputs and outputs, Configure, control, and monitor 2-track USB recording and play- Patch input and output and name channels. back. Media page (Playback tab shown) Patchbay page (Inputs tab shown) See 2-Track USB Recording and Playback. Patchbay. See Options Plug-Ins Configure system, routing and mete ring options, set interaction, s; and assign, patch/route, and Configure and arrange plug-in rack install plug-ins, and access the hardware and general preferences, manage plug-ins. Events window. Plug-In page Options page (System tab shown) See Plug-Ins. See Options. 39 Chapter 3: S3L-X System Control Overview

51 Channel Color Coding You can color-code on-screen fa der strips and corresponding channel display LEDs to help identify key channels or groups of channels faster. To set a channel color: 1 Right-click a fader strip on-screen, or select multiple channels and right-click any of th e multi-selected faders. 2 From the pop-up, select Set Channel Color and choose one of the available color options. Selecting a Channel Color Fader strips are color-coded, and on the S3 the LEDs above the channel displays for the color-coded channels are also lit in the selected color. Color-coded channels 40 Chapter 3: S3L-X System Control Overview

52 Chapter 4: Banking and Selecting Channels Banking FX Returns Banking Channels When your system is configured with 48 Input Channels plus controls to navigate The S3L-X system provides channel banking eight FX Returns, Bank switch banks FX Returns 1–8 to the D available physical faders. Bank to channels beyond the number of Channel strips. switches navigate the display of system input and output channels on the console: To bank FX Returns to the channel strips: • You can access Inputs (Input Channels and FX Returns) and Press bank switch D . FX Returns 1–8 are banked to channel  outputs (Auxes, Groups, VCAs, Matrixes, and Mains) using strips 1–8. switches. A–F the and < Nudge > • You can also access channels using the Banking Outputs < Bank > switches. F and bank switches let you bank outputs to the channel E The • You can create custom channel layouts (User Layouts) and strips. Channel names and numbers are indicated in the channel User switch. access them using the displays. Stereo outputs are banked to a single fader. • Input Channels and FX Return s can be put in Bank Safe mode, leaving them accessible regardless of the currently Outputs can also be accessed from the Global Control en- selected bank. coders. See Selecting Outputs from Global Control. To bank Aux outputs 1–8/9–16 to the channel strips: A E Press bank switch E .  Channel strips 9–16 are blank if the system is configured B F for eight Aux sends. Multi C To bank Group/Variable Group outputs 1–8 and Matrix outputs Assign 1–8 to the channel strips: OK D . Press bank switch  F • Groups 1–8 are banked to channel strips 1–8. Cancel User • Matrixes 1–8 are banked to channel strips 9–16. Bank switches Banking Inputs bank switches let you bank Input Channels and FX Re- The A-D turns to the console channel strips in banks of 16 channels. Chan- nel names and numbers are indica ted in the channel displays. To bank Input Channels 1–16 to the channel strips:  . A Press bank switch To bank Input Channels 17–32 to the channel strips:  B . Press bank switch To bank Input Channels 33–48 to the channel strips:  C . Press bank switch To bank Input Channels 49–64 to the channel strips: .  Press bank switch D 41 Chapter 4: Banking and Selecting Channels

53 Banking with < Nudge > and < Bank > User Layouts Switches You can create custom channel layouts on the S3, and access let you bank through channels horizon- < Nudge > and < Bank > those layouts on the 16 S3 channel strips using the Bank User tally. You can also quic kly return to the first bank or the last bank switch. A User Layout can include any type of channel in any or- using the Home and End shortcuts. der, up to the maximum of 16 ch annels, including stereo channels and the Mains L-C- R/L-R+M fader. Mixer Close Nudge Nudge You can store and recall one User Layouts per snapshot, provid- Storing and Re- ing up to 999 User Layouts per Show file (see calling User Layouts in Snapshots for more information). End Home Bank Bank You can also store User Layout s in the User Layouts Presets < Nudge > and < Bank > switches folder. To bank channels one channel to the right: Assigning Channels to a User Layout  switch. Nudge > Press the You can assign up to 16 channels to a User Layout from the In- To bank channels one channel to the left: puts pages. You can assign individual Snapshots , and Outputs , using Multi-Assign. The default channels or multiple channels  Press the < Nudge switch. User Layout contains VCAs 1–8 and a unified Mains fader. To bank channels one bank (16 channels) to the right: You may want to clear the def ault User Layout before cre- switch. The next set of 16 channels is banked Press the  Bank > ating your own. See ing Channels Removing/Clear to the channel strips from a User Layout . To bank channels one bank (16 channels) to the left: To assign a channel to a User Layout: 1 Depending on the type of channel you want to assign, go to the Press the < Bank switch. The previous set of 16 channels  or Outputs Inputs page. strips is banked to the channel strips. Right-click a fader strip on-screen, and select 2 User Layout Using the Home and End Shortcuts from the pop-up menu. switches on the S3 control surface in con- Using either SHIFT select the S3 channel strip 3 In the User Layout sub-menu, junction with the switches provide the < Bank > End and Home (1–16) you want to assign the channel to. banking shortcuts. To bank to the first set of channels for the currently banked channel type: Press SHIFT+< Bank/Home . If input channels are banked,  Input Channels 1–16 are banked to the channel strips. If output channels are banked, Aux outputs are banked. To bank the last set of channels for the currently banked channel type:  . If input channels are banked, In- Press SHIFT+Bank >/End put Channels 49–64 (or FX Returns 1–8 depending on your channel strips. If output chan- configuration) are banked to the and Mains are banked. nels are banked, VCAs Hidden Bank Clip switch flashes red if a channel on a cur- A–F The LED of a Bank rently hidden bank is cl ipping. This indicator obeys the same clip- Assigning a channel to a User Layout Input Channel meters (as set in ping threshold display rules as the the page). Options > Interaction nels you want to assign. Repeat for any other chan 4 . If desired, save your User Layout. See 5 Saving User Layouts 42 Chapter 4: Banking and Selecting Channels

54 To assign multiple channels to a User Layout: To remove all channels fr om the current User Layout: 4 page. Go to the Outputs Inputs or 1 User Layout from the • Right-click any channel and select pop-up menu. 2 Click the USER tab. Clear All Assignments. • Choose Do either of the following: 3 Selecting Mains in a User Layout tab, click the USER • At the bottom-right corner of the button to enable Multi-Assign mode. Multi-Assign When you assign Mains L-R+M or L-C-R to a User Layout, a sin- . Adjusting it controls levels for gle fader is assigned to the Layout all linked Mains faders. You can select each individual Mains channel on-screen using the Mains Focus button. To select an individual Mains channel on-screen: Assign the Mains to a User Layout and bank the User Layout. 1 click the Mains Focus button 2 In the on-screen fader strip, above the Mute button to cycle through each Mains channel. Accessing User Layouts – or – To access a User Layout: • Right-click a fader strip and select Enter User Assignment Press the User switch.  Mode. – or – tab from the Inputs or Outputs page. User Click the  The channels assigned to the current User Layout are banked to Any User Layout channel strips the channel strips as assigned. assignments are blank. that have no channel A E On the S3 or on-screen, select the channels you want to assign 4 B F to the User Layout. 5 to can- Cancel to confirm your assignments, or click OK Click Multi C Assign cel the assignments. Removing/Clearing Channels from a User Layout OK D To remove channels from a User Layout: Cancel User Inputs Go to the 1 page. Outputs or 2 USER tab. Click the User switch (left) and the on-screen User tab (right) 3 nnel from a User Layout: To remove a single cha To exit a User Layout: User Layout from the • Right-click any ch annel and select switch.  Press any other Bank A–F pop-up menu. . Clear Chanel : • Choose To reset the User Layout to the default setting (VCAs 1–8 and the Mains fader): USER 1 tab. Click the the bottom-right of the 2 tab and User Click the pop-up menu at choose Reset to Default. Removing a channel from a User Layout 43 Chapter 4: Banking and Selecting Channels

55 Saving User Layouts Channel 6 on Bank B is then Bank Safed. Selecting the various banks results in the following channel layouts: s to disk as Preset files using You can store and load User Layout Channel layout with Bank Safe enabled on channel 6 the User Layouts Preset Folder. Fader 4 Fader 3 Fader 2 Fader 1 Bank To store or load a User Layout Preset: A Ch 1 Ch 6Ch 3Ch 4 Configure a User Layout as desired. 1 B Ch 5 Ch 6Ch 7Ch 8 Click the User Layout Presets fo lder icon on-screen, below the 2 C User Layout Members list on the USER tab. Ch 11 Ch 9 Ch 6 Ch 12 D Ch 16 Ch 13 Ch 15 Ch 6 Aux Masters 1–16 (or, depending on your configuration, Aux Masters 1–8 and Group Masters 1–8) are available on all 16 en- coders. When a channel is remo ved from Bank Safe, the input channel that would normally appear in that fader location on the currently selected bank automatically re-appears. Enabling and Using Bank Safe Mode Clicking the User Layouts Presets folder icon Bank Safe mode can be enabled on-screen from the Options > In- Choose a Presets folder from the Folder pop-up menu at the 3 teraction page. Bank Safe mode is enabled for Input Channels/FX top of the Presets window. always active, Returns and Output Channels. All Safe modes are Do any of the following: 4 but only the selected safe mode is controlled by the Safe switch. New • To store the current User Layout as a new preset, click To enable Bank Safe mode: file. The current User Layout and enter a name for the preset is stored to the preset. Go to the page. 1 Options > Interaction • To preview an existing preset, click its name in the Presets 2 In the Channel Safe Switches se ction, click to the following to window. enable the Channel Safe switches to act as Bank Safes: • To load the currently selected preset, press Enter on the key- Inputs Bank click • For Input Channels and FX Returns, under board or click the Close box in the Presets window title bar. Safes. • To load a preset and close the Presets window, double-click Bank Safes. click Outputs • For Output Channels, under the preset. Cancel . • To cancel without loading the preset, press Bank Safe When Bank Safe mode is enabled for Input Channels, FX Re- turns, and/or Output Channels , clicking a channel’s on-screen that channel. Bank Safe lets you Bank Safes Channel Safe switch temporarily “lock” the location of key channels (such as a lead Channel Safe Switch options in the Options > Interaction page vocal or the Mains) on the top fader layer of the S3 regardless of ng a User Layout. This lets you the currently active bank, includi You can create an event that lets you cycle through the vari- maintain immediate access to these key channels while working ous Channel Safe switch modes (Input/Output Safe Switch with channels on a different layer. Mode), as well as suspend or disable Bank Safe (Disable nput channels assigned to four For example, imagine 16 total i Bank Switch). See . Creating Events 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 Ch 4 Ch 1 Ch 2 Ch 3 B Ch 5 Ch 6Ch 7Ch 8 C Ch 9 Ch 10 Ch 11 Ch 12 D Ch 15 Ch 16 Ch 14 Ch 13 44 Chapter 4: Banking and Selecting Channels

56 Special Cases Affecting Bank Safe Using Bank Safe automatically applied to Bank Special rules and conditions are To Bank Safe channels: Safe status whenever you do the following: 1 Make sure you have enabled Ba nk Safe mode for the Channel • Banking GEQ to faders Safe switches. • Moving/Shuffling channels 2 Click the on-screen Ch annel Safe switch for the desired chan- • Change the system configuration nel, located at the top of each fa der strip. Bank Safe status is indicated on screen and on the S3 as follows: Banking GEQ to Faders ashes green and shows the let- • On-screen, the Safe button fl Banking GEQ to faders override s Bank Safe. Returning to any appears if the switch is acting as an Automation A B ( ter bank (thus exiting GEQ Fader mode) restores the previous chan- Safe, and appears if it is acting as a Solo Safe). S nel layout, including Bank Safe status. Moving or Shuffling Channels Bank Safed channels shuffle accordingly when any operation is performed that re sults in a re-ordering of input channels, includ- ing 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 S3L-X. Priority for Replacing Bank Safe Assignments cating the channel is Bank Safed On-screen Channel Safe switch indi The following rules apply to reso lve any potential collisions be- • On the S3, the channel display for the Bank Safed channel tween Bank Safed channel assignments: shows a lock icon. • Input Channels always replace any FX Returns that are Bank Safed in that co rresponding fader position. LR 1 • A lower numbered Input Channel always replaces a higher Ch 1 numbered Input Channel in that corresponding fader posi- EQ tion. Gain DY 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 ap- 3 plied to each of the ne wly created mono channels. Lock icon indicating the corresponding channel is Bank Safed 45 Chapter 4: Banking and Selecting Channels

57 Selecting Channels On-Screen Selecting and Targeting Channels To select a channel on-screen Channels can be selected on the S3 or on-screen. Selecting a n fader strip, except on the Click anywhere in the on-scree  channel targets that channel for pr ocessing in Channel Control or fader, mute, solo or safe buttons. l to output busses. Multiple on-screen, and to assign the channe lected using Multi-Assign. channels can also be se Output busses, Matrix outputs, and VCAs can also be se- Control encoders. See lected from the Global Selecting Outputs from Global Control. Click to select channel Selecting a Banked Channel Clicking on-screen to select a channel To select a channel: Bank the desired channels to the channel strips. 1 A channel can also be hing the fader and/or selected by touc Do any of the following: 2 soloing the channel. See lection. Channel Se Press a Channel Encoder.  Selecting Outputs from Global Control  Sel switch. Press a Channel Group, VCAs and Matrixes can Mains, Auxes, Groups/ Variable 6 obal Control encoders. be selected from the Gl Sel To select the Mains from the Global Control encoders: 0 Make sure the Global Control main menu is shown in the 1 A 5 Global Control displays. Rec Channel strip Sel switch l Navigation switch to show Press the Back/Top Global Contro the Global Control main menu. channel display for the selected When a channel is selected, the Sel switch is lit. channel(s) is back-lit, and the Channel Press the Global Control encoder Sel switch under the display 2 showing Mains . Press the Sel switch again to se lect to select the adjacent bus. LR 1 Ch 1 EQ Gain Monitors Mains Top Config Back Sel Sel Sel Sel Expnd Page Page Channel display indicating the channel is selected In In In In The first Channel Control display shows the selected channel, and the selected channel is targeted on-screen. Mains Global Control encoder Sel switch On-screen, the fader strip of the selected bus is highlighted blue. Ch 1 1 Top In User EQ Input Back Expnd Page Page Channel Control display showing the currently selected channel Mains Global Control encoder Sel switch 46 Chapter 4: Banking and Selecting Channels

58 To select the Aux and Groups/Variable Groups from the Global Selecting Multiple Channels Control encoders: (Multi-Select) main menu is shown in the 1 Make sure the Global Control Multi-Select lets you select multiple channels in order to apply an Global Control displays. action to them in one step, such as turning Aux sends on or off for multiple channels. Global Control encoder. Aux outputs 1–8 Aux/Grp Press the 2 are assigned to the Global Control encoders. To select multiple channels from the console: Multi-Select Press and hold the 1 switch (located on the bottom left of the console). Matrixes Aux/Grp VCAs Press the channel strip 2 switch on each channel you want to Sel include in the selection. Sel Sel Sel Sel Sel Sel Release the 3 , Multi-Select switch. The flashing Multi-Select switches, and the banner display at the lower and OK Cancel In In In In In In cate Multi–Select mode is en- left of the screen flash to indi abled. Aux/Grp Global Control encoder Perform a routing assignment or other function (for example, 4 press a Bus Assign switch on one of the included channels). Sel 3 Press the encoder switch under the display showing the The operation is applied to all selected channels. Aux output you want to select. You can also use the Shift key on the keyboard to select mul- Do the following to access additional Aux and Group/Variable 4 tiple channels. e current global Bus Configu- Group outputs, depending on th ration setting: To exit Multi-Select mode, do one of the following: Global Control Navigation switch to ac- Page > • Press the  switch. Press the Multi-Select cess Group outputs 1–8 or Aux outputs 9–16 on the Global Control encoders. – or – Page > again to access Group or Variable Group out- • Press Press the Cancel switch.  puts 1–8. To select multiple channels on-screen: Bus Configuration Settings for more information See Press and hold the switch (or hold Shift on the Multi-Select  on the available bus configuration options. keyboard) and click the fader strips on-screen. To select VCAs from the Global Control encoders: To select an 8-channel bank on-screen: Make sure the Global Control main menu is shown in the 1 Global Control encoder displays. Aux 1–8) or Click the bank name (such as 1–8 below the  on-screen fader strips. Shift-click to select additi onal banks or VCA Press the encoder under the display showing s. VCAs 1–8 2 channels. are assigned to the eight Global Control encoders. Press the encoder switch under the display showing the 3 Sel VCA you want to select. To select a Matrix Mixer for processing: Make sure the Global Control menu is shown in the Global 1 Click to select banks of 8 Control displays. Clicking a bank display to select multiple channels on-screen Matrixes Press the Global Control encoder. Matrix outputs 2 all output channels on-screen: To select all input channels or Global Control encoders. 1–8 are assigned to the  Double-click any bank name be low the on-screen fader strips Press the Global Control encoder Sel 3 switch under the display in the Input or Outputs screen. showing the Matrix output you want to select. To remove a channel from a selection: Control-click (or Fine-cli  ck) a highlighted channel. You can assign multiple input channels to an Aux, Group, or Assigning Inputs to Matrix VCA using Multi-Assign. See Busses. 47 Chapter 4: Banking and Selecting Channels

59 Adjusting On-Screen Encoders Screen Controls You can adjust on-screen rotary encoders by dragging directly over the on-screen knob. Adjusting On-Screen Faders To adjust an on-screen encoder: You can move on-screen faders i ndependently or in ganged fash- ion. 1 Click on the encoder so that it is highlighted. 2 Drag up to turn the encoder clockwise; drag down to turn the To adjust a single fader on-screen, do one of the following: encoder counter-clockwise. annel strip section at the bot- Drag a fader in the on-screen ch  tom of the screen. – or – Select a channel and move its fa  der in the on-screen selected channel controls. Dragging over an encoder on-screen Adjusting Values On-Screen In addition to typing numeric valu es in text boxes, you can adjust Fader in selected channel eric option settings on-screen by drag- parameter values and num section ging directly over the corresponding text box. Fader in To adjust a value on-screen by dragging: channel strip section 1 Click in the text box to select the value. Dragging a fader on-screen Drag up to increase the value; 2 drag down to decrease the value. To move multiple faders on-screen in ganged fashion: channels on-screen 1 by Shift-clicking. Select multiple Move the fader on one of the selected channels. 2 The faders on the selected channels will move in ganged fashion. Any offset between the faders is maintained until at least one of the faders is minimized (moved to –INF) or maximized (set to +12 dB). Adjusting a parameter value by dragging over its text box Screen Shortcuts ides the following right-click The on-screen Fader display prov shortcuts. Selected channels Right-clicking a fader on-screen Dragging multiple faders on-screen Fader and Encoder Shortcuts . See also 48 Chapter 4: Banking and Selecting Channels

60 Parameters and Channel Types Reset Fader to 0 Resets the fader position to zero. Input channels can only be copied or pasted to other Input chan- pasted to other chan- can only be copied or nels. Output channels nels of the same type (such as Aux, Group, or Matrix). When Reset Selected Input Strips pasting channel settings: cted channel(s) to default set- Resets every parameter on the sele • Settings common to the source and destination channel are tings. always pasted. sponding parameter in the des- • Copied settings with no corre Copy and Paste Channel tination channel are ignored. Channel settings can be copied in their entirety from one channel • Settings in the destination channel with no corresponding and pasted to one or more ch annels from the console or parameters are left unchanged. on-screen. Using the Events list, Copy and Paste can be assigned Copying and Pasting Mono and Stereo Channel to any Function switch on the console. For more information, see Settings Events. paste its settings to one or You can copy a mono channel and You can also store and load se ttings as Input Channel Pre- more stereo channels. Mono settings are applied equally to the sets. For information, see Input Channel Presets . left and right channels of the stereo destination. The stereo desti- To copy and paste channel settings on-screen: nation channel retains its curre nt balance and width settings. 1 Do one of the following: You can also copy a stereo channel and paste its settings to one or • Right-click on a channel fader in the fader display across the more mono channels. The left ch annel settings of the stereo Copy . lower half of the screen and choose source are applied to the mono channel(s). The mono destination channel retains its current pan setting. – or – r channel display and choose • Right-click within the uppe Settings Excluded from Copy and Paste . Copy nel parameters are not Input Channels The following Input chan copied or pasted (the current settings of the destination channels are retained): • Patchbay assignments, including Direct Outs • Channel Name (plug-ins) assignments and • Hardware and software insert Copying channel settings in/out state. Output Channels The following Output channel parameters are opying its set- channel before c You do not need to select the not copied or pasted (t he current settings of the destination chan- tings on-screen. nels are retained): 2 Select one or more destination channels. You can only paste to including Direct Outs • Patchbay assignments, selected channels. • Channel Name Right-click on the lower fade 3 r strip on-screen, or on any (plug-in) assignments and • Hardware and software insert non-control area of the destinatio n channel, and choose Paste in/out status displays shows a message con- to Selected Strip(s). The status • GEQ settings firming the Paste operation. ent of channels to an Aux, • Output membership (the assignm 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 memb ership for an Aux, Group, VCA, Matrix or PQ. 49 Chapter 4: Banking and Selecting Channels

61 Blank Strips On-Screen Make Selected Mono Strips Stereo/Make Selected Stereo Strip Mono Blank strips appear as a simple gray strip with no fader, buttons or ls into a single stereo chan- Combines two selected mono channe -clicked to reveal its context meter. A blank strip can be right nel, or splits a selected stereo channel into two mono channels. menu. VENUE must be in Config mode to change the stereo status of a channel. Move Selected Strip Moves a selected Channel strip fro m its current position to a new nnel strip, other channels are location. When you move a Cha higher to accommodate the moved (and renumbered) lower or moved channel. VENUE must be in Config mode to move channel strips. Blank strip in position 16, Right-click menu shown To move a Channel strip: Adding Blank Strips Put the system in Config mode. 1 Blank strips can be inserted manually, and are also created auto- 2 you want to move. Select the channel Stereo command. You can also matically when you use the Make stination strip (where you want 3 On-screen, right-click on the de insert multiple blank strips. to move the selected channel). Manually Inserting Blank Strips from the pop-up menu. Move Selected Strip Here Choose 4 The channel strip is moved be fore the destination strip. blanks strips. Config mode must be enabled to add or remove Snapshots cannot store and recall custom console channel To manually add a blank strip: positions. Enable Config mode. 1 2 Right-click an input channel strip (or a blank strip) at the loca- You can also drag and drop channels. See Reordering In- tion where you want to insert a blank strip and choose Insert put Channels Using Drag and Drop. Blank Strip . For example, if you want to have a blank strip at channel strip 16, right-c lick on channel 16. Insert Blank Strip All channels to the right of the insertion point (including the you insert one or more blank The Insert Blank Strip command lets right-clicked channel) are shuffled one position to the right. ong your input channels. In ad- (or “spacer”) strips anywhere am dition, blank strips are automatically inserted when you use the This command will be unavailable if the combined number of Make Stereo command to convert two mono input channels into input channel strips plus blank strips equals or exceeds 64. a single stereo channel, preserving the channel layout. For more information, see idelines for Limits and Gu Blank Strips . Blank strips are strictly placeholde rs (no audio or any type or pro- cessing take place), and theref ore consume no additional process- To insert multiple blank strips: ing overhead or DSP resources. 1 Enable Config mode. s divisions between groups of in- Use blank strips to create obviou 2 Create a multi-selection of channels. struments, or to optimize the bank placement of inputs on the Right-click on one of the se lected channels and choose Insert 3 console. Blank Strips at Selection . Blank strips are saved and loaded as part of the Show file. A blank strip is inserted in place of each selected channel strip, Blank Strips on the Console y and maintaining the multi-selec- shifting all channels accordingl tion. A blank strip has no LCD channe l name display, and all of its are inactive. Blank strip faders physical controls and indicators and always revert to this po- are set to the bottom (–inf) position sition if moved. 50 Chapter 4: Banking and Selecting Channels

62 Automatically Inserting Blank Strips using Make Stereo Fader and Encoder Shortcuts ank strips when you use the VENUE automatically creates bl The on-screen channel faders and encoders provide the following Make Stereo command in order to preserve the current channel right-click shortc uts to reset individual parameters and channel layout. Similarly, blank strips may be automatically removed strips. nd to revert a stereo strip to when you use the Split Stereo comma its two contributing mono channels. Make Stereo A blank strip is automatically inserted at the loca- the right-side channel of the tion previously occupied by no shuffling of the remaining newly-formed stereo pair. There is Right-clicking channel st rip controls on-screen input channels as a resu lt of this operation. Reset Parameter The behavior when splitting a stereo strip into two Split Stereo mono strips is as follows: To reset an on-screen fader or encoder to its default value, do one • If a blank strip is located immediately adjacent to the (pre- of the following: viously) stereo channel, the right channel of the stereo pair  Right-click the control and choose Reset . occupies this position and the bl ank strip is automatically re- – or – moved. No other channels shuffle. • If no blank strip is located immediately adjacent to the (pre-  Alt-click the control. viously) stereo channel, all cha nnels to the right of the split Reset Channel point shuffle one position to the right and the right channel of the stereo pair is inserted. To reset an entire channel strip to its default settings: Removing Blank Strips Right-click the on-screen  and choose Reset channel fader Strip . To remove a blank strip: Re-  Right-click the blank strip you wish to remove and choose move Blank Strip . To remove all blank strips:  Right-click any blank strip and choose Remove All Blank Strips d all channels to the right . Blank strips are removed an are shuffled one position to the left. Limits and Guidelines for Blank Strips The maximum number of fader strips is 64. These 64 positions can be comprised of any combination of mono or stereo Input Channels, FX Returns, as well as blank strips. The maximum number of blank strips that can be used varies de- pending on the current system co nfiguration and the number of stereo channels used in the co nfiguration. This number can be calculated as: nput Channels - number of stereo inputs + 64 - (the number of I FX Returns) = maximum number of blank strips For example: • A 64 channel configuration with 64 mono Input Channels can have no blank strips. • A 48 channel configuration with 48 mono Input Channels and 8 FX Returns can have 8 bl ank strips. [64-(48-0+8) = 8] • A 48 channel configuration with 4 stereo channels can have 12 blank strips. [64-(48-4+8) = 12] 51 Chapter 4: Banking and Selecting Channels

63 Type Text Search Type Text search lets you use th navigation to e keyboard for fast a channel, or to quickly go to a specific snapshot or event. You can enter the first characters of a channel name or the absolute channel number to target that channel on-screen or in Channel Control (see also Selecting and Targeting Channels .) To search for and select a channel by name: 1 Go to the Inputs, Outputs, or Patchbay page. 2 nnel number, or full name of the Type the first few letters, cha channel. For example, type “s” to go to the first channel begin- ning with the letter s (such as Snare). 3 Press the Tab key on your keyboa rd to cycle through and select any other channels beginning with that letter (such as Snare , To p Snare Bottom ). , or Strings To search for and select a list item by name (or number): page, or the Events tab of the Go to the Snapshots page, Filing 1 Options page. Or, click to open any Presets window (built-in Dynamics or EQ presets, Input Channel presets, or Scope Sets). Type the first few letters or number of the desired item. 2 3 Press the Tab key on your keyboa rd to cycle through and select any other items that begin with the same letters. Channel Numbers and Names Channel numbers in VENUE are “absolute” channel numbers. Renaming changes the displayed name associated with each channel, but the absolute channel number remains fixed. To search for and select a channel by absolute number: to select the corresponding  Type a number on the keyboard channel. 52 Chapter 4: Banking and Selecting Channels

64 Chapter 5: Channel Control nel. Channel Control provides consistent control and display of processing functions for the currently selected input or output chan Ch 1 1 Top In User EQ Input CompLim Aux 9-16 Var Grps ExpGate Aux 1-8 Back Expnd Page Page The Channel Control main menu main s can be assigned to and controlled from Channel Control, and are shown in the Channel Control The following processing function menu: , pad, pan/width/ba lance, polarity invert, and direct out level (i nput channels and ou tput • Input/output controls such as input gain busses) • EQ (input and out put channels) • Compressor/Limiter (input and output channels) • Expander/Gate (input and output channels) • Aux and Variable Group sends (input channels only) • Plug-Ins (EQ, Comp/Lim, and Exp/Gate plug-ins on input and output channels) pa- ss to up to 16 parameters, and you can “expand” Channel Control You can create a set of custom User controls for immediate acce rameters to the entire top row of 16 encoders. Channel Control operations for inputs, EQ and dynamics processing, plug-ins, and Aux sends are detailed in the relevant section s of as how to create and manage the custom Us this guide. The rest of this chapter show s you the basics of Channel Control, as well er as- signment. 53 Chapter 5: Channel Control

65 Do any of the following to adjust parameters: 4 Using Channel Control • Rotate the Channel Control encoder under the display show- ing the parameter you want to adjust. For example, to adjust Using Channel Control is as simple as selecting a channel, assign- the gain for the low band of a channel EQ, rotate the encoder ing a processing function to Channel Control, and adjusting the . Lo Gain under the display showing available parameters. To start using Channel Control: 1 Ch 1 Make sure the Channel Contro 1 l main menu is shown in the Lo Gain Lo Freq Channel Control displays. If necessary, press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu. Ch 1 1 Channel Control display showing the Lo band EQ parameter Top In User EQ Input Back Sel switch to adjust a sec- • Press a Channel Control encoder Expnd Page Page ondary parameter using that encoder, where available. For example, to adjust the Q (bandwidth) of the low band of a channel EQ, press the encoder Sel switch under the display Back/Top Channel Control Navigation switch showing Lo Freq, and rotate the encoder. 2 Select a channel to target it for processing in Channel Control. • Press a Channel Control encoder to enable a secondary pa- 3 In the Channel Control section, press the Channel Control en- rameter, where available. coder under the display showing the function you want to ad- To bypass an individual parameter (toggle in/out): a built-in channe l EQ, press the just. For example, to adjust encoder under the display showing EQ. Press an encoder In switch to toggle an individual parameter  dividual EQ band in/out). in/out (such as toggling an in • When lit, the paramete r is in (enabled). ter is out (bypassed). • When unlit, the parame EQ CompLim ExpGate Aux 1 Lo Gain Channel Control encoders ng function appear in the Chan- The parameters for that processi nel Control displays. Lo frequency band enabled (lit Channel Control encoder In switch) To reset an individual parameter to its default setting: Press and hold and press the Cha nnel Control encoder  Default for the parameter you want to reset (such as resetting the Comp/Lim threshold to 0 dB). Fine Default Multi Select Command SHIFT CTRL ALT Default switch 54 Chapter 5: Channel Control

66 To enable or bypass an entire EQ, Comp/Limp, or Exp/Gate Channel Control LEDs function (toggle in/out), do either of the following: que color associated with it Each processing function has a uni  When the main Channel Control menu is shown, press the that is displayed in the Channel Control LEDs. When a process- Channel Control encoder In switch under the display showing ing function is assigned to Channel Control, the assigned function EQ, Comp/Lim, or Exp/Gate. The switch is lit when the pro- is also highlighted in that same color on-screen. For example, cessor is enabled (in). when EQ is assigned to Channel Control, the eight console Chan- d the on-screen EQ section for nel Control LEDs are lit green an matching green background. the selected channel has a EQ Input CompLim ExpGate Aux 1- 1 Ch 1 Lo Gain Channel Control encoder In switch  Channel Control, press the When a function is assigned to Channel Control Navigation In switch. The switch is lit when the processor is enabled (in). Top In Back Expnd Page Page Channel Control Navigation In switch To reset all parameters of a function to its default settings:  With the main Channel Control menu is shown in the eight Channel Control encoder displays, press and hold Default , Channel Control display showing an EQ parameter with a green LED (left) and the on-screen EQ section highlighted in green (right) then press the Channel Control encoder switch below the In want to reset (such as reset- display showing the function you Channel Control LEDs and matc hing background colors are , including setting all EQ band Gains to ting all EQ settings listed in the following table: 0dB). Channel Control Functions and Corresponding LED Colors To access additional parameters or the parameters for the next Color Function available function: Red User vigation switch. Page > Press the  Channel Control Na Input White To return to the main Channel Control menu: Green EQ Back/Top Channel Control Navigation switch so  Press the Blue Comp/Lim Control menu (such as that the main Channel User, Input, or EQ) appears in the Channel Control displays. Exp/Gate Yellow Aux Sends 1-8 Pink Turquoise (blue/green) Aux Sends 9-16 Variable Groups 1–8 Purple 55 Chapter 5: Channel Control

67 To create a custom User assignment in User Assignment mode: Assigning Functions to Channel 1 Right-click any av ailable encoder. Control 2 Select Enter User Assignment mode from the menu. See the following sections for information on assigning and ad- 3 ssign control of the parameter Click an on-screen encoder to a justing processing functions using Channel Control: to Channel Control encoder 1. . t Parameters Adjusting Inpu See Input Parameters 4 Assign any other desired parame ters. Subsequent parameters Some input parameters can also be adjusted from the as- e Channel Control encoders. are assigned to consecutiv signable channel encoders. To clear a User assignment on-screen: EQ Adjusting EQ. See 1 ck a parameter. On-screen, right-cli See Comp/Lim Adjusting the Built-In Comp/Lim. 2 from the Channel Control Choose Clear sub-menu. Adjusting the Bu Exp/Gate See ilt-In Exp/Gate. To clear all User assignments: You can toggle be- EQ, Comp/Lim, and Exp/Gate Plug-Ins tween controlling built-in processing or a like (equivalent) 1 ck a parameter. On-screen, right-cli plug-in inserted on the channel. See Adjusting Inserted Dynam- Choose 2 . Clear All Assignments ics and EQ Plug-Ins. 3 Click Clear to confirm and clear all; click Cancel to cancel and Adjusting Sends Using See Aux and Variable Group Sends leave the User assignment unchanged. Channel Control. Accessing the User Assignment User Assignment To access User assignment: from different function types You can mix and match parameters more channels. Select one or 1 ngle Channel Control and save it as a si User assignment. The oder under the display showing Press the Channel Control enc 2 User assignment is stored with each Show file. nel Control encoders 9–16 . Assignments made to Chan User are accessed on the second page of the User Channel Control Creating a User Assignment parameters. Custom User assignments are made on-screen, either individually or in User Assignment mode. To create a custom User assignment: Right-click any available encoder. 1 1-16 ) from the 2 Select a Channel Control encoder ( Channel Control menu. Assigning a parameter to Channel Control on-screen 56 Chapter 5: Channel Control

68 Expanding Channel Control ters for the currently assigned function or parameters for a dif- ditional parame When Channel Control parameters are expanded, either ad ferent function appear across the entire top-row of encoders, as follows: Expanded Channel Control Parameters Channel Control Expanded Expanded (Default) Channel Control Not Encoders 1-8 Encoders 9-16 Encoders 1-8 Encoders 9-16 User 9-16 User 1-8 Insert User Additional Input Parameters Input Snapshots Input EQ EQ (expanded control) EQ (expanded control) Media Comp/Lim Aux/Grp (Masters) Comp/Lim Exp/Gate Exp/Gate Comp/Lim Exp/Gate Matrixes Aux 1-8 (sends) VCAs Aux 1-8 (sends) Aux 9-16 (sends) Aux 9-16 (sends) Monitors Aux 1-8 (sends) Aux 9-16 (sends) Variable Groups (sends) Mains N/A Variable Groups (sends) To expand Channel Control: With a function assigned to Channel Control, press and hold either SHIFT switch. 1 SHIFT SHIFT switch Page >/Expnd 2 itch. The switch flashes to indicate Expand is active. Press Channel Control Navigation sw Top In Back Expnd Page Page Channel Control Page >/Expand switch Adjust encoders as desired. 3 To exit expanded Channel Control: Channel Control Navigation switch. SHIFT + the Page >/Expnd Press  57 Chapter 5: Channel Control

69 Availability of Channel Control Functions pend on the type of channel currently se listed The functions available on Channel Control de lected, as shown in Table 1. Functions are s are listed in the left column. across the top row, and channel type Table 1. Channel Types and Available Functions Variable Exp/Gate Input Aux 9-16 Channel EQ Comp/Lim Aux 1-8 Groups 1 1 1 Yes Yes Yes Yes Yes Yes Yes Input Channels 1 1 1 Yes Yes Yes Yes Yes Yes Yes FX Returns 1 3 1 Yes n/a Yes Yes n/a n/a n/a Main L–R, C/M 1 1 3 Yes n/a n/a n/a n/a Yes Yes Groups 3 1 1 n/a Yes Yes n/a n/a n/a Yes Aux Sends 1-16, Variable Groups 1–8 3 1 1 Yes Yes n/a Yes n/a n/a n/a Matrixes n/a n/a n/a n/a n/a n/a n/a VCAs 1 Built-in and plug-ins 2 Plug-ins only e available due all parameters ar 3 Processing available, but not to the type of bus/channel. 58 Chapter 5: Channel Control

70 Chapter 6: Options tabs. Of these, the System and The Options page provides several System Devices tabs are where most sy stem configuration settings and (System Configuration) options are enabled and customized: • The System tab provides the primary tools by which you From the System tab you can configure input channels, configure configure mixing, routing, and processing options. t the system, shut down your Mains and Aux/Group busses, rese • The Devices tab provides status, diagnostics, and options for system, lock the system, and get system info. hardware components. Basics of Editing System Settings manage the most important Sys- This chapter shows you how to tem and Devices se bes the settings available in ttings, and descri Settings available in the System tab can only be edited while in other Options screens. Config mode. In Config mode, the button becomes available to let you Edit Overview of Options Config setting is changed, the change settings. When a System es the following tabs: The Options page provid the right of the screen to let Apply button becomes available at you confirm and apply changes. System • • Busses start and/or interrupt audio. Changing system settings may re • Pickoffs protects these unavailable. This In Show mode, the Edit button is • Snapshots g a performance (since changes settings from being changed durin Misc • to these settings can interrupt audio). Interaction • To change a system configuration option: Devices • Put the system in Config mode. 1 • Events Installing and Authorizing Plug-Ins ) • Plug-Ins (see Go to the Options page and click the System tab. 2 Edit . 3 Click Edit button on the Options > System page 4 Change a System Config, Main Bus, Inputs or Bus Configura- tion option. Click the Cancel button to return to the previous setting. Click Apply to confirm and apply your new settings. 5 Apply button on the Options > System page are finished editing settings. Return to Show mode when you 6 59 Chapter 6: Options

71 System Configuration Settings Main Busses In Show mode, the System Confi The Main Busses settin gs let you choose the overall configuration guration section is display-only, showing the current allocation of system resources and bus set- for the Main busses. tings. . Configuring th For instructions, see e Main Busses In Config mode, you can edit syst em settings such as input chan- nel configuration, bus configurat ions, and hardware I/O configu- Bus Configuration Settings rations. let you choose the overall Aux The Bus Configuration Settings and Group bus configuration. ion setting is Audio is interrupted when a System Configurat settings during a performance. applied. Do not change these For instructions, see Configuring Aux and Group Bus- ses . System configuration settings are stored with Show files. See for more System Configurations and Loading Shows System Information Export information. Info Button Input Channel Settings The System Information Export feature lets you generate an ware, software ils system hard HTML (text) document that deta You can choose one of the foll owing input channel configura- and currently loaded Show file configurations. This document tions: can be read by any Internet brow ser, such as Internet Explorer, • 48 Input Channels plus eight stereo FX Returns Mozilla Firefox, Safari, or Chrome. • 64 Input Channels The patch list can also be exported separately (for more in- Setting the Input Channel Configu- For instructions, see Patch List Export ). formation, see ration . n be sent directly to produc- The System Information document ca FX Returns be your exact sy stem needs; al- tion or rental companies to descri re-formatted as desired by copy- ternately, the information can be The number of available stereo FX Returns are indicated here. word processing or spreadsheet ing and pasting the data into a When your system is configured for 48 input channels, eight ste- application. en configured for 64 channels, reo FX Returns are available. Wh no FX Returns are available. To export VENUE System Information: 1 Insert a USB storage device into any available USB port on the In the 64-channel configuration, plug-in outputs can be re- E3 engine. turned to Input Channels. See Routing a Plug-In as a Bus Processor. . Options > System Go to 2 Graphic EQs 3 Click the Info button. The number of Graphic EQs available (16) is pre-configured, and cannot be changed. DSPs Available for Plug-Ins Export VENUE System Information button in Options > System The amount of DSP available for plug-ins is pre-configured, and cannot be changed. Input Channel Source Settings The options in this section let you globally choose between using Stage inputs or Pro Tools inputs as the source for your S3L-X system input channels. Pro Tools Recording and Playback for more infor- See mation. 60 Chapter 6: Options

72 Patch List Lists the contents of each Patchbay page. A complete 4 Do any of the following: patch list is included in the Syst em Information Export, or a de- • If you have more than one USB storage device connected, tailed patch list can be exported separately from the Patchbay (see is selected. If it is not, make sure the correct USB device next). click Next Disk to cycle thro ble disk until ugh each availa the correct one is selected. System Lock • Click Save to proceed and expor t system info to the selected USB disk. LOCK button on the Op- System Lock is activated by clicking the • Click Cancel to dismiss the dialog without exporting. the S3 control surface and hides tions > System page, which locks the on-screen controls. (System Lock is not available in the Click OK to confirm the export procedure. 5 Standalone software.) You can now remove the USB de vice —from there, you can To engage System Lock: transfer the exported file to a personal computer for printing, for- matting, archiving or distribution. 1 . Option > Systems Go to 2 Click the button in the System section. Lock Standalone Software the Standalone software, the When exporting System Info from exported System Information file is displayed immediately using led on your computer. the default browser instal System Lock button. VENUE System Information Contents In the dialog that appears, click 3 . Lock Exported VENUE System Information is saved as an HTML file, On-screen, an button appears in the lower right corner in Unlock and the file name includes the da te and time of the export. Con- front of a dimmed background image. tents include the following (not al l data will be generated from the Standalone software): You can add your own custom images to display in place of the default VENUE logo. See Customizing the System Avid VENUE Lock Display for information. System Information Lists the date and time the Info file was To unlock the system (disengage System Lock): generated. Do either of the following:  E3 Engine Configuration Lists the current hardware configura- switch on the S3 control surface Cancel • Press and hold the tion of the E3 engine. for two seconds. System Software Lists the software version, ECx version, – or – Ethernet configuration, and the current IP address of the E3 en- • Click Unlock in the lower right corner of the screen. gine. The Unlock button is hidden after a few seconds. Touch the Stage Configuration Lists the state of the four Stage slots. mouse or keyboard to bring it back. Lists version and other information (as re- Installed Plug-Ins System Status while Locked ported by each plug-in) for all currently installed plug-ins. The ey are Enabled or Disabled. En- list groups plug-ins by whether th GPI All system GPI inputs and outputs are disabled while the sys- abled and In Use plug-ins appear at the top, followed by any re- tem is locked. maining enabled (but not In Use) plug-ins. A link for plug-in up- All Footswitch inputs are disabled while the sys- Footswitches dates is also provided. tem is locked. path, date and time Show File Information Lists the name, file Events All Event triggers and actions are disabled while the sys- of the most recently loaded Show file. tem is locked. System Configuration Lists information found on the Options > System page. Lists the processes assigned to each DSP of each DSP Usage sub-divided by Mix Engine as Mix Engine card. Information is tions > Devices page. ne section on the Op displayed in the Engi 61 Chapter 6: Options

73 MIDI and MTC Troubleshooting While the system is locked: This section provides the following troubleshooting options: • Snapshots continue to be recall ed via MTC, either internally Clear Console or externally generated. • The system continues to respo nd to snapshot changes via in- Clear Console button resets all parameters on all channels to The coming MIDI program change commands if the Snapshots fault settings. their factory de the Options > Snapshots page. Respond option is selected on System Test • The system continues to send MIDI program changes when a snapshot is recalled if the Snapshots Send option is se- System Test is hardware diagnostics software for the S3L-X sys- lected on the Option s > Snapshots page. tem. Only use System Test at the request of a qualified VENUE • The system continues to send MIDI messages stored within technician to diagnose sp ecific hardware problems. snapshots, provided the MIDI data type is scoped. MTC can be disabled using the CHASE MTC button on the Busses Snapshots page. Also, the sending and receiving of MIDI data can be turned off by deselecting the MIDI options on the e characteristics for the Aux, The Busses tab lets you customiz Options > Snapshots page. Solo, Matrix, and Main busses. Customizing the System Lock Display custom images to display You can manually add one or more the default VENUE logo back- during System Lock, rather than ground. Multiple images are di splayed one after the other for 20 seconds in a random order. (Pressing the Spacebar advances to the next image immediately.) To install custom System Lock images: Copy a BMP or JPG image file to a USB storage device. (For 1 optimal results image resolution should be 1024 x 768; smaller or larger images can be used, but will be centered or scaled, re- spectively.) Busses tab of the Options tab Put the system into Config mode. 2 Auxiliaries and Variable Groups 3 Go to Options > System . These options let you designate bus link status, pickoff point, and 4 Ctrl-click the Quit button. stereo pan behavior for Auxiliaries (Aux/Variable Group busses). Copy the image from your USB storage device to the follow- 5 ing location on the system drive: Links When enabled, this option links the corresponding busses affect both mono Aux busses, and into bus pairs. Control changes User Data(D):\D-Show\Images the Follows Channel Pan option becomes available. Return to VENUE software icon on the 6 Double-click the Desktop to restart VENUE software. These options let you designate the pre-fader pickoff Pickoff point feeding each bus. Choice s include Pre-EQ, Pre-EQ Post Mute, Pre-Mute, and Pre-Fader (post-mute). Update For more information on Aux/Variable Group pre-fader pick- The Update button is used to perform software updates on your off points, see Selecting Aux and Variable Group Pre rformed using the system. Updates pe button are distinct Update Pickoff Points. from system restores and system updates using the System Re- store software. Each channel can be panned inde- Follows Channel Pan ir, or configured to follow the pendently within each linked bus pa channel pan by enabling the Follows Channel Pan option. 62 Chapter 6: Options

74 Solo and Monitor Operations Pickoffs These settings customize Solo and Monitor bus mode and opera- l the bus pickoff point on input The Pickoffs tab lets you contro tion. strips, as well as specify source and insert points for output bus- es master control for Delay Com- ses. The Pickoffs tab also provid pensation. Solo controls on the Options > Busses tab To configure Solo settings on-screen: Go to the Options page and click the tab. 1 Busses 2 Configure settings as needed: For more information, see Configuring Solo and Monitor Options Pickoffs tab of the Options page Matrixes Delay Compensation The Matrixes section lets you link and unlink Matrix to form ste- reo Matrix busses. Three settings for Delay Compensation are provided, as follows: When enabled, these options link corresponding mono Links No Delay Compensation is applied. Off Matrix busses into stereo-linked pairs. Control changes then af- fect both mono Matrix busses. Mix Only VENUE automatically compensates for delays in- curred by the use of Groups routed to the Main busses. on these features see For more information Matrix Mixers. VENUE automatically compensates for delays Mix and Inserts incurred by the use of plug-ins as well as those incurred by the use Panning of Groups routed to the Main busses. rol over center channel diver- The Panning section provides cont gence when the Main Bus is set to L–C–R mode, and Stereo Delay Compensation can be set in either Show or Config Group Mode settings. mode. Throughout this guide, other Pickoff options are explained where Center Divergence relevant. When the Main busses are set to L–C–R (Left-Center-Right) ng determines amount of cen- mode, the Center Divergence setti ter-panned signal sent to the center output. To set Center Divergence:  nter Divergence text box and Enter a value or drag in the Ce press Enter. Mains Center Divergence Op- For more informations, see tions . 63 Chapter 6: Options

75 Aux Mon and Aux FX Snapshots These settings let you classify individual Aux Se nds (including l snapshot preference settings The Snapshots tab provides severa linked bus pairs) as monitor sends (“Mon”) or as effects sends to optimize snap shot operation. type separately from the Snap- (“FX”), which lets you scope each shots tab. For more information on using snapshots, see Snapshots. This option is for organizing Aux Sends for snapshot control only, and does not directly affect Aux bus operation. MTC (MIDI Time Code) let you control The MIDI Time Code options MTC operational modes, frame rate, and Start Time. s are MTC Off, MTC Read (slave), Available MTC mode Modes and MTC Generate (master). This option sets the frame rate that is used when Frame Rate generating MTC. Start Time This option sets the start time that is used when gen- erating MTC. Snapshots tab of the Options page MIDI Snapshot General Preferences These settings designate the MIDI channel on which Snapshots send or receive MIDI Bank Sele ct and Program Change informa- lable in the Snapshots tab. The following settings are avai tion. Manages the display of the Center Last Recalled Snapshot See Synchronization. Snapshots list so that the last recalled snapshot is always centered vertically, letting you maintain display of ad jacent snapshots in This option sets snapshots to Snapshots Send on Channel the list. send Bank Select and Program Change commands on a selected MIDI channel. This provides a quick and easy way to send a Defines the length of time it takes to Default Crossfade Time MIDI command every time a snapshot is fired, without having to en recalling snapshots. Maxi- crossfade between fader levels wh embed a MIDI program change within each snapshot. mum crossfade time is 99.9 seconds. Snapshot Send on Channel does not need to be turned on in order Crossfade Pan, Balance, and Width All Pan, Balance and to send other types of MIDI data that are embedded in snapshots, fault snapshot crossfade time. Width parameters follow the de such as note on/off or MMC. PRE This option sets snapshots to Snapshots Respond to Channel respond to incoming Bank Se lect and Program Change com- The options in the PRE section let you specify which parameters mands on the selected MIDI channel. are recalled with Snapshots whose scope includes Pre settings. Click to toggle whether recalled In put snapshot data includes the following: • Gain, Pad, and Phase • +48V (phantom power) Delay is stored as a unique (dis crete) data type for each chan- nel. 64 Chapter 6: Options

76 The system clock setting can affe ct data synchronization with Misc portable storage devices. See Synchronizing Settings, The Miscellaneous (Misc) tab prov other settings. ides utility and Shows and Presets . Show Time in Status Area You can choose to show time of day in the lower right corner of the screen in the Status display area. To show time of day in the Status area: . Options > Misc Go to 1 In the System Clock section, enable the 2 Show Time in Status Area option. 12 hour (AM/PM) or 24 Select a format for the displayed time: 3 hour . Time of day is shown whenever th e status of the plug-in racks is OK; plug-in rack status message s (if any) temporarily replace Misc tab of the Options page time of day display to alert you to plug-in rack status. Oscillator Channel Delay These options let you choose th e tone, frequency, and level for lay units on all This section lets you set the disp applicable input the system’s built-in Oscillator, and let you route it to the desired kes it possible to set the delay and output delay controls. This ma outputs. based on any of the following: • delay time (in milliseconds) 2-Track • distance to the source (in feet or meters) of Console or Engine analog or This section lets you route a pair • number of samples of delay ng USB 2-Track inputs) directly digital hardware inputs (includi inputs. This allows you to send into any output using the 2-Track Tap Tempo audio to the selected outputs with out using a system channel to, for example, confirm system audio output. This section lets you enable and adjust the settings for Tap establish a system tempo to Tempo. Tap Tempo lets you quickly To use the USB 2-Track for playback and recording, see use as a beat clock for delay and echo plug-ins that support 2-Track USB Recording and Playback. Tempo Sync. Talkback for more information. Tap Tempo for Plug-ins See This sections lets you route a single Console or Engine analog in- Mouse put directly into any output bus using the Talkback circuit. This Pointer Speed and Mouse L/R Settings allows you to send talkback to outputs (such as Auxes feeding stage monitors) without having to use a system channel. This section lets you customize the response speed for the track- ball (or mouse) and on-screen curs or, and reverse the left/right as- Oscillator, Talkback, and 2-Track Controls See for more signment of the Trackball buttons , from the Options > Misc page. information. To customize Pointer Speed: System Clock Go to . 1 Options > Misc This section lets you set the date and time for the system, as well 2 Do any of the following: as display preferences. See for in- Setting the System Clock structions. Pointer Speed pop-up • To adjust cursor speed, click the menu and choose a higher value for faster response, or a using a timed iLok license Changing the system clock while lower value for a slower response. (for a plug-in with a demo peri od, or for a plug-in rental) may ssignment of the two Trackball • To reverse the left/right a expire the plug-in authorization. . Switch Buttons buttons, click to enable 65 Chapter 6: Options

77 Meter Interaction The following display options can be configured for meters. The Interaction tab lets you configure behaviors for selected These options affect the 16 channel meters on the S3 control sur- channels, Input Safe Switches, Li ghts, Meter, Ethernet, and LCD face and on-screen. Display. Metering options in the Interactions tab of the Options page Meter Ballistics This option lets you choose RMS or Peak ballistics for the control surface and on-screen meters. (Default) Meters follow the characteristics of a RMS Ballistics damped analog meter. In this mode, meter response and decay is slower than in Peak mode, providing an average reading of the Interaction tab of the Options page s the peak level for the desig- metered signal. A single LED show Channel Selection nated Peak Hold Time. e how channels are selected for Options in this section determin Meters follow the characteristics of a standard Peak Ballistics targeting in Channel Control and on-screen. r response is instantaneous, show- peak meter. In this mode, mete of the metered signal. ing the true peak level To customize control surface and screen interaction: You can set Pro Tools metering UE metering. to mirror VEN 1 Go to the Options page and click the Interaction tab. See VENUE Metering Options in Pro Tools. Channel Selection options: Set the following Assignable 2 Clipping Indication These options let you specify how a channel Change Target By cators are proximity warnings that show VENUE meter clip indi is selected for targeting in Channel Control and on-screen. Select aches or exceeds the configured when an input or output signal re any or all of the following options: Clip Margin. • Touching Input Faders • Engaging Input Solos Clipping can occur at several points throughout the signal chain. A clip at any one of these points is indicated by lighting the top • Touching Output Faders information on the location of LED red on the meter. For more • Engaging Output Solos clip detect points, refer to Chapter 26, “Signal Flow Diagrams.” Targeting Changes View Mode This option updates the Clip Margin ge for the currently selected on-screen display to show the pa deselected, the on-screen display channel. When this option is u configure the amount of head- The Clip Margin setting lets yo does not update when a channel is targeted. ip Margin is room you want before clipping in dication begins. Cl (where maximum is a peak level dB below maximum expressed as of +20 dB VU). Clip Margin can be set within a range of 0 dB to 30 dB below maximum, and is configured sepa rately for inputs and outputs. To set the Clip Margin: . Options > Interaction Go to 1 2 Under Meter , enter values for Input Clip Margin Below Max and . Output Clip Margin Below Max Press Enter to confirm the setting. 3 66 Chapter 6: Options

78 Clip Hold Time Ethernet Control long a clip indication lasts The Clip Hold Time determines how Ethernet Control settings let you configure the following: after the last clipped signal. Clip Hold Time can be set within a ECx Network Settings These settings let you configure ECx range of 0–20 seconds. Ethernet Control to remotely control of your system over a wired or wireless Ethernet network. See ECx Ethernet Control. To set the Clip Hold Time: 1 . Options > Interaction Go to These settings let you configure VENUE VENUE Link Settings Link to integrate a Pro Tools system with VENUE. See VENUE . 2 Under Meter , enter a value for the Clip Hold Time Link. Press Enter to confirm the setting. 3 Lights Metering Points Console and LED/Display settings let you adjust the brightness point in the signal path where These options let you choose the of the following items: the signal is picked off for me tering input and output channels. Adjust brightness of ex Console Lights ternal lights connected Input Channels Metering Point Choose one of the following the S3 control surface. to the Lights connectors on options to set the input channel metering point: LEDs and Displays Adjust brightness of LED and displays on • Top of Channel the control surface. •Insert Return • Post-Fader (Pre-Mute) Automatically dims the displays Dim Consoles Displays After ter the interval selected in the and LEDs on the control surface af Output Channels Metering Point Choose one of the following pop-up menu. options to set the output channel metering point: Touch any control on the cont rol surface or move the • Top of Channel mouse to undim the displays. • Post-Fader (Post-Mute) Displays Input Safe Switches These options let you customize the behavior of the on-screen These options let you set the Safe Mode for the Input Channel and display. FX Return Safe buttons. Safe mode for Input Channels and FX be set to one of the following Returns is enabled globally, and can Show Channel Strip Value While Moving Fader This option modes: determines what is displayed in a Channel encoder display when . When selected (default), the its corresponding fader is adjusted Act as Automation Safes Automation Safing a channel lets you Channel encoder display switches from showing channel name to suspend the effect of snapshots on all parameters of the channel. showing the value (level) when a fader is adjusted. When dese- For more information, see Automation Safe lected, the Channel encoder disp layed does not show the level values when the fader is adjusted. and buttons are always set Output Channel Safe switches to Act as Automation Safes. This option lets you display a second- Show VCA Contribution ary, transparent fader cap on each on-screen fader strip that rep- Solo Safing an Input Channel or FX Return Act as Solo Safes us associated resents the effective channel gain (channel gain pl prevents that channel from being implicitly muted when any VCA gain, if any). For more information, see . VCAs other channel is soloed. See Solo Safing Channels. View Mode Switch 1 and 2 Assignments m a Function switch or other You can use Events to progra Safe Switch modes. For more trigger to cycle through Input These options let you choose the so ftware page that is displayed information see Events. on-screen when you press the View 1 View 2 or View Mode switch on the S3 control surface. To edit a View Mode switch assignment: Click the View Switch 1 box or the View Switch 2 box. 1 ftware page you want the se- From the pop-up menu, select a so 2 lected View Mode switch to target. 67 Chapter 6: Options

79 Stage 16 Network Port A and B LEDs Devices Stage slot on the Devices tab, When a Stage 16 is assigned to a The Devices tab lets you view and edit system connections, edit on-screen LEDs are provided to indi cate the status of the physical diagnostic op- hardware settings, provides tro ubleshooting and A and B Network ports on that device network information. tions, and provides Stage 16 Network Port LEDs LED Color Network Port Status Green This port is connected to the E3 engine. Both LEDs are lit when the Stage 16 is part of a redun- dant configuration. Amber This port is connected and is part of a non-redun- dant daisy-chain. Devices tab of the Options page Red flashing The port has lost a connection with a device. When canceled via dialog box, it turns off. External Devices Off This port does not have a connection with a device. For example, it is a device at the end of a s icons to show the status of The External Devices section provide non-redundant daisy-chain. S3L-X system connections to Pro Tools, an external word clock device, and a MIDI device. Each icon is lit whenever a valid con- Troubleshooting and Diagnostics nection is detected by the S3L-X system. mponent individua lly and view You can reset each hardware co Managing Stage 16 Boxes the Hardware Monitoring window from the Devices tab. See Re- re Components setting Hardwa and Hardware Monitoring You can manage connected Stage 16 boxes on the Devices tab. Window for more information. You can identify Stage 16 boxe s, mute Stage 16 outputs, and audio network connections. view the status of Stage 16 Viewing Device MAC Addresses Identifying Stage 16 The S3, E3 engine, each connected Stage 16, and a connected Pro Tools computer has a uni que MAC address for networking button on an on-screen Stage 16 icon lets you iden- Identify The purposes. You can view the MAC addresses of these devices. tify the physical Stage 16 that corresponds to that Stage 16. To view the MAC address of a device: To identify a connected Stage 16: Right-click a hardware component icon to view its MAC ad-  Identify Click the  button on the Stage 16 box to latch the but- dress. ton on. The button on-screen flashes, and the Power Identify and Status LEDs on the front panel of the corresponding Stage 16 box flash. Viewing E3 Engine DSP resources In the Engine section, the DSP usage window shows how the Muting Stage 16 Outputs DSPs in your system are allocated. See for Plug-In DSP Usage The button on the Devices tab mirrors the function of the Mute more information. nel. Mute is only available switch on the Stage 16 front pa Mute for assigned Stage 16 boxes from a Master E3. Simulating a VENUE Configuration with the Standalone Software Stage 16 I/O is muted when unassigned to a Stage slot on the Devices tab. With the VENUE Standalone soft ware, you can use the Devices tab to simulate a VENUE system of any size for purposes of pre- To mute the outputs of a Stage 16: paring shows and training. See Simulating a VENUE Configu-  Click the Mute button for any assigned Stage 16. ration. 68 Chapter 6: Options

80 Events The Events tab of the Options page lets you use the Event list to customize the function of switches, footswitches and General Purpose Interface (GPI)-connected devices. Events. For information, see Events tab of the Options page Plug-Ins The Plug-Ins tab of the Options page is used to install plug-ins on the system. The Plug-Ins tab is not available in the VENUE Standalone software. Installing and Authorizing Plug-Ins. See 69 Chapter 6: Options

81 Part III: Signal Routing

82 Chapter 7: Inputs and Input Routing This chapter describes how to do the following: Configuring Inputs input channels, including set- • Configure system settings for ting the input channel configuration, naming channels, com- The following two types of input channels are provided: ereo channel, and reordering bining two channels into a st include Stage 16 Input Channels Sources for Input Channels channels inputs, Console, and Engine audi o inputs, inputs from Pro Tools, • Assign input sources to input channels in the Patchbay and inputs from bus-fed plug-ins. Input Channels can be mono or • Route input channels to Mains, Groups, and Aux Sends, to ls one input, and each stereo stereo. Each mono channel contro Matrix mixers and other output busses, and to plug-ins channel controls two inputs in ta ndem. Input Channels can appear . Up to 64 mono Input Channels on any of the input channel strips annel parameters • Adjust input ch are available. Input channels are assigned in banks of 16 to the parameters as presets, and recall those • Store input channel channel strips on the S3 control surface. In shared input configu- presets Input Channels freely whether your E3 is rations, you can patch • Work with inputs in a shared input configuration Master or Slave to a Stage 16. FX Returns Effects return channels (or FX Returns ) are used to control signals from bus-fed pl ug-ins and external hardware (such as outboard effect processors), from USB playback outputs (for playback of tracks from a connected USB drive), and from ng, for example). Microphones Pro Tools (to monitor a recordi can also be assigned to FX Returns. FX Returns are always ste- reo. 71 Chapter 7: Inputs and Input Routing

83 Setting the Input Channel Configuration Naming Input Channels Input Channel and FX Return channel names can be changed owing input channel configura- You can choose one of the foll tions: from the Inputs page. Channel names can be up to 32 characters in length. When displayed on the S3 control surface, names are • 48 Input Channels plus eight stereo FX Returns abbreviated to fit the display • 64 Input Channels Channel names can also be changed on the Patchbay page. The Input Channel numbers (48 and 64) represent mono input See Naming Channels from the Patchbay. channels, not physical hard ware inputs. Each stereo processing . Input channel configurations channel uses two mono channels To change the name of an Input Channel or FX Return channel: are stored with Show files. 1 Go the Inputs page. essing channels available than If there are more input proc Select the channel whose name you want to change. 2 physical hardware inputs, then you can use the “extra” input Double-click the channel name. 3 ced monitor mi xing workflows. processing channels for advan For more information, see Assigning a Source to Multi- ple Input Channels . To set the number of available Input Channels: Put the system into Config mode. 1 Go to Options > System. 2 Changing the name of an Input Channel on the Inputs page . Edit Click 3 Type a new name and press En 4 ter on the computer keyboard. from the Input Channels pop-up menu. 64 or 48 Choose 4 Two mono inputs about to be combined into one stereo channel Click Apply . The system restarts wi th the new Input Channel 5 configuration. this configuration change is Audio will be interrupted when applied. 72 Chapter 7: Inputs and Input Routing

84 Combining Input Channels (Make Stereo) Splitting Stereo Channels n be combined to make stereo Pairs of mono input channels ca To split a stereo channel into two mono channels: des are then controlled by one in- channels, whose left and right si Put the system into Config mode. 1 put channel strip. Stereo channels can also be split back into mono channels. nel you want to split. Select the stereo chan 2 Right-click the selected channel and choose 3 Split Selected To combine two mono input channels into a single stereo Stereo Strip to Mono . channel: 1 Put the system into Config mode. lit, placing the channels next to Each selected stereo channel is sp each other on the S3 control surf ace and in the Patchbay. Delete 2 Multi-Select two adjacent Input Channels blank strips manually to mainta in channel layout, if necessary. 3 Right-click either of the select ed mono channels on-screen and choose Make Selected Mono Strips Stereo . Reordering Input Channels Using Drag and Drop and reordered by dragging and Input channel strips can moved channel on-screen. dropping an input To reorder an input channel: Put the system into Config mode. 1 2 Go to the Inputs page. 3 Target the input channel that you want to move by clicking the Two mono inputs about to be combined into one stereo channel channel’s on-screen fader strip.  Each selected channel is combined with the next-highest se- 4 Drag the channel, denoted by the blue line, to the desired loca- lected channel, even if the selected channels are not consecutive. tion and release the button on the mouse.  Blank strips are created and inserted where necessary to main- tain channel layout in that bank. st channel of each pair are Parameter values from the left mo  applied to both channels  The pan control becomes a Balance/Width control.  Combined channels are shown in the Patchbay as left and right FX Returns are always stereo, sides of the Input Channel name. so they cannot be combined or split. Reordering an Input channel 8 using drag and drop nges on the control surface and The location of the channel cha on-screen (on the Inputs page and in the Patchbay). The original Stereo Input Channel on the Input tab of the Patchbay hardware input for the channel remains the same, and all other channel parameters are preserved. You can select and reorder mul tiple input channel strips. Shift click multiple fader strips and drag them to the new location. lected Strip Channels can also be moved us ing the Move Se right-click command. See Move Selected Strip. 73 Chapter 7: Inputs and Input Routing

85 t) and its destination (channel The channel source (hardware inpu Assigning Input Sources to Channels ove the hardware tabs. name/number) is shown ab Inputs sources can be assigned to any Input Channel or FX Return hbay, each system component has using the Patchbay. In the Patc displays the available hard- a corresponding hardware tab that ware input sources, as follows: Channel source and destination shown on the Inputs tab of the Patchbay Component Hardware Inputs Hardware Tabs also shown under the channel Channel source information is Stage 1–4 Stage 16 analog inputs Patchbay > Inputs pages, and in the and the Inputs name on the Channel encoder and Channel Contro l displays on the S3 control E3 engine analog inputs, USB 2-track play- Engine surface when the switch is engaged. Source back inputs (USB), and built-in Oscillator (Osc) inputs S3 control surface analog mic and line inputs Console Assignable Ethernet AVB Inputs from Pro Tools for Inputs from Pro Tools Pro Tools (see more information). LR 1 S1A4 EQ Plug-in outputs can also be an input source, as in an effect Pan DY Send/Return arrangement. See Creating an Effect Send/Return. Channel source on the Inputs page (top) and in the Channel encoder display (bottom) To assign a single input source to an Input Channel or FX Return: To assign multiple channels in a single action, do either of the tab of the Patchbay. Inputs Go to the 1 following: To the left of the channel grid, do either of the following 2 ally, or at an angle to assign  Click and drag vertically, horizont tab to display Channels Input Channels. • Click the in a single action. multiple patch points tab to display FX Returns (if avail- FX Returns • Click the in the Assign gnment button and click Click the Default Assi  able). confirmation dialog to assign all Stage inputs currently dis- multiple consecutive Input Chan- played in the channel grid to Shift-click any number of Channel Type and/or hardware nels. ltiple tabs in the Patching tabs to select and display mu Grid. 3 Along the top of the channel grid, click any of the hardware tabs to display hardware input sources. 4 Place the cursor over the Patching Grid. The cursor changes to Clicking the Default Assignment button a crosshair, and lines extend abov e and to the left of the current cursor location to identify the column and row in which it is lo- To assign all available Stage inputs to all Input Channels cated. consecutively, select all Stage hardw are tabs and click the 5 and in the column for the hard- Click in the row for the channel Default Assignment button. ware I/O source. The destination crosspoint sets the targeted channel. Assigning input sources in the Patchbay 74 Chapter 7: Inputs and Input Routing

86 Inputs from Pro Tools Assigning a Source to Multiple Input Channels The following types of inputs from Pro Tools are provided: assigned to multiple Input Chan- A hardware input source can be Virtual Soundcheck Inputs Any Input Channel with a Stage in- nels or FX Returns in the Patc hbay (you can fan out a source to put as its source is automati cally assigned a corresponding multiple channels). nput. Virtual Soundcheck inputs Pro Tools Virtual Soundcheck i Channels assigned to the same input source share a common pre- ools session created specifi- are typically sourced from a Pro T amp gain and a common Virtual Soundcheck input button. Ad- cally for performing Virtual Soundchecks. justing the gain on one channel au tomatically adjusts the gains on Virtual Soundcheck inputs are highlighted in purple in the Patch- the fanned-out channels. All other channel functions (such as EQ, bay patching grid (under the Inputs > Pro Tools tab), and their dynamics, routing, and panning) remain independent, making it Using Virtual Patchbay assignments cannot be changed. See input strip to bus and convenient to have a channel appear on one Soundcheck. process it for the house mix, and on another input strip with dif- ferent processing for monitor mixing. es additional inpu t channels be Using multi-assigned inputs requir available in the current System Configuration. If you are using all increase the number of Input available stage inputs, you must Channels in the Options > System page. Virtual Soundcheck input button Assigning Bus-Fed Plug-Ins and the Oscillator Assignable Pro Tools Inputs For system input channels that are not assigned a Stage input as a source, assignable Pro Tools to Input Channels and FX Re- Bus-fed plug-ins can be assigned e maximum number of available inputs are available, up to th turns from the Plug-In Rack (see Routing a Plug-In as a Bus Pro Tools I/O channels (64 or 32). Assignable Pro Tools inputs Processor ). can be assigned to any system Input Channel or FX Return. built-in Oscillator to input channels (see You can also assign the Assignable inputs can be used to monitor your Pro Tools record- ). Using the Oscillator. See ing on your S3L-X system, or to incorporate pre-recorded audio Using Pro Tools Assignable I/O. tracks into your live mix. See For more information, see Pro Tools Recording and Playback . 75 Chapter 7: Inputs and Input Routing

87 To route a channel to the Mains and Groups busses on-screen: Routing Input Channels to Outputs Select one or 1 more channels. Input Channels and FX Returns can be routed to Mains and Do any of the following on-screen: 2 m Input Channels and FX Re- Groups, and Matrixes. Signals fro L–R (left and right) and/or • To route to Mains, click the able Group busses, and channels turns can be sent to Aux and Vari C/Mono (center/mono) button in the Bus Assigns section so can be assigned to VCAs. it is lit. button. 1–8 • To route to a Group bus, click a Groups Routing Inputs to the Mains and Groups The and Groups buttons light to indicate its L–R, C/Mono, 1–8 n be routed to the Mains L-R, Input Channels and FX Returns ca routing to the corresponding bus. Mono/Center, and Groups on the S3 control surface using Multi-Assign, or on-screen. When assigning channels to the Mains using Multi-Assign, chan- the Left and Right busses regard- nels are always assigned to both their linked status. Channels are less of which bus is selected or assigned to the C/Mo no bus separately. See Adjusting the Mains for more information To route channels to the Mains or Groups using Multi-Assign: 1 Do any of the following: • To route to the Main L-R, se lect the Left or Right Mains Assigning an input to the Mains Left-Right bus channel. LR is shown in its corresponding channel encoder display to in- • To route to the Center/Mono bus, select the Center/Mono dicate when a channel is routed to the Main L-R busses. channel. • To route to a Group bus, select the desired Group bus. LR 1 Ch 1 . Selecting and Targeting Channels EQ Pan switch (or button on the Outputs Multi-Assign Press the 2 DY page). The flashing Multi-Assign OK and switches, Cancel , r left of the screen indicate and the banner display at the lowe Multi-Assign mode is enabled. A E B F Mains routing shown in the channel encoder display Multi C Assign Assigning Inputs to Matrix Busses OK D Each of the eight available Matr ix mixers can receive up to 12 channels of input. Input sources can be any combination of Cancel Auxes, Groups or Mains, or any other input source via one of the User eight available Matrix User inputs. Multi-Assign switch Sending Inputs to Auxes and Variable 3 Bank Input Channels/FX Returns to the channel strips and Groups press the channel Sel switches for the channels you want to route to the currently targeted output. Signals from Input Channels and FX Returns can be sent to Aux tput busses using the channel encoders, and Variable Group ou 4 To confirm the assignment and exit Multi-Assign mode, press Channel Control, or on-screen. See Adjusting Aux and Variable the switch, OK Group Send Controls. switch, or press 5 To cancel the assignment, press the Cancel the Esc key on your keyboard. 76 Chapter 7: Inputs and Input Routing

88 Configuring Aux Busses (Aux Sends) Adjusting Input Parameters The S3L-X system can be configur ed to have 8 Auxes and 8 ste- on the S3 control surface or Input parameters can be adjusted reo Groups, 16 Auxes and 8 mono Groups, or 16 Aux busses and on-screen. In shared input config urations, each E3 has discrete 8 Variable Groups (24 bus) as part of the overall Aux/Group bus control over all parameters exce pt for 48 V phantom power (see configuration. Mono Aux buses can /even pairs to be linked in odd ). 48V (Phantom Power) function in stereo (see Configuring Aux and Group Busses ). Input Gain Assigning Inputs to VCAs have a gain range All S3L-X system anal og mic/line XLR inputs Input channels can be assigned to VCAs for consolidated control from +10 dB to +60 dB. All system digital inputs (including AES of multiple channels. puts, and inputs from Pro Tools) digital inputs, USB playback in and 1/4-inch TRS line inputs have a gain range from –20 dB to To assign one or more channels to a VCA: +18 dB. An automated Gain Guess feature for quick and easy 1 Select the VCA to which you want to route channels. gain setting is provided. 2 Press the Multi-Assign switch. to a different channel, gain, If a hardware input is assigned 3 Bank input channels and select the channels you want to as- pad, and phantom power settings move with the input. sign to the VCA. Adjusting Input Gain exit Multi-Assign mode, press To confirm the assignment and 4 the OK switch. the S3 control surface using the Input Gain can be controlled from channel encoders and Channel Cont rol. Input Gain level is indi- 5 To cancel the assignment, press the switch. Cancel nnel encoder and Channel Control cated in the corresponding cha displays. . VCAs For information on using VCAs, see To adjust channel input gain from the channel encoders: 1 Bank Input Channels and/or FX Returns to the channel strips. Routing Inputs to Direct Outputs Gain switch to assign gain 2 Press the Channel Encoder Assign All Input Channels and FX Returns have Direct Outputs, which control to the channel encoders. uts, used as inputs to plug-ins, can be assigned to hardware outp and sent to Pro Tools. Direct Outs are assigned in the Patchbay, and can be controlled from Ch annel Control or on-screen. For EQ Input HPF Gain more information on routing and Outputs, see adjusting Direct Direct Outputs . Mix Dyn Pan Comp Insert Pan Group Channel Flip Aux Aux Flip Gain Channel Encoder Assign switch d channel by rotating the corre- Adjust the gain for each banke 3 sponding channel encoder. The gain level setting for each ng channel display. channel is indicate d in its correspondi LR 1 Ch 1 EQ Gain DY Gain assigned to the channel encoders 77 Chapter 7: Inputs and Input Routing

89 To adjust channel input gain from Channel Control: Setting Right Offset on Stereo Channels Select one or more channels to target them in Channel Control. 1 On stereo Input Channels and FX Returns, the Gain control af- fects both the left and right channels. The Right Offset feature lets 2 Make sure the Channel Contro l main menu is shown in the annel relative to the left channel you offset the gain of the right ch Channel Control displays ( User, Input, EQ, Comp/Lim, by –20 dB to +20 dB, within the overall gain limits. Exp/Gate, Aux 1–8, Aux 9–16, Var Groups) . and To adjust Right Offset from Channel Control: Press the Back/Top Channel Control Navigation switch to re- turn to the Channel Control main menu. 1 Select one or more input channels. 2 Make sure the Channel Control main menu is shown in the Press the Channel Control enco 3 der under the display showing Channel Control displays. Input . Press the Channel Control enc oder under the display showing 3 Ch 1 1 . Input Top In User EQ Input Back Right Offset 4 , adjust the offset by Under the display showing rotating the assigned Channel encoder. Expnd Page Page Stereo Level Offset Indication the channel meter flashes when the differ- The Stereo LED below Input Channel Control encoder ence in signal level between the left and right channels is 12 dB or greater. 4 Gain (with Gain Guess) is assigned to the first encoder in Channel Control. Adjust the gain by rotating the encoder. 20 dB Pad Using Gain Guess analog input assigned to an In- A 20 dB pad can be applied to any The automated Gain Guess function can be used to set a nominal put Channel or FX Return. In shared input configurations, the level for a channel based on its incoming signal. When you en- Master E3 provides an analog pa d (at the head amp) and the Slave abled Gain Guess, the system sa mples incoming signals and au- E3 provides a digital pad (in the software). tomatically sets the channel Input Gain and pad for a 0 dB refer- nt Meter mode (Peak or RMS). ence. Gain Guess follows the curre To apply a 20 dB pad from the channel encoders: Press the Channel Encoder Assign switch to assign Gain Gain 1 To engage Gain Guess: control to the channel encoders. On-Screen, click and hold the Guess 1 button. The LED flashes Press the channel encoder 2 switch to toggle the pad in/out. In to indicate level sampling. ll be set so the incoming sig- Release the button. Input Gain wi 2 LR 1 Ch 1 nal reaches 0 dB peak (if Peak mode is selected) or 0 dB RMS EQ Gain DY (if RMS mode is selected). Channel encoder In switch To apply a 20 dB pad from Channel Control: Engaging Gain Guess on-screen Select one or more input channels. 1 2 Make sure the Channel Control main menu is shown in the Channel Control displays. Press the Channel Control enc oder under the display showing 3 . Input 4 Under the display showing Gain , press the corresponding en- coder switch indi- switch to toggle the pad in/out. A lit In In cates the Pad is in. The Gain Guess feature turns the Pad on or off as needed to ng signal level accommodate incomi 78 Chapter 7: Inputs and Input Routing

90 Stereo Width 48V (Phantom Power) 48V phantom power can be applied Width adjusts the stereo image of stereo Input Channels and to any analog input assigned pan positions of the left and FX Returns by controlling ganged to an Input Channel or FX Return. right channels, in opposite directions. In shared input configurati ons, you can only engage 48 V Width can be adjusted from full L– R, to mono, to full reversed from the Master E3. L–R. Width controls are not available on mono channels. To apply 48V from the Channel Control: To adjust width of a stereo channel from the channel encoders: Select an input channel. 1 Bank Input Channels and/or FX Returns. 1 2 l main menu is shown in the Make sure the Channel Contro Channel Control displays. 2 Press the Pan switch in the Channel Encoder Assign section to assign control of balance to the channel encoders. 3 Press the Channel Control enco der under the display showing Input . 3 Press a channel encoder switch to assign width control to Sel that channel encoder. Press the Channel Control Navigation switch to assign Page > 4 the second page of input para meters to Channel Control. Rotate the corresponding encode r to adjust the width for the 4 corresponding channel. 48V, Under the display showing 5 press the corresponding en- coder In switch to toggle phantom pow er for the selected chan- To adjust width of a stereo channel from Channel Control nel in/out. 1 Select one or more input channels. Make sure the Channel Control main menu is shown in the 2 Pan/Balance Channel Control displays. Pan adjusts channel pan (for mono channels) and stereo balance Press the Channel Control enc oder under the display showing 3 channels, width controls are pro- (for stereo channels). On stereo Input . vided. A channel’s pan/ balance/width setting is indicated in its annel display. corresponding ch 4 Width . Rotate the encoder under the display showing To adjust channel pan/balance from the channel encoders: Bank Input Channels and/or FX Returns. 1 Channel Encoder Assign Pan Press the 2 switch to assign pan/balance to the Channel encoders. 3 Rotate the encoder under the display showing Pan/Balance . To adjust channel pan/balance from Channel Control: Channels or FX Returns. 1 Select one or more Input l main menu is shown in the Make sure the Channel Contro 2 Channel Control displays. Press the Channel Control enco der under the display showing 3 . Input Rotate the encoder under the display showing 4 Pan/Balance . 79 Chapter 7: Inputs and Input Routing

91 HPF Safe (High-Pass Filter) Safe toggles Automation Safe or Solo Safe on/off for Input Chan- nels and FX Returns, depending on the current Safe mode setting. A built-in 4th-order High-Pass Filter can be enabled on each In- Safe mode is enabled globally fo r Input Channels and FX Returns put Channel or FX Return. The HPF corner frequency range is on the page (see Input Safe Switches Options > Interactions ). from 20 Hz to 500 Hz. HPF can be controlled using the Channel encoders or Channel Control. A channel’s HPF setting is indi- To toggle the Solo Safe status of a channel on-screen: cated in its corresponding display.  Click the Safe button at the top of the fader strip to toggle Solo To adjust the built-in HPF from the channel encoders: Safe status of the ch annel. On-screen, the Safe switch flashes green and displays the letter S when a channel is Solo Safed. 1 Bank Input Channels and/or FX Returns. 2 Press the HPF Channel Encoder Assign switch to assign HPF to the channel encoders. switch to toggle the filter in/out. In 3 Press the channel encoder Adjust the corner frequency by ro 4 tating the corresponding en- coder. To adjust the built-in HPF from Channel Control: Enabling Safe switches 1 Select an input channel. Make sure the Channel Contro l main menu is shown in the 2 Channel Solo Channel Control displays. Three Solo modes are available: Solo In Place (SIP), Pre-Fader der under the display showing Press the Channel Control enco 3 Listen (PFL), and After-Fader Li sten (AFL). Several other op- . HPF uring Solo bus operation. Addi- tions are also available for config tionally, channels can be implicitly soloed as part of a VCA. 4 Adjust the HPF corner frequency by rotating the correspond- ing encoder. To solo a channel: Press the Channel Control encoder In switch to toggle the HPF 5 Solo  switch on the channel strip. The switch lights Press the in/out. solid to indicate the channel is explicitly soloed. The Solo switch has momentary and latching capabilities. See Input Polarity Invert Using Solo. (Phase Reverse) The polarity of any Input Channel or FX Return signal can be in- Channel Mute verted. With stereo channels, only the left channe l is inverted. To explicitly mute a channel: To invert the polarity of a channel: switch on the channel strip. The switch lights Mute Press the  Select an input channel. 1 solid to indicate the channel is explicitly muted. l main menu is shown in the Make sure the Channel Contro 2 Channels can be muted in three ways: explicitly with the Channel Control displays. channel mute switch; implicitly as a re sult of another chan- der under the display showing 3 Press the Channel Control enco nel being soloed, and as a memb er of a Mute Group or VCA. . Input See Muting and Mute Groups. Press the Page > Channel Control Navigation switch to access 4 Channel Level Input parameters. the second page of (–INF) to  annel level control from – Channel faders provide ch Below the encoder labeled Polarity 5 , press the corresponding +12 dB. Use the faders on the S3 control surface or on-screen to Channel Control encoder switch to toggle polarity in/out. In adjust individual channel levels. be affected by VCAs (see Input channel levels can also VCAs ). and output fader banking, see For more information on input Banking and Selecting Channels. 80 Chapter 7: Inputs and Input Routing

92 Adjusting Input Controls On-Screen Using Built-In EQ and Dynamics on The software screen Input sectio n lets you adjust input parame- Inputs ters on-screen. Each Input Channel and FX Return has a built-in 4-band EQ and two Dynamics processors: a Compressor Limiter (Comp/Lim) and an Expander/Gate (Exp/Gate). If the channel is a stereo chan- nel, processor controls are linked and apply to both the left and right sides of the channel. Using Built-In EQ on Inputs One of two EQ types can be selected for the built-in EQ, on a per-channel basis: a full-spectrum parametric digital EQ or an an- rolled from Channel Control or alog-modeled EQ. EQ can be cont on-screen. uding a description of the For more information, incl on-screen EQ controls and display, see EQ. To use the built-in EQ on a channel: 1 Input Channels. Select one or more Make sure the Channel Control main menu is shown in the 2 Channel Control displays ( User, Input, EQ, Comp/Lim, Exp/Gate, Aux 1–8, Aux 9–16, Var Groups) . On-screen Input controls l Navigation switch to re- Press the Back/Top Channel Contro To adjust input parameters on-screen: turn to the Channel Control main menu. Select a channel. 1 3 Press the Channel Control enc oder under the display showing 2 Adjust the on-screen controls as needed: EQ . EQ controls are assigned to the Channel Control encod- der, Gain, and Pan, click the • For controls such as the fa ers. fader/knob and drag to adjust the parameter. • For button controls such as 48V and Pad, click the button to toggle its on/off state. 1 Ch 1 Lo Gain To reset an on-screen Input parameter to its default value, do one of the following: Alt-click the control.  – or – . Reset Right-click the control and choose  Channel Control showing the Lo Gain EQ parameter To reset an entire channel to its default settings: switch in the Channel Control Navigation section In Press the 4 on-screen fader and choose On-screen, right-click the  to toggle the EQ processor in/out. . Reset Ch 5 Adjust the Channel Control enco ders for the displayed param- creen when adjusting se curve appears on-s eters. An EQ respon EQ parameters. 6 toggle between the two Analog button on-screen to Press the EQ types. Resetting a channel Resetting a channel also unassigns any hardware input as- signed to the channel. 81 Chapter 7: Inputs and Input Routing

93 To engage and adjust the built-in Comp/Lim from Channel Using Built-In Dynamics on Inputs Control: Built-In Dynamics can be contro lled from the Channel encoders, Select one or more input channels. 1 Channel Control, and on-screen. An input/output curve appears g dynamics parameters. on-screen when adjustin Make sure the Channel Control main menu is shown in the 2 coder displays. Channel Control en For more information, incl uding a description of the 3 oder under the display showing Press the Channel Control enc on-screen Dynamics contro ls and displays, see Dynamics. Comp/Lim . Compressor/limiter contro ls are now available on Comp/Lim the Channel Control encoders. Press the switch in the Channel Control Navigation section In 4 The built-in Comp/Lim can be engaged and its threshold can be to toggle the Comp/Lim processor in/out. adjusted from the channel enco ders. Channel Control provides comprehensive control of Comp/Lim parameters. ders for the displayed param- Adjust the Channel Control enco 5 eters. To engage and adjust the built-in Comp/Lim from the channel encoders: Exp/Gate Bank Input Channels and/or FX Returns. 1 The built-in Exp/Gate can be co ntrolled from Channel Control. 2 Comp Channel Encoder Assignment switch. Press the Comp/Lim threshold controls for the banked channels are as- To engage and adjust Exp/Gate controls: signed to the channel encoders. more channels. Select one or 1 Make sure the main Channel 2 Control menu is shown in the LR 1 Channel Control displays. Ch 1 EQ 3 Press the Channel Control enc oder under the display showing Thrshold ntrols are now available on the Exp/Gate . Expander/gate co DY Channel Control encoders. 4 Press the In switch in the Channel Control Navigation section to toggle the Exp/Gate processor in/out. DY is shown in the channel encoder display when ei ther of a channel’s built-in Dynamics processors is engaged. Adjust the Channel Control enco ders for the displayed param- 5 eters. Comp/Lim Threshold assigned to channel encoders For more information, see Dynamics. 3 Press a channel encoder In switch to toggle the Comp/Lim for that channel in/out. is shown in the channel encoder dis- DY play when either of a channel’s built-in Dynamics processors is engaged. 4 Rotate a channel encoder to adjust the Comp/Lim threshold for that channel. The threshold sett ing is indicated in the display. 82 Chapter 7: Inputs and Input Routing

94 To toggle a plug-in on/off (in/out of circuit): Using Plug-In Inserts on Inputs 1 Select the channel on whic h the plug-in is inserted. Plug-Ins are arranged in virtual racks, which allow signals to be button next to the de- Go to the Inputs page and click the in/out 2 it were an external processor. sent to and from each plug-in as if sired plug-in to toggle it in/out of circuit. When the button Plug-Ins can be used in the two following ways: LED is lit, it indicates that the plug-in is in-circuit. When unlit, the plug-in is out-of-circuit (bypassed). Insert The plug-in is patched in at the insert point on an input channel. Each input channel can ha ve up to two plug-in inserts. -in over any of the system Signal is sent to the plug Send/Return busses (usually an Aux Send or a Direct Out) and routed back to an Input Channel or FX return. See Creating an Effect Plug-In In/Out button Send/Return. Plug-Ins. For more information, see Using Input Direct letely bypass the built-in dynam- Input Direct mode lets you comp outboard hardware. See You can also insert Hardware In- ics and EQ processing, and all in serts on input channels and FX serts. returns. This mode routes the input signal directly from the Top of Channel pickoff to the channel fader. Inserting Plug-Ins on Inputs To bypass all processing on an input channel or FX return: Channels and FX Returns di- You can insert plug-ins on Input rectly from the Inputs page or from the Plug-In Rack. Target the channel by pressing its Select switch. 1 2 Go to the Inputs page. To insert a plug-in on a channel: Select an input channel. If nece 1 ssary, click to show the Inputs Click the 3 button in the Config section of the In- Input Direct page. puts page for the selected channel. The button flashes to indi- cate Input Direct mode is active. In the Inserts section of the Inputs page, do one of the follow- 2 ing: • Click one of the two plug-in insert pop-up menus buttons and choose a plug-in directly from one of the Plug-In Rack submenus. Input Direct button – or – • Click one of the two plug-in insert slot buttons to go to the Plug-In Rack, and route the signal to the plug-in using Plug-In Rack controls. go to the plug-in rack (right) Click to assign (left); click to The name of the plug-in insert appears in the on-screen Plug-In Insert display. 83 Chapter 7: Inputs and Input Routing

95 To preview and recall a saved Channel Preset: Input Channel Presets r the desired channel. Channel Navigate to the Inputs page fo 1 Presets can only be loaded into a single channel at a time. Input channel configurations can be stored and recalled as Input Presets can be previewed, re- Channel Presets. Input Channel 2 Click the Channel Presets icon. called and transferred just like other VENUE preset files, letting 3 If necessary, click the Folders icon and select the appropriate you quickly configure channels fro m among a library of favorite Channel Presets folder from the pop-up menu. setups. 4 Do any of the following: When an Input Channel is stored or recalled as a preset, all pa- rameters are affected except the following: • To preview an existing Channel Preset, click its name in the Channel Presets window. • Patchbay assignments, including Direct Outs • To load the currently selected Channel Preset, press Enter or (plug-in) assignments and • Hardware and software insert ) in the Channel Presets window title X click the Close box ( in/out state. bar. Selecting a channel preset automatically loads the saved set- Cancel . • To cancel without chan ging settings, click Depending on the stored set- tings into the selected channel. change channel level and signal tings this may dramatically To rename, duplicate, overwrite or delete a Channel Preset: routing. Use caution when previewing Input Channel Presets the Channel Preset window and  Right-click the preset name in with a live source. choose . Overwrite or Rename, Duplicate, Delete, To store a channel as an Input Channel Preset: Channel Compatibility and Input Channel Configure an input channel as desired. 1 Presets Click the Channel Presets icon (the folder icon located to the 2 The following describe how different types of channel data is right of the Channel Routing indicator and +/– buttons). 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 cu stom name in the Presets win- dow. The default channel number (such as “Ch 16") is used for the preset name if the channe l has an empty (null) name. Loading Mono and Stereo Channel Presets You can load mono Channel Presets into stereo channels, and ste- Channel Presets icon in the Inputs page reo Channel Presets into mono channels. Specify a folder in which to save the preset, if the currently se- 3 Mono settings are ap Loading Mono to Stereo plied equally to lected folder is not appropriate, by clicking the Folder selector the left and right channels of th e stereo destination. The stereo and selecting a different folder. destination channel retains its current balance and width settings. . New Click 4 When loading a stereo preset into a Loading Stereo to Mono mono Input Channel, the left channel settings in the stereo preset ion channel. The mono destina- are applied to the mono destinat tion channel retains its current pan setting. Input Channel Presets window showing the Folder selector (top) and the New button (bottom) 84 Chapter 7: Inputs and Input Routing

96 Channel Compatibility The following additional capabilities are also provided: Channel presets, remember the When storing and loading Input gain levels, can be stored All parameters, including input Filing following: independently on s and snapshots to and recalled from Show file each E3. See for more information. Snapshots Group bus assignments are not appl  ied if the settings in the pre- set do not match the current system Bus Configuration Each E3 can record to and playback from its own ded- Pro Tools each user on the network perform icated Pro Tools system, letting n settings for indivi dual aux pairs are not Aux send level or pa  affecting any their own discrete Virtual Soun dcheck without applied if the stored stereo link /unlink state does not match the other user on the network. ple, assume the stored preset current link/unlink state. For exam nt system configuration has has Aux 1–2 linked, but the curre these Auxes unlinked. When the preset is recalled Aux 1 and Aux Adjusting Input Gain and Automatic Gain Tracking gs (they will not be updated), 2 will retain their current settin while all other Auxes are upda ted to the preset settings. The S3L-X system uses a hybrid an alog/digital gain approach for analog Stage inputs. In a shared input configuration, when you Transferring Input Channel Presets adjust the gain for a Stage input on a Master E3, input gain is ad- justed in 1 dB analog steps, and 0.1 dB digital steps. e as Built-In Presets in the Input Channel Presets are availabl Transfer tab of the Filing page. This lets you transfer your Chan- Because the analog mic preamp is located in the Stage 16 itself, ce or other storage device for nel Presets to a USB storage devi l gain is also changed for the the analog component of the overal backup and transfer to other systems. in tracking in the Slave E3 automatically Slave E3. However, ga r any changes made to the ana- and transparently compensates fo rted on all systems running Input Channel Presets are suppo log mic preamp, so that the relati ve gain on the Slave E3 is un- cluding the Standa lone software. VENUE software 2.5 or later, in changed. For more information, see Shows and File Management. When you adjust the gain of a Stage input on a Slave E3, the dig- ed and occurs only on that E3. This ital portion of the gain is adjust means that the system displays and maintains your desired total Working with Inputs in a Shared Input you to change configurations, and gain level at all times, allowing Configuration save settings to Show files and even snapshots. pendent control In a shared input configuration, each E3 has inde of all channel parameters, includ ing fader levels, EQ settings, rs, snapshots, filing, and more. channel names, plug-in paramete Adjusting gains for shared Stage input channels requires special consideration, however, and is described in this section. The functionality available on a Master E3 and a Slave E3 with respect to inputs is shown in the following table: Functionality Slave E3 Master E3 Stage 16 Input Mic Pre- Yes No amp Control Control of Stage 16 pad Yes (analog pad) Yes (digital pad) Control of Stage 16 phan- No Yes tom power n/a Yes Gain Tracking Routing to/from Console Yes Yes and Engine I/O Patching Stage Inputs to Yes Yes Input Channels Yes Yes Reordering Input Chan- nels 85 Chapter 7: Inputs and Input Routing

97 Chapter 8: Outputs and Output Routing This chapter shows how to do the following: Auxes • Configure and name outputs ble. The number of available Up to 16 Aux busses are availa • Assign outputs and busses to ha rdware outputs in the Patch- Auxes is set as part of the overall system Bus Configuration set- bay ting. See Configuring Aux and Group Busses. • Use built-in EQ and Dynamics on outputs Aux outputs are controlled from the channel strips by pressing • Insert and use plug-ins and Graphic EQs on outputs Fader Bank switch E , and from the Global Control encoders. • Adjust on-screen output parameters See Auxes and Variable Groups. • Adjust Mains • Use Direct Outs Variable Groups • Use VCAs When Variable Groups are enab led, the eight Group busses oper- • Manage bus assignments ate in much the same way as A ux busses, letting you send inde- • Working with outputs in a shared input configuration pendently controllable signals to all 24 busses in the system. Variable Group outputs are contro lled the same way as Groups. Configuring Outputs rt of the overall system Bus Variable Groups are enabled as pa Configuring Aux and Group Bus- Configuration setting. See busses are available: Mains, The following types of output ses. Groups (or Variable Groups), and Auxes. Eight Matrix mixers are also provided. Matrix Mixers Mains Each Matrix mixer is a discrete Eight Matrix mixers are available. 12-in/1-out (mono) submixer, with the ability to link adjacent Three Main busses are available: Left, Right, and Center/Mono. Matrix mixers into stereo pairs. Matrix mixer input sources can Mains can be configured in L–R+M or L–C–R formats. For more include up to 12 inputs, selectable from any combination of Aux, information, see Configuring the Main Busses . Groups or Mains plus up to 8 unique Input Channels, FX Returns e channel strips or from the Mains can be controlled from th or hardware inputs. Mains Global Control encoder. User Source input assignments are stored in Snapshots as Matrix data type. part of their distinct Groups Pre- and post-fader tap for Matrix sources are assigned in the Eight Group busses are available. Groups can be globally config- Pickoffs tab of the Options page. ured to be mono or stereo as part of the overall system Bus Con- figuration setting. See Configuring Aux and Group Busses. Matrix outputs are controlled from the Global Control encoders. Matrix inputs are controlled from the Global Control encoders Group outputs are controlled from the channels strips by pressing when a particular matrix is selected in Global Control. Fader Bank switch 1–8), and from the Global (channel strips F Control encoders. See Matrix Mixers. Groups. See 86 Chapter 8: 7Outputs and Output Routing

98 4 Select one of the three available bus configuration. Configuring the Main Busses The Main busses can be configured to operate as either: Pans signals between the left and right channels L–R plus Mono to the L–R bus, and sums signals to a separate mono bus. L–C–R Pans signals across left, center and right channels. ion setting is Audio is interrupted when a System Configurat applied. Do not change these settings during a performance. Selecting a bus configuration To configure the Main busses: Apply Click 5 . The system restarts with the new bus configura- tion. Put the system into Config mode. 1 2 Go to . Options > System Data Cleared When Changing Bus Configurations Click Edit . 3 When the bus configuration is changed, settings for Groups are cleared (or set to default) from all current settings and from all stored snapshots. Linking Aux Busses You can link odd/even bus pairs and pan input signals into those s are linked on a glob al basis, and appear bus pairs. Aux bus pair as linked on all channels. For information on linking Auxes, see Setting the Main bus configuration Linking Aux Busses for Stereo Operation . n for the Main Busses. Select the configuratio 4 5 Apply . The system restarts with the new Main bus con- Click Naming Output Channels figuration. changed from the Outputs page. Output channel names can be Channel names can be up to 32 characters in length. Names are Configuring Aux and Group Busses abbreviated to fit the displa ys on the S3 control surface. Auxes and Groups/Variable Groups share available system bus- Channel names can also be changed from the Patchbay ses. Configuration options include the following: page. See Naming Channels from the Patchbay. Divides the available system bus- 16 Auxes + 8 Mono Groups To change the name of an Output channel: ses between 16 mono Aux busses and 8 mono Group busses. 1 page. Go to the Outputs Divides the available system bus- 8 Auxes + 8 Stereo Groups 2 Select the channel whose name you want to change. ses between 8 mono Aux busses and 8 stereo Group busses. Double-click the channel name. 3 Divides the available 16 Auxes + 8 Variable Groups (24 bus) system busses between 16 mono Aux busses and 8 Variable Group busses (enables Variable Groups mode). may change levels during this Audio may be interrupted or configuration procedure. Changing the name of an Output channel on the Outputs page Graphic EQ and/or 4-band channel EQ settings may be lost Type a new name and press En ter on the computer keyboard. 4 when configuring Aux and Groups busses, so save any im- re reconfiguring. See portant EQ settings befo EQ Settings When naming an Aux or Variable Group output channel, the and Presets. name appears in the individual Aux and Var Group (if appli- cable) Send displays on the Inputs page, on the Outputs To configure the Aux/Group/Variable Group busses: page, and in the Patchbay. Put the system into Config mode. 1 Options > System . Go to 2 Edit Click 3 . 87 Chapter 8: 7Outputs and Output Routing

99 mixer) and its destination (hard- The name of the source (bus or to Hardware Assigning Busses hardware tabs, and below the ware output) is shown above the Outputs channel name in the and the Outputs Patchbay > Outputs tab. Mains, Groups/Variable Groups, Auxes, and Matrix mixer out- any hardware output on the system using puts can be assigned to the Patchbay. In the Patchbay, each S3L-X system component Output source and destination on the Patchbay page at displays the available hard- has a corresponding hardware tab th ware output destinations, as follows: Hardware Tabs Component Hardware Outputs Stage 1–4 Stage 16 analog and AES digital outputs Engine E3 engine analog and AES digital outputs, Output name and destination shown in the outputs page and USB 2-track recording outputs Pro Tools Recording Outputs S3 control surface analog outputs Console The following types of recording outputs to Pro Tools are pro- Pro Tools Assignable Ethernet AVB outputs to Inputs from Pro Tools for Pro Tools (see vided: more information). Direct Digital Splits Any S3L-X system input channel with a Stage input as its source is automatically sent to Pro Tools as a ing on the Patchbay, see For more information us Patchbay. unprocessed direct digital split of that Stage input. Recording di- the Virtual Soundcheck e an essential part of rect digital splits ar To assign a bus or mixer output to a hardware output from the workflow. Patchbay: Direct digital split outputs are hi ghlighted in purple in the Patch- 1 Go to the Patchbay and click the Outputs tab. tab), and their bay patching grid (under the Outputs > Pro Tools 2 (Matrix) Mains, Mtx To the left of the channel grid, click the , cannot be changed. Patchbay assignments Aux or Grp (Groups) tab to display those output channels in the grid. Assignable Pro Tools Outputs For system input channels that are not assigned a Stage input as a source, assignable Pro Tools Along the top of the channel grid, click any of the following 3 outputs are available, up to the maximum number of available rdware output destinations: tabs to display available ha Pro Tools I/O channels. Stage 1–4 tabs • be used to send the Main L/R mix, sub- Assignable outputs can •Console mixes from any output bus, and the Direct Out of S3L-X system • Engine I/O channel to Pro Tools. •Pro Tools Pro Tools Recording and gn a bus or Matrix mixer output 4 Click in the channel grid to assi For more information, see Playback re output destination (listed (listed on the left) to a hardwa . across the top). Assigning a Matrix mixer output to a Stage IO box hardware output 88 Chapter 8: 7Outputs and Output Routing

100 To engage and adjust the built-in Comp/Lim from Channel Using Built-In Comp/Lim and EQ on Control: Outputs 1 output channels. Select one or more Each Mains, Aux, Group, and Matrix output channel has a 2 Make sure the main Channel Control menu is shown in the p/Lim) and a 4-band paramet- built-in Compressor/Limiter (Com Channel Control displays. ric 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. l Navigation switch to re- Press the Back/Top Channel Contro Dynamics and EQ can be controlled using the Channel encoders, turn to the Channel Control main menu. Channel Control, and on-screen. oder under the display showing 3 Press the Channel Control enc Processor controls for the Main Left and Right busses are e now available on the . Comp/Lim parameters ar Comp/Lim Mono bus has independent pro- always linked, while the C/ Channel Control encoders. cessor controls. In 4 switch in the Channel Control Navigation section Press the to toggle the processor in/out. Using Comp/Lim on Outputs Comp/Lim can be engaged and the threshold can be adjusted from the channel encoders. Chan nel Control provides compre- Top In hensive control of Comp/Lim parameters. Back For more information, incl uding a description of the Expnd Page on-screen Dynamics contro ls and displays, see Dynamics. Page To engage and adjust the built-in Comp/Lim from the Channel Controls for built-in dynamics processors in Channel Control encoders: 1 you wish to control. Bank the output channels ders for the displayed param- 5 Adjust the Channel Control enco pears on-screen when adjusting eters. An input/output curve ap Press the Comp 2 Channel Encoder Assignment switch. dynamics parameters. When transferring S3L-X Show files containing output Input EQ HPF Gain EQ processing to VENUE channel Comp/Lim and/or D-Show, Profile, Mix Rack an d SC48 systems, these set- tings are not transferred. Mix Dyn Pan Comp Insert Pan Group Channel Flip Aux Flip Aux Comp Channel Encoder Assignment switch 3 Press the channel encoder In switch to toggle the processor in/out. 4 Rotate the channel encoder to adjust the threshold. An in- put/output curve appears on-screen when adjusting dynamics parameters. 8 Aux 8 Thrshold Comp/Lim Threshold assigned to a channel encoder 89 Chapter 8: 7Outputs and Output Routing

101 Using Built-In EQ on Outputs Using Inserts on Outputs One of two EQ types can be selected for the built-in EQ, on a Software plug-ins and graphic EQs can be inserted on Mains, per-channel basis: a full-spectrum parametric digital EQ or an an- Groups, Auxes, and Matrixes. alog-modeled EQ. EQ ca n be controlled from Channel Control or on-screen. outboard hardware. See You can also insert Hardware In- serts. For more information, incl uding a description of the on-screen EQ controls and display, see EQ. Inserting Plug-Ins on Outputs To use the built-in EQ on an output: Plug-ins can be inserted on outputs directly from the Outputs Select an output bus. 1 page. 2 Make sure the main Channel Control menu is shown in the To insert a plug-in on an output bus: Channel Control displays. 1 bus where you want to page and select the Outputs Go to the Press the Channel Control enco 3 der under the display showing insert the plug-in. EQ . EQ controls are now available on the Channel Control en- 2 In the Inserts section of the Outputs page, do one of the follow- coders. ing: pop-up menus and choose a Inserts • Click one of the two 8 Aux 8 plug-in directly from one of the Plug-In Rack submenus. Lo Gain – or – Inserts buttons to go to the Plug-In • Click one of the two Rack, and route the signal to the plug-in using Plug-In Rack controls. Output EQ control in Channel Control 4 Press the In switch in the Channel Control Navigation section to toggle the EQ processor in/out. ders for the displayed param- Adjust the Channel Control enco 5 eters. An EQ response curve appears on-screen when adjusting EQ parameters. Press the button on-screen to toggle between the two 6 Analog go to the plug-in rack (right) Click to assign (left); click to EQ types. The name of the plug-in insert appears in the on-screen Plug-In Insert button. Accessing Comp/Lim and EQ Controls On-Screen Plug-Ins. For complete instructions on plug-ins, see ut channels can be adjusted Built-In Comp/Lim and EQ on outp using on-screen controls. To toggle a plug-in on/off (in/out of circuit): To access the built-in Comp/Lim and EQ on-screen: h the plug-in is inserted. Select the channel on whic 1 1 Outputs page and select the bus you want to adjust. Go to the page and click the in/out button next to the Outputs 2 Go to the desired plug-in to toggle it in/out of circuit. When the button Channel Click the 2 tab. LED is lit, it indicates that the plug-in is in-circuit. When unlit, the plug-in is out-of-circuit (bypassed). Plug-In In/Out button Output channel Channel tab 90 Chapter 8: 7Outputs and Output Routing

102 Inserting Built-In Graphic EQs on Outputs Adjusting On-Screen Output Controls Built-in 31-band Graphic EQs can be inserted on Mains, Groups, The software screen Output section lets you adjust output param- Auxes, and Matrixes. 16 Graphic EQs are available. eters on-screen. To insert a Graphic EQ on an Output bus: Outputs Go to the 1 page and select the bus where you want to insert the Graphic EQ. 2 Click the 31-Band Graphic Equalizer tab. and choose an available mono Click the Graphic EQ selector 3 or stereo Graphic EQ. On-screen Output controls Selecting a Graphic EQ To adjust output parameters on-screen: The entire Graphic EQ is displayed on-screen. Select an output channel. 1 ng and using Graphic EQs, see For information on configuri 2 Adjust the on-screen controls as needed: . Graphic EQ for Outputs and delay, click • For controls such as the fader the fader/knob and drag to adjust the parameter. , click the buttons to toggle • For Mute and Polarity Invert their state. To reset an on-screen output parameter to its default value, do one of the following: Alt-click the control.  – or – . Reset Right-click the control and choose  To reset an entire output channel to its default settings: Put the system into Config mode. 1 r the output you want to reset 2 Right-click the on-screen fader fo and choose . Reset signs any plug-in, hardware Resetting a channel also deas input and GEQ assigned to the channel. 91 Chapter 8: 7Outputs and Output Routing

103 Using the Global Control Encoders Adjusting the Mains Mains des a single level control The Global Control encoder provi channels strips and the Global Mains can be adjusted using the for the currently linked Main busses. You can also assign each be controlled on-screen (see Control encoders. Mains can also Main bus to its own Global Control encoder. ). -Screen Output Controls Adjusting On To adjust Mains output levels from the Global Control encoder: Mains Output Levels 1 Make sure the Global Control main menu is shown in the Global Control displays. (Left, C/Mono, three Main busses By default, level control for the nked, adjusting on and Right) are linked. When li e level control Press the Back/Top Channel Contro l Navigation switch to re- nked busses. Any or all Main bus- affects the levels of the other li turn to the global Control Main menu. l control of each bus (see independent leve ses can be unlinked for ). Unlinking Mains 2 Adjust the Mains Global Control encoder to change the level of the currently linked Main bu sses. The level indicator in the Using the Channel Strips display shows the level setting for the currently linked Main busses. l strips, each Main bus appears When Mains are banked to channe on its own channel strips. Level offsets can be created for any linked Main busses fro m the channel strips. Monitors Mains To adjust Mains output levels from the channel strips: Top Config Back User Press the 1 bank switch. Mains Left, C/Mono, and Right busses are banked to channel strips 14, 15, and 16 respectively. Sel Sel Sel Sel Expnd Page Page 2 3 1 Left Right Mono In In In In Mains Global Control encoder To assign each Main bus to its own Global Control encoder: Press the Mains  Global Control encoder. Adjust any of the en- the level for all three Main busses. coders to change ins assigned to channel strips Channel displays showing Ma 2 Adjust any of the three faders to change the level for all three Mono Right Left Main busses. Master Master Master To create a level offset between Main busses, hold the faders 3 to adjust, and adjust the de- for the channels you do not want sired fader. Main busses assigned to the Global Control encoders 92 Chapter 8: 7Outputs and Output Routing

104 To toggle the mute status of each Main bus independently: Unlinking Mains From the Global Control encoders, do the following: 1 You can unlink any of the three Ma in busses for discrete control of Mains levels. Mains to as- • Press the encoder under the display showing sign each Main bus to its own Global Control encoder. To unlink the Mains: In switch under the display showing the Main bus • Press the you want to mute so that the switch is unlit. In the boxes Link  page, click the on-screen channel Outputs for the Left, Center/Mono, and/or Right fader strips so they are 2 From the channel strips, do the following: unchecked. • Bank the Mains to the channel strips. Mute switch for any of the banked Mains. • Press the channel The switch lights solid to indicate the channel is explicitly muted. Mains Delay A variable delay (from 0 to 500 ms) can be applied to any of the Mains. C/Mono delay is always independent, regardless of linked/unlinked status. To apply delay to a Main bus: Unlinking a Mains fader Select one or mo 1 re Mains busses. Mains Mute 2 Control menu is shown in the Make sure the main Channel eight Channel Control encoder displays. Mains can be muted from the channel strips or from the Global Control encoders. oder under the display showing 3 Press the Channel Control enc Input . e ways: explicitly with the Channels can be muted in thre plicitly as a result of another chan- channel mute switch; im Delay , press the Channel Control Under the display showing 4 er of a Mute Group or VCA. nel being soloed, and as a memb encoder switch to toggle the chan nel Direct Output in/out. In For more information see Muting and Mute Groups Adjust the corresponding encoder 5 to set the desired amount of channel delay. To control the mute status of linked Main busses from the Global Control encoders: Mains Center Divergence Options Press the  switch under the display showing Mains. In switch LED is lit green when the Mains are In • The When the Main busses are set to L–C–R (Left-Center-Right) unmuted. tting determines the amount of mode, the Center Divergence se center-panned signal sent to the center output. In switch LED is unlit when the Mains are muted. • The t to 100%, a channel panned to When Center Divergence is se  e center output only. center is sent to th Mains Monitors Top Back  When Center Divergence is se t to 0%, a channel panned to ft and right outputs only (phantom center is sent equally to the le center). Sel Sel Sel Sel Expnd Page  A Center Divergence setting between 0% and 100% sends a In In In In center-panned channel to the left , center, and right outputs with t as the value increases towards the center channel more prominen 100%. To set Center Divergence: Mains Global Control Encoder In switch indicating that the Mains are Options > Busses Go to 1 . muted 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 keyboard to confirm the setting. Press Enter or Return on your 93 Chapter 8: 7Outputs and Output Routing

105 Mains Automatic Delay Compensation Direct Outputs You can set the S3L-X system to automatically compensate for Each Input Channel, FX Return, output bus, and Matrix mixer delays incurred by the use of Gro ups and insertion of plug-ins in features a Direct Output. Each ch annel Direct Output provides a the signal path to the Mains. Delays are automatically applied to discrete level control th at can be useful for tasks such as record- signals arriving at the Mains from multiple destinations to main- ing to Pro Tools or USB. tain the proper time alignment. To set Delay Compensation: Assigning Direct Outputs Pickoffs Go to the Options page and click the tab. 1 Direct Outputs are assigned to av ailable hardware outputs on the Directs tab of the Patchbay page . Each hardware output destina- In the Delay Compensation section, select one of the following 2 Output signal (multiple Direct tion may be fed by only one Direct options: Output signals cannot be routed to a single output). Off No Delay Compensation is applied. To assign a channel to a Direct Output: VENUE automatically compensates for delays in- Mix Only Go to the Patchbay page and click the tab. Directs 1 curred by the use of Groups routed to the Mains. To the left of the channel grid, click the 2 Input Channels ( VENUE automatically compensates for delays Mix and Inserts Channels) , FX Returns, or tab to display those chan- Outputs incurred by the use of plug-ins as well as those incurred by the use nels in the grid. of Groups routed to the Mains. Along the top of the channel grid, click any of the following 3 tabs to display available hardware output destinations: Monitoring the Main Mix Stage 1–4 tabs • You can send the Main mix (the signal present on the Main bus- • Console ses) to the Monitor bus to monitor the main mix on headphones or •Engine near field monitors. See Sending the Main Mi x to the Monitor •Pro Tools Bus. 4 e the channel or bus (listed on Click in the channel grid to rout the left) to an available out put (listed across the top). Selecting Mains in a User Layout When you assign Mains L-R+M or L-C-R to a User Layout, a sin- gle fader is assigned to the Layout. Adjusting it controls levels for all linked Mains faders. You can select each i ndividual Mains channel on-screen using the Mains Focus button. To select an individual Mains channel on-screen: 1 Assign the Mains to a User Layout and bank the User Layout (see Assigning Channels to a User Layout ). 2 der strip for the Mains, click In the on-screen User Layout fa the Mains Focus button above the Mute button to cycle Assigning a Direct Output in the Patchbay through each Mains channel. The currently targeted Mains bus is indicated in the button (L, R, C/M). 5 Select the pickoff point for the Direct Output by clicking the letter to the right of the ch annel or bus name and choosing from the pop-up menu. See Direct Output Pickoff Points. Mains Focus button Selecting a Direct Output pickoff point in the Patchbay 94 Chapter 8: 7Outputs and Output Routing

106 Direct Output Pickoff Points Adjusting Direct Outputs Up to 12 dB of gain can be added to the Direct Output signal. Di- The “pickoff point” is the point in the signal path where the audio rect Output level controls are provided in Channel Control, and signal is sent to the Direct Outp ut. The pickoff points for Direct Output signals are selected in the on-screen in the Patchbay page. tab of the Patchbay Directs page. The following pickoff points are available for each type of When using a Direct Output of a channel fed by a shared channel or bus: omatic gain tracking main- Stage input on a Slave E3, aut Pickoffs for Direct Outs ct Out level at all times. tains the Top of Channel Dire Available Pickoff Points Channel Type To adjust Direct Outputs from Channel Control: Input-channels and Top of channel 1 Select the input or output channels that you want to control. FX Returns Insert return Pre-or post-fader (configured globally) Make sure the main Channel Control menu is shown in the 2 Channel Control encoder displays. Top of bus Outputs Pre fader Press the Back/Top Channel Control Navigation switch to re- Post fader turn to the Channel Control main menu. Pickoff points for Input Channels and FX Returns are configured Press the Channel Control enco der under the display showing 3 as pre-or post-fader globally. . Input Configuring Input Channel Pre-or Post-Fader 4 Under the display showing Direct , press the Channel Control Pickoff Points encoder nel Direct Output in/out. switch to toggle the chan In Pickoff points for Input Channels and FX Returns are configured to set the desired amount of Adjust the corresponding encoder 5 as pre-or post-fader globally. channel Direct Out level. To configure the Direct Output pickoff point for Inputs: To adjust Direct Outputs on-screen: Go to the Options page and click the Pickoffs tab. 1 Patchbay > Directs . Go to 1 or Under , click 2 Pre-Fader Input Strip Fader Pickoff Point of the grid so it is high- Click a channel name in the column 2 Post-Fader . lighted. The selected channel is now targeted in the channel controls to the left of the grid. 3 In the Direct Out section, do the following: In Direct Output on/off. button to toggle the • Click the • Click and drag the level contro l to adjust the Direct Output level. Patchbay channel controls section Direct Output controls in the icking the routing display in When a channel is selected, cl e Inputs our Outputs page jumps the Direct Out section of th hbay. The selected channel is the screen view to the Patc targeted in the Patchbay channel controls. 95 Chapter 8: 7Outputs and Output Routing

107 Inputs and Outputs Pages In the Inputs and Ou tputs pages, red VCAs the fader displays of channels “ghost” fader caps appear below that are currently assigned to one or more VCAs. VCA controls emulate the operation of traditional Voltage Con- trolled Amplifiers (VCAs). Up to eight VCA faders are available. nd Output channels can be as- Input Channels, FX Returns, a signed to VCAs. gned channels only. They do not VCAs control level of the assi act as a summing output bus. VCAs remotely control the fader ga in of each channel assigned to Channel levels the position of the faders on the VCA fader, but do not change those channels. The accumulated gain of a channel belonging to Effective gain (VCAs) several VCAs is limited to +12 dB. See for instructions on assign- Assigning Inputs to VCAs ing channels to VCAs. VCA contribution shown in the on-screen fader displays Channel Strips Show VCA Contribution The opacity of the ghost caps vary with the actual VCA levels: The of any channel is equal to the combination of effective gain ller amounts of VCA contribu- • Lighter caps indicate sma its individual channel fader, plus any (all) VCA level changes that tion. affect that channel. • Brighter caps indicate larger amounts of VCA contribution. Input and output channels display the net effect of VCA level (ef- fective gain) on-screen. This lets you keep track of what all cur- Turning Channel VCA Indication On and Off rently assigned VCAs are doing to channels and busses at all By default, channel VCA indication is on. You can turn off VCA times. indication on the Options > Interaction page. 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 tabs. Selected Channel When the currently selected channel is under VCA control, the net effect of all its assigned VCAs is shown in the form of a transparent fader cap. VCA indication display option To turn channel VCA indication off or on: Options > Interaction . 1 Go to section, click to enable (or disable) Displays In the Show VCA 2 Contribution . Channel level Effective gain (VCAs) Effective gain (VCA contribution) shown on the selected channel 96 Chapter 8: 7Outputs and Output Routing

108 Using VCAs VCA/Group Spill You can “spill” a VCA or Group so only its members are banked VCA level and mute status can be controlled from the channel you quickly access only those strips or the Global Control encoders. to the channel strips. Spill lets channels assigned to a specific Group and immediately focus on To control VCA members from the channel strips: those channels, without needing to bank through channels. You can spill a VCA or Group from the channel strips or Global Con- 1 Press Bank switch F . VCAs 1–8 are banked to channel strips trol. 9–16. Move the fader for the VCA whose members you want to ad- 2 To spill a VCA/Group: just. 1 Bank VCAs or Groups to the chan nel strips or Global Control. Do any of the following: 3 2 Do either of the following: • To solo VCA member channels, press the channel strip • From Global Control, double-press the Global Control En- switch for the desired VCA. The on-screen Solo LEDs Solo switch under the display showing the VCA or Sel coder for channels assigned to the VCA flash to indicate they are Group you want to spill. soloed by the VCA. • From the channel strips, double-press the Channel Encoder ls, press the channel strip • To mute VCA member channe Sel switch for the VCA or Group you want to or the channel switch for the desired VCA. The on-screen Mute Mute spill. the VCA flash to indicate LEDs for channels assigned to they are implicitly muted by the VCA. Do not to touch or hold any faders on the S3 while initiating rips. Doing so can alter VCA/Group Spill from the channels st Input channel solo mode (PFL or AFL) follows the current or Group member channels that the fader levels of the VCA setting on the Options > Busses page. the channels strips. will be spilled to To control VCA members from the Global Control encoders: 3 If the VCA/Group contains more than 16 members, press 1 main menu is shown in the Make sure the Global Control to access the additional members. Bank > Global Control encoder displays. Any Bank Safed channels remain banked to the channel strips Press the Back/Top Global Contro l Navigation switch to re- when VCAs or Groups are spilled. See for more Bank Safe turn to the Global Control main menu. information. 2 s. VCAs 1–8 VCA Press the encoder under the display showing 4 To spill another VCA or Group, select another VCA or Group. are assigned to the eight Global Control encoders. To cancel VCA/Group Spill, do any of the following: Under the display showing the VCA you want to adjust, rotate 3 Cancel . • Press the corresponding encoder to adjust VCA level. Sel • Press or double-press the Global Control Encoder 4 VCA member channels, press the To toggle the mute status of switch for the currently spilled VCA or Group. switch next to the Global Control encoder for the VCA you In • Press any Bank switch. A-F want to mute/unmute. . Exit VCA/Group Spill • In the on-screen dialog, click • The In switch LED is lit green when the VCA is unmuted. switch LED is unlit when the VCA is muted. The In • The switches of member channels flash to indicate they Mute are implicitly muted. For more information see See Explicit and Implicit Chan- nel Mute with Mute Groups and VCAs. 97 Chapter 8: 7Outputs and Output Routing

109 Resetting Bus Assignments Automation Safing Output Channels You can remove input assignments from a Group on-screen. Automation Safing a channel lets you suspend the effect of snap- shots on all parameters of the channel. Output Channel Safe To remove an input assignment from a bus: rate in Automation Safe mode. switches and buttons always ope 1 channel you want to change so that its Select the bus output For more information, see . Automation Safe members are displayed on-screen. 2 the input assignment you want In the Members list, right-click to remove and choose . Unassign Managing Bus Assignments (duplicate) Mains, Groups and You can view, reset, and copy Aux bus assignments. Viewing Aux Bus Assignments When a bus output channel is targeted on-screen, its members are right side of the Outputs page. shown in the Members list on the To view input assignments to an Aux bus: Removing an input assignments from a bus page. 1 Go to the Outputs To remove all input assignments from a bus: put channels routed to the se- 2 Select the bus output channel. In Select the bus output 1 channel you want to change so that its lected bus are displayed in the Me mbers list on the right side of members are displayed on-screen. the page. ttom of the Members list and Click the pop-up menu at the bo 2 choose Reset Mix . Removing all input assignments from a bus Bus assignments shown in the Members list To go to any assigned input channel from the Outputs page: list. Members Click the name of the input channel in the  98 Chapter 8: 7Outputs and Output Routing

110 Copying Assignments Between Busses Working with Outputs in a Shared You can copy the current input assignments from one bus to an- Input Configuration other bus of the same type. If the busses are linked, assignments In shared input configurations, the availability of the outputs and her linked busses. This lets you quickly du- can be copied from ot the functionality of each E3 on the network with respect to out- plicate monitor mixes. puts is determined by the Master /Slave status of each E3, as shown in the following table: Copying Aux bus assignments ov erwrites all the assignments on the destination Aux bus. Functionality Master E3 Slave E3 To copy input assignments between busses: Yes Routing to Stage 16 Out- No puts Target the bus that you want to be the destination of the copied 1 assignments by selecting it annel strip. s on-screen ch Yes Yes Routing to/from local IO (Console and Engine I/O) menu at the bottom of the Mem- 2 Click the Input Assign pop-up bers list, choose , then choose the bus Replace With Mix From Yes No Mute All Outputs function- ality from GUI copy to the currently selected whose assignments you want to bus. Mute All Outputs status Yes Yes indication Identify functionality from Yes Yes GUI Yes Identify status indication Yes No Yes Ability to rename an assigned Stage 16 Ability to unassign a Stage No Yes 16 If you need to connect stage monitors to the Outputs on a par- ticular Stage 16, make sure to assign that Stage 16 from the E3 controlling the monitor mix. Copying input assignments between Aux busses Copying Mains Assignments to Aux Busses You can copy the current Main bus assignments to Aux busses to base monitor mixes from a main mix. Assignments to the Main Left/ Right busses can be copied to linked Aux busses, and as- signments to the Center/Mono bus can be copied to mono Aux busses. To copy bus assignments from the Mains to Auxes: 1 Target the Aux bus that you want to be the destination of the ng its on-screen channel strip. copied assignments by selecti 2 menu at the bottom of the Mem- Click the Input Assign pop-up bers list, choose Replace With Mix From , then choose the available Main bus ( Left-Right or Mono ) whose assignments you want to copy to the currently selected bus. The state of the Aux controls foll ow the state of the correspond- ls assigned to the Mains: Chan- ing controls on the Input Channe annel Pan maps to Bus Pan, and nel Mute maps to Bus Send, Ch Channel Fader level maps to Bus Send level. 99 Chapter 8: 7Outputs and Output Routing

111 Chapter 9: Groups This chapter shows how to do the following: Routing Groups to Outputs, Plug-Ins, GEQs, and Built-In Comp/Lim and EQ • Configure Group busses You can route Groups to hardware outputs and Direct Outs. You • Route Groups to Mains can also insert plug-ins and buil t-in Graphic EQs on Groups, and • Adjust Group output controls use the built in Comp/Lim and EQ processors on Groups. Input Channels and FX Returns can be routed to Groups for For details, see the following: grouped control of input channels. Unlike VCAs, Groups are summing busses, so plug-ins and outboard processors can be in- Assigning Busses to Hardware Outputs. See serted on them. Groups also fe ature built-in 4-band parametric EQs and Compressor/Limiters Direct Outputs Group bus outputs can be routed to the Main busses, to available . Using Inserts on Outputs bus-fed plug-ins, to Matrix mixers, and to any system hardware Inserting Built-In Graphic EQs on Outputs outputs. Using Built-In Comp/Lim and EQ on Outputs Routing Inputs to the To route inputs to Groups, see Mains and Groups . Adjusting Group Output Parameters Configuring Group Busses Most Group output parameters can be controlled from the chan- nels strips and the Gl obal Control encoders. Groups can also be Eight Group busses are available. These Group busses can be controlled on-screen (see Adjusting On-Screen Output Con- globally configured to be mono or stereo as part of the overall trols ). system Bus Configuration setting. See Configuring Aux and Group Busses. To use the built-in Comp/L im and EQ processors on Groups, see Using Built-In Comp/Lim and EQ on Out- puts . Routing Groups to Mains You can route Groups to the Mains on-screen. You can expand Aux/Group output controls across the en- tire top row of 16 encoders. See Expanding Aux/Group To route Group output to the Mains on-screen: Output Controls . 1 Go to the Outputs page and select one or more Groups you want to route to the Main busses. Group Output Levels You can also use Multi-Select select to route multiple To control Group output levels from the channel strips: Groups to the same destination(s). 1 F. Groups 1–8 are banked to channel strips Press Bank switch 1–8. Stereo Group levels are controlled using a single fader. button in the Bus Assign section to toggle the L-R Click the 2 bus assignment for the selected Group. 2 e assigned Groups ut level of th Move a fader to change the outp bus. Assigning a Group output to the Mains from the Output page 100 Chapter 9: Groups

112 To adjust Group output levels from the Global Control encoders Group Output Mute Make sure the Global Control menu is shown in the Global 1 To control the mute status of a Group output from the channel Control displays. strips: to bank Groups to the channel strips. F Press Bank switch 1 l Navigation switch to re- Press the Back/Top Global Contro turn to the Global Control main menu. 2 switch on the channel strip for the Group you Mute Press the want to mute. 2 Press the Aux/Grp Global Control encoder. Aux outputs 1–8 are assigned to the Global Control encoders. To control the mute status of a Group output from Global Control: Assign the Group you want to control to Global Control. 1 2 Press the switch next to the Global Control encoder for the In VC Matrixes Aux/Grp Group you want to mute/unmute. switch LED is lit green when the Group is unmuted. In • The switch LED is unlit when the Group is muted. In • The Sel Sel Sel Sel Sel Sel Sel Sel Group Bus Output Pan In In In In In In In In Group bus output pan can be controlled from the channel encod- Aux/Grp Global Control encoder ers. When pan is assigned to the encoders, the encoders adjust pan (for mono Groups) or stereo balance and width (for stereo Page > 3 Global Control Naviga tion switch until the Press the Groups) of the Group output to the Main busses only. The Group e Global Control displays. Group outputs appear in th inct left and right channels. outputs in the Patchbay are dist Groups-to-Mains assignment is shown in each channel display Grp 3 Grp 1 Grp 2 when Groups are banked to the channel strips. When the channel Master Master Master pan/balance/widt h values are shown in the encoder is adjusted, display. To control mono Group output pan: 1 Bank Groups to the channel strips. Groups assigned to the Global Control encoders Press the 2 Channel Encoder Assign switch to assign con- Pan oder under the display showing Adjust the Global Control enc 4 trol of Group pan to the channel encoders. the Group you want to adjust. Th e level indicator in the display the pan for the corresponding Turn a channel encoder to adjust 3 shows the relative fader level setting for that Group. mono Group. Group Output Solo To control stereo Group output balance and width: 1 Press Bank switch F to bank Groups to the channel strips. To control the solo status of a Group bus: 1 Bank the Groups to the channel strips by pressing Bank switch Channel Encoder Assign switch to assign con- Pan Press the 2 F. the channel encoders. trol of Group balance to switch on the channel strip for the Group you Solo Press the 2 switch to assign Group width con- Press a channel encoder Sel 3 want to solo. The switch lights solid to indicate the channel is trol to that channel encoder. explicitly soloed. 4 Rotate an encoder to adjust the width for the corresponding stereo Group. follow AFL selection, and vice You can set Output banking to on Solo bus operation, see versa. For more information Solo and Monitor Busses. 101 Chapter 9: Groups

113 Group Output Polarity Invert (Phase Group Bus Signal Flow Options Reverse) The polarity of any Group output bus signal can be inverted Routing Signals to a Mono Group Bus (Phase Reverse). With stereo Grou p busses, only the left channel Configuration is inverted. Groups can be fed as no busses, the eight When configured as mo To invert the polarity of a Group from Channel Control: 8 unlinked mono busses or up to 4 linked odd/even bus pairs. 1 F to bank Groups to the channel strips. Press Bank switch Unlinked Mono Busses Sel switch for the Group you want to con- 2 Press the channel To use unlinked mono Group busses: trol. 1 Make sure the Group busses are configured as mono busses. Make sure the main Channel Control menu is shown in the 3 See Configuring Aux and Group Busses. Channel Control displays. While routing channels to Group busses, make sure the Stereo 2 Press the Back/Top Channel Control Navigation switch to Pan switch is off. return to the Channel Control main menu. The Group switches in the on-screen Bus Assign section light 4 Press the Channel Control enco der under the display showing this configuration, input sig- green to indicate mono operation. In Input . nals are handled as follows: Press the 5 Channel Control Navigation switch to access Page > Contributing mono signals are summed to Mono Input Signals the second page of Input parameters. the mono Group bus. Any pan information from mono input channels feeding the bus is ignored. Under the display showing Polarity , press the encoder In 6 switch to toggle polarity in/o ut. The switch LED lights green Stereo Input Signals Contributing stereo signals are summed to when the channel’s polarity is inverted (Phase Reverse is en- the mono Group bus with no attenuation. The balance and width abled). input channel is ignored. information from each stereo Group Output Delay Linked Odd/Even Bus Pairs A variable delay (from 0 to 500 ms) can be applied to Group bus- To use linked mono Group bus pairs: lay is applied to both channels. ses. With stereo Group busses, de Make sure the Group busses are configured as mono busses. 1 See Configuring Aux and Group Busses. To apply delay to a Group: Press Bank switch 1 to bank Groups to the channel strips. F While routing channels to Grou 2 p busses, press the Stereo Pan switch so that it lights yellow. Sel switch for the Group you want to con- 2 Press the channel trol. The Group switches in the on-scr een Bus Assign section and the Stereo Pan LED in the channel’s Bus Assign indicator light yel- Make sure the main Channel Control menu is shown in the 3 In this configuration, input sig- low to indicate stereo operation. Channel Control displays. nals are handled as follows: der under the display showing 4 Press the Channel Control enco Contributing mono signals are panned Mono Input Signals Input . across the linked odd/even Group bus pair. Pan information from Under the display showing , rotate the encoder to set the 5 Delay es its pan position in the bus each mono input channel determin desired amount of channel delay. pair. 6 Press the corresponding encoder In switch to toggle channel Contributing stereo signals are panned Stereo Input Signals ghts green when channel delay delay in/out. The switch LED li across the linked odd/even Group bus pair. Balanc e and width in- is on (enabled). formation from each stereo input channel determines its contribu- tion to the odd and even sides of the bus pair. Group Spill You can “spill” a Group so only its members are banked to the channel strips. See . VCA/Group Spill 102 Chapter 9: Groups

114 Routing Signals to a Stereo Group Bus Configuration When configured as stereo busses, the eight Groups are fed as eight true stereo busses. To use stereo Group busses: 1 Make sure the Group busses are configured as stereo busses. See Configuring Aux and Group Busses. 2 When routing channels to any of the Group busses, the Stereo Pan switch is lit yellow. 103 Chapter 9: Groups

115 Chapter 10: Auxes and Variable Groups Click the checkboxes above any of the bus pairs to link or un- 4 This chapter shows how to do the following: link each pair. • Configure Aux and Variable Group busses • Route Auxes and Variable Groups to outputs, Graphic EQs, and plug-ins • Create an effect send/return • Adjust send controls • Adjust Aux and Variable Group output controls Auxes and Variable Groups are used to send Input Channel and FX Return signals to various destinations such as hardware out- r example) and plug-in inputs puts (for on-stage monitor mixes, fo (to create an effect send/return, for example). Auxes and Variable Groups can be mono, or linked to form stereo pairs. Auxes and Variable Groups can be fed by Input Channels and FX returns. Bus pair checkboxes in the Options > Busses page . Apply 5 Click Aux Send level controls provide a gain range of –INF to +12 dB. When busses are linked, signals are handled as follows: Mono Input Signals Contributing mono signals are panned Configuring Aux and Variable Group across the linked odd/even Aux bus pair. Busses Follows Channel Pan option is off, panning of • When the Variable Group busses are set The number of available Aux and the mono signal to the bus pair is controlled by the Aux Pan as part of the overall Aux/Group bus configuration. See Config- control (the even-numbered send). uring Aux and Group Busses. option is on, the pan infor- Follows Channel Pan • When the le Groups mode, the eight Group When the system is set to Variab mation from each mono input channel determines its pan busses are replaced by Variable Group busses, which operate in position in the bus pair. When set to Variable Groups much the same way as Aux busses. Contributing stereo signals are panned Stereo Input Signals busses provide up to 24 bus- mode, 16 Aux and 8 Variable Group across the linked odd/even Aux bus pair. Stereo width informa- ses. tion from the input channel is applied to the bus signal. le Group busses, select the You can also link Aux/Variab option is off, balance of the Follows Channel Pan • When the nt, and classify sends for Snapshots. pre-fader pickoff poi stereo signal to the bus pair is controlled by the Aux Pan control. You can customize how Aux /Variable Group busses and AFL soloing interact. See AFL Follows Auxes. Follows Channel Pan option is on, the balance • When the determines its contribution from each stereo input channel to the odd and even sides of the bus pair. Linking Aux Busses for Stereo Operation When working with Aux and Variable Group busses, you can link signals into those bus pairs. odd/even bus pairs and pan input To link Aux and Var Group bus pairs: Put the system into Config mode. 1 tab. 2 Go to the Options page and click the Busses . Edit Click 3 104 Chapter 10: Auxes and Variable Groups

116 Setting a Send to Pre-Fader Selecting Aux and Variable Group Pre Pickoff Points To set an Aux or Variable Group send to pre-fader: Each input channel Aux or Var Group send can be set as pre- or 1 ct the channel with the Aux send Go to the Inputs page and sele post-fader. You can specify the pre-fader pickoff point for Aux you want to set to pre-fader. and Variable Group busses. Do any of the following: 2 bus independently. If any busses Pickoff points are set for each der, click the corresponding • To set an Aux send to pre-fa are linked, the pickoff point is set for the linked bus pair. The fol- PRE button in the Aux Sends section. lowing pre-fader pickoff points fo r Aux and Variable groups bus- • To set a Variable Group send to pre-fader, press the Stereo ses are available: section to display Var Groups, Bus Assign Pan button in the Pre-EQ Post-HPF and pre-EQ, Dynamics and Channel Inserts, then click the corresponding PRE button. pre-Mute, and pre-Fader. The Aux or Var Group send is not af- fected by the channel mute. Post-HPF and pre-EQ, Dynamics and Chan- Pre-EQ Post-Mute nel Inserts, post-Mute, and pr e-Fader. The Aux or Var Group send is affected by the channel mute. Activating Pre pickoff for an Aux Send (Inputs page shown) Pre-Mute Post-HPF, post-EQ, Dynamics, and Channel Inserts, pre-Mute, and pre-Fader. The Aux or Var Group send is not af- When the Pre button is lit, the selected Pre pickoff point is used. fected by the channel mute. When the Pre button is off, the pickoff point is Post-Fader. Pre-Fader Post-HPF, post-EQ Dynamics, and Channel Inserts, post-Mute, and pre-Fader. The Aux or Var Group send is affected Classifying Auxes for Snapshots by the channel mute. You can classify Aux Sends and Variable Groups as monitor (“Mon”) or as (“FX”) for the purposes of effects sends sends To set the pre pickoff point for an Aux or Variable Group send: separately in snapshots. See scoping and safing each type Clas- Options > Busses . 1 Go to sifying Aux Sends. Routing Auxes and Variable Groups to Outputs, EQs, Dynamics and Plug-Ins You can route Aux and Variable Group busses to hardware out- insert plug-ins and built-in puts and Direct Outs. You can also able Group bus, and use the Graphic EQs on any Aux and Vari built in Comp/Lim and EQ processors on any Aux and Variable Group bus. For details, see the following: Creating an Effect Send/Return Aux bus pickoff points Assigning Busses to Hardware Outputs 2 In the Auxiliaries section, select a pre pickoff point for any of the busses or linked bus pairs by clicking the Pre-EQ, Pre-EQ Direct Outputs Post Mute, Pre-Mute , or button. Pre-Fader Inserting Built-In Graphic EQs on Outputs . Using Inserts on Outputs Using Built-In Comp/Lim and EQ on Outputs 105 Chapter 10: Auxes and Variable Groups

117 5 for a Variable Group (or Bus Outs > Aux From the list, choose Creating an Effect Send/Return Group bus), then choose the desired mono Aux or Variable An effect send/return lets you send signals from multiple Input Group. Channels (using Aux sends) to effects plug-ins such as reverbs and delays. In this configuration, the effects plug-ins are shared, letting you conserve DSP resources. The following procedure describes using a mono input/stereo output format plug-in. To create an effect send: 1 Go to the page and put your system into Config Plug-Ins mode. 2 Click the Plug-In selector on an empty rack slot. (You can also ot to change a plug-in assign- use an already assigned rack sl ment.). Assigning plug-in Input source to an Aux bus Click the Plug-In Output selector to choose the channel(s) to 6 return the effect to a channel. Clicking the Plug-In selector Choose Other , then select a plug-in showing a 1 in, 2 out for- 3 mat . Plug-in Output selector 7 From the list, choose Channel (Input Channel) or FX Return from the list. Plug-ins indicated as stereo ( must be re- 2 out) turned to a stereo channel. Plug-In selector menus Assigning Plug-Ins to Rack For more information, see Slots . Assigning plug-in output to an FX Return Click the Plug-In Input selector at the top of the corresponding 4 input source and output as- When a bus-fed plug-in has both its rack slot to choose the Aux or Variable Group you want to use signed, it appears similar to the following in the rack: as the effect send. Clicking the Plug-in Input selector A bus-fed plug-in in the rack 106 Chapter 10: Auxes and Variable Groups

118 3 Press a channel encoder under the display showing the sends Adjusting Aux and Variable Group you want to assign to the channel encoders. For example, to as- Send Controls sign channel send controls for Aux bus 1, press the encoder un- der the display showing Aux 1. You can adjust mono and stereo -linked Aux and Variable Group sends using the Channel encoders, Channel Control, and on-screen controls. Aux 1 Adjusting Sends Using the Channel Encoders To adjust sends using the Channel encoders, you must first assign the sends for the Aux or Variable Group bus to the Channel en- Aux Select menu. coders using the Channel encoder and display in Aux Select mode Assigning Aux Sends to the Channel Encoders e shown in the channel displays. The sends for the selected bus ar To assign Aux sends to the channel encoders: the corresponding channel encod- Send levels are adjusted using ers. Returns to the channel strips. Bank Input Channels and/or FX 1 2 Channel Encoder Assign switch. The Aux Aux Press the 2 3 LR LR 1 LR Hats Snare Kick switch flashes indicating the channel encoders are in Aux Se- Aux 1 Aux 1 Aux 1 lect mode. EQ Input HPF Gain Channel encoders with Aux 1 sends assigned Mix Dyn Pan Comp Press the Page > Channel Encoder Naviga tion switch to ac- 4 Pan Insert cess the next set of Aux sends. Channel Group Flip Aux Flip Aux Top Source Back Aux Channel Encoder Assign switch Aux1, Aux 2, Aux 3 appears in ) and so on The Aux Select menu ( Page Page the channel displays. The Page > Channel Navigation switch Aux 1 Aux 2 Aux 3 Aux Select menu The number of available busses depends on the overall Aux/Group bus con figuration. See Configuring Aux and Group Busses. Chapter 10: Auxes and Variable Groups 107

119 Assigning Variable Group Sends to the Channel Adjusting Sends Using Channel Control Encoders nnel Control, adjustments made When adjusting sends using Cha the selected channel. to sends affect only To assign Variable Group sends to the channel encoders: 1 Returns to the channel strips. Bank Input Channels and/or FX To control Aux or Variable Group sends in Channel Control: Aux Press the 2 Channel Encoder Assign switch. The Aux 1 Bank Input Channels and/or FX Returns to the channel strips. switch flashes indicating the channel encoders are in Aux Se- more channels. Select one or 2 lect mode. Control menu is shown in the Make sure the main Channel 3 Page > Press the 3 Channel Encoder Navigation switch to ac- Channel Control displays. cess the Variable Group busses. Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu. Grp 2 Grp 3 Grp 1 mpLim Var Grps Aux 9-16 ExpGate Aux 1-8 Variable Group busses in the Aux Select menu Press a channel encoder under the display showing the Vari- 4 able Group sends you want to assign to the channel encoders. send controls for Variable For example, to assign channel Group bus 1, press the encoder under the display showing Grp 1. Main Channel Control showing Aux and Variable Group encoders 5 Press the Page > Channel Encoder Navigation switch to ac- oder under the display showing Press the Channel Control enc 4 cess the next set of Variable Group sends. , Aux 1–8 Aux 9–16, or Var Grou . That group of sends is now available on the Channel Control encoders Adjusting Sends on the Channel Encoders 5 Press the Channel Control encoder In switch under the display To adjust Aux/Variable Group sends from the channel encoders: showing the send you want to turn on. The switch is lit to in- dicate that the send is on. In switch to turn the send for that 1 Press the channel encoder channel on. The switch lights to indicate the send is on. 1 Kick LR 3 LR 2 LR 1 Aux 1 Aux 3 Aux 2 Snare Hats Kick Aux 1 Aux 1 Aux 1 Channel Control with Auxes 1–8 assigned to Channel Control (Aux sends 1–3 shown) Channel encoder Sel switch (top) and In switch (bottom) To adjust mono send level in Channel Control, rotate the en- 6 2 To adjust mono send level, do either of the following: the send you want to adjust. coder under the display showing • Rotate the channel encoders as needed. The level indicator To toggle the Pre/Post status of a send, press the Channel Con- 7 in the display shows the relative send level setting for the trol encoder for the corresponding send. Sel corresponding channel. just its sends in Channel Con- 8 Select a different channel to ad – or – trol. ch, then adjust the channel • Press the Flip to Faders swit fader. To toggle the Pre/Post status 3 of a send, press the channel en- coder switch under the display showing the send you want Sel to adjust. The send is pre-fader when the Sel switch is lit. To return to the Aux Select menu:  Press the Back/Top Channel Encoder Navigation switch. 108 Chapter 10: Auxes and Variable Groups

120 To pan a stereo linked send in Channel Control: Adjusting Stereo Sends  Rotate the even-numbered encode r for that pair. For example, When Aux busses are linked, input nned across the signals are pa coder under the ed, rotate the en if Auxes 1 and 2 are stereo link bus pair. Aux panning can be controlled from the channel encod- display showing . Aux1Pan ers or from Channel Control. Setting Send Pan to Follow Channel Pan Using the Channel Encoders set to follow the pan or balance Panning of the input signal can be vel and pan contro For stereo-linked sends, send le ls are assigned values of the Input Channel or FX Return feeding the Aux bus. to the channel encoders separately. To set the Aux Send pan to follow Channel pan: To adjust stereo-linked Aux or Variable Group sends: . > Busses Options Go to 1 Returns to the channel strips. 1 Bank Input Channels and/or FX op- 2 Follows Channel Pan On any linked bus pairs, select the 2 Press the Channel Encoder Assign switch to access the Aux tion. This setting is applied globally to the corresponding Aux Aux Select menu. Send and pan appear as odd/even pairs in the or Variable Group Send. menu. On-Screen Send Controls Aux 1 Aux1Pan To control Aux/Variable Groups sends on screen: annels and/or FX Returns. Select one or more Input Ch 3 4 In the Aux Sends section, do the following: Aux send level controls (left) and send pan (right) button to turn to the send on. On • Click the coder under the display showing To adjust level, press the en 3 • Click and drag the knob to adjust the send level. The send AuxSnd ( where ). is the Aux send channel number level is indicated in the Aux Send display. Send levels to that send pair are assigned to the channel encod- ers. To adjust pan, press the encoder under the display showing 4 AuxPan ( ). is the Aux send channel number where ssigned to all 16 channel encod- Pan to that send pair is now a ers. e linked, press the encoder un- For example, if Aux send 1/2 ar Aux1Pan to assign Aux send 1/2 pan control to the encod- der ers. On-screen Aux send level control knob (top) and On button (bottom) 5 needed to adjust pan. Pan set- Rotate the channel encoders as To control Variable Group sends on screen: tings for indicated in the display. Select one or more Input Ch 1 annels and/or FX Returns. 2 Var Groups button to en- In the Bus Assign section, click the 1 LR Kick le Group sends replace Aux gage Variable Groups. Variab Aux1Pan sends on-screen. Aux send level controls (left) and send pan (right) Using Channel Control To adjust a stereo-linked send level in Channel Control:  Rotate the odd-numbered encoder for the desired pair of sends. On-screen Aux send level control knob (top) and On button (bottom) For example, if Auxes 1 and 2 are stereo linked, adjust the en- coder under the display showing AuxSnd1 to adjust send In the Var Groups section, do the following: 3 level. On button to turn to the send on. • Click the • Click and drag the knob to adjust the send level. The send level is indicated in the Aux Send display. Chapter 10: Auxes and Variable Groups 109

121 To create a level offset between linked Aux/Variable Group Adjusting Aux/Variable Group Output outputs: Parameters busses to the channel strips. Bank the Aux/Variable Groups 1 rameters can be controlled us- Aux and Variable Group output pa Do either of the following: 2 ing the channels strips or the Global Control encoders. You can der while moving the other. • Touch one linked output fa “expand” Aux and Variable Group output controls to the entire • Hold the Start (Win) key on the keyboard and move one top-row of encoders. linked Aux/Variable Group bus fader on-screen. be controlled on-screen (see Auxes and Variable Groups can also The offset between the faders is maintained until the offset causes ). Adjusting On -Screen Output Controls a fader to reach its maximum or minimum value. To use the built-in Comp/Lim and EQ processors on Auxes/Variable Groups, see Using Built-In Comp/Lim Aux/Variable Group Output Solo and EQ on Outputs . You can solo Aux/Variable Group busses from the Global Con- access to input channels on the trol encoders, letting you retain Aux/Variable Group Output Levels channel strips. This is helpful when mixing monitors using the Aux and Variable Group output levels can be controlled from the Group busses can also be so- S3L-X system. Aux and Variable channel strips and the Global C ontrol encoders. Level offsets can loed from the channel strips. be created between linked Aux/Variable Group bus outputs. To solo an Auxes/Variable Groups from the Global Control To control Aux output levels from the channel strips: encoders: . Aux outputs 1–16 (or 1–8 depending on E Press Bank switch 1 Assign the Aux or Variable Groups you want to control to the 1 your bus configuration) are ba nked to the channel strips. Global Control encoders. 2 vel of its assigned output. Move a fader to change the le h to solo that Aux/Variable Double-press the encoder Sel switc 2 Group. The Sel switch flashes to indicate the bus is soloed. With linked Aux/Variable Group busses, moving one fader af- itch again once so that it is 3 To disengage solo, press the Sel sw fects the level of both linked output busses. unlit. To control Variable Group output levels from the channel strips: To solo an Aux/Variable Group from the channel strips: Press Bank switch 1 . Variable Group outputs 1–8 are banked to F channel strips 1–8. Bank the desired Aux/Variable Group busses to the channel 1 strips. 2 Move a fader to change the le vel of its assigned output. Solo switch on the channel strip for the bus you want Press the 2 To control Aux and Variable Group output levels from the Global to solo. The switch lights solid to indicate the channel is ex- Control encoders: plicitly soloed. Make sure the main Global Control menu is displayed in the 1 You can set Output banking to follow AFL selection, and vice Global Control encoder displays. Solo bus operation, see See versa. For more information on . Aux 2 Press the encoder below the display showing Aux/Grp Configuring Solo an d Monitor Options. outputs 1–8 are assigned to the eight Global Control encoders. 3 Do any of the following to ad just the Aux bus output level: switch to turn the Aux bus on. The In • Press the encoder switch LED lights green when the bus is on (unmuted). • Rotate the encoder to adjust the output level for the Aux bus shown in the corresponding display. Sel switch to target that Aux bus for edit- • Press the encoder ing in Channel Control or on-screen. 4 tional Aux/Variab Do the following to access addi le Group out- puts, depending on the current global Bus Configuration set- ting: Global Control Navigation switch to ac- Page > • Press the e Global Control encoders. cess Aux outputs 9–16 on th again to access Variable Group outputs 1–8. Page > • Press 110 Chapter 10: Auxes and Variable Groups

122 Aux/Variable Group Output Mute Aux/Variable Group Output Delay s) can be applied to Aux and Aux and Variable Group busses A variable delay (from 0 to 500 m can be muted from the channel strips and the Global Control encoders. Variable Group busses from Chan nel Control. With linked bus- ses, delay is applie d to both channels. To control the mute status of an Aux/Variable Group bus from the channel strips: To apply delay to a bus: 1 Bank the desired Aux/Variable Group busses to the channel 1 Bank the desired Aux/Variable Group busses to the channel strips. strips. switch on the channel strip for the bus you Mute Press the 2 2 switch for the bus you want to control. Sel Press the channel want to mute. The switch lights so lid to indicate the bus is ex- Make sure the main Channel 3 Control menu is shown in the plicitly muted. Channel Control displays. To control the mute status of an Aux /Variable Group bus from the oder under the display showing Press the Channel Control enc 4 Global Control encoders: Input . Assign the Aux or Variable Groups you want to control to the 1 5 Under the display showing Delay , rotate the encoder to set the Global Control encoders. desired amount of channel delay. switch next to the Global Control encoder for the In Press the 2 6 Press the corresponding encoder In switch to toggle channel Aux/Variable Group you want to mute/unmute. ghts green when channel delay delay in/out. The switch LED li In switch LED is lit green when the Group is unmuted. • The is on (enabled). In switch LED is unlit when the Group is muted. • The Expanding Aux/Group Output Controls For more information on mu ting and Mute Groups, see Muting and Mute Groups. You can expand Aux/Group output controls across the entire top row of 16 encoders. Aux/Variable Group Output Polarity Invert To expand Aux/Grp Masters: (Phase Reverse) With Aux/Grp assigned to Global Control, press and hold ei- 1 able Group output bus signal The polarity of any Aux and Vari ther SHIFT switch. e) from Channel Control. With can be inverted (Phase Revers linked busses, polarity invert applies to both channels. 2 < Page/Expand Global Control Navigation switch. Press the Aux Masters 1–16 (or, depending on your configuration, Aux To invert the polarity of an Aux/Variable Group bus from a 1–8) are available on all 16 Masters 1–8 and Group Masters channel strip: encoders. 1 Bank the desired Aux/Variable Group busses to the channel strips. Top switch for the bus you want to control. Sel Press the channel 2 Config Back 3 Make sure the main Channel Control menu is shown in the Channel Control displays. Expnd Page 4 Press the Channel Control enco der under the display showing Page Input . Page > Press the 5 Channel Control Navigation switch to access Global Control Navigation < Page/Expand switch the second page of Input parameters. In a 24-bus configuration, press the lit Page > Global Control 3 Under the display showing 6 Phase Reverse. p ress the encoder riable Group Masters 1–8. Navigation switch to access Va In switch to toggle polarity in/out. The switch LED lights green when the channel’s polarity is inverted (Phase Reverse is 4 Adjust encoders as desired. enabled). To exit expanded Global Control: . SHIFT + < Page/Expand Press  111 Chapter 10: Auxes and Variable Groups

123 Chapter 11: Matrix Mixers This chapter shows how to do the following: The S3L-X system provides eight mono (or up to four pairs of setting up alternate mixes, fill stereo-linked) Matrix mixers for • Configure Matrix mixers and delay feeds, and cue, monitor or press mixes. • Assign input sources to Matrixes ix mixers can receive up to 12 Each of the eight available Matr • Adjust Matrix input controls channels of input. Input sources can be any combination of • Adjust Matrix output controls Auxes, Groups or Mains busses, or any other input source via one of the eight available Matrix User inputs. Each Matrix mixer has a mono output, but outputs can be linked to form a stereo pair. 3 2 1 4 8 5 6 7 A Matrix Mixer on the Outputs page 5 – Matrix User Assign Button 1 – Matrix Mixer Tab 6 – Matrix Reset/Clear Selector 2 – Matrix Inputs 7 – Currently Selected Matrix Mixer 3 – Matrix Input Source Selectors 8 – Matrix Mixer Output Controls 4 – Matrix Input Controls 112 Chapter 11: Matrix Mixers

124 Linking and Unlinking Pairs to form Configuring Matrix Mixers Stereo Matrix Outputs er can be any combination of The 12 inputs for each Matrix mix be linked in odd/even pairs to The eight mono Matrix mixers can the following potential sources: form up to four stereo-linked pairs of matrix outputs. A combina- Matrix mixers is possible. tion of mono and stereo-linked • 24 shared Aux and Group sources • 3 Mains sources (LCR or LR+M) Linking Matrixes is accomplished using the same Edit and • 8 User Input sources Apply methods used for stereo linking Auxes. ndividual Input Channels or FX Returns, any User Inputs can be i To stereo-link Matrixes: analog or digital hardware audio inputs, inputs from a connected Put the system into Config mode. 1 page), or inputs from USB flash drive (via the Media > Playback Pro Tools. 2 Go to Options page and click the Busses tab. • Each Matrix mixer provides up to eight assignable User In- 3 . Edit In the Matrix section, click puts. 4 any two adjace nt (odd/even) Click to enable the Link between • Input source assignments and user input assignments can be Matrixes. stored on a per-snapshot basis. • The input sources for Matrix mixers are configured as Pre- or Post-Fader in the Pickoffs tab of the Options page. t, C/Mono and User) are only • Input labels (1–8, Left, Righ intended as a guide. In use, any input source can be assigned to any mixer input (for example, Left doesn't always have to Editing the link status of a Matrix pair in the Options > Busses page. be assigned to the Left input of a mixer). Click 5 Apply . (Click Cancel to exit Edit mode without changes.) Configuring Aux, Group and Mains Pickoffs e even-numbered channel inherits When a matrix pair is linked, th all parameter settings of the odd-numbered channel. To configure Groups, Auxes, and Mains pickoffs for the Matrix mixers: The matrix mixer changes to a stereo matrix mixer: Put the system into Config mode. 1 • A Pan control is added to each matrix mixer input source. • All input sources are panned center upon linking. cause a momentary loss of Configuring pickoff points may be changed in Show mode. audio, and therefore cannot Plug-in assignments to the formerly mono matrix channels are lost, including all sn apshot references. tab. 2 Options page and click the Go to the Pickoffs Mains and Under 3 Aux, Groups Matrix Sources , configure Unlinking Matrixes (LCR or LR+M) as pre- or post-fader. To unlink a pair of Matrixes: Put the system into Config mode. 1 . 2 Go to Options > Busses Click Edit in the Matrix section. 3 4 Click to unlink the desired Matrixes. 5 Click Apply . When a Matrix pair is unlinked the even-numbered channel again of the odd-numbered channel, in- inherits all parameter settings cluding built-in 4-band EQ and Comp/Lim settings. Pre-existing plug-in and GEQ rou ting may be affected when the matrix link state is changed. An alert dialog warning of data loss link or unlink operation. Click is shown prior to performing the operation, or click Cancel to cancel OK to complete the link without changes. 113 Chapter 11: Matrix Mixers

125 Snapshots Linking and Unlinking Adjacent Matrix Inputs n but excluding the stereo link All matrix settings, including Pa can be linked or unlinked on a Adjacent inputs to Matrix mixers status, are stored and recalled with snapshots. The stereo link sta- per input pair basis. Link status can be specified on a per Matrix tus of Matrix outputs is not snapshottable. basis (for example, inputs 1 and 2 can be linked for Matrix 1, but Compatibility unlinked for Matrix 2). This gives you the ability to control inputs as either a stereo-linked pair or as independent mono inputs. rsions of software preserve all Show files created in previous ve • When linked, level and source on/off controls are linked. ng memory and snapshots. Loading mono matrix settings in worki a Show file containing stereo-linked Matrixes in a previous ver- • When unlinked, discrete level and on/off controls affect ta except Matrix output link sta- sion of software preserves all da each individual channel. tus. oups, Mains LR, and stereo-linked Stereo inputs (such as stereo gr auxes) are linked by default, su ch as after a Clear Console opera- Settings n be linked or unlink tion. Adjacent inputs ca ed at any time, in You can copy and paste settings between mono and stereo Ma- Config or Show mode. trixes, and use the Replace with Mix command, by right-clicking on the Matrix and choosing , or Replace with Mix Copy Paste , To link or unlink inputs to Matrix mixers: from the menu. Go to the Outputs page and select a Matrix mixer to display 1 that Matrix on-screen. Copy and Paste 2 Click the checkboxes below any ad jacent inputs to link or un- der, mute, po- strip settings (fa Copy/paste only applies to output link them. A check mark in the checkbox indicates a linked in- larity, delay, direct out). Mix pa rameters and mix sources are han- put source; an empty checkbox indicates unlinked sources. dled separately. Replace You can use the right-click menu to Replace mixer settings be- tween mono and stereo Matrixes. . Result To From Matrix link controls All mix parameters and mix Mono Mono Relinking and Offsets sources applied When inputs are relinked, their level and on/off state will change Mono Stereo All mix parameters and mix sources applied; Pans default to as follows: center Level Each channel maintains any offset between the two chan- Stereo Stereo All mix parameters and mix nels. This offset is not maintained if both linked controls are ad- sources applied justed beyond their maximum or minimum. All mix parameters and mix Stereo Mono On/Off Each channel maintains its discrete on/off state at the time sources except pan applied the sources are relinked. For example, if one channel is on and the other is off the stereo input will maintain these settings after source with one channel on, and relinking, thus providing a stereo the other off. Toggling one channe l from Off to On results in both channels switching On; toggling on e of the linked channels from On to Off results in both channels switching Off. 114 Chapter 11: Matrix Mixers

126 Configuring User Inputs Assigning Input Sources to Matrixes Each Matrix mixer can have its own set of eight assignable User To assign input sources to a Matrix mixer: Inputs. User Inputs for each Matrix are configured in the User As- sign panel of the Matrix Mixer tab. Go to the Outputs page and select a Matrix mixer. 1 each Matrix chan- 2 Click the Input Source selector at the top of To configure the User Inputs for a Matrix mixer: source. Choices include Auxes, nel and select the desired input 1 Go to the Outputs page and select a Matrix mixer to display Groups, Mains and any of the User Inputs. eight available that Matrix on-screen. 2 button to display the User Assign panel User Assign Click the for that Matrix mixer. Choosing an Input Source for a mixer ls in a Matrix mixer, assign To use Input or FX Return channe them as User Inputs, then assi gn those User Inputs as input sources. For more informati on, see “Configuring User In- puts.” Assigning Sources to Multiple Mixers You can select multiple Matrix mi xers simultaneously and assign sources to all selected mixers at the same time. User Assign panel To assign input sources to more than one Matrix mixer at a time: 3 er Inputs, click the on-screen For any of the eight available Us Multi-Select (or the Shift key) 1 Go to the Outputs page and use Source available source. Choices pop-up menu and select an to select two or more Matrix mixers in the fader display at the include: bottom of the screen. • Input Channels and FX Returns (if available) Click the Source selector at th 2 e top of a mixer channel (1–8, • Stage, Engine, and Console audio inputs Left, Right, C/Mono, or User) and select the desired source. • Inputs from Pro Tools Choosing a User Input source for a Matrix mixer Pickoff pop-up menu to choose the desired pickoff Click the 4 for any Input Channel or FX Return: • (for Input Channels) or Top of FX Return Top of Channel (for FX Returns) • Insert Return • Pre/Post-Fader off point is set globally in the Input The Pre/Post-Fader pick Channel Fader Pickoff section of the Options > Pickoffs page. 5 Click the User Assign button again to return to the main Ma- trix screen. 115 Chapter 11: Matrix Mixers

127 On-Screen Matrix Input Controls Adjusting Matrix Mixer Input Controls To control Matrix input source (“send”) levels on-screen: Input sources for the Matrix Mixers can be controlled from the Go to the Outputs page and select the Matrix mixer. 1 Global Control encoders or on-screen. Click the Matrix Mixer tab to display the Matrix input controls. 2 Matrix Input Level To control Matrix input source levels from the Global Control encoders: 1 Make sure the Global Control main menu is displayed in Global Control. Press the encoder below the display showing 2 Matrixes . Matrix eight Global Control encoders. outputs 1–8 are assigned to the Matrix Mixer tab Press the encoder below the display showing the Matrix you 3 want to control. The first eight inputs to that Matrix mixer are Do any of the following to control each mixer input: 3 assigned to the eight Global Control encoders. On button to turn that Matrix mixer input source • Click the on or off. Do any of the following to control each mixer input: 4 • Click and drag the level knob to set the level for the input In switch to turn that Matrix mixer input • Press the encoder source. Source input levels are indicated in the on-screen source on or off. The switch is lit green when the input is on. Matrix Mixer level meters. • Turn the encoder to set the level for the input source. Source • For stereo-linked Matrixes only, click and drag the pan knob input levels are indicated in the on-screen Matrix Mixer to the left to pan the input sour ce to the left (odd-numbered) level meters. Matrix mixer, and to the right to pan the input source to the Page > Global Con- To control source inputs 9–12, press the 5 right (even-numbered) Matrix Mixer. trol Navigation switch to assign those sources to the encoders. vigate out of the Matrix sends: 6 Do either of the following to na Global Back/Top • To return to the Matrix outputs press the Control Navigation switch once. • To return to the main Global Control menu, press the gation switch twice. Global Control Navi Back/Top Matrix Mixer Input Pan On-screen Matrix input pan contro l knob (top), level control knob Matrix mixer input pan controls adjust the panning of each Ma- (middle) and On button (bottom) outputs of a stereo-linked Ma- trix mixer input across the stereo trix mixer. Resetting Matrix Mixer Input Paramters To control Matrix send pan from the Global Control encoders: for any matrix eo link settings You can reset level, pan and ster mixer. Input source assignments persist. Assign the Matrix mixer input s 1 ource to Global Control for the stereo Matrix you want adjust. To reset a Matrix mixer parameter to its default value: 2 Press the encoder switch to assign send pan control to the Sel 1 Select one or more Matrix mixers you want to change. encoder. Reset 2 . on-screen and choose Right-click the encoder Adjust the encoder to adjust pan. 3 • Rotate to the left to pan th e input source to the left To reset all Matrix mixer parameters to their default values: (odd-numbered) Matrix mixer. 1 mixers you want to change. Select one or more Matrix • Rotate to the right to pan the input source to the right 2 Click the pop-up menu at the bottom of the mixer area and (even-numbered) Matrix Mixer. choose . Reset Mix Resetting a mix 116 Chapter 11: Matrix Mixers

128 Clearing Matrix Mixer Settings Adjusting Matrix Mixer Output You can clear mixer input assignmen ts to quickly set all the input Controls sources to None. rolled using the Global Control Matrix Mixer outputs can be cont encoders, or on-screen. To clear Matrix input assignments: mixers you want to clear. Select one or more Matrix 1 To use the built-in Comp/Lim and EQ processors on Ma- trixes, see Using Built-In Comp/Lim and EQ on Out- Click the pop-up menu at the bottom of the mixer area and 2 puts . choose . Clear Mix Sources Matrix Mixer Output Levels Copying Matrix Mixer Input Settings To control mixer output levels from the Global Control encoders: m one Matrix mixer to another You can copy mixer settings fro ts you quickly duplicate monitor mixer of the same type. This le in menu is displayed in the 1 Make sure the Global Control ma mixes or other signal feeds. Global Control encoder displays. w the display showing Press the encoder belo 2 Matrixes . Matrix Copying mixer settings overwrites all the settings on the des- output 1–8 are assigned to th e eight Global Control encoders. tination mixer. To copy settings between mixers: 1 Select the Matrix mixer that you want to be the destination of the copied settings so that it is displayed on-screen. Matrixes Aux/Grp VCAs Monitors 2 Click the pop-up menu at the bottom of the mixer area and choose Replace With Mix and Mix Sources From . Sel Sel Sel Sel Sel Sel Sel Sel Mtx (Matrix mixer) from the sub-menu whose set- 3 Choose the In In In In In In In In tings you want to copy to the current mixer. Delay Compensation with Matrix Mixers Matrixes Global Control encoder VENUE automatically compensates for the delay offsets that can to adjust the output level for 3 Rotate the corresponding encoder arise when combining different signal paths within a Matrix the Matrix mixer. mixer. Matrix Mixer Select Additional Information about Delay Compensation • The overall la is determined by the tency through a Matrix Matrix Mixers can be targeted fo r processing in Channel Control path with the highest latency. or on-screen. Processing applie s to all linked Main busses. • All inputs within a Matrix mix are guaranteed to be phase To target a Matrix Mixer for processing: e not necessarily aligned to each other. accurate, but mixes ar This ensures that all mixes are not penalized in the case of 1 Assign Matrixes to Global Control. ionally high-latency one or more except signal paths. switch under the display 2 Press the Global Control encoder Sel ts for a channel’s post-in- • Delay compensation only accoun showing the Matrix output you want to adjust. feed User Inputs and Auxes sert pickoff. Channels that fully compensated for. (pre-insert) will not be Matrix Mixer Output Mute To control the mute status of a Matrix Mixer from Global Control: 1 Assign Matrixes to the Global Control encoders. switch for the Matrix you In Press the Global Control encoder 2 want to mute/unmute. switch LED is lit when the bus is unmuted. In • The switch LED is unlit when the bus is muted. In • The For more information on Mute operation, see Muting and Mute Groups. 117 Chapter 11: Matrix Mixers

129 Matrix Mixer Output Processing Matrix mixer output processing can be controlled using Channel Control. To apply output processing to a Matrix mixer: 1 Assign Matrixes to Global Control. 2 Sel switch under the display Press the Global Control encoder showing the Matrix output you want to adjust. Make sure the main Channel Control menu is shown in the 3 Channel Control displays. 4 Press the Channel Control enco der under the display showing the processing function you want to adjust. Snapshot Data and Parameters for Matrix Mixers Snapshots can store and recall al l source assignments of each ma- trix mixer when the Matrix (“Mtx”) data type is scoped. In addi- tion, all User Input assignments are stored, letting you reconfig- ure Matrix mixers and User Input assignments on a per snapshot basis, if desired. The following table describes what can be stored and recalled in X data type is scoped. each snapshot when the MT d parameters for Matrix mixers Table 2. Snapshot data types an Included Parameters (for Each Scoped Channel Snapshot Strip) Data Type MTX Mixer Input Sources, User Input Assignments (global to all Matrixes), and pickoffs; Mixer Input Input Link level, Mixer Input on/off state and Mixer state s cannot be stored in snapshots. The link state of Matrix output shots page provides two data The Recall Safe tab of the Snap retely “safe” source and/or user “Mix” data types that let you disc input assignments to prevent them from being changed with a snapshot recall. on VENUE snapshots, see For complete information Snap- shots. 118 Chapter 11: Matrix Mixers

130 Chapter 12: Patchbay and Inserts to hardware inputs and outputs. The Patch bay tput Channels, Direct Outputs, The Patchbay is used to assign Input and Ou also provides on-screen controls for the currently selected chan nel, and provides the ability to name input and output channels . Accessing the Patchbay To show the Patchbay screen:  Click the Patchbay button on-screen. To jump to the Patchbay from the Inputs and Outputs screens:  Click on the channel routing indica tor, right below the channel name display. The screen automatically jumps to the corresponding Patchbay screen (whether an input, output, or bus). The View switches can be customized to ta rget the Patchbay for immediate access. See View Mode Switch 1 and 2 Assignments. Overview of the Patchbay The Patchbay screen lets you patch hardware I/O to input and out put channels. The Patchbay consis ts of the following sets of ta bs and controls: 1 2 4 5 3 Patchbay page (Inputs tab shown) 4 – Patching Grid 1 – I/O Tabs 5 – Channel Controls 2 – Hardware Tabs 3 – Channel Type Tabs 119 Chapter 12: Patchbay

131 Patching Grid I/O Tabs I/O across the top, and system patch Inputs, Outputs, Click to display and The Patching Grid shows hardware or Directs (Direct Outputs). Other options in the Patc hbay screen change to reflect channels down the left side. The available channel tabs and choices are determined by the currently selected I/O tab and the currently selected I/O tab. Channel type(s). The grid square s represent patch points between hardware I/O and VENUE mixing channels. Hardware Tabs By default, hardware inputs are r outed in a 1-to-1 pattern to input Click these tabs to display the ha rdware inputs and outputs avail- channels resulting in Stage inputs 1–48 (or 1–64) appearing on able for the current I/O and Channel Type. These tabs represent Input Channels 1–16 (Bank A), 17–32 (Bank B) and so on. s of the system, as follows: the physical inputs and output ) Hardware Tabs Physical I/O Channel Controls Stage 1–4 Stage 16 analog and AES digital I/O These controls mirror the controls for the currently selected chan- nel. For example, when showing Inputs, the Channel controls let Engine E3 engine analog and AES digital I/O, USB antom power, HPF, Direct Out, you adjust input gain, polarity, ph 2-track playback inputs (USB), and built-in Oscillator (Osc) inputs without leaving the Patchbay. input source, and fader level Console Console analog mic and line I/O Direct Output levels are adjus ted from the Directs tab of the Patchbay. See Adjusting Direct Outputs. S3L-X system I/O from and to Pro Tools Pro Tools Available hardware inputs and outputs are based on channel type Visual Indicators and Displays iguration and hardware selection, system conf device status. See sual display conventions in all The Patchbay uses the following vi . Unavailable I/O its tabs and pages. Stage Tabs in Shared Input Configurations Unavailable I/O tabs are highlighted in Stage In a shared input configuration, the The Patchbay displays hardware tabs for all possible configura- green to indicate Master (green) and Slave (amber) status of the tions. For example, if your curre nt configuration includes two corresponding Stage 16s. Stage 16 boxes, four Stage tabs still appear in the Patchbay. The ssigned) Stage IO boxes, how- I/O for the unconnected (or una ever, is not available. The Patchbay patching grid indica tes I/O that is offline or un- available in the following ways, depending on the hardware I/O: Unavailable Stage I/O appears grayed out in the Patch- Stage I/O bay under its corresponding hardware tab, and is italicized in all Stage tabs showing Master (left) and Slave (right) status routing pop-up lists. Inputs in the patching grid are freely available, no matter the When a Pro Tools computer is connected to the Pro Tools I/O Master/Slave status of the conn ected Stage 16s. However, only S3L-X system, system input channels with Stage inputs assigned Outputs patching is limited to the Master E3. Outputs for any to them are highlighted in purple under the hardware Pro Tools Slave Stage 16s are greyed out. tabs in the Patchbay. This indicates that the Pro Tools I/O chan- nels are reserved for use as direct digital splits to Pro Tools (out- Channel Type Tabs puts) or Virtual Soundcheck channels (inputs). Click these tabs to select and display specifi c types of channels, to S3L-X, all not connected When a Pro Tools computer is as available for the currently selected I/O. The following table Pro Tools I/O is grayed out and unavailable in the Patch- shows the available Channel Types for the current I/O. bay. I/O Tab Channel Types available Channels, FX Returns Inputs Mains, Matrix, Auxes, Groups Outputs Channels, FX Returns, Outputs Directs Inserts Channels, FX Returns, Outputs 120 Chapter 12: Patchbay

132 Assigned I/O Naming Channels from the Patchbay onnection is d from the Patchbay. Channel Channel names can be change When a hardware connection is assigned, its c names can be up to 32 characters in length. When shown in the dimmed in all Patchbay screens. This lets you see which hard- displays on the S3 control surface ware connections are in use without having to switch back and , names are abbreviated to fit You can also use the dimmed the displays. forth between Patchbay screens. column number indicator to jump to the Patchbay page for the ex- To name or rename a channel from the Patchbay: isting assignment (for more information, see Shortcut for Locat- ing Assignments ). 1 Double-click the channel name at the top of the screen or in the column of the grid. provides additional display The VENUE Standalone software luding unavailable I/O). See options for hardware I/O (inc lone Software. Using the Standa Text Display of Patch Source and Destination Above the grid are “from” and “to” text display fields that display the full text names of hardware I/O and channels. To view full names of a patch source and destination: Naming and Input Channel from the Patchbay . If the channel is al- Channel Name Place the cursor over a  nt appear di- ination assignme ready routed, its source and dest 2 Type a new name and press En ter on the computer keyboard. rectly above the Patching Grid, as shown below. When naming channels from the columns of the grid, press Tab on the keyboard to go to the next channel; press and hold the Shift key and Tab to go to the previous channel. Type Text Search navigation to Type Text search lets you use th e keyboard for fast a channel. You can enter the first characters of a channel name or the absolute channel number to target that channel. To search for and select a channel: Channel source (left) and destination (right) display Type the first few letters, full name, or channel number of the 1 channel. For example, type “s” to go to the first channel begin- An asterisk at the end of a dest ination name indicates a multiple s ning with the letter Snare ). (such as output assignment. See Multiple Input and Output Assign- ments in the Patchbay . ugh and select any other chan- Press the Tab key to cycle thro 2 Snare Bot- nels beginning with that letter (such as Snare Top , ). Strings , or tom Avoid giving channels names that begin with numbers differ- ent from the absolute channel num ber. When you type a num- ber, VENUE navigates to absolute channel numbers regard- less of the channel name. 121 Chapter 12: Patchbay

133 Navigating the Patchbay Assigning Channels in the Patchbay Channels can be assigned using the mouse or the arrow keys on Navigating to Channel Types the keyboard. Channels can also be unassigned The Patchbay uses multiple page s to access different hardware ple, the Inputs screen provides I/O and channel types. For exam Using the Mouse to Assign Channels Channels and FX Returns pages for you to patch these different channel types independently. To assign channels in the Patchbay: Go to the Patchbay 1 page and click the appropriate I/O tab, Examples Channel Type tab, and hardware tab. To show Inputs: Shift-click any number of Channel Type and/or Hardware tab. Go to the Patchbay page and click the  Inputs pages to select and display mu ltiple pages in the Patching Grid. To show a specific type of Input in the Patching grid: Place the cursor over the Patching Grid. The cursor changes to 2 Channels In the Patchbay page, click the  tab or the FX Re- a crosshair, and lines extend above and to the left of the current turns tab. Shift-Click to select and show multip le types at cursor location to identify the co lumn and row in which it is lo- once. cated. To navigate to a different hardware source: 3 Click in the row for the channel and in the column for the hard- ware I/O source. The destination crosspoint sets the targeted Click the appropriate  hardware tab across the top of the patch- channel. ing grid. Scrolling in the Patchbay To scroll through the channel list (vertically):  Move the cursor over a channel na me at the left of the Patching Grid, then press the Up or Down Arrow keys on the keyboard. To scroll through the hardware I/O list (horizontally):  I/O channel at the top of the Move the cursor over a hardware Assigning a hardware input to an Input Channel Patching Grid, then press the Left or Right Arrow keys on the To assign multiple channels in a single action, do either of the 4 keyboard. following: To scroll the Patching Grid, do one of the following: • Click and drag vertically, horizontally, or at an angle to as- sign multiple patch poin ts in a single action.  Click the up/down or le scroll arrows to ft/right Patching Grid move square by square. in the Assign ment button and click • Click the Default Assign confirmation dialog to assign all Stage inputs currently dis-  Click the up or down Patching Grid double arrows to move played in the channel grid to multiple consecutive Input screen by screen. Channels.  Right-click in the Patching Grid and drag in any direction. Clicking the Default Assignment button ssignments steal any previous Repeat as needed. If the new a 5 assignments, a warning dialog will ask you to confirm or can- cel the reassignment. Scrolling the Patching Grid by right-clicking and dragging To suppress the reassignment warning dialog, hold Default (on the S3 control surface) or Alt (on the computer keyboard) while clicking in the patching gr id. For more information, see puts or Outputs in the Warning when Stealing In Patchbay . 122 Chapter 12: Patchbay

134 Unassigning and Clearing Assignments Multiple Input and Output Assignments in the Patchbay To unassign a single channel in the Patchbay: n be assigned to multiple Input A single hardware input source ca  Place the cursor over an assigne d channel in the Patching Grid Channels or FX Returns in the Patchbay. An output bus can be as- and click. signed to multiple hardware outputs. To clear Patchbay Assignments: assigned to a single Input Multiple input sources cannot be Channel or FX Return. 1 Click the appropriate I/O tab, Ch annel Type tab, and Hardware tab. To assign a hardware input source to multiple Input Channels or FX Returns: To clear all Input, Output, Direct, or Insert assignments, Hardware tabs to select shift-click all Channel Type and Go to the Patchbay page and click the tab. Inputs 1 all pages. 2 gn the source to the first Input Click in the patching grid to assi Channel or FX Return. tching grid, Click the Clear As- 2 In the top left corner of the pa signments button, and click Clear in the ensuing dialog. All the same column to assign the Click additional grid squares in 3 Patchbay assignments for the selected Patchbay pages are hardware input is source to additional channels. The selected cleared. routed to each of the assigned Input Channels or FX Returns. Clicking the Clear Assignments button Repeat for other types of I/O as necessary. 3 Using the Arrow Keys to Assign Channels stead of the trackball to assign You can also use the Arrow keys in routing. To route channels using the Arrow Keys on the keyboard: A hardware input routed to multiple Input Channels 1 Place the cursor over the Patching Grid so that the cursor To assign an Output bus to multiple hardware outputs: changes to the crosshair. 1 Go the appropriate Patchbay page and click the Output tab. to move the crosshair to the Press the Left or Right Arrow keys 2 next or previous hardware I/O column; press the Down or Up Click in the Patching Grid to assign the Output bus to the first 2 the next or previous channel. Arrow keys to move the cursor to hardware output. 3 When the crosshair is over the co rrect square in the grid, press Click additional grid squares in the same row to assign the 3 Enter to assign the patch. same Output bus to additional hardware outputs. The selected l the assigned hardware outputs. An aster- bus is assigned to al e displayed destination to indi- isk (*) appears at the end of th cate the multiple routing. An Output bus assigned to multiple hardware outputs 123 Chapter 12: Patchbay

135 Patch List Export Warning when Stealing Inputs or Outputs in the Patchbay The Patchbay export generates a patc h list in an easily readable format. The Patchbay indicates hardware outputs that are already in use by dimming the column number for that physical output. In addi- To export Patchbay information: or tion, a dialog is shown if the pa tch will steal a hardware input output that is already in use, asking you to confirm or cancel the Insert a USB storage device into any USB port on the E3 en- 1 reassignment. gine. 2 Go to the Patchbay button. Export page and click the To confirm a reassignment, do one of the following: when prompted to confirm the reassignment. Assign Click  – or – Click again on the same patch point.  To cancel a reassignment, do either of the following: Patchbay Export Information button Cancel to leave the patchpoint unchanged.  Click 3 Do any of the following:  Click any other point in the grid (the Patchbay grid remains ac- tive, even when the Confirm Assignment dialog is open • If you have more than one USB device c onnected, make on-screen). Next lected. If it is not, click sure the correct USB one is se Disk to cycle through until the correct one is selected. Save to export info to the selected USB device. • Click Cancel to dismiss the dialog without exporting. • Click 4 OK to confirm the export procedure. You can now re- Click move the USB device and transfer the exported file to a per- formatting, and distribution. sonal computer for printing, When exporting a Patch list from the Standalone software, Warning when reassigning an output that is already in use the generated HTML file is au tomatically opened using your default Internet browser (such as Internet Explorer, Mozilla Firefox or other). warning dialog, hold Default To suppress the reassignment (on the S3 control surface) or Alt (on the computer keyboard) id to change the assignment. while clicking in the patch gr Shortcut for Locating Assignments Before reassigning in the Patchbay, you may want to dou- ble-check the existing assignment to the desired hardware output. This can be done quickl y from within the Patchbay. To identify the bus or channels currently assigned to a hardware output:  Click on any dimmed (already assigned) column number at the s page containi top of the Patchbay. The Output ng the assign- ment is automatically revealed in the Patching Grid. Clicking a column number to “go to” its current assignment 124 Chapter 12: Patchbay

136 Contents of Exported Patchbay Information saved as an HTML file, and the Exported Patchbay information is time of the export. Contents in- file name includes the date and clude the following: VENUE Patch List Show Name, file path, date and time of Show file. Input and Output Patching (Stage, Engine, Console, and Pro Tools) Stage Inputs Hardware input numbers (1–16) and the channel numbers or names are shown for each Stage 16 box. Stage outputs rs (1–12) and channel Hardware output numbe numbers or names are shown for each Stage 16 box. Engine Inputs and Outputs Hardware input/o utput types and numbers, and channel patch are shown. Console Inputs and Outputs The hardware input/output types and numbers, and channel patch are shown. Pro Tools Inputs and Outputs Pro Tools input and output channel numbers and channel patch are shown. • Unavailable channe ls are labeled N/A. • Direct outs are identified uniquely. 125 Chapter 12: Patchbay

137 Chapter 13: Solo and Monitor Busses This chapter shows how to do the following: Solo In Place (SIP) • Select a Solo mode (PFL, AFL, or SIP) SIP mode applies to Input Channels and FX Returns only. Solo In • Configure Solo and Monitor bus option Place sends the signal from the so loed channel to the Main and Monitor busses. Signal is sent post-pan/balance. • Use solo • Solo safe input channels In SIP Solo mode, the soled channel(s) is (are) sent di- • Use the monitor bus rectly to the Main busses. Us e this feature only at sound- check. • Adjust the Headphone and Monitor bus level • Use the built-in Oscillator, talkback, and 2-track circuits To select the Solo mode on-screen: Busses page. 1 > Options Go to the 2 pop-up Type click the Solo and Monitor Operations, Under Selecting a Solo Mode and choose the desired Solo mode. Three Solo modes are offered: Pre-Fader Listen (PFL), After-Fader Listen (AFL) and Solo In Place (SIP). The Solo mode can be selected on-screen. Pre-Fader Listen (PFL) PFL Solo mode sends the signal from explicitly soloed Input Channels and FX Returns to the AFL/PFL Solo bus. The signal is post-insert, pre-fader and pre-mute. h sides of the Solo bus, and the Mono input signals are sent to bot Type pop-up menu under Solo & Monitor Operations left and right sides of stereo input signals are sent to the corre- sponding sides of the Solo bus. Solo States and Modes when Loading Shows PFL is the defa ult Solo mode. Channel Solo States When you load a Show file, all solos are cleared. Solo states are not saved with Show files. After-Fader Listen (AFL) Show files do not open in SIP mode. If you save a Solo Mode AFL Solo mode sends the signal from explicitly soloed channels reopen the Show file, it will Show file while in SIP, when you and solo-safe inputs to the AFL/PFL Solo bus. Soloing of output open in PFL Solo mode. busses is always AFL. In AFL Solo mode, both input and output signals are sent to the lance, and are always panned Solo bus post-fader and post-pan/ba s are configured in L–C–R mode. to stereo even if the Main busse Monitoring Aux Busses with AFL Linked Aux busses use true stereo AFL. When you solo a linked a stereo pair on the Solo bus. Aux bus, the two busses are heard as Mono Aux busses are heard as dual mono on the Solo bus. You can customize how Aux /Variable Group busses and AFL soloing interact. See AFL Follows Auxes. 126 Chapter 13: Solo and Monitor Busses

138 AFL Follows Auxes Configuring Solo and Monitor Options ed, assigning an Aux Send to When AFL Follows Auxes is select Solo and monitor options are configured in the Solo and Monitor channel encoders auto Aux bus. This speeds matically solos that e Options > Busses page. Operations section of th up AFL access, specifically for monitor mixing. The AFL Follows Auxes setting is stored and recalled with each Show file. By default, the op tion is off (not selected). To set AFL to follow Aux encoder assignment: Go to the Options page and click the Busses tab 1 In the Solo and Monitor Operations section, select the 2 AFL Follows Auxes option. 3 Assign Aux or Variable Group sends to the Channel encoders Solo controls on the Options > Busses tab or to Channel Control. The Aux or Auxes Follow AFL To cancel (unsolo) in AFL Follows Auxes mode: When this option is selected, soloing an Aux output from the Press the flashing Solo Clear button.  Global Control encoders assigns d pan controls Aux Send level an assign the Solo Clear function The Events list can be used to for that bus to the channel encode rs of the currently banked input to a footswitch or any ot her available trigger. channels. option is especially useful for monitor Auxes Follow AFL The Auto Cancel and Input Priority mixing, because it provides inst ant access to any mix by soloing The Auto Cancel option determin es whether Solo switches cancel the mix output. other soloed channels or are addi tive (latching). The Input Prior- ipped to the faders, flipped If the encoders were already fl ace soloed out- ity option determines whether so loed inputs repl status is maintained when an Aux bus is soloed. puts on the AFL/PFL Solo bus. To set Auxes to assign send controls to the channel encoders Auto Cancel On, Input Priority Off A solo cancels all other so- when soloed: los (inputs and outputs) 1 Busses tab. Go to the Options page and click the An input solo cancels all Auto Cancel On, Input Priority On Under select the Solo and Monitor Operation, 2 Auxes Follow cancels all other output solos; other soloed inputs; an output solo AFL option. soloed inputs temporarily replace soloed outputs Solos are additive, and so- Auto Cancel Off, Input Priority Off To cancel display of Aux send controls: loed inputs and outputs are heard together  Unsolo the Aux bus. The Input Encoders return to their previ- ous display. Auto Cancel Off, Input Priority On Solos are additive, and so- loed inputs temporarily replace soloed outputs. – or –  Select any other parameter for the Input Channel encoders to Mix to Monitors override the Aux follows AFL di splay. The encoders display the selected parameter until a nother Aux output is soloed. gnal to the Monitor bus. When This option sends the Main mix si enabled (lit), the Main mix is present in the Headphones (or ware output is assigned to the near-field monitors when a hard are not soloed. This option mir- Monitor bus) whenever channels rors the functionality of the Mix to Monitors switch. For more information, see Mix to the Sending the Main Monitor Bus . 127 Chapter 13: Solo and Monitor Busses

139 Soloing Multiple Channels Using Solo To solo multiple channels, do one of the following: Solo operation depends on the type of channel being soloed, and  With the Auto Cancel option enabled, press the switches Solo on any selected Solo switch options. In all modes, a channel’s on multiple channels simultaneously. Solo switch lights to indicate that the channel is soloed. – or – Input Channels Hold Multi-Select  switches on one or Solo and press the turn sends signal to the Solo Soloing an Input Channel or FX Re more channels. bus (when in PFL or AFL modes) or to the Main bus (when in SIP – or – mode). Solo  With the Auto Cancel option disabled, press switches on In SIP mode only, when a channel is soloed, all other channels multiple channels in any sequence. The switches latch Solo fe are implicitly muted. Implicit that are not soloed or solo sa on. mutes are indicated by a flashing mute switch. Toggling the Solo Status of Multiple Output Busses Channels Soloing an output channel sends si gnal to the AFL/PFL Solo bus. To toggle the Solo status of multiple channels, do one of the This applies to Groups, Auxes, and Matrixes. Outputs are always following: AFL. Multi Select With the Auto Cancel option enabled, hold the  switches on channels you want switch while pressing the Solo Momentary And Latching Switch to toggle. Operation – or – Channel solo switches can operate with either momentary or latching behavior.  With the Auto Cancel option disabled, press Solo switches in any sequence. The Solo switches latch on and off. To engage momentary solo on a channel:  Hold the Solo switch for more than one second. Release the Soloing VCAs solo switch to un-solo the channel. When you solo a VCA, its member channels are soloed. If the n of input and output chan- VCA members include a combinatio To latch solo on a channel: s any Solo switch options. See nels, their solo status follow Con- Press and release the Solo switch. Press the switch a second  Monitor Options. figuring Solo and time to unsolo the channel. To solo the members of a VCA: Soloing Single Channels e VCA channels whose members Press the Solo switch on th  you want to solo so that the Solo switch is lit. To solo a single channel, do one of the following: Press the channel’s Solo switch so it is lit. The solo switch  Clearing Solos latches on a momentary press. – or – To clear all soloed channels: Press the flashing  Solo Clear switch to clear all soloed chan-  Hold the channel Solo switch for more than one second for nels. automatically unsolo when momentary solo. The channel will you release the switch. 9-16 Mix to Solo Mons Clear SHIFT Solo Clear 128 Chapter 13: Solo and Monitor Busses

140 Solo Bus Metering Solo Safing Channels When a channel or dynamics key input is sent to the Solo bus, its Solo Safing an Input Channel or FX Return prevents that channel signal is metered on the Selected Channel meters, temporarily re- from being implicitly muted when any other channel is soloed. currently targeted channel. placing the metering for any Solo safed channels are automatica lly added to any explicitly so- loed channels. Trimming Solo Bus Level Solo Safe mode is one of the th ailable for Input ree Safe modes av can be controlled by the PFL Solo bus monitoring levels Safe mode is Channels and FX Returns. Solo enabled on the on-screen Level Trim control in the Solo and Monitor Opera- ). Input Safe Switches page (see Options > Interactions tions section. The trim amount is adjustable over a range of –20 dB to +20 dB. Solo Safe only applies to SIP and AFL solo modes. Solo safe status is ignored in PFL mode. r than AFL signals. Because PFL signals are frequently hotte Level Trim only affects PFL sign als, you can use Level Trim to To enable Solo Safe mode: balance PFL volume le vels with AFL or Mix to Monitors volume Interaction > Options Go to the 1 page. levels, with a minimum of Monitoring level adjustment during a show. Input Safe Switches . Act as Solo Safes , select Under 2 To trim the Solo bus level: To toggle the Solo Safe status of a channel on-screen: 1 Solo a channel. the fader strip to toggle Solo  Click the Safe button at the top of annel. On-screen, the Safe switch flashes Safe status of the ch setting in Options > Busses , and adjust the Go to Level Trim 2 green and displays the letter S when a channel is Solo Safed. the Solo and Monitor Operations section. The following diagrams show the signal flow for PFL and AFL modes. Level Trim (PFL) Input Channel Solos (PFL) To Monitor/ + Headphones Output Channel Solos (AFL) Level Trim in PFL mode On-screen Safe switches Input Channel Solos (AFL) To Monitor/ + Headphones Output Channel Solos (AFL) No Level Trim in AFL mode 129 Chapter 13: Solo and Monitor Busses

141 Routing the Monitor Bus to Hardware Outputs Using the Monitor Bus To route the Monitor bu s to hardware outputs: The Monitor bus routes signals to the Headphone output. The 1 tab, then click the In the Patchbay, click to the Outputs Mains to hardware outputs and to Monitor bus can also be routed tab. bus-fed plug-ins. 2 Click a Hardware I/O tab to sele ct the desired hardware output. Monitor Bus Switching e Monitor bus to the desired des- Click in the grid to assign th 3 tination. The following signals can feed the Monitor bus, listed below in order of priority: Key Listen, Solo bus, and the Mains mix. Dynamics Key Listen creen sends the key signal from Pressing a Key Listen button on-s ynamics processor to the Monitor the targeted channel’s built-in d bus. Assigning the Monitor bus to Console analog outputs Key Listen temporarily overrides the currently enabled Solo bus operation (PFL or AFL), and re places any other signal on the Monitor bus with the mono key signal. Solo In Place, when engaged, is simultaneously routed to the Main and Monitor busses. AFL/PFL Solo Bus Routing the Monitor Bus to Plug-Ins In AFL or PFL mode, signal from an y soloed channels is sent to the Monitor bus. When any channel is soloed, the Solo bus over- To route Monitor output to a bus-fed plug-in: rides the 2-Track return if it is en abled, or the Main mix if it is 1 page. Plug-Ins Go to the currently being sent to the monitors. led and assigned ug-in is instal Make sure the desired stereo pl 2 Mix to Monitors to a rack slot. The Mains mix (the signal present on the Main busses) can be Plug-In Input selector at the top of the corresponding 3 Click the sent to the Monitor bus. rack slot, and choose Bus Outs > Mains > Monitor - stereo . to input channels, in order Plug-in outputs can’t be returned Routing the Monitor Bus to Outputs and to prevent feedback loops. Plug-Ins The Monitor bus can be routed to hardware outputs and to bus-fed plug-ins. Hardware Outputs For routing to hardware outputs, the Monitor (Solo) bus outputs are available in the tab of the Patchbay Mains > Outputs page. Monitor bus outputs are assignable to any num- ber of physical outputs on the syst bility to route em. Use this capa monitor outputs to multiple cue stations (in-ear mix and wedge Assigning monitor output to a bus-fed plug-in to a listen wedge mix, or to mix), to an outboard analyzer, near-field monitors. For routing to bus-fed plug-ins, the Monitor Bus-Fed Plug-Ins bus appears as a choice in the plug-in routing selector. This lets -fed stereo plug-in such as an you route the Monitor bus to a bus t be inserted on the Monitor onboard analyzer. Plug-ins can no bus. 130 Chapter 13: Solo and Monitor Busses

142 To adjust the level for the Monitor bus on-screen: Sending the Main Mix to the Monitor Bus 1 Go to Options > Busses . Monitor Output from an L-C-R Main Mix section, adjust the Solo and Monitor Operations 2 In the The stereo Mix to Monitors signal is derived from the L–C–R knob. Monitoring Main mix by adding a –3 dB signal from the Center channel to the Left and Right monitor channels. To adjust monitor bus delay: Options > Busses Go to 1 . Monitor Output from an L–R+M Main Mix Click the 2 button beneath the on-screen encoder to enable In In a L–R+M Main mix, only the Left and Right channels are Delay. heard in the Monitor bus. 3 Delay knob in the Solo and Monitor Operations Click the To send the Main mix to the Monitor bus: section and drag to adjust. When lit, the Delay setting is ap- plied to the monitor output. .  Press Mix to Monitors – or – a variety of units of mea- Delay time can be displayed in surement. See Channel Delay.  Go to the Options > Busses Mix to Moni- page and select the tors option. Oscillator, Talkback, and 2-Track Controls Adjusting Monitor/Headphone Level Output level for the Monitor bus is controlled from the Monitors Using the Oscillator Global Control encoder and on-screen. , frequency (for le signal type The Oscillator provides selectab tput is controlled by the Head- Output level for the Headphone ou Variable Sine) and signal level, as well as a master on/off switch. e front edge of the S3 control phone volume control located on th The output of the Oscillator can be routed directly to output bus- surface. ses and can be assigned to Input Channels and FX Returns. y to the Monitor bus to match You can apply an adjustable dela To route the Oscillator to In put Channels or FX Returns, e main speaker system. the acoustic delay from th see Assigning Input So urces to Channels . To adjust the level for the Monitor bus from the Global Control Routing the Oscillator to Output Busses encoders: To route the Oscillator to an output bus: Monitoring Rotate the Global Control encoder to adjust the  1 Go to the Options page and click the Misc tab. level as needed. section, click the Route 2 In the Oscillator button. The switch flashes to indicate Route to Selected mode. page and click one or Outputs more output fader 3 Go to the VCAs Monitors Mains Top Config fader strips flash. strips. The selected Back In the confirmation dial Route to confirm og that appears, click 4 Sel Sel Sel Sel Expnd Page your assignment or click to cancel without changing Cancel Page the current routing. In In In In ses post-mute and post fader. Signals are routed to output bus Monitoring Global Control encoder To adjust Headphone level: control to adjust level as Adjust the Headphone volume  needed. post-Monitor bus level. The Headphone volume control is If no signal is present on headphones, make sure the level for the Monitor bus is set properly. 131 Chapter 13: Solo and Monitor Busses

143 Configuring the Oscillator and Setting Level Using Talkback The Oscillator is configured on-screen, and can be activating Console or Engine analog input directly You can route a single into any output bus using the Talkback circuit. This allows you to on-screen or from the Global Control encoders. as Auxes feeding stage monitors) send talkback to outputs (such To configure the Oscillator: a system channel. without having to use 1 Go to Options > Misc . Routing Talkback to Output Busses 2 As a precaution, click and drag the on-screen Level encoder in the ator level to off before Oscillator section to set the Oscill To route Talkback to an output bus: you go any further. 1 Go to . Options > Misc In the Talkback section, click the 2 Input Fed to Monitors and Masters pop-up and select a hardware input source. Oscillator controls in the Options > Misc page 3 Click the Signal pop-up and select from the following signal types: • 100 Hz Sine • 1 kHz Sine •10kHz Sine • Variable Sine • Pink Noise Choosing a Talkback input • White Noise 3 Click . The switch lights to indicate Route to Selected Route Variable Sine , you can set the sine wave fre- If you select 4 mode. quency with the on-screen freque ncy control (directly to the page and click one or Outputs 4 more output fader Go to the right of the pop-up). Signal strips. The selected fader strips flash. 5 Click the on-screen button to activate the Oscillator. In Route to confirm og that appears, click In the confirmation dial 5 6 Level encoder to set the Oscillator Slowly drag the on-screen your assignment or click to cancel without changing Cancel level. the current routing. To activate and set the level for the Oscillator from the Global Signals are routed to output bus ses post-mute and post fader. Control encoders: Activating Talkback Input and Setting Level Global Control encoder to assign Oscil- Monitoring Press the 1 lator controls to the Global Control encoder. Talkback can be adjusted on-scr een or from the Global Control Oscillator, 2 Under the Global Control display showing press encoders. the corresponding encoder In switch to turn activate the Oscil- To activate and set the level for Talkback input on-screen: lator. 1 Options > Misc . Go to to set the Oscillator level. Rotate the corresponding encoder 3 Talkback section to acti- button in the In Click the on-screen 2 vate the Talkback input. 3 Drag the on-screen Level knob to set the Talkback level. You can designate a footswitch, F unction switch or other trig- For more information, see gers to control Talkback. Events. 132 Chapter 13: Solo and Monitor Busses

144 To activate and set the level for the Talkback from the Global Activating 2-Track Input and Setting Level Control encoders: The 2-track input can be adjusted on-screen or from the Global Monitoring 1 Global Control encoder to assign Talk- Press the Control encoders. obal Control encoders. back controls to the Gl To activate and set level for the 2-Track inputs on-screen: Talkback, press the 2 Under the Global Control display showing corresponding encoder switch to turn the Talkback circuit In 1 Go to Options > Misc . on. 2-Track section, click the on-screen button to activate In the 2 In Rotate the corresponding encode 3 r to set the Talkback level. the 2-track input. Level knob to set the level of the. Drag the on-screen 3 Setting Talkback Dim Level When Talkback is sent directly to an Output bus, the bus program To activate and set level for the 2-Track inputs from the Global Control encoders: l) is automatically reduced by material (minus the talkback signa the amount specified in the Dim Level setting. Global Control encoder to assign Monitoring Press the 1 2-track controls to the Global Control encoders. To set the Talkback Dim Level: Under the Global Control display showing 2 2-Track, press the Go to 1 . Options > Misc corresponding encoder In switch to activate the 2-track circuit. In the Talkback section, double-click the Dim Level text box 2 Rotate the corresponding encoder to set the 2-track input level. 3 and enter a Dim Level value in the range –60 dB (maximum gain reduction) to 0 dB (no gain reduction). Talkback, 2-Track and Oscillator States When Loading Shows Using 2-Track Inputs lkback, 2-Track and Oscillator When you load a Show file, Ta You can route a pair of Console or Engine analog or digital hard- controls are set to off (deactivated ), regardless of their state when ware inputs directly into output busses using the 2-Track inputs. the Show was last saved. This allows you to send audio to the selected outputs without us- ing a system channel. Use this fe ature to perform tasks such as confirming system audio output. Routing 2-Track to Output Busses To route 2-Track inputs to output busses: Go to Options > Misc . 1 Input Fed to Monitors and In the 2-Track section, click the 2 Masters rdware input source. pop-up and select a ha Choosing a 2-track input 3 Click Route . The switch flashes to indicate Route to Selected mode. 4 Go to the Outputs page and click one or more output fader fader strips flash. strips. The selected In the confirmation dial og that appears, click Route to confirm 5 your assignment or click Cancel to cancel without changing the current routing. 133 Chapter 13: Solo and Monitor Busses

145 Chapter 14: Muting and Mute Groups This chapter shows how to do the following: Using Mute Groups •Mute Channels d to any of the 8 available Mute Groups. Channels can be assigne • Using Mute Groups Mute Groups let you mute and unmute multiple channels simul- taneously by pressing a single switch. Muting Channels Any type of channel, including all Input Channels and all Output channels, except VCAs, can be assigned to Mute Groups. Channels can be muted in three wa ys: explicitly (lit solid), with the channel mute switch; implicitl y (flashing), as a result of an- F1–F16 for Mute Groups can be assigned to Function switches a member of a Mute Group or other channel being soloed, and as control of Mute Groups from the S3 control surface. VCA (flashing). Mute Groups only affect the stat us of channel Mute switches, Mute switches always behave in additive (latched) fashion. and do not affect the on/off status of Aux Sends, output of the Channels can be muted in any sequence, and they will remain ction, or the routi ng of signals to the Talkback/Oscillator se muted until they are unmuted. monitor outputs. tional information about chan- The following provide some addi Assigning Channels to Mute Groups nels, busses, and muting: Channels are assigned to Mute Groups on-screen. Any mixture of Input Channels and FX Returns Channel mute is pre-fader on channel types can be assigned to a Mute Group. Channels can be Input Channels and FX Returns. assigned to more than one Mute Group. -fader on all types of Mute operation is post Output Channels To assign or remove members of a Mute Group on-screen: Output busses. Go to the page. Inputs or 1 Outputs Mains busses is controlled from the The mute status of the Main Control encoder. Only the In switch below the Mains Global Mute Groups Click the Assign section (to the 2 button in the linked Main busses are muted. See Mains Mute. right of the on-screen faders). The Assign button flashes to in- dicate Assign mode. VCAs When you mute a VCA, its member channels are muted. s flash to indicate they are The member channel Mute switche muted as part of a VCA. Flashing Mute Indication A flashing Mute switch indicates the channel is implicitly muted as a result of a Solo or Mute Group activation. Solo In Solo In Place mode, when a channel or VCA is soloed, all ed or solo safe are implicitly other channels that are not solo muted. e implicitly muted and Mute Group Members of a mute group ar flash when the mute group is active. Mute Group Assign mode 3 Below the flashing Assign butt on, one of the Mute Group but- tons 1–8 flashes to show which Mute Group is selected for as- signment. If desired, click to select a different Mute Group. 4 Click to select the channels you want assigned to the selected individual chan- rips to select Mute Group (click their fader st nels; click their on-screen bank numbers to select multiple channels at once). 134 Chapter 14: Muting and Mute Groups

146 4 button in the Triggers list and choose a Func- ADD 5 Click the Do either of the following: tion Switch from the pop-up menu. The Function switch, with As- • To confirm the Mute Group definition, click the flashing ded to the Triggers list. its default properties, is ad sign button. – or – • To cancel the Mute Group definition, click the on-screen banner display and click . Cancel Assigning Mute Groups to Function Switches After assigning channels to a Mute Group, you can then assign that Mute Group to a Function switch using events. You can pro- Selecting a Function Switch from the Triggers list tion switch to flash when the Mute Group gram the assigned Func is activated. 5 Click the ADD button in the Actions list and choose a Mute Group. The Mute Group, with its default settings, is added to To assign a Mute Group to a Function switch: the action list area. 1 page. Options > Events Go to the button in the Event Commands section. New Click the 2 Selecting a Mute Group from the Actions list To flash the assigned Function switch when the Mute Group is engaged: 1 Click the ADD button again, and select Fl ash Function Switch New button in the Events Command section of the Events tab , where is the Function switch to which you assigned 3 Name the event (such as “Mute Group 1 (F9)”) by doing the the Mute Group. For example, if you assigned Mute Group 1 following: to Function Switch 1, choose from Flash Function Switch 1 the list. • Double-click the event name in the list. Or right-click the event name and choose Rename. Double-click the action in the Actions list . Or, right-click the 2 • Enter a new name. item in the list and choose Edit . • Press Enter to confirm the new name. Editing an Actions list tr pop-up menu and choose Type . 3 Click the Toggle pop-up menu and choose State Click the 4 Latch. 5 To confirm your changes, click anywhere else in the Events window or click Enter. Naming an event Actions list with a Mute Group toggle and 135 Chapter 14: Muting and Mute Groups

147 Explicit and Implicit Channel Mute with Using Mute Groups Mute Groups and VCAs Mute Groups are activated us ing the Mute Group controls This section describes the behavior of channel Mute switches on the S3 control surface if on-screen, or the Function switches when used with Mute Groups and VCAs. Mute Groups, VCAs you assigned one or Mute Groups to them. and Explicit Mutes To activate a Mute Group: Channels can be muted in three ways:  to mute the mem- 1–8 On-screen, click a Mute Groups button Using the channel Mute switch. Explicitly bers of the corresponding group. The Mute switches of the Mute Group members flash to in dicate they are implicitly Implicitly As a member of a Mute Group or VCA. muted. – and – As a result of another channel being soloed. Implicitly Using Channel Mute Switches Any input or output channel impli citly muted by a Mute Group or -muted, explicitly muted, and reset to its VCA can be explicitly un implicit mute state by repeatedly pressing a channel Mute switch. Explicitly unmuting or muting a channel in this way does not per- manently remove that channel from the Mute Group or VCA. This feature is useful to temporarily unmute a channel during a Activating a Mute Group on-screen lease the entire Mute Group or line check without having to re VCA. On the S3 control surface, pre ss the Function switch you as-  signed to control the Mute Gr oup. The Mute switches of the To cycle through the available Mute modes: Mute Group members flash to in dicate they are implicitly muted. 1 Activate a Mute Group, or mute a VCA. The Mute switches on all implicitly muted channels flash. Workstation 12 12 Application Press a flashing Mute switch to explicitly unmute the channel. 2 6 6 Its Mute switch is now unlit. 2 1 Sel Sel 10 9 0 0 Press the same (now unlit) Mute 3 switch again to explicitly A A mute the channel. Its Mute switch is now lit solid. 5 5 4 3 Rec Rec 11 12 10 10 4 n to implicitly mute the chan- Press the same Mute switch agai 6 5 14 13 rolled by the active Mute Group nel and return it to being cont 20 20 itch resumes flashing. or VCA. Its Mute sw 8 7 16 15 +20/Clip +20/Clip 30 30 +15 +15 +9 +9 Select multiple channels first to be able to toggle all their +3 +3 0 40 40 0 0 9-16 states at once. The Mute behavior may vary if some, but not -3 -3 60 0 60 -9 -9 -15 -15 all, of the selected channels are members of a Mute Group or 21 21 VCA. Function switches To activate multiple Mute Groups:  Click any number of on-screen Mute Group buttons 1–8 in any tive fashion. on in an addi sequence. Mute Groups functi To deactivate a Mute Group:  Click a lit Mute Group switch on-screen. 136 Chapter 14: Muting and Mute Groups

148 Disabling Mute Groups Mute Group functions. When You can temporarily disable all Mute Groups are disabled, all ch annels implicitly muted as a re- sult of Mute Group activation are unmuted. Channels can still be explicitly muted when Mute Groups are dis- abled. Mute Group assignments are preserved and made available again when Mute Grou ps are re-enabled. To disable Mute Groups: 1 Go to the Inputs or Outputs pages. button on-screen in the Mute Groups sec- 2 Click the Disable tion. Mute Group Disable button on-screen 137 Chapter 14: Muting and Mute Groups

149 Part V: Processing

150 Chapter 15: Dynamics This chapter shows how to do the following: Built-In Comp/Lim • Use the built-in Compressor/Limiter to compression, or can be The built-in Comp/Lim defaults • Use the built-in Expander/Gate switched to a limiter by setting the Ratio to its maximum setting. • Adjust dynamics plug-ins Mono and stereo processing are supported. • Save dynamics settings and use presets • Use the sidechain processing controls Comp/Lim Parameters The following built-in Comp/Lim parameters are provided: Dynamics Overview e threshold level for the Increases or decreases th Threshold built-in Comp/Lim. Built-In Dynamics o for the built-in Comp/Lim. Increases or decreases the rati Ratio A Compressor/Limiter (Comp/Lim) is available on each Input The most extreme clockwise setting (100:1) switches the process Channel, FX Return, output bus, and Matrix mixer. An Ex- into Limiting mode. lable on each input channel. pander/Gate (Exp/Gate) is avai Increases or decreases the attack time for the built-in Attack Built-in dynamics are not limited by DSP resources. Both built-in Comp/Lim. and most plug-in dynamics processors support sidechain process- ing. Increases or decreases the knee width for the Comp Knee of 0 provides a hard knee set- built-in Comp/Lim. A knee value Built-in dynamics are adjusted using the Channel Control encod- ting; 100 provides a soft knee. ers or on-screen. Each built-in Comp/Lim can also be toggled on/off and its threshold parameter can be adjusted using the indi- Increases or decreases the release time for the built-in Release vidual channel encoders. Comp/Lim.  The Threshold level setting is in dicated by the level indicator Increases or decreases the make-up gain applied Make-Up Gain in the corresponding display. by the built-in Comp/Lim. An input/output curve appears on-screen when adjusting dy-  in or out of circuit (by- Toggles the built-in Comp/Lim In/Out namics parameters. or out of circuit using the pass). The Comp/Lim can be taken in Channel Control In Navigation switch, the channel encoder In Dynamics Plug-Ins switch, or by clicking the Comp/Lim button on-screen. tput channels. on input and ou Dynamics plug-ins can be used in/out of circuit using the Dynamics plug-ins can be taken When assigned in the plug-in racks, dynamics plug-ins can be in- Channel Control In switch and software screen. serted on individual mono or ster eo channels or fed by busses. rt sidechain processing. Most dynamics plug-ins suppo Sidechain Processing using Channel Control, from Dynamics plug-ins can be adjusted sidechain and key listen con- The built in Comp/Lim provides n Insert mode), or from the the Global Control encoders (i trols. For details, see Using the Sidechain . dition, plug-in presets can be on-screen Plug-Ins page. In ad stored and loaded. Channel Control provides a unified set of controls for both built-in and plug-in dynamics processing. Hardware Inserts You can insert a hardware dyna mics processor and control its in/out state and insert position on-screen. See Hardware Inserts. 139 Chapter 15: Dynamics

151 To engage and adjust Comp/Lim Threshold using the channel Adjusting the Built-In Comp/Lim encoders: The built-in Comp/Lim can be adjusted using Channel Control 1 Bank Input Channels and/or FX Returns. d can be adjusted using the and on-screen. Comp/Lim Threshol channel encoders. When adjust ing Dynamics, a Dynamics re- Comp Threshold Press the 2 Channel Encoder Assignment sponse curve appears on-screen. switch. switch to engage the Comp/Lim In Press the channel encoder 3 On-Screen Dynamics Controls See for instructions on for the desired channel(s). adjusting dynam ics on-screen. Rotate the channel encoder to adjust the Comp/Lim Threshold 4 To engage and adjust the built-in Comp/Lim using Channel for the desired channel(s). Control: Select an input or output channel. 1 Make sure the Channel Control main menu is shown in the 2 Built-In Exp/Gate Channel Control encoder displays. The built-in Exp/Gate defaults to gate (Ratio of 100:1, the maxi- mum setting). It can be switched to Expander mode by setting the Press the Back/Top Channel Control Navigation switch to Range to its minimum setting. M ono and stereo processing are return to the Channel Control main menu. supported. 3 Press the Channel Control enco der under the display showing . Compressor/limiter contro ls are now available on Comp/Lim Exp/Gate Parameters the Channel Control encoders. rameters are provided: The following Exp/Gate pa Threshold Increases or decreases th e threshold level for the EQ Input CompLim Va Aux 9-16 ExpGate Aux 1-8 built-in Expander/Gate. Ratio Increases or decreases the ratio for the built-in Ex- pander/Gate. The most extreme clockwise setting (100:1) puts the process into Gate mode. Channel Control Comp/Lim encoder Attack Increases or decreases the attack time for the built-in Ex- Press the 4 In switch in the Channel Control Navigation section pander/Gate. to toggle the entire Comp/Lim processor in/out. Gate Hold the built-in gate holds. Increases or decreases the time Top Release Increases or decreases the release time for the built-in In Back Expander/Gate. Sets the maximum range or depth of attenuation of the Range Expnd Page gate on that channel. Page Channel Control Navigation In switch In/Out Takes the built-in Expander/Gate in or out of circuit (by- pass). 5 Adjust the Channel Control encoders for the parameters shown in the displays. The Expander/Gate supports side-chain and Side-Chain Keying key listen. For details, see . Using the Sidechain for more informa- See Comp/Lim Para meter Mapping tion on how Comp/Lim parameters are mapped to the Channel Control encoders. Fine To make fine adjustments, hold 6 while rotating an en- coder. 140 Chapter 15: Dynamics

152 Adjusting the Built-In Exp/Gate Adjusting Dynamics Plug-Ins The Exp/Gate can be adjusted using Channel Control and Dynamics plug-ins inserted on ch annels can be adjusted using on-screen. When adjusting Dynamics, a Dynamics response Channel Control. Dynamics plug-ins map their threshold, ratio, curve appears on-screen. attack, release, gain, and filter controls to the corresponding en- coders in Channel Control. To engage and adjust Exp/Gate controls: 1 Select an input channel. Plug-ins that do not map directly to Channel Control en- coders can be controlled usi ng the Global Control encod- Make sure the Channel Control main menu is shown in the 2 ers. See Adjusting Plug-Ins Using Global Control. Channel Control displays. To access inserted Dynamics plug-in parameters in Channel Press the Back/Top Channel Control Navigation switch to Control: return to the Channel Control main menu. Select one or 1 more channels. Press the Channel Control enco der under the display showing 3 Make sure the Channel Control main menu is displayed in the 2 Exp/Gate . Expander/gate controls are now available on the Channel Control displays. Channel Control encoders. Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu. EQ Input CompLim Va Aux 9-16 ExpGate Aux 1-8 3 To control a Comp/Lim plug-in, do the following: switch under the dis- Sel • Press the Channel Control encoder play showing CompLim . Channel Control Exp/Gate encoder switch in the Channel Control Navigation section Press the In 4 EQ Input CompLim ExpGate Aux to toggle the Exp/Gate processor in/out Top In Back Lit Comp/Lim Channel Control encoder Sel switch Expnd • Press the Channel Control encoder under the display show- Page Page ing CompLim . Parameters for the inserted Comp/Lim plug-in are now mapped to th e Channel Control encoders. Channel Control Navigation In switch Parameters in the displays ar e shown with an asterisk to identify them as plug-in parameters. 5 Adjust the Channel Control encoders for the parameters shown in the displays. ug-in, do the following: 4 To control an Exp/Gate pl Sel switch under the dis- • Press the Channel Control encoder for information on Exp/Gate Parameter Mapping See play showing . ExpGate how Exp/Gate parameters are mapped to the Channel Control encoders. • Press the Channel Control encoder under the display show- . Parameters for the inserted Exp/Gate plug-in ExpGate ing Fine while rotating an en- To make fine adjustments, hold 6 are now mapped to the Channel Control encoders. coder. 5 Press the Back switch again to reassign the built-in dynamics parameters to Channel Control. To bypass an inserted plug-in from Channel Control: With the plug-in assigned to Channel Control, press the Chan-  nel Control Navigation switch. When lit, the plug-in is in In ug-in is out (bypassed). (engaged); when unlit, the pl 141 Chapter 15: Dynamics

153 To adjust dynamics parameters on-screen: Input Direct Mode 1 Select a channel on-screen. Input Direct mode lets you completely bypass th e built-in dynam- 2 Adjust the on-screen controls as needed: ics and EQ processing, and all inserts on Input Channels and FX • For the built-in comp/lim or exp/gate, adjust the parameter Returns. on-screen. To toggle Input Direct model: • For plug-ins, click the Insert slot displaying the dynamics plug-in to go to the Plug-Ins page. Select an Input Channel. 1 Input Direct 2 Click the button in the upper right corner of the To reset an on-screen dynamics parameter to its default value, do one of the following: Input Direct LED lights. screen. When enabled, the  Alt-click the control. – or –  Reset . Right-click the control and choose To reset an entire dynamics section to its default settings: Input Direct button switch in the Channel In Hold the Default switch and press the  Control Navigation section. On-Screen Dynamics Controls – or – The software screen lets you ad just built-in or plug-in dynamics On-screen, right-click anywhere on the Comp/Lim or  on-screen, with simultaneous acce ss to Comp/Lim and Exp/Gate ctly on an encoder or button) Exp/Gate sections (but not dire parameters (including thei r side-chain settings). and choose Reset . The Inputs screen also provides the Dynamics Graph display. The Using the Dynamics Graph Display osite response of the compres- Dynamics Graph displays a comp In addition to the on-screen enc oders and buttons, you can adjust sor and gate that you can use to view and edit built-in dynamics ing the Dynamics Graph. dynamics parameters us parameters. To adjust dynamics parameters on-screen using the Graph display: 1 Select a channel on-screen. Dynamics Make sure the Comp/Lim or the Exp/Gate is in circuit, and tar- 2 Graph geted in the Dynamics Graph. Side-chain Drag to adjust Comp/Lim Exp/Gate Dragging a handle in the Dynamics Graph Dynamics controls in the software screen If the channel EQ is currently the target of the Dynamics screen Compressor/Limiter Graph, click anywhere in the on- or Expander/Gate sections to change the display. Dynamics Graph to adjust 3 Drag handles in the on-screen Threshold and Ratio. The Dynamics Graph does not s upport Fine adjust mode us- ing the Fine switch. 142 Chapter 15: Dynamics

154 Presets for Built-In Dynamics Dynamics Settings and Presets ttings as presets for built-in You can store and load dynamics se Built-in dynamics settings can be copied and pasted between rs. Presets can be accessed and plug-in dynamics processo channels. Settings can also be stored and loaded as dynamics Pre- on-screen. sets to archive and transfer settings. To save or load a preset: Copying and Pasting Dynamics Settings Adjust dynamics settings on a ch 1 annel (if saving a preset), or select an Input Channel (to load a preset). To copy and paste dynamics settings: 2 Click the Comp/Lim or Exp/Gate Presets icon on-screen. mp/Lim or Exp/Gate (input 1 Right-click anywhere in the Co channels only) areas of the on-screen dynamics section and Presets choose Copy Exp/Gate Set- Copy Comp/Lim Settings , or Comp/Lim tings . Presets Exp/Gate Built-in dynamics Presets buttons 3 If necessary, select the appropriate Presets folder by clicking and selecting it from the Folder selector. Copying dynamics settings Go to the channel where you want to paste the settings. 2 Presets Folder selector 3 or Exp/Gate areas of the Right-click in the Comp/Lim on-screen dynamics section and choose Paste Comp/Lim Set- tings or Paste Exp/Gate Settings . To copy and paste all of a channel’s built-in dynamics settings: Dynamics Graph and choose 1 Right-click in the on-screen Copy Dynamics Settings . Select the Input Channel where y 2 e the settings. ou want to past 3 Right-click in the on-screen Dy namics Graph of the new chan- nel and choose Paste Dynamics Settings . Previewing a preset in the Presets window 4 Do one of the following: • To preview an existing preset, click its name in the Presets window. • To load the currently selected preset, press Enter or click the Close box (X) in the Presets window title bar. ttings as a new preset, click • To save the current dynamics se and enter a name for the preset file. New . Cancel ging settings, click • To cancel without chan 143 Chapter 15: Dynamics

155 Using External Key Sidechain Using the Sidechain The on-screen Key Assign selectors lets you select the side-chain Dynamics processors typically use the detected amplitude of their source for either dynamics processor and its pickoff point. input signal to trigge r gain reduction. This split-off signal is You can use any of the following as the key source for the ilt-in Comp/Lim and Exp/Gate known as the sidechain. The bu Comp/Lim and the Exp/Gate: feature sidechain circuits with ex ternal key and EQ filter capabil- ities. •Self • Any Input Channel or FX Return ocessing, dynamics processing is With external key sidechain pr (such as another input) instead triggered using an external signal • Any hardware input . key input of the input signal. This external source is known as the • You can also specify the pickoff source for the key signal for input channels. With sidechain EQ filters, you can make dynamics processing n frequencies. For example, you more or less sensitive to certai To select the key input for the sidechain: that certain lower frequencies might configure the side-chain so Select an Input Channel. 1 on a drum track trigger dynamics processing. tab in the dynamics section to select E/G Side-Chain Click the 2 the gate. Engaging the Sidechain selector and choose an available chan- Key Source Click the 3 The sidechain must be engaged to enable both external key and nel or bus. EQ filter sidechain pr ocessing for the selected channel. The Key out from Channel Control or In control can be toggled in or on-screen. To toggle the sidechain in or out of circuit from Channel Control: 1 Assign the Comp/Lim or Exp/Gate function to Channel Con- trol. switch under the display 2 Press the Channel Control encoder In showing Key LF . To toggle the side-chain in or out of circuit from the on-screen Inputs or Outputs page: tab, and then click the  For Comp/Lim, click the C/L Sidechain Key In button.  For Exp/Gate, click the E/G Sidechain tab, and then click the Key In button. Choosing a Key Source To select a pickoff point for the key source signal:  Click the Source Pickoff selector and choose a pickoff source for the selected key signal: Key In button 144 Chapter 15: Dynamics

156 Using Sidechain EQ Filters Key Listen Both the Compressor/Limiter and the Expander/Gate sidechains The Key Listen button toggles the key onto the Solo bus, replac- s regardless of whether the key is ing the signal there. This happen provide two bands of EQ to band-limit the range of frequencies the channel signal or the external key, or whether it has been that trigger dynamics processing. side-chain filtered. ting or compression, make For frequency-dependent ga Key Listen always overrides all other signals on the Solo bus. If sure the Key Source is set to Self. soloed channels are already on th e Solo bus, they are suppressed To activate a sidechain EQ filter in Channel Control: until Key Listen is cleared. If additional channels are soloed will be added but suppressed. while Key Listen is on, they Assign the Comp/Lim or Exp/Gate function to Channel Con- 1 trol. The Key Listen solo is also exclusive to itself; pressing Key Lis- der under the display showing 2 Press the Channel Control enco ten on a different processor or channel turns off the previous Key . Key HF and/or Key LF y Listen takes over. Listen and the new Ke Key Listen on a dynamics plug-in does not route the signal to To activate a sidechain EQ filter on-screen: the solo bus, but to the plug-in output. Use caution when us- buttons. In Click the sidechain filter  plug-in dynamics processor. ing the Key Listen with a To engage Key Listen:  Listen button in the on-screen Exp/Gate controls. Click the To disengage Key Listen: Click Listen again. The Solo bus revert s to its previous signal  (soloed channels, or none). You can also press Solo Clear once to turn off any currently engaged Key Listen button. Press clear channel solos, if any. Solo Clear a second time to Key HF button (top) and Key LF button (bottom) To adjust a side-chain EQ filter: Turn the HPF or LPF encoder to adjust the frequency (each fil-  ter ranges from 10 Hz to 20 kHz). On-screen, the LEDs around the encoder light, and the current frequency value is displayed on-screen. 145 Chapter 15: Dynamics

157 Channel Control Dynamics Parameter Control Ranges for Built-In Dynamics Mapping Comp/Lim Defaults and Ranges The following tables show how Dynamics parameters are coders and their corresponding mapped to the Channel Control en Comp/Lim (defaults to Compressor mode) switches. Sel and In Parameter Default Maximum Minimum 0 dB Threshold +20 dB –40 dB Comp/Lim Parameter Mapping 10 ms 100 us 200 ms Attack Channel Control Comp/Lim parameter mapping Channel 10 ms 100 ms Release 4 sec Encoder IN Encoder Encoder Sel Control Switch Switch Rotate Ratio 2:1 1.25:1 100:1 Encoder Comp/Lim 1 Threshold level n/a 0 (hard) 0 100 Knee in/out –40 dB +20 dB Makeup Gain 0 dB n/a 2 n/a Ratio n/a 3 Attack n/a Exp/Gate Defaults and Ranges 4 Knee n/a n/a Exp/Gate Defaults (defaults to Gate mode) Release n/a n/a 5 Parameter Default Minimum Maximum n/a n/a Gain level 6 Threshold 0 dB –60 dB +20 dB Key HF 7 Key Listen Filter in/out 20 us 1 ms Attack 500 ms Filter in/out 8 Key LF Key In Release 4 sec 10 ms 250 ms Exp/Gate Parameter Mapping 1.25:1 100:1 100:1 (Gate Ratio mode) Channel Control encoder Exp/Gate parameter mapping Channel 4 sec 10 ms Gate Hold 100 ms Encoder Encoder IN Encoder Sel Control Rotate Switch Switch Encoder Gate Range –20 dB 0 dB –80 dB Comp/Lim Threshold level n/a 1 in/out 2 Ratio n/a n/a n/a 3 Attack n/a 4 Hold n/a n/a n/a 5 Release n/a Range n/a n/a 6 Filter in/out 7 Key HF Key Listen Key LF 8 Filter in/out Key In 146 Chapter 15: Dynamics

158 Chapter 16: EQ This chapter shows how to do the following: EQ Overview • Use the built-in EQs • Use the Graphic EQs Built-In EQ • Adjust EQ plug-ins ilable on each Input Channel, FX A 4-band parametric EQ is ava • Save EQ settings and use presets Return, output channel, and Matrix Mixer. Two EQ modes, Dig- ital and Analog, are provided on a per-channel basis. Built-in EQs are not limited by DSP resources. A fourth-order high-pass filter (HPF) with a corner frequency range from 20 Hz to 500 Hz is available on each Input Channel and FX Return. Graphic EQs The 16 Built-in Graphic EQs can be inserted on output busses and are not limited by DSP resources. EQ Plug-Ins EQ plug-ins can be used on input and output channels. When as- signed in the plug-in racks, EQ plug-ins can be inserted on indi- vidual mono or stereo channels or fed by busses. EQ plug-ins can be adjusted using Channel Control, using the Global Control en- coders (in Insert mode), or from the on-screen Plug-Ins page. In addition, plug-in presets can be saved and loaded. Hardware Inserts You can insert a hardware EQ processor and control its in/out state and insert position on-screen. See Hardware Inserts. 147 Chapter 16: EQ

159 Q (Q/Bandwidth) Controls Q (in digital mode) or bandwidth (an- Built-In EQ Parameters alog mode).  In Digital mode, Q dete rmines Q factor. When the Hi or Lo fil- 4-Band EQ ters are in Shelf mode, the Q knob determines the Q of the shelf. The following 4-band EQ parameters are available:  In Analog mode, this control changes to a bandwidth control lly the same function. which performs essentia EQ In Each of the available EQ bands can be taken in or Band In/Out EQ In toggles the built-in EQ processor (all bands) in or out of r encoder (or on-screen). out (bypassed) using thei circuit on the selected channels, and can be adjusted using Chan- nel Control or on-screen. The Gain knob for each band serves as the in/out control by  pushing the encoder. The indicator LED lights to indicate band Analog and Digital EQ Modes In. (Same for Input encoders and Channel Control encoders when assigned to EQ). The Analog/Digital button toggle s the built-in EQ between digi- tal mode and analog mode, on a per-c hannel basis, and is adjusted On-screen, a dedicated In/Out switch is located just below  on-screen. each Gain knob. A standard digital parame Digital Mode tric EQ. Frequency range Bell and Shelf Modes for Hi and Lo Filters of 20 Hz to 20 kHz and gain range of +/–18 dB are available on all four bands. Hi and Lo bands can be Bell (default) or Shelf. In digital EQ mode, the Hi and Lo filters can be toggled between terms in the range 10 (left, a Digital Q is expressed in Q factor Bell and Shelf modes. narrow band) to 0.1 (right, a wide band). Digital Mode is the de- filters function as a parametric When in Bell mode, the Hi or Lo fault EQ mode. EQ with variable Q. When in Shelf mode, the Hi module is a An EQ with a response modeled on that of an an- Analog Mode is a low-shelf EQ. For instruc- high-shelf EQ, and the Lo module EQ section. Freq uency range is alog console renowned for its Ad- tions on configuring these bands for Bell or Shelf mode, see limited to match, and the outer bands provide shelving only. An- justing EQ . bandwidth alog Q is expressed in octaves of in the range 0.1 (left, 2 (right, two octaves.) a tenth of an octave) to HPF The HPF does not change when the EQ is switched between The following built-in HPF parameters are available: Digital and Analog mode. In Toggles the built-in HPF processor in or out of circuit on the Gain, Frequency, and Q/Bandwidth selected channels. Each band of the built-in 4-band EQ provides the following pa- Freq Sets the corner frequency for the HPF on the selected chan- rameters, and are adjusted using Channel Control or on-screen: nels. Gain Boosts or cuts the corresponding band. The LEDs around the Gain encoder light from the ce nter-point to the right (boost), (cut) to illustrate current Gain. or from the center-point to the left Freq Sets the center or corner frequency for each band, as fol- lows: • Freq sets the cent er frequency for the Hi-Mid and Lo-Mid bands, and for the Hi and Lo filters when in Bell mode. • Freq sets the corner frequency for the Hi and Lo filters when Bell and Shelf Modes for Hi and Lo in Shelf mode. (See Filters .) creases the frequency for that Rotating the encoder clockwise in band; rotating it counter-clockwise decreases the frequency. The available range of each band depends on the EQ mode (Digital or ilt-In 4-Band EQ (All Control Ranges for Bu Analog). See Modes) . 148 Chapter 16: EQ

160 To adjust the built-in HPF from Channel Control: Adjusting EQ 1 Select one or more input channels. nel encoders, Channel Control, You can adjust EQ from the Chan Make sure the Channel Control main menu is shown in the 2 and on-screen. When adjusting EQs, an EQ response curve ap- Channel Control displays. pears on-screen, and parameter settings are shown in the corre- sponding displays on the S3 control surface. Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu. See On-Screen EQ Controls for instructions on adjust- ing EQ parameters on-screen. Press the Channel Control enc 3 oder under the display showing . Input Adjusting HPF Controls HPF is assigned to the third encoder in Channel Control. Ad- 4 just the corner frequency by rotating the corresponding en- To adjust the built-in HPF from the channel encoders: coder. Bank Input Channels and/or FX Returns. 1 switch to toggle the HPF 5 Press the Channel Control encoder In HPF Press the 2 Channel Encoder Assign switch to assign HPF in/out. to the channel encoders. Adjusting Built-In 4-Band EQ Controls Input EQ HPF Gain To use the built-in EQ on a channel: more channels. Select one or 1 Mix Dyn Pan Comp Pan Insert 2 Make sure the Channel Control main menu is shown in the Channel Control displays. Group Channel Flip Aux under the display showing Press the Channel Control 3 . EQ EQ Aux Flip controls are now available on the Channel Control encoders. Gain Channel Encoder Assign switch switch in the Channel Control Navigation section In Press the 4 Press the channel encoder In switch to toggle the filter in/out. 3 to toggle the EQ processor in/out. ders for the displayed param- Adjust the Channel Control enco 5 LR 1 Ch 1 eters. EQ HPF while rotating an en- 6 Fine To make fine adjustments, hold DY coder. toggle between the two button on-screen to Analog Press the 7 EQ types. Channel encoder In switch 4 Adjust the HPF corner frequency by rotating the correspond- ing channel encoder. Fine To make fine adjustments, hold 5 while rotating an en- coder. 149 Chapter 16: EQ

161 To engage or disengage a band: EQ Parameter Mapping in Channel Control switch for that band to In Press the Channel Control encoder  4-Band Parametric EQ (Digital Mode) toggle it in/out. When engaged, the In switch LED is lit. The following table shows how buil t-in EQ parameters (default To bypass the current EQ module: digital EQ mode) are assigned to the Channel Control encoders: . In switch. Press the Channel Control  Channel Control parameter mapping for digital EQ (built-in or plug-in) To adjust EQ gain and frequency parameters: Channel Encoder Encoder Sel Encoder IN Control  Adjust the Gain and Freq encoders for each band as needed. Switch Switch Rotate encoder 1 Low Gain n/a EQ band in/out To reset an EQ parameter to its default value: Low Freq/Q Toggles Freq/Q Bell in/out 2 Press and hold  and press the encoder for the parame- Default ter you want to reset. 3 LoMid Gain n/a EQ band in/out 4 LoMid Freq/Q Toggles Freq/Q n/a To reset the entire EQ section (all bands) on a channel: HiMid Gain 5 EQ band in/out n/a With the main Channel Control menu shown in the Channel  6 HiMid Freq/Q Toggles Freq/Q n/a Control displays, press and hold , then press the EQ Default Channel Control encoder. 7 n/a High Gain EQ band in/out High Freq/Q Toggles Freq/Q Bell in/out 8 Toggling Control Between Q/Balance/Width Freq and Q (BW) share the same encoder in each EQ band. The 4-Band Parametric EQ (Analog Mode) built-in EQ and some plug-ins also provide Q (or BW/bandwidth) The following table shows how parameters are assigned to the for Analog EQ mode. Channel Control encoders when using built-in EQ in analog mode: To adjust Q (or B/W): . Channel Control parameter mapping for analog EQ (built-in or Press the encoder 1 switch for the desired band to place that Sel plug-in) encoder in Q (or B/W) mode. Channel Encoder IN Encoder Sel Encoder Rotate the encoder to set the desired Q (or B/W). 2 Control Switch Rotate Switch encoder Bell and Shelf Filters Low Gain n/a EQ band in/out 1 ) can be toggled for the Hi and Lo The EQ filter type (Shelf or Bell n/a n/a Low Freq 2 on-screen. n/a LoMid Gain 3 EQ band in/out To toggle between Bell and Shelf filters: n/a Toggles LoMid Freq/Bandwidth 4 Freq/Bandwidth selector for that channel. Click the on-screen Bell/Shelf  (B/W) (B/W) n/a 5 EQ band in/out HiMid Gain that encoder’s ring indicates The indicator LED at the bottom of filter type and Freq/Q mapping as shown in the tables. HiMid Toggles n/a Freq/Bandwidth 6 Freq/Bandwidth (B/W) (B/W) 7 High Gain n/a EQ band in/out n/a n/a 8 High Freq/Q 150 Chapter 16: EQ

162 by doing one of the following: Adjust the on-screen controls 3 On-Screen EQ Controls Gain, Q/Bandwidth , or Fre- • Turn an on-screen knob ( cated on-screen nd EQ using dedi You can adjust the built-in 4-ba quency ) for each frequency band. buttons for band in/out and bell/shelf toggling. When the Channel • Click to toggle any on-screen EQ switch (EQ in/out, band Control section is in EQ mode, th e on-screen EQ controls for the in/out, or bell/shelf). have a green background. currently selected channels • Click a displayed value and type a new value. so provides the EQ Gr aph display to adjust The software screen al • Drag up or down in a value display to increase or decrease frequency and gain simultaneously. the value. Digital/Analog In/Out To reset an on-screen EQ parameter to its default value, do one of the following: Gain Default (Alt) • Alt-click the control, or hold the switch and Band in/out Q/Bandwidth click the control). Hi Bell/Shelf Frequency Reset . • Right-click the control and choose Gain To reset the entire EQ section (all bands) on a channel, do one of Band in/out the following: Q Hi Mid Frequency • Right-click anywhere in the EQ section on-screen (but not directly on an encoder or button) and choose Reset EQ Gain Section. Band in/out Lo Mid Q and click the on-screen EQ In button. Default • Hold Frequency Using the EQ Graph Display Gain Band in/out Q/Bandwidth The on-screen EQ graph lets you use the mouse to adjust fre- Lo Bell/Shelf quency and gain for any available EQ band. Frequency Presets EQ controls in the software screen (digital EQ mode shown) To adjust 4-band EQ parameters on-screen: 1 Do one of the following depending on the type of channel you EQ want to adjust: graph • Select an input channel. – or – trix mixer, then if necessary • Select an output channel or Ma Channel tab on the Outputs page. click the Dragging handles in the EQ graph display To adjust EQ on-screen using the Graph display: Select a channel on-screen. 1 2 Click the EQ In switch to put the EQ in circuit. 3 Drag the handles in the on-screen EQ graph display for each EQ band (Lo, Lo-Mid, Hi-Mid, or Hi), as follows: • Drag a handle right or left to increase or decrease frequency. increase or decrease gain. • Drag a handle up or down to Clicking the Channel tab on the Outputs page 2 Click the EQ In switch to put the EQ in circuit. 151 Chapter 16: EQ

163 Graphic EQ for Outputs Adjusting EQ Plug-Ins EQ plug-ins can map their gai Up to 16 built-in 31-band Graphic EQ can be inserted on any of n, frequency, and Q/bandwidth controls to corresponding en coders in Channel Control. the output busses (Mains, Groups, Auxes, and Variable Groups) and Matrix mixers. The Graphic EQ provides +/– 12 dB of gain Plug-ins that do not map direct ly to Channel Control en- and constant Q. coders can be controlled using the Global Control encod- Assigning a Graphic EQ to a mono channel uses one available ers. See Adjusting Plug-Ins Using Global Control. Graphic EQ. Assigning a Graphic EQ to a stereo channel uses To access plug-in EQ parameters in Channel Control: two available Graphic EQs. Controls for stereo EQs are linked. Select one or more channels. 1 Inserting Graphics EQs on Outputs 2 Make sure the Channel Control main menu is displayed in the Channel Control displays. To insert a Graphic EQ on an Output bus: Press the Back/Top Channel Control Navigation switch to 1 Select an output channel or Matrix mixer. display the main Channel Control menu. 2 On the Outputs page, click the 31-Band Graphic Equalizer tab. 3 press the Channel Control en- EQ, Under the display showing coder switch so that it is lit . Sel Click the Graphic EQ selector and choose an available mono 3 or stereo Graphic EQ. Ch 1 1 User EQ Input CompLim Exp Lit EQ Channel Control encoder Sel switch Press the Channel Control enco der under the display showing 4 . Plug-in parameters are now mapped to the Channel Con- EQ displays are shown with an as- trol encoders. Parameters in the terisk to mark them as plug-in parameters. Back Press the switch again to reassign the built-in EQ param- 5 eters to Channel Control. Selecting a Graphic EQ The 31-Band Graphic EQ appears on-screen. To bypass an inserted plug-in from Channel Control: In  With the plug-in assigned to Channel Control, press the gation section. When lit, the switch in the Channel Control navi plug-in is in (engaged); when unlit, the plug-in is out (by- passed). Top In Back Expnd Page Page Channel Control In navigation switch For more information, see Plug-Ins. 31-band graphic EQ 152 Chapter 16: EQ

164 Enabling and Adjusting Graphic EQ Input Direct Mode Graphic EQs are enabled and adjusted on-screen. letely bypass the built-in dynam- Input Direct mode lets you comp ics and EQ processing, and all in serts on Input Channels and FX To enable the graphic EQ: Returns. Target an Output bus with a 1 Graphic EQ assigned. If no graphic EQ is assigned, click the 3 1-Band Graphic Equalizer To toggle Input Direct model: tab on the Outputs tab and assign one using the Graphic EQ Select an input channel. 1 pop-up menu. 2 Input Direct Config section in button in the (channel) Click the 2 Click the In-Circuit button on-screen to toggle in/out status. the upper right corner of the screen. When enabled, the Input When enabled, the In/Out switch LED lights. Direct LED lights. Graphic EQ In-Circuit button Input Direct button 3 Click and drag the on-screen Graphic EQ band controls to make adjustments as necessary. EQ Settings and Presets Built-in parametric and Graphic EQ settings can be copied and pasted between channels. EQ presets can also be saved and loaded to archive and transfer settings. Copying and Pasting EQ Settings To copy and paste an EQ setting: 1 Do one of the following: Adjusting a Graphic EQ band right-click the on-screen EQ • To copy a 4-band EQ setting, Resetting Graphic EQ Parameters Copy on an encoder) and choose section or EQ graph (not EQ Settings . To reset a band to its default setting, do one of the following: – or –  Right-click the individual band fader on-screen and choose • To copy a Graphic EQ setti ng, right-click the graphic EQ Reset . display (not on a fader) and choose Copy GEQ Settings . Alt-click the band on-screen.  To reset the entire graphic EQ to flat: Graphic EQ section on-screen  Right-click anywhere in the (but not directly on a fader) and choose . Reset GEQ Section EQ Reset/Copy/Paste pop-up menu want to paste the settings. Go to the channel where you 2 Do one of the following: 3 right-click in the new chan- • To paste a 4-band EQ setting, Paste EQ Settings . nel’s EQ section or graph and choose All EQ settings, including HPF settings, are copied to the new channel. – or – • To paste a Graphic EQ setting, right-click in the new chan- nel’s Graphic EQ section and choose Paste GEQ Settings . 153 Chapter 16: EQ

165 To save or load a preset for the Graphic EQ: Presets for Built-In and Graphic EQ 1 Go to the Outputs l on which the graphic page for the channe You can store and load EQ settings to disk as Preset files. Presets EQ is assigned. If necessary, click the 31-Band Graphic can be used with built-in and pl ug-in EQ processors, including Equalizer tab to display the graphic EQ on that channel. the graphic EQ. Preset files can be moved between systems and used for other Shows. 2 bove the EQ bands, next to the Click the Presets folder icon (a In-Circuit button). for pre-confi Check the Factory Presets folder gured settings. To save or load a 4-band EQ preset: 1 Adjust EQ parameters as needed. k the Presets folder icon (next In the on-screen EQ section, clic 2 Graphic EQ Presets folder icon (right) to the Lo band EQ controls). Choose a Presets folder in the Folder display at the top of the 3 Presets window. If necessary, ch oose the appropriate Presets ing it from the Folder pop-up folder by clicking and select menu. Do any of the following: 4 click its name in the Presets • To preview an existing preset, Four -band EQ Presets folder icon (left) window. 3 Choose a Presets folder in the Fo lder display at the top of the • To load the currently selected preset, press Enter or click the Presets window. If necessary, choose the appropriate Presets Close box in the Presets window title bar. folder by clicking and selec ting it from the Folder pop-up • To load a preset and close the Presets window, double-click menu. the preset. settings as a new preset, • To save the current graphic EQ New and enter a name for the preset file. click Cancel . ging settings, click • To cancel without chan 4-Band EQ Presets window For information about creating and transferring folders and files, see Shows and File Management. Do any of the following: 4 • To preview an existing preset, click its name in the Presets window. • To load the currently selected preset, press Enter or click the Close box in the Presets window title bar. • To load a preset and close the Presets window, double-click the preset. New ings as a new preset, click • To save the current EQ sett and enter a name for the preset file. All EQ settings, includ- ing HPF settings, are saved to the preset. . Cancel • To cancel without changing settings, click 154 Chapter 16: EQ

166 Control Ranges for Built-In 4-Band EQ (All Modes) Table 3. Control ranges for built-in parametric EQ Range (Digital) Range (Analog) Defaults (Analog) Control Defaults (Digital) Band High 20 Hz to 20 kHz 10 kHz 2 kHz to 20 kHz 6 kHz Frequency (Bell/Shelf) ±15dB 0dB Gain 0dB ±18dB Q/Bandwidth 1.0 Shelf only none 10 to 0.1 High-Mid 20 Hz to 20 kHz 5 kHz 400 Hz to 8 kHz 2 kHz Frequency Gain ±18dB 0dB ±15dB 0dB Q/Bandwidth 10 to 0.1 1.0 0.1 to 2.0 octaves 0.2 Low-Mid Frequency 1 kHz 100 Hz to 2 kHz 450 Hz 20 Hz to 20 kHz ±18dB 0dB ±15dB 0dB Gain Q/Bandwidth 10 to 0.1 1.0 0.1 to 2.0 octaves 0.2 80 Hz Low Frequency 20 Hz to 20 kHz 200 Hz 30 Hz to 200 Hz (Bell/Shelf) Gain ±18dB 0dB ±15dB 0dB none Shelf only Q/Bandwidth 10 to 0.5 1.0 155 Chapter 16: EQ

167 Chapter 17: Plug-Ins This chapter explains how to configure plug-ins before a perfor- Using Config and Show Modes for Plug-Ins mance, and how to use plug-ins during a performance. Plug-Ins The current system mode status (Config or Show mode) deter- can be inserted on all channels and bus outputs, or used as bus mines which plug-in func tions are available. processors for effects such as reverb and delay. Config mode is required to inst all plug-ins, assign them to rack S3L-X systems support 64-bit AAX DSP plug-ins only. For h side-chain routing. When in Show mode, slots, and to establis complete information on S3L-X-compatible plug-in s, visit the any operations that might interru pt audio throughput are locked Avid website (www.avid.com). out and unavailable. audio require Config mode. Plug-In actions that interrupt Plug-Ins Quick Start For more information, see .0 Enabling Config Mode Before a performance, enable Config mode and do any of the fol- lowing: Installing and Authorizing Plug-Ins • Install plug-ins (see Installing and Authorizing Plug-Ins ). Plug-Ins are installed on your S3L-X system using a USB drive. • Assign plug-ins to racks and rack slots (see Plug-In Racks ). Plug-in installers are transferred to your USB drive, then installed routing, including side-chain • Assign plug-in input and output on the E3 engine. Plug-ins cannot be installed on the Standalone routing (see Routing Plug-Ins ). software. • View and adjust plug-ins from the S3 control surface or an interrupt audio throughput, Because installing plug-ins c on-screen (see Adjusting Plug-Ins ). before a performance. always install plug-ins • Save and load plug-in settings as Presets, or with snapshots (see Plug-In Presets and Snapshots ). Transferring Plug-In Installers to USB During a performance, do all of the following: To transfer plug-in installers to a USB drive: • Enable Show mode to “safe” (lock out) plug-in rack assign- 1 space on the USB drive to ac- Make sure there is enough free ations that could interrupt a ments and other plug-in rack oper commodate all the software. performance. Unzip the downloaded software by doing the following, de- 2 • Patch channels and busses to available plug-ins, re-assign pending on your computer platform: existing side-chain routing. plug-in routing, or re-assign Double-click the ZIP file contai Mac ning the software to unzip it. • Adjust plug-in parameters from Channel Control, Global Con- trol, or on-screen. aining the software, select Right-click the ZIP file cont Windows Presets, or within snapshots. • Save and load plug-in settings as Extract All... from the pop-up me nu, and in the ensuing dialog click Extract . 3 In the unzipped files, locate the “AAX Plug-Ins” folder. lder to the top (root) level 4 Copy the entire “AAX Plug-Ins” fo of the USB drive. 156 Chapter 17: Plug-Ins

168 3 In the Plug-Ins to Install list, click the device selector pop-up Installing Plug-Ins menu and do one of the following: To install a plug-in: Previous Installs to access any plug-in installers af- • Choose 1 e plug-in installer(s) into an Insert the USB drive containing th ter a system update. available USB port on the E3 engine. to access all factory-installed plug-in in- Console • Choose stallers after a system update or a full system restore. Plug-Ins cannot be installed using the USB ports on the S3 • Choose an external storage de vice, as available, to access control surface. plug-in installers on drives connected to the E3 engine. Plug-Ins Go to the Options page and click the tab. The follow- 2 ing two lists are shown (see Figure 2): Plug-Ins to Install This list shows availa ble plug-in installers. At the top of the list is the Device selector, which provides a pop-up menu of available media sources. Plug-In installers are lation, and appear as available stored locally after plug-in instal Device selector pop-up menu items when Previous Installs is selected from the Device selector. without the original plug-in in- This lets you re-install plug-ins list on the left by Plug-Ins to Install Select a plug-in from the 4 staller. doing any of the following: • Click to select a single installer. This list shows all plug-ins already installed Installed Plug-Ins in plain text are available to on the system. The plug-ins shown • Shift-click to select multiple consecutive installers. process audio. Plug-Ins listed in italics are disabled and unavail- • Control-click to select or deselect installers one at a time. able (see ). Enabling and Disabling Installed Plug-Ins Install to install the selected plug-ins. Once installed, the 5 Click plug-in appears in the Installed Plug-Ins list on the right. 6 Repeat as necessary to re-install all plug-ins needed on the sys- tem. Figure 2. Options > Plug-Ins screen 157 Chapter 17: Plug-Ins

169 Deleting Uninstalled Plug-Ins Removing Plug-Ins Uninstalling a plug-in removes th e plug-in from the racks but the installer can be deleted from the Once a plug-in is uninstalled, its system. (Plug-ins whic stalls cache, making it easier to installer remains in the Previous In h are currently installed cannot be de- reinstall the plug-in at a later time without requiring the installer leted). media. To completely remove a plug-in and its installer: ou see in VENUE software is up- The list of available plug-ins y Put the system in Config mode. 1 dated automatically each time y ou load a Show file to keep . Go to Automatically Remov- 2 Options > Plug-Ins s uncluttered (see plug-in lists and menu s During Show Load ing Plug-in .) Device Previous Installs Select 3 from the selector. You can also remove or or their installers delete plug-ins and/ 4 Delete option for Right-click the plug-in name and choose the manually. In order to completely remove and delete a plug-in and -in is removed from the system, the selected plug-ins. The plug Delete the plug-in, as described its installer, you must explicitly and the stored plug-in installe r is removed from the Previous in the following sections. Installs list. Installing, uninstall ing, and deleting plug-ins are not sup- Installing Plug-Ins Manually ported using the Standalone software. e Plug-Ins to Install list, it may If a plug-in does not appear in th To uninstall a plug-in from the system but leave its installer not have a fully compatible VENUE installer and must be manu- available: ally installed. This is required the first time you install the Put the system in Config mode. 1 plug-in, and whenever you need to re-install a plug-in (such as af- 2 Go to Options > Plug-Ins . ter using the System Restore soft ware to update or reset the sys- tem). Right-click the specific plug-in name from the right-hand list 3 and choose the Uninstall option for the selected plug-in. aller may stil A plug-in without a VENUE inst l be compati- patibility in- ble. Consult the plug-in manufacturer for com formation. To install a plug-in manually: Make sure all sound systems are shut down or muted. 1 th the plug-in installer into a 2 Insert the USB storage device wi USB port on the E3 engine. Installed plug-in right-click menu 3 System tab. Go to the Options page and click the To reinstall a removed plug-in: Put the system in Config mode. 1 on-screen. Follow 4 Hold the Ctrl key and click Shutdown on-screen directions to exit to the Desktop. 2 Go to Options > Plug-Ins . 5 Copy the plug-in installer to the partition called User Data . Previous Installs Click the Device selector and choose . 3 6 Launch the plug-in installer application and follow any on-screen directions. If prompt ed, do not restart the system so will not harm the system, from a plug-in installer. (Doing but will take longer, especially if you have multiple plug-ins to install manually.) 7 Quit the installer application and eject the installer disc. Choosing a Device 8 shortcut on the desktop to Click the Return to VENUE 4 Select the plug-in and choose Inst all. If the desired plug-in is re-launch the VENUE software. not listed, it must be re-installe d from the original CD-ROM or Go to Options > Plug-Ins . Verify that the manually installed 9 other media. plug-in appears in the Console list of available plug-ins. 158 Chapter 17: Plug-Ins

170 Automatically Removing Plug-ins During Authorizing Plug-Ins Show Load A core set of plug-ins are inst alled on your S3L-X system. These Plug-ins are verified during the Show file load procedure to plug-ins do not require any author ization. Other plug-ins, such as streamline plug-in list tically removing un- s and menus by automa the S3L-X plug-ins downloaded from your Avid account and paid used plug-ins (plug-ins that were once installed but subsequently pment Partners, require autho- plug-ins from Avid and our Develo uninstalled or disabled). rization. n be reset manually using the In addition, the plug-in lists ca Re- The S3L-X system sup ports iLok USB Smart Key authorization. move Unavailable Plug-ins command. Plug-ins which are not Licenses that authorize the use of a plug-in are transfered from available and not in use in the r ack are automatically filtered from your iLok account to your iLok. This lets you take your iLok and all plug-in menu lists when the s how file is subs equently stored. your plug-in licenses anywhere, to use your plug-ins on any sys- This filtered list is stored with the Show file. tem. are Plug-ins which are not available but in use will remain in the After installing a plug-in, the syst em re-creates the list of avail- rack and display a warning icon indicating the plug-in isn’t in- able plug-ins. Whenever the racks initialize, the system checks appear as italicized entries in stalled or is disabled. Such plug-ins for all installed plug-ins. If an iLok with a license for an installed the plug-ins menu lists. engine, you will be prompted to plug-in is not connected to the E3 the full version of the plug-in. try a demo version, or authorize Manually Removing Unavailable Plug-ins For more information on using iL oks, refer to the iLok Usage from the Racks Guide on the Standalone Software CD or at the Avid website Unavailable plug-ins can be easily removed from rack slots using (www.avid.com). the Remove Unavailable Plug-Ins command. To authorize a plug-in: To manually remove unavailable plug-ins: When a plug-in authorization dial og appears, do one of the fol- 1 lowing: 1 Make sure the plug-in rack is Put the system in Config mode. fully initialized (the Status indicator displays OK). Try . • To try a demo of the plug-in, click – or – 2 Click the Plug-In selector in any rack slot and choose Re- move Unavailable Plug-Ins . This menu item is only available • To have the system recognize the required license on your when one or more unavailable pl ug-ins are present in the rack. into any available . Insert your iLok Authorize iLok, click USB port on the E3 engine when prompted. to confirm the operation, or click Cancel Remove Click . 3 2 Follow the instructions on-screen to complete the software au- If you proceed with the removal: thorization process. removed from the plug-ins • All unavailable plug-ins are rack. Enabling and Disabling Installed Plug-Ins • The italicized entries for un available plug-ins are removed The Installed Plug-Ins list sh . italics ows Disabled plug-ins in from all plug-in menu lists. Plug-Ins can be manually disabled and enabled to manage DSP • All references to unavailabl e plug-ins are removed from the resources, troubleshoot possible conflicts, and to manage plug-in Insert Processing section of all affected channels, and the in- availability. . None sert point plug-in is set to unavailable plug-ins are removed from all • All references to To globally disable or enable a plug-in: snapshots. Click to select the plug-in name in the 1 list, Installed Plug-Ins at the right of the Options > Plug-Ins page. bsequently saved e plug-ins is su The new, updated list of availabl to the Show file. disable 2 Right-click the plug-in en- or and select whether to able the selected plug-in. If assigned to any rack slots, the History File and Removing Plug-ins and inactive. unavailable plug-in will be displayed as A History file is written imme diately before removing unavail- able plug-ins from the rack, in or der to provide a means of undo- ing the operation. 159 Chapter 17: Plug-Ins

171 Using System Info to View Plug-in Version Plug-in Version Checker Information es a comprehensive database of plug-in VENUE software includ Plug-in version information is incl uded in exported System Info information, and this info can be used to greatly simplify the pro- data. cess of managing you r VENUE plug-ins. The Plug-in sections of the export ed System Info file show criti- details and compatibility informa- Use this feature to get version links to sites to download or cal and recommended updates, with tion for a plug-in prior to installi ng, or after it has been installed check for newer versions. to help diagnose or troubl eshoot plug-in performance. To use System Info for Plug-In Version Maintenance: Version checking also warns you when you are about to down- 1 Insert a USB storage device into any available USB port on the r version over a newer version). grade a plug-in (install an olde E3 engine. In addition to using the plug-in version checker, also check 2 . Options > System Go to the VENUE plug-in tabs on the Avid website (www.avid.com) for the most up to date information 3 button. Info Click the To view plug-in version information: 1 . Options > Plug-Ins Go to 2 Select a plug-in from either list ( Plug-Ins to Install , or In- Export VENUE System Information button in Options > System stalled Plug-Ins ). 4 Do any of the following: for a multi-selection. Select Version information is not shown • If you have more than one onnected, make USB device c an individual plug-in to vi ew its version information. sure the correct USB device is selected. If it is not, click lable disk until the cor- to cycle through each avai Next Disk s about the currently selected The Info pane displays detail rect one is selected. plug-in, including whether a newer version of the plug-in is avail- Save to proceed and export syst em info to the selected • Click able. If a new version is available, whether it is you can find out USB device. a recommended update or a critic al update. The following dialogs to dismiss the dialog without exporting. Cancel • Click install older plug-ins: appear if you choose to • If you choose to install a plug-in for which there is a critical or 5 Click OK to confirm the export procedure. ppears asking you to confirm recommended update, a dialog a 6 Remove the USB device. Transfer the exported file to a per- the installation procedure. sonal computer for printing, formatting, archiving or distribu- • A similar dialog appears when attempting to replace an in- tion. stalled plug-in with an older ve rsion of the same plug-in. Fol- nt from a computer with In- 7 If viewing the System Info docume low the instructions on-screen to install anyway, or cancel. ternet access, use the included links to check for plug-in up- dates. USB Ports for iLoks The E3 engine provides four USB ports, including a secure inter- nal USB port. Use this port to keep one “master” iLok and its all times, safe from damage or plug-in assets with the system at loss. For more information, se e Appendix A, “E3 Engine Secure USB Port.” An iLok can be connected to any E3 engine USB port. Multiple iLoks can connected at one time. 160 Chapter 17: Plug-Ins

172 Plug-In Racks slots into which you can load a plug-in. The four dif ferent racks The Plug-Ins page provides four plug-in racks. Each of the racks has five plug-ins in rack slots. can be viewed all at once, individually, and in varying zoom levels. You assigning populate the racks by Plug-In racks Zoom Toggle Presets Push-pin Rack slots Figure 3. Plug-In racks and rack slots, Ma in view, with custom rack names shown. Zoom View (Plug-In View Mode) Naming Plug-In Racks By default, the racks are name ins on-screen to the left, and the In Zoom view, a single rack rema d Rack 1, Rack 2, Rack 3, and Rack 4. You can rename each rack as needed. rest of the screen displays the targeted plug-in. To rename a plug-in rack: Double-click the rack name 1 to highlight it on-screen. 2 To return a rack to its default Type a new name and press Enter. name, leave the name blank and press Enter. rack slot. Use the different Plug-Ins can be placed in any functions such as Dynam- racks to organize processing , Reverb, or Group Inserts. ics, Vocal FX Rack Views The Plug-Ins page can be displayed in Full or Zoom views. Full View Plug-In display View Toggle The default view of the rack screen is Full view, in which all four Zoom view, with a plug-in window open on-screen racks are shown (see Figure 3). This screen provides access to all rack slot controls and shows an icon representing each assigned To toggle Full or Zoom view modes, do one of the following: plug-in. This lets you quickly see what plug-ins are available, and ght corner of the rack).  Click the View toggle switch (upper ri adjust their routing. – or – any rack view to open that Double-click a plug-in icon in  plug-in window in Zoom view. 161 Chapter 17: Plug-Ins

173 Pinning a Plug-In View “Jump To” Plug-Ins ug-in insert from the Input and ug-in view for consiste nt and constant ac- You can decouple the pl You can “jump to” a specific pl reen in the Zoom view of the cess to a single plug-in on-screen, while still being able to select Output pages to adjust it on-sc and adjust other plug-ins fro Plug-In page. a Pinning m the S3 control surface. ou want to always display an im- plug-in view is useful any time y To jump to a plug-in insert from the Inputs or Outputs screen: portant plug-in (such as an analysis plug-in or primary EQ). the Inputs or Outputs screen. 1 Select a channel to display it in To pin a plug-in view: the channel Inserts section. Click the plug-in name shown in 2 1 Bring the desired plug-in into the Zoom view (use the channel Select and Insert Mode switches, double-click the desired plug-in from the rack, or jump to the plug-in from the Inputs or Outputs page). Click the 2 Push-Pin icon in the upper-right of the screen (the icon is located just to the left of the and View Toggle Presets icons. • When enabled, the Push-Pin icon appears lit. This indicates Jumping to a plug-in on a channel insert remain on-screen and will not that the current plug-in will To jump to a plug-in on a bus: her channel is targeted. lose focus, even if anot 1 Bank to the FX Return or othe r channel type assigned as the • When not enabled, the Push-Pin icon appears unlit. Plug-in plug-in output, or bank to the output feeding the plug-in. view follows control surface selections. Select the channel to display it in the Inputs or Outputs screen. 2 3 Click the routing displayed beneath the Channel Name. Push-Pin plug-in view icon Jumping to a plug-in on an FX Return Plug-Ins Screens and Channel Selection When jumping to a plug-in, display depends on the type of plug-in routing, as follows: Channel Inserts If the Plug-Ins screen is in Zoom view while cted plug-in for that channel is you select a channel, the last sele automatically selected and disp layed in the Plug-Ins screen. Bus-Fed Plug-Ins If no plug-ins are inserted on a channel (such to an FX Return) the plug-in as when returning a bus-fed plug-in feeding that FX Return is displayed. 162 Chapter 17: Plug-Ins

174 Unavailable Plug-Ins Identifying Rack Slots The racks indicate which plug-in is currently targeted by high- fficient DSP re- When a plug-in cannot be used because of insu controls in blue. sources, because it is disabled, or because it is not installed on the lighting its rack slot front of the affected plug-in. system, a warning icon is shown in The plug-in icon is grayed out, and the rack slot Power switch dis- plays a yellow switch LED. cating targeted plug-in Highlighted rack slot indi Indication of an unavailable plug-in ines appear around each plug-in Within each rack slot, color outl For more information, see . Installing and Authorizing Plug-Ins currently targeted on the control to indicate the type of plug-in surface. The following colors are used: Inactive Plug-Ins When a plug-in has been manually made inactive, the plug-in Color Indication Outline be made inactive icon is grayed out. Plug-Ins can manually, let- and settings in the rack while ting you retain their assignment An EQ plug-in is mapped to S3 control surface con- Green freeing up their DSP resources for other tasks. trols Blue A Comp/Lim plug-in is mapped to S3 control surface controls An Exp/Gate plug-in is mapped to S3 control sur- Yellow face controls Red A plug-in is mapped to the Global Control encoders (Insert mode) Indication of an inactive plug-in tiving Plug-Ins . Activating and Deac For more information, see Display of Unavailable or Inactive Plug-Ins Scope Indication in the Plug-Ins Page It is possible for a plug-in to be slot but be un- displayed in a rack The Plug-In Rack provides visual indication whenever a plug-in available for channel and bus processing. This can occur in any of is scoped in the currently target ed snapshot. The Snapshot pop-up the following circumstances: menu turns red whenever that plug -in is scoped by the currently • There are not enough DSP re sources available for the targeted snapshot. plug-in. • The assigned plug-in is part of the show file but is not in- stalled on the current system. • The plug-in has been disabled manually. Place the cursor over the Tool Tips icon to see an explana- tion of why the plug-in is not available. To view DSP re- Indication of a scoped plug-in source allocation, see DSPs Available for Plug-Ins . . Plug-In Presets and Snapshots For more information, see 163 Chapter 17: Plug-Ins

175 Channel Insert or Bus Output The Channel Insert/Bus Output Rack Slots pop-up menu displays different choices depending on whether nel insert, or as a bus processor, the plug-in is being used as a chan ots. You can assign any installed Each rack provides ten plug-in sl as follows: plug-in to any available rack slot. • If the plug-in is being used as a channel insert, the Channel Current routing assignment Insert selector shows the four insert points on that channel (1–4). The letter “I” is shown before the insert number (for Input (source) plug-in is inserted into the example, I–1 indicates the current Channel Insert Power or Output on its channel). first insert position Plug-In selector a bus processor, the menu be- • If the plug-in is being used as In/Out to select the destination for comes the Output selector used Snapshots plug-in output. Assigned plug-in A rack slot and its controls, with an assigned plug-in shown Rack Slot Controls Each rack slot provides the following controls to select and man- age plug-ins: Channel Insert Bus Output Power (Config Mode Only) Power turns the rack slot on or off. A mono plug-in inserted on a channel (at left) and a stereo plug-in When off, the plug-in consumes no DSP. assigned as a bus processor (at right) The In/Out switch takes the rack slot in or out of In/Out (bypass) The Plug-In selector displays a list of avail- Plug-In Selector circuit (bypasses the slot and any plug-in assigned to it). rack slot. Plug-Ins are arranged by able plug-ins to load into that process type (such as EQ, Dynami cs, and Delay). For more infor- Input The Input pop-up menu determines plug-in input (source). mation, see . Routing Plug-Ins Use this menu to designate the plug -in as a channel insert or a bus processor by choosing from the Inserts or Bus sub-menus. For Snapshots Menu The Snapshots menu provides tools to manage more information, see Routing Plug-Ins . snapshot-related plug-in features from within the Plug-Ins screen. n quickly check to see which Using the Snapshots menu, you ca Once a plug-in has been routed, its input source is displayed in the nt plug-in, as well as create, existing snapshots refer to the curre Input area of each rack slot, as follows: update, or remove snapshots. • If the plug-in is being used as an insert, the channel or bus name and number is shown, for example, Aux Kick (Ch 1) or Side-Chain Selector The Side-Chain selector appears near the tput selector automati- (1–2) . The Channel Insert/Bus Ou top of the Rack view when you select a plug-in that supports showing the insert cally switches to Ch annel Insert mode, side-chain or “key” input. In Config mode, the Side-Chain selec- point occupied by the plug-in. tor lets you establish a side-chain routing to the plug-in. Once es- • If the plug-in is on a bus, the selected bus source is shown in tablished, you can route and re-ro signals in both ute side-chain or Grp 1 . The Channel Aux 1 the Input selector, for example, information about side-chain Config and Show mode. For more be used to assign the output Insert/Bus Output selector can signals, see . Side-Chain Routing routing of the plug-in to a channel or bus. 164 Chapter 17: Plug-Ins

176 Assigning Plug-Ins to Rack Slots Moving and Copying Plug-Ins (Config Mode Only) Before a plug-in can be used to process audio, it must be assigned to a rack slot. Once assigned, you can use the plug-in as a channel To move or copy a plug-in from the rack, drag the plug-in icon to insert or bus processor. a new rack slot. A pop-up menu appears offering three choices: Cancel , or Move Plug-In Here . Copy Plug-In Here , In- Before a plug-in can be assigned, it must be installed. See stalling and Authorizing Plug-Ins . Moving a Plug-In To assign a plug-in: When you move a plug-in from one rack slot to another, the on/off, current plug-in settings, plug-in type, in/out state, power 1 Put the system into Config mode. and routing are maintained. In ad ated snapshots dition, all associ Plug-Ins page. Go to the 2 are updated to reflect the new rack position. 3 Click the Plug-In selector on an empty rack slot. (You can also Copying a Plug-In ot to change a plug-in assign- use an already assigned rack sl ment.). When you copy a plug-in to a new rack slot, the source plug-in type, in-circuit state, active stat e, and current plug-in settings are ot. However, the source plug-in copied to the destination rack sl routing is not copied. In addition, plug-in snapshots are not cop- ied. Overwriting An Existing Plug-In there is an existing plug-in lo- When either moving or copying, if Clicking the Plug-In selector cated in the destination rack slot, that plug-in is deleted. When the 4 Choose an available plug-in from the Plug-In selector plug-in located in the destination rack is deleted, any routing or e installed will be available. sub-menus. Only plug-ins that ar the deleted plug-in will be au- references in existing snapshots to tomatically cleared. Activating and Deactiving Plug-Ins To activate and deactivate a plug-in:  Click the appropriate rack slot Power switch. When active, the Power switch is lit green. When vailable (and a plug-in is una inactive), the Power switch is lit yellow. Plug-In selector menus If the plug-in is not installed or there are insufficient DSP re- ilable, or inac- appear as unava sources available, the plug-in will tive. Place the cursor over the plug-in to display a Tool Tip that Rack slot power switch unavailable or inactive. explains why the plug-in is Plug-In Formats (Mono/Stereo) Plug-Ins inserted on input channels must be symmetrical (in other words, mono in/out or stereo in/out). Plug-Ins on busses can be asymmetrical (mono-in/stere o or multichannel out). Can be used as inserts only in mono strips or mono Auxes, Mono mono Groups, or Matrix busses or on the C/M bus. Stereo Can be used as inserts in stereo strips, stereo-linked Auxes, and stereo Groups Can be used on busses for delay, Other (Mono In/Stereo Out) reverb, and similar processing. 165 Chapter 17: Plug-Ins

177 To insert a plug-in on a channel from the Plug-Ins page: Routing Plug-Ins Make sure the plug-in is already 1 assigned to a rack slot. (See .) Assigning Plug-Ins to Rack Slots After a plug-in has been assigned to a rack slot, you can specify its routing. Plug-In routing dete rmines whether the plug-in is 2 Click the Input (source) selector in the rack slot and choose a used as a channel insert or as a bus processor. serts sub-menus. channel from its In Inserting Plug-Ins on Channels Each S3L-X system input channel, output bus, and Matrix mixer provides two slots for plug-in inserts. Signal from the channel is to the same channel. You can as- routed to the insert and returned l insert points from the Plug-Ins sign plug-ins to specific channe screen or from the Input screen. Clicking the Input source selector to show the source sub-menus To insert a plug-in on a channel from the Inputs or Outputs page: The rack slot automatically iden tifies and connects to the first Go to the or Inputs 1 Outputs page. available insert slot on the select ed channel. The Channel Insert Click the first available Inserts selector. 2 selector shows the current insert position. In the figure below, I-2 i econd insert slot of channel 1. ndicates the plug-in is in the s Clicking the Inserts selector Channel Insert selector Choose an available plug-in from 3 the rack sub-menus. All cur- If no insert slots are available on th e channel, the selector displays rently available plug-ins of a compatible mono/stereo format a question mark. are listed in the sub-menus. Plug-Ins that are unavailable are listed in italics. Plug-Ins that are already assigned as channel eir insert assignment. inserts are shown with th Clicking the Channel Insert selector (top) The plug-in appears in the Inserts list for that channel. 4 An assigned channel insert To open the window for an inserted plug-in, click its name in 5 the channel Inserts list. 166 Chapter 17: Plug-Ins

178 input source and output as- When a bus-fed plug-in has both its Routing a Plug-In as a Bus Processor signed, it appears similar to the following in the rack: Plug-Ins can be used on busses for send-and-return processing with effects such as reverb and delay. A plug-in is configured for bus processing by assigning an Aux, Group, Matrix, Main, Mon- Direct Out as the plug-in input itor output, or an Input Channel source, then assigning the output of the plug-in to an Input Chan- nel or FX Return, or to a hardware output, as follows: • Return bus-fed plug-ins to an Input Channel or FX Return to establish an effects send-and-return path. • Route bus-fed plug-ins to a ha rdware output for specialized A bus-fed plug-in shown in the rack ing an external crossover). processing needs (such as feed Routing Channel Direct Outs to Plug-Ins You assign plug-ins for bus processing from the Plug-Ins screen. You can route the Input channel Dire ct Outs to plug-ins. This lets ins from individual channels to preserve you directly feed plug- To use a plug-in as a bus processor: Aux busses for other uses, with control over send level using the Plug-Ins 1 Go to the page. channel Direct Out level control. Make sure the plug-in is installe 2 d and assigned to a rack slot. at the top of the corresponding 3 Click the Plug-In Input selector rack slot, and choose an available bus from the Input sub-menus. Assigning a channel Direct Out as a plug-in input source in the Plug-Ins page When a channel Direct Out is rout ed to a plug-in, it follows the pickoff setting for that specific Direct Out (as set in the Patch- bay), and is applied in addition to any other assignment made for that Direct Out. This makes it possible to use a channel’s Direct Out to route that channel to both a Pro Tools recording option and to a plug-in. Assigning plug-in Input source to a Group bus Click the Plug-In Output selector and choose an Input Chan- 4 If you do use a Direct Out to feed both a hardware output nel, FX Return or hardware output. such as a Pro Tools recording option as well as a plug-in, be aware that any adjustments to t hat Direct Out affect both the When routing a plug-in with a stereo output to an Input output signal and the signal fed to the plug-in. Channel is a stereo channel. Channel, make sure the Input See Make Selected Mono Strips Stereo/Make Se- lected Stereo Strip Mono. Assigning plug-in output to an FX Return 167 Chapter 17: Plug-Ins

179 Adjusting Inserted Dynamics and EQ Side-Chain Routing Plug-Ins S3L-X supports sidechain (key) processing for plug-ins that sup- To access plug-in EQ, Comp/Lim, or Exp/Gate parameters in port side-chain triggering. Channel Control: Side-chain routing is not stored in snapshots. Select a channel with an EQ or Dynamics plug-in inserted. 1 across the top of the plug-ins The Side-Chain selectors appear 2 Make sure the Channel Control main menu is shown in the screen. You must be in Config mode to establish or remove a Channel Control en coder displays. . Once established, si side-chain assignment de-chain routing can Press the Channel Control encoder 3 switch under the dis- Sel added or removed) in Show mode. be changed (but not play showing EQ, Comp/Lim, or Exp/Gate so it is lit. EQ Input CompLim ExpGate Aux 1- Click to select Click to specify Key (side-chain) side-chain pickoff source Side-Chain controls Channel Control encoder Sel switch To assign side-chain routing to a plug-in: rts side-chain processing. Select a plug-in that suppo 1 Press the corresponding Channel Control encoder. Plug-in pa- 4 the Channel Control encoders. rameters are now available on de to display the Side-chain 2 Put the system into Config mo tools. 3 Choose the side-chain source signal from the Key Source pop-up menu. EQ Input CompLim ExpGate Aux 1-8 4 Choose the pickoff point (tap) for the side-chain signal from the Source Pickoff pop-up menu. Adjusting Plug-Ins Channel Control encoder Plug-ins can be adjusted from the S3 control surface or on-screen. Plug-Ins. For more information, see Inserted Dynamics and EQ plug-ins can be se- Channel Control lected and adjusted in Channel Control. Global Control (Insert Mode) Global Control encoders can be placed into Insert mode, and can then be used to select and adjust any inserted plug-ins. Plug-Ins can be adjusted in the on-screen Plug-Ins On-Screen page. 168 Chapter 17: Plug-Ins

180 Adjusting Plug-Ins On-Screen Adjusting Plug-Ins Using Global Control (Insert Mode) To adjust a plug-in on-screen: Selecting the Inserts Global Control encoder places Global Con- 1 Select a channel. trol into Insert mode. In Insert mode, plug-in parameters are as- Plug-Ins page. 2 Go to the obal Control encoders and their correspond- signed to the eight Gl ing switches. Sel and In Double-click a plug-in icon in 3 any rack view to open that plug-in window in Zoom view. To adjust a plug-in using the Global Control encoders: 1 Do either of the following: is being used as a channel insert, select • If the desired plug-in the channel or bus on which the plug-in is inserted. • If the desired plug-in is being used as a bus processing FX Return or other channel plug-in, bank to and select the assigned as the plug-in output. 2 Make sure the Global Control menu is shown in the Global Control displays ( Inserts, Aux/Grp, Matrixes, VCAs, Moni- tors Mains ). Press the < Page Global Contro l Navigation switch as neces- sary to return to the main Global Control menu. 3 Do one of the following: Zoom view, with a plug-in window open on-screen • To access the first plug-in on th ess the Global at channel, pr Adjust the parameters for the plug-in appearing in the window 4 Inserts. Control encoder under the display showing as desired. – or – press the Global Control en- • To access the second plug-in, coder Sel switch under the display showing Inserts. Bypassing Plug-Ins to the eight Global Control en- Plug-in parameters are assigned in the Inputs or Outputs page Plug-Ins can be bypassed on-screen coders. and from the Plug-Ins page. The mapping of plug-in paramet ers to encoders varies by To toggle a plug-in on/off (in/out of circuit): plug-in. The function of each encoder and its switches is in- h the plug-in is inserted. Select the channel on whic 1 dicated in the corresponding display. page and click the in/out 2 Go to the Inputs button next to the de- 4 To reset a parameter to its default value, hold Default/Alt sired plug-in to toggle it in/out of circuit. When the button while rotating or pushing an encoder. LED is lit, it indicates that the plug-in is in-circuit. When unlit, Fine while rotating an 5 To adjust with greater resolution, hold the plug-in is out-of-circuit (bypassed). encoder. Global Encoder 6 If applicable, press the < Page or Page > Navigation switch to bank to other plug-in parameters. An engaged plug-in (top) and a disengaged plug-in (bottom) 169 Chapter 17: Plug-Ins

181 Snapshots Plug-In Presets and Snapshots Snapshots can automate plug-in settings, including routing, and ets files to impo You can save and load plug-in Pres rt, export, and in/out state. (Side-chain routing is not supported in Snapshots.) transfer plug-in settings files. Snapshots can also stor e and recall Tempo. tomate changes to plug-in rout- Snapshots can also be used to au ll Presets. Snapshots store Snapshots do not store or reca ing and settings. plug-in settings as they were when the Snapshot was created or saved. Presets can be applied to mul tiple Shows, while snapshots ap- ply only to the Show file in which they are stored. screen provides a Snapshot menu, Each rack slot in the Plug-Ins snapshot-related tasks: with shortcuts for common Presets • Create a new snapshot Presets are files that you can create to save, load, archive and • Add one or more plug-ins to the MIDI/Plug-Ins list, and auto- transfer custom plug-in settings. You can then create your own matically re-scope the snap shot to include plug-ins. Preset folders to organize Preset files. Preset folders and files can • Remove plug-ins from one or more snapshots be transferred using the Filing page. Lists all currently loaded Snapshots Containing this Plug-In To create a custom Presets folder: snapshots referencing the plug-in, in sequential order. Choose a 1 Go to the Filing page and click the Transfer tab. snapshot to load it. (This menu option is useful for targeting snap- shots while editing plug-in racks.) Preset Folders icon. 2 Click the Adds a new Create New Snapshot Containing this Plug-In Click the button at the left of the screen. 3 New snapshot to the snapshot list in which only plug-ins are scoped. Do one of the following: 4 rted immediately after the currently targeted This snapshot is inse default name, press Enter. • To leave the folder at its snapshot, which may not necessari ly be the last snapshot. The snapshot is named to reflect the plug-in rack position, for exam- – or – a Reverb One plug-in assigned to ple: “PI 1-1: Reverb One” is • Type a new name and press Enter. rack 1, slot 1. To save a Preset: Add (or Update) this Plug-In to Snapshot Adds a plug-in ref- Adjust the plug-in parameters as desired. 1 erence, with current settings, if the currently targeted snapshot ug-in. If the currently targeted does not already reference this pl 2 Presets icon in the Plug-Ins screen. Click the snapshot already references this pl ug-in, the choice is Update (see . New 3 In the Presets window, click e selected, this command changes next). If multiple snapshots ar to “Add Plug-In to Selected Sn apshots” for batch-assignment. 4 Enter a custom name for the Preset. ots with cur- Update this Plug-In in Snapshots Updates snapsh To load a Preset into a plug-in: rent settings, if the currently targeted snapshot (or currently se- 1 Make sure the presets are already transferred and available on es this plug-in. already referenc lected snapshots) s come with factory presets the current system. (Many plug-in Remove this Plug-In in Snapshot Removes reference to this that will be installed along with the plug-in.) snapshot, or from all currently plug-in from the currently targeted 2 e plug-in, and target the de- Select the channel containing th selected snapshots. de switch, or click the plug-in sired plug-in (press the Insert Mo See Snapshots. on-screen). 3 Click the Presets icon in the Plug-Ins screen. Tempo Settings in Snapshots 4 Single-click a preset name in the Presets list to preview it. Each snapshot can store a custom tempo value. You can use the With the Presets list displaye d, do any of the following: Tempo Enable icon to enable or disable tempo recall when the as- • To scroll through the list, press Up or Down arrow keys on delay times in sociated snapshot is recalled, le tting you automate your computer keyboard. plug-ins that support Tempo Sync. See Adding Tempo Data to Snapshots. • To load a preset and close the Presets list, double-click a name in the Presets list. Cancel to close the Presets list without changing set- •Click tings. 170 Chapter 17: Plug-Ins

182 Plug-Ins and VENUE Standalone Software Plug-In Levels You can use VENUE St andalone software to pre-configure Meter levels on the S3L-X system are displayed in dBVU, with plug-in routing and in/out state, with the following limitations: 0 dBVU =+4dBu analog out = –20dBFS. in the Standalone Software. • Plug-Ins cannot be installed Internally, the S3L-X system provides up to 32-bit processing for • A Show file must be tran sferred from a system on which built-in EQ, dynamics, and plug-ins , and up to 44-bit processing plug-ins were previously installed. for built-in GEQ, with level matching circuitry and logic ensuring ins has been transferred to the Once a Show file containing plug- maximum fidelity and sonic performance throughout the entire standalone software, the following rules apply: signal path. Due to variances in how plug-in metering is imple- s, performance may vary with mented by different manufacturer • Plug-Ins can be placed in racks and routed in Standalone regard to plug-in gain reduction meters and their relative levels. mode. d, loaded, and stored. • Snapshots can be create aware of potential level differ- When using side-chain routing, be ences between Input Channel pick off points. For more informa- • Plug-In settings ca nnot be adjusted. Using the Sidechain . tion, see • Plug-In Presets cannot be saved or loaded. Plug-In Latency and Processing Delay Plug-In DSP Usage delay of the plug-in itself Plug-In latency includes processing Plug-Ins utilize DSP resources when they are assigned to a rack plus routing dela y, as follows: slot, and that rack slot is powe red on. The S3L-X system provides • Instance delay: 2 samples per plug-in four DSPs for plug-ins (DSPs 9–12). • DSP routing delay: 3 samples Plug-In availability is limited to available DSP resources. Certain than others. You may not be plug-ins use more DSP resources Viewing Plug-In Latency able to instantiate a plug-in if there are not enough DSP resources Cumulative channel processi ng delay can be viewed by plug-ins to reclaim their DSP available. You can turn off unused right-clicking the Inserts area of the selected channel. The cumu- , or by removing them from the system. by making them inactive rted by all inserted plug-ins, sig- lative delay includes latency repo on the Options > Devices page. You can view plug-in DSP usage insert delay, if applicable. nal routing and the known hardware To view plug-in DSP usage: . Options > Devices Go to 1 2 In the Engine section, locate the DSP usage window. Scroll to the bottom of the window, so that DSPs 9–12 are vis- 3 ght-clicking the Inserts section Viewing cumulative delay by ri ible. The currently active plug-ins and the DSPs they are allo- cated to are shown. Individual plug-In processing delay can be seen by right-clicking the plug-in icon in the rack. Us e the number reported when cal- culating latency for ma nual delay compensation. Initializing the Plug-In Racks Examples tialized) whenever The racks are initialized (or re-ini the system is If there is only one plug-in on a channel, the total delay will be the is restarted, after installing first powered on, whenever the system amount of plug-in latency + 2 + 3. (2 samples for the one plug-in ing a plug-in. a plug-in, and after disabli ng or re-enabl instance, plus 3 samples for th e DSP routing to the racks and While the racks are initializing, they are offline and do not pro- back.) ing any Filing or Transfer functions cess audio. Avoid perform nel or bus, the delay will be If you have two plug-ins on a chan lizing. Rack status is displayed until the racks are finished initia plug-in #1 latency + 2 + plug-in #2 latency + 2 + 3. If plug-in #1 on-screen in the banner display. has 12 samples of la tency, and plug-in #2 has 15, total latency will be 34 samples (12 + 2 + 15 + 2 + 3). 171 Chapter 17: Plug-Ins

183 Chapter 18: Hardware Inserts This chapter explains how you ca n connect external analog and Assigning Hardware Inserts to digital hardware to the analog and digital I/O on the S3 control Channels surface and the E3 engine for use as hardware inserts. Hardware processing on individual Input inserts can be used for external You can assign hardware inserts directly from the Inputs or Out- Channels, FX returns, Mains, Groups, Auxes, and Matrixes. puts page, or from the Patchbay. serts, you must do the following: To use external hardware as in and from devices assigned as Input and output levels to • Connect external hardware cally set to 0 dB, and cannot hardware inserts are automati ce itself. ims on the devi be changed in VENUE. Set tr • Assign hardware in serts to channels • Activate the insert To assign a hardware insert to a channel or bus: • Set the hardware insert location Outputs Go to the Inputs or the 1 page and select the channel on which you want to insert the external device. 2 In the Inserts section, do one of the following: Connecting External Hardware Hardware Insert pop-up menu and choose an in- • Click the ble to the system by connecting External hardware is made availa m the menu. The name of the sert destination directly fro its inputs and outputs to input an d output connectors on the S3 hardware insert destination appears in the on-screen Hard- control surface or the E3 engine. Hardware inserts can then be in- ware Insert button. serted on channels simila rly to inserting plug-ins. – or – To connect outboard gear for use as a hardware insert: Hardware Insert Inserts button to “jump” to the • Click the tab of the Patchbay, and assign the insert from the Patchbay. 1 al device to an alog output con- Connect the inputs of the extern nectors 1–4 on the E3 engine or the S3 control surface, or dig- ital connectors AES Digital 1/2–3/4 on the E3 engine. 2 Connect the outputs of the external device to the correspond- ing input connectors on the E3 engine or the S3 control sur- face. For example, signal taken from E3 engine AES Digital output 1/2 must be returned to E3 engine AES Digital input 1/2. te conversion. offer sample ra Digital inputs on the E3 engine For more information, see About Digital Input and Sam- Clicking to show the Hardware Insert pop-up (left), clicking to “jump” to ple Rate Conversion . the Patchbay > Inserts page 172 Chapter 18: Hardware Inserts

184 To assign a hardware insert from the Patchbay: Activating and Bypassing Hardware 1 Engine and Inserts Go to the Patchbay page and click the tab. Inserts hardware tabs are shown. Console You can toggle hardware inserts in/out on-screen. Channels, FX Returns, Outputs tabs to show the Click the or 2 desired channel types in the grid. If you jumped to the patch- Before activating a hardware in sert, be sure that you have page, the appropriate Channel bay from the Inputs or Outputs connected the external unit to your S3L-X system. If you ac- Type tabs are automatically enabled. tivate the hardware insert and audio on that channel is not present, double-check your cabling to make sure it is con- ssign the insert input/output num- Click in the channel grid to a 3 nected correctly. ber (listed across the top) to the channel where you want to as- sign the insert (listed on the left). To activate or bypass a hardware insert on-screen. Outputs 1 page and select the channel where or Inputs Go to the you want to activate or bypass the insert. 2 Click the In/Out button for the HW insert. The button lights when the insert is activated (in circuit). Activating a hardware insert Setting the Hardware Insert Location Assigning a hardware insert on the Inserts tab of the Patchbay I You can choose the location of the hardware insert in the signal path relative to th e two plug-in inserts, for each channel. The name of the channel and its destination at the current cursor ng grid. The Insert location is location. is shown above the patchi To set the hardware insert location: also displayed in the Inserts section in the Inputs or Outputs tab. 1 Inputs or Outputs page and select the channel where Go to the ware insert location. you want to set the hard Reassigning Hardware Inserts indicator in one In the Inserts section, click the 2 hardware insert If a Console analog input 1–2 (XLR inputs) or an E3 engine ana- of the three available locations so that it lights red. log input 1–4 is currently assigned to an input channel and then located in the signal path Figure 4 shows the hardware insert reassigned as a hardware insert, the gain on that input is automat- (pre) the first plug-in (left), and before after (post) the first ically set to 0 dB. plug-in (right). When reassigning a hardware input from an insert to an input channel, the gain setting for that channel is automatically set to +10 dB. Figure 4. Hardware insert indicato r showing the hardware insert as before he first plug-in (left), a nd after the first plug-in (right) 173 Chapter 18: Hardware Inserts

185 Part VI: Shows

186 Chapter 19: Shows and File Management Creating Show Folders Data can be stored, recalled and transferred between VENUE systems. There are three types of information files that can be To create a new Show Folder: managed separately, as follows: tab. Save Go to the Filing page and click the 1 These files are used to stor e, recall and transfer sys- Show Files New button. column, click the In the Show Folders 2 ots, and events. tem settings, snapsh 3 Type a name for the Show Folder and press Enter. Preset Files These files are used to store settings for channel plug-ins, and Recall Safe Scope strips, built-in processors and Duplicating Show Folders Sets. To duplicate a Show Folders: These files are used to transfer or back up Console Setting Files the current state of the S3L-X system. 1 In the Show Folders column, click a Show Folder name to se- lect the folder. The system does not need to be in Config mode to carry out button. Duplicate Click the 2 ver, the system must be in many file management tasks. Howe Config mode to load Shows. Th is minimizes the chance of an are duplicated. The folder and all of the Show files it contains accidental interrupti on of audio throughput. You can also duplicate folders by right-clicking a Show Folder name and choosing Duplicate. Creating Shows Renaming Show Folders A Show file contains all configuration, signal routing, mixer set- tings, plug-in information, snap shots, and other operational set- To rename a Show Folder: tings. Shows are grouped together in Show Folders. Show Folder name to se- In the Show Folders column, click a 1 lect the folder. Show Folders Rename button. 2 Click the te and manage s. You can crea Show Folders contain Show file Show Folders from the Save tab of the Filing page. You can also rename Show Folders by right-clicking a Show Folder name and choosing Rename, or by double-clicking a Show Folder name. Type a new name for the Show Folder and press Enter. 3 Deleting Show Folders When you delete a Show Folder, al l Show files contained in that folder are also deleted. To delete a Show Folder: Show Folder 1 name to se- In the Show Folders column, click a lect the folder. Delete Click the 2 button. You can also right-click a Show Folder name and choose De- Show Folders and Show files in the Save tab of the Filing page lete to delete the folder. 175 Chapter 19: Shows and File Management

187 Renaming Show Files Show Files To rename a Show file: Creating and Saving Show Files ow file name to select it. 1 In the Shows column, click a Sh When you create a new Show file, it captures the current state of the system. Show files are automatically saved when they are cre- 2 In the Shows column, click the Rename button. ated or overwritten. file name and choose Re- You can also right-click a Show To create a new Show file: name, or double-click the Show file name to rename the file. 1 Go to Filing > Save . In the Show Folders column, select the Show folder where you ow file and press Enter. 2 3 Type a new name for the Sh want to save the Show. Deleting Show Files New In the Shows column, click the button. The new Show 3 file captures the current state of the system. To delete a Show file: In the Shows column, click a Sh ow file name to select it. 4 Type a name for the Show file and press Enter. 1 Notes button. Delete 2 In the Shows column, click the field for the Show and type any 5 Double-click in the comments you want to save with the Show. You can also right-click a Show file name and choose De- Information about the Show file is shown in the Info area of the lete to delete the file. Filing page. Show files are automatically sa ved when they are created; no Loading a Show further action is required to save them. You can load a Show file using the Load tab of the Filing page. To update (overwrite) an existing Show file: Show files are stored locally on your system. Show files can be rst be transferred to the system stored on USB drives, but must fi  In the Shows column, right-click the Show file name you want before loading (see Transferring Settings, Shows and Pre- to overwrite, and choose from the pop-up menu. Overwrite sets ). The system must be in Config mode to load Shows. The current state of the system is saved to the selected Show file. places the current system Loading a Show automatically re oaded Show, and may interrupt au- settings with those of the l dio throughput. Right-clicking a Show file name in the Shows column Show Folders and Show files in the Load tab of the Filing page Duplicating Show Files To load a Show file: 1 Put the system into Config mode. To duplicate a Show file: 1 In the Shows column, click a Sh ow file name to select it. Go to the page and click the tab. 2 Load Filing 2 In the Shows column, click the Duplicate button. 3 In the Show Folders column, click a Show Folder name to se- lect the folder. Any Show files in the folder are displayed in the Show file name and choose Du- You can also right-click a Shows column. plicate to duplicate the file. In the Shows column, click a Sh ow file name to select it. 4 button. The system loads Load Click the 5 the new Show file, re- placing the current system conf iguration, routing, and control settings with those contained in the new file. 176 Chapter 19: Shows and File Management

188 Preset Folders System Configurations and Loading Shows Each of the bui lt-in processors Preset Folders contain Preset files. ation settings such as the type Show files include system configur (Compressor/Limiter, Expander/Gate, 4-band EQ, 31-band Mix Engines; Number of Input of control surface; the number of Graphic EQ) and each plug-in has its own Factory Defaults Channels, FX Returns, and EQs; Aux and Group Bus configura- folder. Additional folders are provided for Scope Sets. tions). You can create additional Preset Folders for each processor or system config uration settings • If a Show file includes the same plug-in and store new Presets in them. These folders can then be as the current configuration, th e configuration information ap- transferred to a portable storage device for transfer to other pears in blue text in the Info area. VENUE systems. current configuration, but can be • If a Show file differs from the Creating Preset Folders nt configuration changes ap- loaded on the system, the releva area. When the Show file is pear in orange text in the Info To create a new Preset Folder: in the new configuration. loaded, the system restarts Go to the Filing page and click the 1 tab. Transfer • If a Show file differs from the current configuration and cannot entirety, the configuration infor- be loaded on the system in its Click the Preset Folders icon. A 2 list of Preset Folders appears mation appears in red text in the Info area. in the left column. If a Show configuration is too large for the current system, mix el- ements are dropped in following order: 1 Plug-Ins are deactivated 2 Graphics EQs are dropped 3 Input Channels are dropped Working with Presets Preset files are used to store, recall and transfer factory or user-defined presets. Preset fi les are grouped in the following types of Preset Folders: 4-band EQ, 31-band Graphic EQ, Compressor/Limiter, Built-in put Channel Presets Expander/Gate, and In Plug-ins Settings Files Plug-In Preset Folders icon in the Transfer tab of the Filing page Settings for Recall Safe configurations Scope Sets New button. 3 In the left column, click the User Layout Custom User Layouts 4 Preset Folder and press Enter. Type a name for the previewing and loading built-in For information on saving, The new Preset Folder is available in the Preset window for each presets, see dynamics and EQ Dynamics Settings and processor or plug-in. Presets and EQ Settings and Presets. For plug-in set- tings, see For Scope Plug-In Presets and Snapshots. Duplicating Preset Folders Sets, see Using Scope Sets. For Input Channel Presets, see . For User Layouts, see Saving Input Channel Presets To duplicate a Preset Folder: User Layouts . et Folder name to select it. In the left column, click a Pres 1 Duplicate Click the 2 button. are duplicated. The folder and all of the Preset files it contains You can also right-click a Preset Folder name and choose Duplicate to duplicate the folder. 177 Chapter 19: Shows and File Management

189 Renaming Preset Folders 3 Click the Preset Folder name and choose a Preset Folder from the pop-up menu. Any Presets in the folder appear in the left To rename a Preset Folder: column. 1 In the left column, click a Preset Folder name to select it. Rename 2 button. Click the Preset Folder name and choose You can also right-click a Folder name to rename the Rename, or double-click a Preset folder. 3 Type a new name for the Preset Folder and press Enter. Deleting Preset Folders When you delete a Preset Folder, all Presets contained in that Preset Folder names at the top of the Presets column folder are also deleted. 4 Click a Preset file name to select the file. To delete a Preset Folder: button. Click the Duplicate 5 1 In the left column, click a Preset Folder name to select it. et file name and choose Dupli- You can also right-click a Pres 2 Click the Delete button. cate to duplicate the Preset. You can also right-click a Preset Folder name and choose Renaming Presets Delete to delete the folder. To rename a Preset file: Preset Files file name to select the file. Preset In the left column, click a 1 You can manage Preset files from the Transfer tab of the Filing button. Rename 2 Click the e Filing page. Preset eate Preset files from th page. You cannot cr files are created from the Presets window of the channel, proces- You can also right-click a Pr eset file name and choose Re- sor, or plug-in; Scope Sets are created using the Scope Sets win- file name to rename the Pre- name, or double-click a Preset dow of the Snapshots page Recall Safe tab. User Layouts are cre- set. ated from the User tab of the or Inputs page. Outputs 3 Type a new name for the Pr eset file and press Enter. Duplicating Presets Deleting Presets To duplicate a Preset file: To delete a Preset file: Transfer tab. Go to the Filing page and click the 1 In the left column, click a Preset file name to select it. 1 Click any of the following: 2 button. 2 Click the Delete or Plug-In then choose a processor or plug-in Built-In •Click from the pop-up menu. The available Preset Folders for the You can also right-click a Preset file name and choose Delete processor or plug-in appear in a pop-up menu above the left to delete the Preset. column. Built-In EQ in the Transfer tab of the Filing page User Layout to select User Layouts to transfer. •Click 178 Chapter 19: Shows and File Management

190 • To transfer Scope Sets for Recall Safe, click the Scope Sets Transferring Settings, Shows and icon. Presets You can copy Console Settings, Shows, and Presets to and from a portable storage device (such as a USB flash drive) for backup, , and transfer between systems. transfer from standalone software to an auto-saved Show file, Console Settings are equivalent and store the current state of the system. By transferring Con- transfer the current state of the system sole Settings, you can eate and name a Show file. without having to first cr be loaded onto the destination Settings, Shows and Presets cannot system directly from the portable storage device, but must first be transferred to the system before loading. Transfer of Settings files, Show files, and Preset files is managed Preparing to transfer items to a USB storage device ng page. The left column shows from the Transfer tab of the Fili mn shows the contents of the files on the system. The right colu 4 Do one of the following to select the items to transfer: portable storage device in the right column. Items are selected for • In the left column, select the items you want to transfer to transfer in the center. the portable storage device. – or – • In the right column, select the items you want to transfer from the portable storage device to your system. To transfer Console and Console Settings from an external first enable Config mode. device to your system, 5 Click the Transfer button. Large transfers may take time. Tran sfer status is shown by a prog- nceled by clicking Cancel. ress bar. A transfer may be ca in partial folder contents, Canceled transfers may result which will have to be deleted manually. File transfer controls Synchronizing Settings, Shows and Presets To transfer Settings, Shows or Presets between your system and a portable storage device: Instead of transferring data in one direction be tween the VENUE 1 Go to the Filing page and click the Transfer tab. device, you can synchronize all system and a portable storage data in both columns of the Transfer tab in a single operation. 2 Connect a portable storage device (such as a USB flash drive) to the system. The device appears above the right column. Synchronizing data causes new files to be copied and files with the same name but a more recent modification date/time to be au- the type of data to transfer: 3 Do one of the following to select tomatically updated. Con- Config mode then click the • To transfer all data, enable sole icon. VENUE software replaces When synchronizing data, the • To transfer Console Settings, en able Config mode then click th the file that has the most data files of the same name wi icon. Settings the recent date/time. Check to be sure that the system clock ectly set on the system and times and time zones are corr Show Folders icon. • To transfer Show Folders, click the on the computer running the Standalone software when Shows icon. • To transfer individual Shows, click the r synchronization. preparing data fo icon. reset Folders • To transfer Preset Folders, click the P Built-In or • To transfer Presets for individual items, click the icon and choose a built-in processor or plug-in, or Plug-In Input Channel from the pop-up menu. 179 Chapter 19: Shows and File Management

191 To synchronize Settings, Shows, or Presets between the VENUE The Notes field for each auto-saved Show file includes a descrip- system and a portable storage device: caused the automatic save. tion of the conditions that 1 Go to Filing > Transfer . to automatically save a new Several conditions cause the system 2 Connect a portable storage device (such as a USB flash drive) Show file in the History tab, as follows: to a USB port on the E3 engine . The device a ppears above the  In the course of normal work, a new Show file is automatically right column. tely every ten minutes. Saves saved in the History tab approxima 3 the type of data to synchro- Do one of the following to select are less frequent when the system is idle. nize:  A new Show file is automatically saved just prior to a signifi- icon. Console • To synchronize all data, click the stem setup, including: cant change in the sy icon. Settings • To synchronize Console Settings, click the • Change of system channel or bus configuration Show Folders icon. • To synchronize Show Folders, click the • Recall, storage, or modification of a Snapshot Show icon. al Shows, click the • To synchronize individu • Loading of Console Settings or a Show Preset Folders • To synchronize Preset Folders, click the icon. Loading an Auto-Saved Show • To synchronize Presets for individual item s, click the To return the system to an earlier state at any time, you can load Built-In icon or the icon and choose a processor or Plug-In any of the auto-saved Show files displayed in the History tab. plug-in from the pop-up menu. 4 From the pop-up menus above each column, choose the fold- To load an auto-saved Show file: synchronize. ers containing the elements you want to 1 tab. Go to the Filing page and click the History 5 Click the Sync All button. The contents of the left and right In the Show Folders column, click the Show Folder name to 2 columns are synchronized. s contents in the Shows column. select the folder and display it Using the Standalone software on a laptop computer, you can name for the Show you want In the Shows column, click the 3 em routing, set up mixes, create Snap- configure VENUE syst load. shots, and save Shows and Presets. You can then transfer your data to a USB disk for us e on an S3L-X system or other VENUE system. See Using the Standalone Software. Undoing Changes Using the History Feature The VENUE system automatically saves the current state of the wing you to quickly return the system while you are working, allo system to a previous state. The History feature uses Show file s to capture the system state, and displays the files in the History tab. Show Folders and Show files displayed in the History tab can Loading an auto-saved Show file only be deleted. They cannot be duplicated or renamed. Click the Load button. The VENUE system loads the selected Show file, replacing the Show Folders in the History tab current system configuration, r outing, and control settings with those contained in the selected file. ers in the History tab: There are two Show Fold folder includes all auto-saved Show Most Recent Changes The  files for a ten-hour period. folder includes only the last auto-saved Previous Days The  Show file for each day since the system was last cleared. Show Files in the History tab yed in the History tab are named The auto-saved Show files displa according to the date and time of their creation, and cannot be re- named. 180 Chapter 19: Shows and File Management

192 Chapter 20: Snapshots only used to store the mixer s etup ing parameters. Snapshots are comm Snapshots let you flexibly store and recall a wide range of mix ormance. Snapshots store informat ion about channels and mix para meters, and levels for individual scenes, songs or sound cues in a perf snapshot data. You can use snap and you can use a variety of methods to edit, preview, and manage o trigger shots to trigger events, and t recording to and playback from a connected USB storage device. Snapshots are contained and stored as part of a Show file. A si ngle Show file can contain up to 999 snapshots. Once stored, sna pshots can be recalled manually or automatically (triggered by events or MTC). Snapshots are controlled from the on-screen Snapshots p age. Snapshots Page p and re- The Snapshots page provides controls for storing, recalling, an d managing snapshots, providing a central location for setting u playing automated performances. 1 10 9 5 11 2 3 4 12 6 7 8 7 – Channel Scope Action Buttons 1 – Main and Recall Safe Tabs 8 – Snapshot Status Display 2 – Snapshots List Snapshot Display 9 – Currently Targeted 3 – Snapshot Command Buttons ossfade Controls 10 –Snapshot Cr 4 – Data Type Scope Buttons 11 – MIDI/Plug-Ins/Media List 5 – Data Type Scope Action Buttons 12 – Snapshot Notes 6 – Channel Scope Controls 181 Chapter 20: Snapshots

193 Recall Buttons Main and Recall Safe Tabs The Snapshots page provides Ma in and Recall Safe tabs. The Recall Previous (–) and Recall Next (+) buttons at the top of or next snapshot in the list to the Snapshots list cause the previous Main Provides the primary snapshot controls. be targeted and reca lled in one step. Provides a matrix of channe Recall Safe l parameters that can be Chase MTC globally safed (or isolated) from Recall for all snapshots. Enables or suspends automated re call of snapshots when either the MTC Read or MTC Generate option is enabled. Snapshots List Snapshots can be targeted, rena med, recalled, pr eviewed, edited, Navigating the Snapshots List locked, reordered, duplicated, searched, and deleted from the Snapshots are highlighted in color in the Snapshots list to indicate showing the status of various Snapshots list. Icons are provided the following: snapshot attributes. recalled snapshot. Indicates the last Green Snapshot Entries Indicates the currently targeted snapshot. Red Each entry in the Snapshots list has a number (001–999) and name. Yellow both the last recalled and Indicates that the snapshot is currently targeted snapshot. Snapshot Attribute Icons rt of a multiple snapshot se- Indicates that the snapshot is pa Blue mber and name are icons indicat- To the right of each snapshot nu recalled or currently targeted snapshot. Re- lection but not the last apshot attributes. Icons can be ing the status of the available sn called and Targeted snapshots can also be part of a multiple se- shown or hidden The followi ng attributes have icons: the sequence number is blue while lection in the list. In this case, • Each snapshot provides a MIDI icon that lights if MIDI the rest of the name is red, green or yellow. messages are included in the snapshot (See Adding MIDI Data to Snapshots .) Snapshot Keyboard Shortcuts • If either the MIDI Read or Generate feature is enabled, each When the Snapshots page is displayed, you can perform the fol- snapshot shows a time code value, trigger indicator, or send lowing snapshot functions with these keyboard shortcuts: Snapshot MIDI Time Code Display .) indicator. (See Options > Misc , • If system Tempo has been enabled in Snapshot Function Keyboard Shortcut Tempo data can be shown for each snapshot instead of Target Next/Previous Snapshot Up/Down Arrow keys MIDI. Each snapshot shows the tempo value associated with each snapshot, along with a Tempo On/Off toggle icon. Target First Snapshot in List Home key (See .) Adding Tempo Data to Snapshots End key Target Last Snapshot in List lable parameters at all Both MIDI and Tempo are avai Page Up Target Snapshot at Top of Page list can only display one or times. However, the Snapshots Target Snapshot at Bottom of Page Page Down the other at a time. Shift-click snapshots Select Multiple Consecutive Snap- • On systems connected to a co mpatible Pro Tools system shots with VENUE Link enabled, a snapshot can be configured to Select Multiple Non-Consecutive Ctrl-click snapshots create a Marker in the Pro Tools recording when that snap- Snapshots/Deselect any Snapshot shot is recalled. The diamond-shaped Markers icon toggles this feature on/off for each snapshot. (See Creating a Select All Snapshots Ctrl + A Pro Tools Marker from a Snapshot. ) Create New Snapshot Ctrl + N • Each snapshot provides a Lock icon that toggles the snap- Recall Targeted Snapshot Ctrl + R shot between Locked (write-protected) and Unlocked. See . Locking Snapshots Ctrl + S Store Targeted Snapshot To show or hide snapshot attribute icons: Undo Ctrl + U Show Right-Click any snapshot in the Snapshot list and select  Add or update MIDI/Plug-in data to Right-click MIDI/Plug-ins or Hide any of available attributes. entry snapshot 182 Chapter 20: Snapshots

194 Centering the Snapshot List Selecting Snapshots apshots or multiple sn apshots in order to erence setting to page provides a pref Options > Snapshots The You can select single sn or delete them in the snapshots always center the Snapshot list on the last recalled snapshot. This target, recall, duplicate, edit, lock list. the snapshots immediately above setting lets you always view called snapshot. This following) the last re and below (prior to and To select multiple consecutive snapshots: setting only affects the scroll position of items in the Snapshot list. mes in the Snapshots list. Shift-click the snapshot na  To clear a selection of multiple consecutive snapshots: Click any snapshot name  in the Snap shots list. – or – Turn the Select knob in the Snapshots section.  To select or de-select non-consecutive snapshots: mes in the Snapshots list. Ctrl-click the snapshot na  Snapshot list with Center Last Recalled Snapshot enabled To center the Snapshot list on the last recalled snapshot: 1 Options > Snapshots page. Go to the section, click to se- Snapshots General Preferences In the 2 lect the Center Last Recalled Snapshot setting. Snapshot Command Buttons l snapshot functions. Temporarily disables al Disable Preview An “offline” mode in whic h the system continues to process audio using its settings at the time Preview is invoked, letting you recall, edit and manage snapshots without affecting the current mix. Recalls the targeted snapshot, updating the system to re- Recall Multiple items selected in the Snapshots list flect the status of all scoped data types and channels in the snap- nt Recall Safe settings). shot (subject to the curre Snapshot Type Text Search Stores the current state of the system in the targeted snap- Store Type Text search lets you use th e keyboard for fast navigation of shot for all data types and channels, overwriting any existing data the Snapshots list. in the snapshot. To search for and target a snapshot: Propagate ts you apply isolated Enables Propagate mode. Le Snapshots Go to the 1 page. changes to one or more snapshots at once (such as updating a channel EQ across all snapshots). Do one of the following: 2 • Type the number of the snapshot. just parameters Enables Edit mode. Lets you ad Edit freely and apply those changes to one or mo re snapshots. Changes can be – or – applied in Absolute or Relative fashion. • Type the first letters of the snapshot name. Undo Returns the system to its state before the last snapshot 3 Press the Tab key on your keyboard to cycle through any snap- command. shots that start with the same letter. New that captures the current state of all Creates a new snapshot data types and channels. Duplicate Creates a copy of the selected snapshots. Clear Clears the contents of the targ eted snapshot, but retains any associated MTC information. Delete Deletes the targeted snapshots. 183 Chapter 20: Snapshots

195 Snapshot Scope Controls Channel Scope Controls Channels are included or exclud ed from snapshots by clicking When you create a snapshot, it captures the current state of all system settings. However, you can select which of these settings Channel Faders display. The them on-screen in the Snapshot Snapshot faders display the scop ed when you recall a particular snapshot. you want to be recall e status of each channel on the S3 control surface, along with indication of the fader positions nels to be recalled is referred The selection of data types and chan and mute states that will result by recalling the targeted snapshot. scope to as the of a snapshot. The scope of data to be recalled is also stored within each snapshot. The Snapshot Data Type button s and on-screen Channels deter- mine (and display) which data ty pes are recalled for which chan- nels. of automation safe provides global control The Recall Safe tab status for parameters on individual channels. Scope States Scoped Red display indicates that the data type or channel is cur- shot recall. affected by snap rently scoped and will be Channels Channels not Gray display indicates that the data type or channel Not Scoped currently scoped currently scoped affected by snapshot recall. is not currently scoped and will not be (red) (gray) Snapshot channel fader display showing different scope states Data Type Scope Buttons Channel Fader Position The Snapshot Data Type Scope bu ttons display scope status for the corresponding types of controls on the S3 control surface. See When you target a snapshot with scoped channels that have dif- for a complete list. Table 5 on page 208 nt fader positions, the target ferent fader positions from the curre fader positions are shown in bright red. Snapshot channel fader display showing target fader positions Channel Mute State When you target a snapshot with scoped channels that have dif- ferent mute states from the current mute states, the target mute Data Type scope buttons showing scoped (top, in red) and unscoped (bottom, in gray) controls buttons are outlined in yellow. Data Type Scope Action Buttons Turns on the scope for all data types at once. This is equiva- All Type buttons so they are red. lent to clicking all of the Data types at once. This is equiv- Turns off the scope for all data None Type buttons so they are gray. alent to clicking all of the Data Snapshot channel fader display showing target mute states 184 Chapter 20: Snapshots

196 Channel Scope Action Buttons Selected Channel Indication Turns on the scope for all channels displayed on the current All The Snapshots page indicates the currently selected channel. tab (such as 1–48). Double-click ing the All button turns on the  oped in the currently selected If the selected channel is not sc scope for all channels on the system. snapshot, it is indicated with a blue highlight. Clicking the None button turns off the scope for all chan- None If the currently selected channel is scoped in the currently se-  nels on the current page. Double-c licking the None button turns lected snapshot, it is indicated by a blue outline around the off the scope for all channels on the system. on-screen fader strip. Snapshot Status Display The Snapshot Status display shows the currently targeted (next) snapshot in red text di rectly above the display of the last (most re- cently recalled) snapshot. Pressi ng the Snapshot Recall button immediately recalls the targeted snapshot and makes it the last re- called snapshot. Next Snapshot (top) and Last Recalled snapshot (bottom) in the Status area Selected channel, not scoped Selected channel, scoped (blue outline) Selected channel indication in the Snapshots page channel is displayed in the Though the currently selected hat you cannot target a differ- Snapshots page, keep in mind t ent channel from this page. The ed (target) currently select reference only. To select and channel is indicated for visual the channel Select switches or target a different channel, use the Channel Scroll buttons. 185 Chapter 20: Snapshots

197 Naming Snapshots Creating Snapshots numbered and appear as “” in the Snapshots list. and parameter settings. You can create new snapshots manually time. You can undo snapshot naming operations. in the Snapshots page, or by dupli cating existing snapshots to build your mix as you work. To name a snapshot: Do one of the following: 1 Use the first snapshot in a Show file to establish the basic set- tings for a performance. For subsequent snapshots, use the • Double-click the snapshot name in the Snapshots list or the scope controls and Recall Safe se ttings to selectively recall current target name display. only those controls that need to change between sections or – or – unaffected by snapshot recall. songs, leaving other controls . Rename • Right-click the snapshot name and choose 2 Type a name for the snapshot. Creating New Snapshots Press Enter on the keyboard or 3 click another snapshot name. When you create a snapshot, it captures the current state of all system settings. Adding Notes to Snapshots To create a new snapshot: You can add notes to snapshots at any time. You do not need to to store in the snapshot. Set the parameters you want 1 store the snapshot to save the notes in the snapshot. 2 . The new snapshot appear s in the Snapshots list. Click New To add or edit comments for a snapshot: You can undo the New snapshot command at any time by 1 Double-click the Notes header or click the list icon to expand pressing the Undo Snapshot Command button. the Notes field. 3 For each channel you want affected when the snapshot is later 2 Double-click in the Notes field and enter text. recalled, click the channel so that it is scoped (displayed in red). Adding MIDI, Plug-In, and Media Data to Snapshots MIDI, plug-in, or Media (USB pl ta is not cap- ayback/record) da tured when a snapshot is created. This data is added to existing MIDI/Plug-Ins/Media lists. snapshots directly from the d Media Data to Snap- See Adding MIDI, Plug-In, an shots . Click to select/de-select bank Adding channels to the scope of a snapshot To quickly select (or de-select) banks of channels, click their blue labels below the Channel Faders in the Snapshots page. 4 For each parameter of the scoped channels you want affected called, click the corresponding when the snapshot is later re button so that it is scoped (displayed in red). Data Type Plug-ins included in the scope of a snapshot When you create a new snapshot it automatically inherits the ope of the currently targeted snap- channel and data type sc shot. 186 Chapter 20: Snapshots

198 Recalling Successive Snapshots Instantly Recalling Snapshots You can instantly recall successi ve snapshots in the Snapshots list. This command references the currently recalled snapshot, not You can also target and recall snapshots using the Snap- the targeted snapshot. shots Global Contro l Encoder. See Snapshot Data Types and Parameters for more information. To instantly recall successive snapshots on-screen:  On-screen, click the Recall Previous (–) Recall Next (+) or Targeting Snapshots button at the top of the Snapshots list. eview which data types and chan- Targeting a snapshot lets you pr apshot before recalling it. When a nels will be affected by that sn combine target and recall The Snapshot Recall buttons en Data Type buttons and Chan- snapshot is targeted, the on-scre actions in one step, causing the previous or next snapshot to nel Faders update to show the da nnels enabled for ta types and cha be instantly active . These buttons cannot be used to recall by the snapshot. preview snapshots be fore recalling them. Preview mode lets you take the system controls offline to re- Targeting Before Recalling Snapshots call and edit snapshots in thei r entirety without affecting the current mix. See Preview Mode . To target and then recall a snapshot: 1 Click the snapshot name in the Snapshot list. To target a snapshot, do any of the following: 2 (Optional) Set the scope of th e snapshot by doing the follow- in the Snapshot list. Click the snapshot name  ing:  Type the number or name of the snapshot on the keyboard. • For each channel you want to r ecall in the snapshot, click the Press the Home/End, Page Up/Page Down, and Up/Down Ar-  channel so that it is scoped (displayed in red). row keys on the keyboard to navigate the Snapshot list. ed channels you want to re- • For each parameter of the scop Data Type but- call in the snapshot, click the corresponding ghlighted in red in the Snapshots The current target snapshot is hi ton so that it is scoped (displayed in red). list, and shown in red in the Status display. • Configure the Recall Safe tab to further filter snapshot data .) Recall Safe on recall. (See Recalling Snapshots 3 button on-screen. Recall Click the You can do the following when recalling snapshots: • Target and instantly recall succ essive snapshots (next or pre- ggered by a footswitch or any Snapshot Recall can also be tri vious) number of other functions usi ng events. For more informa- tion, see Events. • Target first, then recall one or more snapshots • Select multiple snapshots and recall them all sequentially • Target snapshots, change Data Type or Channel Scope set- tings, then recall. might cause audio to be Undoing snapshot recall commands caution in performance. interrupted. Use Undo with 187 Chapter 20: Snapshots

199 To target and recall using the spilled Snapshots controls: Selecting and Recalling Multiple Snapshots From the Global Control main menu, press the encoder under 1 You can select and recall multiple snapshots to load them all in the display showing to spill snapshot controls to the Snapshots sequence, and in one step. This is useful to quickly reset the sys- Global Control Encoders. tem to a sub-cue or other specific point within a longer scene or cue and “pick up from there.” 2 Rotate the leftmost (ninth) Global Control Encoder to scroll through the Snapshots list and target a different snapshot. The To recall multiple snapshots: display shows the currently reca lled snapshot above the tar- geted snapshot. 1 Select multiple snapshots in the list (Shift-click to select mul- tiple adjacent (consecutive) snapshots; Ctrl-click to select Press the 3 In switch to recall the targeted snapshot. non-consecutive items or to deselect a single item. Recall Click the 2 button on-screen. Currently recalled Next Previous 1.Intro If multiple snapshots are sele cted, toggling Data Type or snapshot 2. Song 1 2.Song 1 - snapshots. This affects all selected Channel Scope buttons moving a channel or data type provides a quick way of re Targeted l snapshots. This action can be (such as EQ) from some or al Sel Sel Sel Sel Sel Sel snapshot undone using the Undo button. In In In In In In Press to recall targeted Controlling Snapshots from Global snapshot Control Rotate to scroll through snapshots rite), and adjust the cross-fade You can target, recall, store (overw (x-fade) time of snapshots using the Global Control Encoders. To recall successive snapshots instantly: Spill Snapshot controls to 1 the Global Control Encoders. To quickly target and recall a Snapshot from the Global Control main menu: Previ- 2 Press the encoder In switch under the encoder showing From the Global Control main 1 menu, rotate the encoder under ous to instantly recall the previo us snapshot in the Snapshots the display showing to scroll through the Snapshots Snapshots list (and as indicated in the corresponding display). shot name appears in the dis- list. The currently targeted snap In Press the encoder 3 to Next switch under the encoder showing play, and is highlighted in red in the Snapshots list. s list (and as in the Snapshot instantly recall the next snapshot indicated in the co rresponding display). Snapshots Media Plug-Ins Matrixe Aux/Grp 1.Intro 00:00:00 Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel In In In In In In In In In In Rotate to Press to recall scroll through targeted snapshots snapshot The Snapshots Global Control Encoder in the Global Control Main Menu (Optional) Set the scope of the snapshot by doing the follow- 2 ing on-screen: Snapshots page. • Go to the • For each channel you want to recall in the snapshot, click the channel so that it is scoped (displayed in red). • For each parameter of the scoped channels you want to re- but- Data Type call in the snapshot, click the corresponding ton so that it is scop ed (displayed in red). • Configure the Recall Safe page to further filter snapshot data on recall. 3 Press the Global Control Encoder In switch under the Snap- shots display. 188 Chapter 20: Snapshots

200 To store a snapshot: Recall Safe Displays and Controls 1 Spill snapshot controls to the Global Control Encoders. 4 2 Rotate the encoder under the display showing Store to target 5 1 the snapshot you want to overwrite. 3 X-Fade Store 1. Intro 0.0 s Top C Back 2 3 Sel Sel Sel Sel Expnd Page In In In In Press OK 3 to overwrite the currently targeted snapshot, or press 6 . Parameters as currently Cancel to exit without overwriting Displays and controls in the Recall Safe tab set on your system are now stored in the targeted snapshot. 1 – On To adjust the cross-fade (x-fade) time for the currently recalled snapshot: feature on or tire Recall Safe The master On button toggles the en ll Safe is active. When dark, off globally. When lit (blue), Reca 1 Spill snapshot controls to the Global Control Encoders. Recall Safe is suspended. 2 Rotate the encoder under the display showing The X-Fade. cross-fade time for the currently recalled snapshot is shown in 2 – Snapshot List, Recall and Store the display in seconds. and Store functions remain visi- The Snapshot list and its Recall ble and available from the Recall Safe tab at all times. Recall Safe 3 – Channel and Channel Type Tabs h parameters on which channels Recall Safe lets you select whic e top of the parameter matrix se- The Inputs and Outputs tabs at th you want to be “safed” from snapshots. lects the channel type whose safe st atus you want to view or edit. Along the left side of the parameter matrix are the Channel Type Recall Safe is global to all snap shots, can be turned on or off whether you are viewing Input tabs, which change depending on quickly, and provides preset capabilities in the form of Scope or Output tabs. ke Presets for and saved just li Sets. Scope Sets can be loaded settings. Current Recall Safe built-in EQ, dynamics, and plug-in Shift-click Channel Type tabs to view more than one type at settings are stored with the Show file. once in the parameter matrix. Individual channels can be safed from all effects of snap- 4 – Global Safe for MIDI Output, Plug-Ins, and Media shot recall using channel Automations Safe. See Automa- tion Safe. These checkboxes let you globally suspend recall of MIDI out- dia page Transport commands. put, plug-in changes and/or Me To access Recall Safes: They are considered separate from the parameter matrix and do 1 Go to the Snapshots page and click the Recall Safe tab. The not follow the Recall Safe master On (or Off) status. Recall Safe tab is red when Recall Safe is on and in effect, and off or when nothing is safed. gray when Recall Safe is Indication of active Recall Safe from the main Snapshots page 189 Chapter 20: Snapshots

201 Parameter Matrix Grid Icons 5 – Scope Sets The display state of the Parameter and Channel grid icons indi- Scope Sets are presets for the Recall Safe tab that can be stored cate safe status for that column or row as follows: and loaded, just like plug-in, EQ and dynamics presets. Scope sets can be used as a template wh en creating new Shows, or used A dark Parameter or Channel grid icon indicates that no None ormance. Like other settings during a perf to change Recall Safe items in that column or row are safe enabled. Sets can be transferred from the presets and settings files, Scope Filing page, making it easy to maintain and transfer Recall Safe Some A dark triangle inside a lit blue circle indicates that at least configurations. For more information, see Using Scope Sets . one item in that column or row is safe enabled. A lit (white) triangle indicates that all items in that column or All 6 – Parameter Matrix row are safe enabled. le grid in which you can safe The parameter matrix is a scrollab parameters and channels. You can undo and redo parameter ma- trix operations. All None Some Grid master icon Parameters Channel Safe Channel Safe Channels Display states for grid icons in Recall Safe Channel Safe Controls channel” set- a global “all The CHANNEL SAFE column acts as ting or override, mirroring the SA FE control (when in Input Safe Switches act as Automation Safes mode). Channel grid icons Parameter grid icons e CHANNEL SAFE column ar Controls in th e not part of the pa- Parameter matrix for Recall Safe rameter matrix; they function in addition to the parameter matrix. As a result, you do not need to enable any CHANNEL SAFE set- e columns of the parameter ma- Parameters are represented in th tings to use the Recall Safe parameter matrix. ong the left side in rows. trix; channels are listed al . Automation Safe For more information, see Clicking in the grid enables safe status for that parameter on that channel. Parameter and Channel grid icons provide shortcuts to lick, and to safe entire channels. “safe all” parameters in a single-c y toggle recall safe status for Clicking these icons lets you quickl entire columns and rows. You can also use the master grid icon rner to toggle the entire grid. located in the upper left most co 190 Chapter 20: Snapshots

202 To safe all parameters across all channels and clear any current Using Recall Safe settings: To access the Recall Safe tab: ALL column. Click the triangular icon at the top of the  1 Recall Safe Go to the Snapshots page and click the tab. You can undo or redo the last action taken in the parameter display the desired channels. 2 Click a Channel Type tab to matrix. To safe individual parameters on specific channels: Channel Safe tion of the appropriate parame- Click in the grid at the intersec  To automation safe an individual channel and retain all recall safe blue dot appear s, indicating ter (column) and channel (row). A settings for that channel: a parameter is safed.  Click in the column for the desired chan- CHANNEL SAFE nels. Click A channel (row) Channel Safe button does not need to be lit in order to Recall Safe individual parameters for that channel. To automation safe all parameters across all channels and retain all current recall safe settings: Click the  CHANNEL SAFE master icon at the top of the Chan- nel Safe column. The Channel Safe column mirrors the channel automation Enabling recall safe for channel 1 fader Safe controls. For more information, see Automation Safe . To safe multiple parameters or channels at a time: MIDI oss a row, or at an angle. Click and drag in a column, acr  the MIDI data stored in the When engaged, this button prevents To safe individual parameters or channels using the computer does not affect sending of Bank snapshot from being sent. This keyboard: Select and Program Change comm ands with the Snapshots Send on Channel option ( ). Options > Snapshots > MIDI d, above a parame 1 Place the cursor above the gri ter or channel name, or above any Channel Safe button. To be sure the cursor To enable Recall Safe for MIDI Snapshot output: is above a valid area, you should be able to see at least one pa- rameter name or channel name highlight. Click the MIDI Snapshot Output Safe  button, located above the parameter matrix. 2 Use the Arrow keys of the computer keyboard to move the cur- other grid points. (You cannot sor right, left, up, or down to For more information, see Adding MIDI Data to Snap- navigate to parameter or channel grid icons, or to the Channel shots . Safe column.) 3 Press Enter to enable or disable safe status for the currently fo- cused grid point. Continue navigating to and toggling safe sta- tus of other parameters and channels. To safe a parameter across all currently displayed channel types:  Click the Parameter grid icon at the top of the appropriate col- umn until the triangle is white. To safe all parameters for a particular channel: Click the  column for that chan- ALL grid icon in the Channel nel (row). To toggle the status of a parameter column or channel row: or Channel grid icon repeat-  Click the appropriate Parameter edly until it displays the desired status. For more information, see . 6 – Parameter Matrix 191 Chapter 20: Snapshots

203 Plug-Ins Using Scope Sets rol settings, When engaged, this button preven The configuration of the Recall Sa fe tab can be stored as a Scope ts plug-in cont in-circuit state, and routing from being recalled. Sets can be previewed, recalled and trans- Set settings file. Scope and dynamics settings. ferred just like plug-in, EQ To enable Recall Safe for plug-ins: To store the current Recall Safe settings as a Scope Set: button, located above the Plug-In Snapshot Safe  Click the 1 Configure the Recall Safe tab as desired. parameter matrix. Scope Sets 2 icon (the folder icon located above and Click the For more information, see Adding Plug-In Data to Snap- to the right of the parameter matrix). shots . . 3 Click New Media To preview and recall a saved Scope Set: When engaged, this button prevents USB 2-track record and playback transport commands for from being recalled. Scope Set From the Recall Safe tab, click the 1 icon to display the Scope Set window. To enable Recall Safe for USB 2-track Transport controls: iate Scope Se If necessary, choose the appropr 2 ts folder by Media Snapshot Safe Click the  button, located above the pa- clicking and selecting it from the Folder selector. rameter matrix. 3 Do any of the following: For more information, see Adding Media Data to Snap- • To preview an existing Scope Set, click its name in the shots . Scope Sets window. • To load the currently selected Scope Set, press Enter or click the Close box (X) in the Scope Sets window title bar. Matrix Can- Recall Safe settings, click • To cancel without changing l source assignments of each ma- Snapshots can store and recall al cel . trix mixer when the Matrix data types is scoped. In addition, all are stored, letting you reconfigure Matrix User Input assignments on a per snapshot basis, if de- mixers and User Input assignments sired. Scope Sets Folder selector The Recall Safe tab pr data types that let ovides two data “Mix” or user input assignments to pre- you discretely “safe” source and/ ing changed with a snapshot recall. vent them from be The following table describes what can be stored and recalled in ix data types is scoped. each snapshot when the Matr d parameters for Matrix mixers Table 4. Snapshot data types an Snapshot Included Parameters (for Each Scoped Channel Strip) Data Type Mixer Input Sources, User Input Assignments Matrix and pickoffs; Mixer Input (global to all Matrixes), level, Mixer Input on/off and Mixer Input Link Scope Sets window See Shows and File Management for complete informa- tion on transferri ng system data. 192 Chapter 20: Snapshots

204 Managing Snapshots Automation Safe Automation Safing a channel lets you suspend the effect of snap- list by storing, locking, clear- You can manage snapshots in the , deleting, or moving them. ing, duplicating shots on all parameters of the channel. Output channel Safe switches and buttons always operate in Au- Storing Snapshots tomation Safe mode. You can modify the contents of an existing snapshot, overwriting d globally for Input Channels Automation Safe mode is enable command. It is not necessary Store it with new settings, using the Options > Interactions Input page (see and FX Returns on the to recall a snapshot to store it. You can undo Store commands. Safe Switches ).). To store the current state of the system in an existing snapshot: You can also control channel aut omation safe status in the 1 Set all parameters as you want th em to be stored in the snap- Recall Safe tab. See . Channel Safe shot. To enable Automation Safe mode: 2 Select the snapshot in the Snapshot list. Go to the Options page and click the Interaction 1 tab. 3 Click the Store button on-screen. 2 Act as Automation Safes . , select Input Safe Switches Under 4 Set the scope by doing the following: To toggle the Automation Safe status of a channel on-screen: • For each parameter you want to be affected when the snap- Data Type button shot is recalled, click the corresponding to toggle Au- Click the Safe button at the top of the fader strip  so that it is scoped (displayed in red). annel(s). The Safe tomation Safe status of the ch button lights green and displays the letter A when a channel is Automation • For each channel you want affected when the snapshot is re- Safed. called, click the channe l fader so that it is scoped (displayed in red). On-screen Safe switches 193 Chapter 20: Snapshots

205 Available Operations with Locked Snapshots Locking Snapshots locked Snapshots can be The following table details which operations can or can not be to prevent them from being accidentally performed on a locked snapshot. altered, overwritten or deleted. Locked snapshots can be selected, recalled, moved and dupli- Allowed Disallowed cated. They cannot be overwritten, renamed, rescoped or other- while Operation while locked Locked wise changed. New and duplicated snapshots default to unlocked. Lock status can be changed at any time, including while in Pre- X Select/target snapshot view mode. X Recall snapshot To lock a snapshot: X Duplicate snapshot 1 tab. Main Go to the Snapshots page and click the Re-sequence in snapshot list In the Snapshot list, click the pa 2 dlock icon at the far right of the by: row for any item. The padlock icon illuminates to indicate the X • Dragging in snapshot list snapshot is now locked. • Manually editing sequence num- X ber X • Re-sorting by time code Overwrite (Store to locked snap- X shot) X Propagate changes Snapshot lock controls X Apply Edit mode changes or the Shift key Multi-Select Select multiple snapshots using 3 to lock or unlock multiple snapshots at once. X Clear X Delete Once locked, operations that would otherwise affect the snapshot cause the Status display and chan nel LCDs and Snapshot LCD to X Modify Scope temporarily show a message re minding you that the operation X Add/Modify stored MIDI data cannot be applied while the snapshot is locked. X Add/Modify stored Plug-In data To unlock a snapshot: X Add/Modify stored Media date  Click the lit padlock icon in the row for that snapshot. X Modify Notes Undo and Locked Snapshots X Modify X-Fade time You can undo locking or unloc king a snapshot. When toggling X Modify Snapshot Name lock status for a selection of more than one snapshot, the entire int (it does not track and pro- operation creates a single undo po X Modify Time Code Location snapshot in the selection). vide undo for each individual X Toggle Time Code Enable vert snapshots to “unlocked” Keep in mind that Undo can re X Undo changes of an unlocked hange the scope status. For example, if you c snapshot, lock the snapshot and then use Undo, the snapshot Clearing Snapshots is unlocked. Pressing Undo one more time will revert the snapshot to its original scope. The contents of a snapshot can be cleared while keeping the snap- shot in the Snapshot list and retaining its MTC information. This Locking Snapshots and MIDI Record lets you maintain a placeholder that you can use later to store new When using the MIDI Record feature, all MIDI data captured up data. You can undo Clear commands. the MIDI Record is preserved. If to the point a snapshot is locked To clear the contents of a snapshot: operation is still active at the ti me the snapshot is locked, record becomes unavailable for that mode is exited, the REC button 1 Select the snapshots you want to clear. ng MIDI messages are not cap- snapshot, and subsequent incomi Click the 2 Snapshot Command button. Clear tured. Clear to confirm. Cleared snapshots 3 In the dialog box, click are renamed “.” 194 Chapter 20: Snapshots

206 Importing Snapshots Duplicating Snapshots Snapshots from other Show files can be imported into the cur- Snapshots can be duplicated fro m the Snapshots list. You can undo Duplicate commands. rently loaded Show file in the Filing > Load/Save tabs. To duplicate snapshots: To import Snapshots: or 1 Select the snapshots yo 1 Go to the tab. Save u want to duplicate. Load and click the Filing page Do one of the following: 2 2 Select the Show folder that contains the Show file from which you want to import snapshots. (Duplicate). Dup •Click In the Shows column, right-click the Show file from which 3 – or – you want to import snapshots, and choose from the Import Duplicate . • Right-click the snapshot name and choose pop-up menu. A copy of each selected snapshot is placed after the selection, window, click a Snapshot to select it Import Snapshots In the 4 with a plus sign (+) appended to the original snapshot name. ple Snapshots) and press the (or shift-click to select multi Im- port button. The selected Snapshot s are added to the Snapshots If multiple snapshots are selected in the list, the new (duplicate) list of the currently loaded show. items are added below their original source snapshots. Deleting Snapshots Snapshots can be deleted from th e Snapshots list. You can undo Delete commands. To delete snapshots: 1 Select the snapshots you want to delete. 2 Do one of the following: (Delete). Del •Click – or – . Delete • Right-click the snapshot name and choose e Snapshots list, and succeed- The snapshots are removed from th ing snapshots are renumbered. Importing Snapshots from the Import Snapshot window Moving Snapshots s can be rearranged in the Snapshots list. When Existing snapshot you move one or more snapshots, they are automatically renum- es are left unchanged. You can bered in the list, but MTC valu undo a snapshot move. To move a snapshot, do one of the following: Drag the currently selected snapshots to a new location in the  Snapshots list. – or – Double-click the snapshot number in the Snapshots list or the  banner display, type a new number, and press Enter on the key- board. 195 Chapter 20: Snapshots

207 Absolute and Relative Edits Making Changes to Snapshots more selected snapshots as ab- Changes can be applied to one or There may be situations where you need to change specific pa- or solute relative values. Any parameter can be edited in absolute ile leaving other parameters un- rameters in existing snapshots wh be edited in re fashion; all dB parameters can lative fashion. changed. Examples of Absolute and Relative Edits For example, if a guitarist change s instruments in the middle of a tour it might be necessary to change levels and EQ on the guitar Changing a fader level from Absolute 0 dB to –3 dB and apply- channel in all the snapshots in a show. Snapshots provides the fol- ing that change as Absolute results in that fader being set identi- lowing modes to accommodate these types of situations: cally to –3 dB in all selected snapshots. Lets you capture individual control changes while Edit Mode Relative Changing a fader level from 0 to –3 dB and applying you mix, and apply those changes to one or more pre-existing that change as Relative results in that fader being reduced by that snapshots as absolute or relative changes. For example, you could snapshots, or 3 dB rela amount in all selected tive to the value pre- enter Edit mode the first time a guitarist uses a new guitar in re- viously stored in the snapshot(s). For example, a channel previ- with your settings you can apply hearsal. When you are satisfied ously at –6 dB would be changed to –9 dB. them (in absolute or relative fash ion) to update other snapshots. Making Relative Changes with Mixed Data Types See Using Edit Mode . If a combination of dB and non-dB parameters (such as gain and Propagate Mode Lets you update data in pre-existing snapshots EQ frequency) are edited and appl fashion, the dB ied in relative after you've already made changes and decided you want to keep parameters are adjusted as re lative (delta) changes and the them. While Edit mode requires you to know ahead of time that non-dB are applied as absolute changes. ts you decide Propagate mode le you will be updating snapshots, to update other snapshots with cu rrent settings after making ad- To update specific parameters in existing snapshots using Edit justments to your mix. For exampl e, if its the third consecutive mode: night you’ve reached to increase gain on the DI channel for a new Main Go to the Snapshots page and click the 1 tab. guitar, you could use Propagate mode to quickly take the gain in- crease you just made and appl y it to other snapshots. See Using button to enter Edit mode. The Edit button Edit 2 Click the Propagate Mode . changes into two smaller flashing buttons: Rel Abs , and . The system begins tracking all changes while you make them. Events-driven recall of snapshots is disabled while in Propa- more information, see gate or Edit mode. For Events. Using Edit Mode Edit mode is a powerful way to update specific parameters across multiple snapshots without overwr iting any settings you want to preserve. By entering Edit mode before making adjustments, you y number of controls, and your can edit a single control or an changes are tracked from the point Edit mode was entered. The ability to edit a single contro l in Edit mode provides more Edit mode selectivity than Propagate mode. scopable parameters. Adjust any combination of 3 h you want to apply your edits. Select the snapshot(s) to whic 4 Click either of the flashing buttons 5 Rel (for Absolute) or Abs Edit mode by pressing the (for Relative). You can cancel Can- cel switch on the control surface, clicking the Cancel button on-screen, or by pressing the ESC key on your computer key- board. ted according to your changes The selected snapshots are upda and your choice of Absolute or Relative edit. 196 Chapter 20: Snapshots

208 Using Propagate Mode Preview Mode You can use the Propagate command to capture changes and ap- Preview mode lets you recall, stor e and edit snapshots without af- ply them to existing snapshots. Propagate mode is most useful fecting the current mix. of mixing that you want to when you realize during the course use in other snapshots. You can capture your current settings to When enabled, Preview mode ta kes the system offline from the undo Propagate commands. ahead” during a rehearsal, per- live audio mix so you can “work formance or event to preview upcoming snapshots and edit them To update specific parameters in existing snapshots: as needed. Any control that can be stored and recalled by snap- 1 Make sure the channel is set as needed. iew mode, and you can also mod- shots is available while in Prev ify the Snapshot list. Once you are done previewing or editing Click 2 . The current data an d channel scope is Propagate snapshots, you can store your changes to update the existing cleared. snapshots with your changes. 3 Set the scope to reflect only those parameters you want to up- date by doing the following: Using Preview Mode to update, click the corre- • For each parameter you want The basic workflow for using Preview mode is as follows: button so that it is scoped (displayed in Data Type sponding red). 1 d, and make sure the mix is set as desire Make sure your active – and – rehearsal, event or performan ce has an upcoming opportunity for you to go offline. • For each channel you want to update, select the channel so that it is scoped (displayed in red). Preview button clicking the on-screen Enter Preview mode by 2 in the main Snapshots page. The word “PREVIEW” flashes in red across the screen for confir mation, as do all input and out- put channel strip displays. Propagating an EQ change for a channel Select the snapshot or range of snapshots you want to update in 4 the Snapshots list. Preview mode 5 Propagate Click . The scoped parameters are updated in the selected snapshots. Do any of the following: 3 Reorder snapshots in the list, if de- Edit the Snapshots List sired, by clicking and dragging them. Changes to the order of items in the Snapshots list may affect the current active mix if the affected snapshots rely on MIDI or MTC triggering. (For more information, see Changing Settings in Preview Mode .) Create a New Snapshot Adjust settings as de sired and create a new snapshot by clicking New . (See Creating New Snapshots .) 197 Chapter 20: Snapshots

209 Recall a snapshot to Recall and Edit an Existing Snapshot Undo and Preview Mode preview its settings and make any adjustments necessary, being In Preview mode, you can Undo actions applied to the Snapshot iew mode. Stor- fore exiting Prev sure to re-store the snapshot be List (such as Recall, Store, New and Duplicate) without affecting ing a snapshot in Preview mode does not affect previously stored the online mix. MIDI or Plug-in data (if any). do are available. Multiple levels of Un Edit any channel settings, Edit Channel and Scope Settings associated with the snapshot being pre- parameters, or scope Changing Settings in Preview Mode page displays the cu viewed. The Snapshots rrent snapshot name in italics to indicate that at least one parameter has been changed, The system tracks any changes to se ttings or to the Snapshot list and the Channel Faders show you the previous level for each while in Preview mode, but only Sn apshot list actions create an ons and Channel channel in bright red. Scope Data Type butt Undo point. Choosing Undo will undo the last action you took Scope functionality remain live and active at all times (in other while in Preview mode, up to a maximum of 100 levels of Undo. words, changes made to these co ntrols while in Preview mode Preview action are also undone Any changes made after the last will remain once Preview mode is exited). (the Snapshot screen is returned to its exact state prior to the ac- tion that created the Undo point). To add MIDI, Add and Edit MIDI, Plug-In or Media Data plug-in, or Media data associated with the snapshot, click the Add Changing the Sn Preview Mode apshot List in button in the MIDI or Plug-Ins snapshot list, or select the options Changes made to the Snapshot list are automatically tracked and in the Media list. With plug-ins this adds the current online available for Undo, regardless of whether Preview mode is en- plug-in settings to the snapshot. If you need to update pre-existing abled or not. This includes any Recall of snapshots triggered by with a snapshot, right-click the MIDI or plug-in data associated incoming MIDI or MTC while in Preview mode. corresponding entry in the MIDI or Plug-Ins view of the Snap- option (this option will include shots page and choose the Update Snapshot Recall occurs while you are in For example, if a MIDI e name of the associated snap- the plug-in rack position, and th Preview mode, the online mix will be updated with that snapshot. shot). For more information, see Plug-Ins, MIDI and Media Data Pressing Undo immediately after that Recall will undo that Snap- in Preview Mode . shot recall and revert the online mix to its state prior to the Undo. Consider turning off the Chase MTC option while in Preview mode to disable all MIDI recall of snapshots. In addition, you can y unexpected re- recover from an always use the History feature to sults. Changing MIDI, Plug-In, and Media Data in Preview Mode and Media data cannot be un- Changes made to MIDI, Plug-In, done. For more information, see Adding MIDI, Pl ug-In, and Me- Updating snapshot plug-in data dia Data to Snapshots . 4 To undo an action made while in Preview mode, click the the banner display to confirm Take advantage of Tool Tips in button on-screen. (For more Undo information about Undo in tton will revert. See what action the Undo bu Undoing Snap- Preview mode, see .) Making Changes to Snapshots shot Commands . To update the currently previewed snapshot but remain in Pre- 5 view mode, press or click Store . ttings as needed (all snap- Continue previewing and editing se 6 ble in preview mode). shot functions are availa When you are finished and need to exit Preview mode, press 7 F1 (or click the on-screen Preview button). Exiting Preview mode will discard the without storing w mode (Preview mode is changes made while in Previe ou must explicitly store changes cleared each time you exit). Y to update the associated snapshots. 198 Chapter 20: Snapshots

210 Not Available in Preview Mode Available and Unavailable Functions in Preview Mode while in Preview mode are those The only controls not available In order to maintain essential mix indicators and controls while in stored or recalled via snapshots. controls which are not able to be Preview mode, not all func tions are taken offline. s are unavailable in Preview In addition, Config mode option mode. The following sections detail what is and what is not available during Preview mode. Unavailable functions include the following: • Make Stereo, or Split to Mono Always Active • Move channels x functions remain live a Certain essential mi nd active at all times, • Input channel Gain Guess regardless of whether Preview mode is enabled. The following turn Input Direct switch • Input channel and FX Re vital mix functions continue to affect or be affected by the adjust- • Insert mode (plug-ins cannot be edited) ments made to settings: sample rate conversion • Enabling or disabling • Metering •AFL/PFL offline access in ither available for These functions are ne • Dynamics Key Listen active (online) while in Preview mode, nor do they remain the above settings, you must Preview mode. To adjust any of • Monitoring level, Headphone level and Monitoring bus De- exit Preview mode. lay • Talkback, Osc and 2-Track Config Mode • Mute Groups (recall only) Config mode is not available while in Preview mode. Pressing the • Recall Safe Config switch (or double-clicking the Config/Show mode icon • MIDI snapshot Recall, Chase MTC and Disable (Snapshots) which you can choose to “Exit on-screen) displays a dialog box in Config mode), or “OK” (re- Preview” (return to online mix, in ll Safe (deleting, adding, or editing • Snapshot list and Reca main in Preview mode). d online and affect the mix) snapshots are/will be reflecte • History (auto-save) to Show mode if Config mode The system automatically switches is active at the time Preview mode is entered. Recall Safe in Preview Mode Plug-Ins, MIDI and Media Data in Preview Mode The Recall Safe settings are global, and are applied to filter snap- For details on nt operating mode. shot data regardless of the curre In Preview mode, plug-ins, MIDI and Media data operate in a Recall Safe and other auto mation safe features, see Recall Safe . the standalone software. similar way as when using Available and Editable in Preview Mode te plug-in, MIDI, or Media data You must explicitly add or upda not Preview mode is enabled. to update snapshots, whether or Almost all system functions, such as selecting channels and bank- You can do this from the main Snapshot page, or (for plug-ins) ing faders, are available in Preview mode. from the plug-in racks. be stored and recalled via snap- Only those controls that can e for offline previewing and editing. shots are availabl Updating plug-in data in an associated snapshot from the plug-in view 199 Chapter 20: Snapshots

211 Plug-Ins in Preview Mode Undoing Snapshot Commands Recalling a snapshot th at contains plug-in data affects the offline The Undo function returns the system to the state immediately (Preview) routing and bypass state of the plug-in only; the online before the last snapshot command. Undo is multi-level (up to plug-in parameter settings are not recalled, and the online mix is 100), is available while in Prev iew mode and after performing an not affected. Edit or Propagate mode action. The following plug-in functions are available offline in Preview Undoing snapshot recall commands may cause audio to mode: be interrupted. Use Undo with caution in performance. • Plug-in routing can be changed • Plug-in rack view can be changed If the Undo button is highlighted , you can place the cursor over  status bar describing what snap- the button to display text in the • Plug-ins can be added to a snapshot to capture its current on- shot actions will be undone. ttings and (Preview mode) routing line parameter se If the Undo button is dimmed, Undo is not available.  The following plug-in functions are not available while in Pre- view mode: • Plug-ins cannot be added to or removed from rack slots Place cursor over Undo • Plug-in presets cannot be recalled or saved • Plug-in parameters cannot be changed (you cannot open plug-in windows while in Preview mode) • Plug-ins cannot be installed Adding Plug-In Data to For more information, see Snapshots . MIDI in Preview Mode Tool Tip s to trigger snapshot recall Incoming MIDI or MTC continue Using Tool Tips to verify the effect of Undo in the Snapshots page while in Preview mode. However, MIDI messages stored to snap- shots are not sent out when a snapshot is recalled in Preview To undo a snapshot command: mode. For more information, see Adding MIDI Data to Snap- Undo Click the  button in the Snapshot commands section. shots . Media Data in Preview Mode Disabling Snapshots An in-progress USB track/playlist playback or recording is not You can temporarily disable the st orage and recall of all snap- interrupted by Preview mode. In Preview mode, you can recall a disabled, you can target snap- shots. While snapshots are globally snapshot with a different Media command (none, play track/play- shots in the Snapshot s list to preview their properties, but you and edit snapshots with different list, record, or stop), and create cannot recall them. commands without affecting current track playback or recording status. For more information, see Adding Media Data to Snap- To disable all snapshots: shots . Click the Disable button in the Snapshot commands section.  MTC and Other Online Event Triggers Suspend MTC Recall at occur in the online state of While in Preview mode, triggers th the system are executed, including MTC-driven recall of snap- To disable MTC Recall of individual snapshots in the list: shots. Triggers caused by changes to the offline (Preview) con- icon in the row for the desired snapshot Enable Click the green 1 trols are ignored and do not cause events to occur. For more in- so that it is unlit. formation, see Events. icon again to re-enable the snapshot. Disable/Enable Click the 2 200 Chapter 20: Snapshots

212 Adding MIDI Messages to Snapshots Adding MIDI, Plug-In, and Media Data to Snapshots To add a MIDI message to a snapshot: Target the snapshot you want to modify. 1 MIDI, Plug-Ins, and Media (USB 2-track transport commands) data are added to snapshots using the MIDI/Plug-In/Media list. MIDI/Plug-Ins/Media icon in the list 2 MIDI Double-click the Open the list to add and edit data. header to expand the MIDI list. and choose a message from the pop-up menu. 3 Click Add To open the MIDI/Plug-In/Media list: Click the MIDI/Plug-In/Media list icon.  Clicking the list icon Adding MIDI Data to Snapshots When the MIDI data type is scoped for a snapshot, any stored MIDI messages are sent when the snapshot is recalled. Snapshot MIDI list supported and available in the The following MIDI messages are MIDI list: Snapshots list fo The MIDI plug icon lights in the r each snapshot • Note Off that contains MIDI messages. •Note On • Poly Key Pressure • Control Change • Program Change • Channel Pressure • Pitch Bend • MIDI Machine Control Stop Snapshots list showing snapshot containing MIDI messages • MIDI Machine Control Play To record incoming MIDI data to a snapshot. • MIDI Machine Control Fast Forward Click REC . 1 • MIDI Machine Control Rewind 2 Send a supported MIDI command. • MIDI Machine Control Eject REC Click 3 again when done. • MIDI Machine Control Chase • MIDI Machine Control Pause • MIDI Machine Control Locate ed for a snapshot, its MIDI mes- When the MIDI data type is scop snapshot is recalled. sages are sent when the when a snapshot is first cre- No MIDI message data is captured existing snap shots directly ated. MIDI messages are added to to 20 MIDI messages in each from the MIDI list. You can store up snapshot. 201 Chapter 20: Snapshots

213 To edit a MIDI message in the MIDI list: Adding Plug-In Data to Snapshots 1 Double-click the message text to display the pop-up menu bar oped for a snapshot, plug-in rout- When the Plug-In data type is sc for the message. settings are recalled with the snapshot. (Add- ing, in/out state, and ing or changing plug-in side-chain routing is not supported in snapshots.) The Snapshots Plug-Ins list lets you select multiple plug-ins and add, remove and update them simultaneously across one or mul- tiple snapshots. Multiple snapsh ots can be selected, and others can be added to or removed from the selection, at any time prior Editing a MIDI message in the snapshot MIDI list to adding, removing, or upda ting plug-ins and snapshots. 2 Choose the message name and se nd channel or device ID from No Plug-In data is captured wh en a snapshot is first created. the pop-up menus. from the Plug-Ins list Plug-In data is added to existing snapshots Enter the message values in the text fields or drag up or down 3 or from the Plug-In rack. across the text field to change the values. Adding Plug-Ins to Snapshots 4 Click in the MIDI list area to dismiss the pop-up menu bar. To add a plug-in to one or more snapshots from the Snapshots To remove a MIDI message from a snapshot: page: Right-click the MIDI message in De- the MIDI list and choose  1 Target the snapshot you want to modify, or select multiple lete . snapshots in the list. MIDI/Plug-Ins/Media 2 icon in the Double-click the Plug-Ins Viewing MIDI Messages in Hexadecimal Format list header to expand the Plug-In list. You can toggle the view of MIDI messages in the MIDI list be- snapshot, or create a multi-selection of 3 Select an individual tween hexadecimal and decimal formats. snapshots in the Snapshots list. To toggle the view format of the MIDI list: 4 Display the Plug-Ins list. Click the  button in the MIDI/Plug-Ins list header. Hex button within the Snapshot Plug-Ins list and se- 5 Click the ADD lect a plug-in (or ) from the menu. All Plug-Ins Safing MIDI Message Output You can temporarily disable out put of embedded MIDI messages so that they are not sent when a snapshot is recalled, even when the MIDI data type is scoped. MIDI output is automatically suspended while in Preview mode. To safe MIDI message output on-screen: tab. Recall Safe Go to the Snapshots page and click the 1 Snapshot Plug-In list button above the parameter Safe Click the MIDI global output 2 matrix so that it is lit. 202 Chapter 20: Snapshots

214 To add a plug-in to multiple snapshots from the Plug-Ins page: Updating a Plug-In Across Multiple Snapshots 1 Create a multi-selection of snap shots in the Snapshots list. To update a plug-in across snapshots from the Snapshots page: page. Go to the 2 Plug-Ins snapshot, or create a multi-selection of Select an individual 1 snapshots in the Snapshots list. 3 Snapshots Click the menu for the plug-in to be added and choose Add This Plug-In To Selected Snapshots . The se- ft-click) within the plug-in list 2 Select one or more plug-ins (shi lected plug-in is added to the currently targeted snapshot, as of the currently targeted snapshot. well as all other snapshots within the multi-selection. Using the Snapshots pop-up menu in the plug-in rack (Plug-Ins page) y contained the ion that alread Snapshots within the multi-select e unaffected and preser plug-in being added ar ve any previously stored settings. Snapshots plug-ins pop-up menu with multiple plug-ins selected in the Snapshots Plug-Ins list Removing a Plug-In from Snapshots 3 Update Plug-In In Selected Snap- Right-click and choose To remove a plug-in from snapshots from the Snapshots page: shots. 1 Select an individual snapshot, or create a multi-selection of To update a plug-in across multiple snapshots from the Plug-Ins e Snapshots list. snapshots in th page: Click the Snapshots 2 Plug-Ins icon to show the Snapshots apshots in the Snapshots list. Create a multi-selection of sn 1 Plug-Ins list. 2 page. All plug-ins that are associated with Plug-Ins Go to the 3 Right-click a plug-in within the plug-in list of the currently tar- any of the currently selected snapshots are identifiable by their geted snapshot and choose Remove This Plug-In From Se- red Snapshot menu. lected Snapshots . Click the Snapshots menu for the plug-in to be updated and 3 To remove a plug-in from multiple snapshots from the Plug-Ins choose . Update This Plug-In In Selected Snapshots page: The selected plug-in is updated within the currently targeted shots in the Snapshots list. Create a multi-selection of snap 1 snapshot, as well as all other snap shots within the multi-selection. 2 Go to the Plug-Ins page. Snapshots within the multi-select ion that do not already contain the plug-in being added are unaffected. Click the Snapshot menu for the plug-in to be removed and 3 choose Remove This Plug-In From Selected Snapshots . Editing Plug-Ins The selected plug-in is removed from the currently targeted snap- The Snapshot page provides two ways to quickly navigate to a shots within the multi-selection. shot, as well as all other snap plug-in to edit its routing assignment or parameters. Only snapshots within the multi- selection that contain the se- lected plug-in are affected. To edit a plug-in associated with a snapshot: Double-click the item in the Sn apshot Plug-Ins list. Or, in the  Snapshots Plug-Ins list right-click a plug-in and choose Edit Plug-In . 203 Chapter 20: Snapshots

215 Adding Tempo Data to Snapshots Adding Media Data to Snapshots pe is scoped for a snapshot, one of the fol- When the Media data ty The Snapshots list can be toggled to display Tempo, along with a lowing USB 2-track Transport commands is available per snap- Tempo On/Off indicator for each snapshot entry. shot: Play This command initiates playb ack of the track (or tracks) from the Playlist on the Media > Playback page when the snap- aylist track is chosen from the shot is recalled. The desired Pl Snapshots list showing tempo track pop-up menu. Storing a tempo with snapshots lets your system tempo change per song or scene. This lets you take full advantage of Tempo The following Play options are provided: Sync (aka Tap Tempo) to synchronize delay and echo plug-ins. Play only this track is selected, only the track se- • When played back. When it is not lected from the pop-up menu is Displaying Tempo in the Snapshots List selected, play back of the Playlist commences with the track selected from the pop-up menu. To show Tempo in the Snapshots list: is selected, play back of the selected track or Repeat • When Right-click anywhere in the Snapshots list and choose Show  playlist is repeat ed until stopped. Temp o. This command initiates reco Record rding to a connected USB Tempo is displayed in BPM (beats per minute) or milliseconds, as drive when the snapshot is reca lled. The name for the recording set in the Options > Misc page. can be entered into the associated text field. To change the units for Tempo display: B 2-track transport Stop Transport This command stops US when the snapshot is recalled. Go to the Options > Misc page. 1 2 In the Tap Tempo section, click to select BPM or ms . Only one action (playback, recording, or stop) is available for each snapshot. Assigning and Enabling a Tempo For instructions on adding 2- track transport commands to Each snapshot can store a custom tempo value. You can manually snapshots, see Using Snapshots to Trigger Transport ortcut to assign the current Sys- enter a custom tempo, or use a sh Commands . tem Tempo. Displaying Media Data You can use the Tempo Enable icon to enable or disable tempo recall when the associated snapshot is recalled. To view Media data for snapshots in the MIDI/Plug-Ins/Media list: Target the snapshot you want to modify, or select multiple 1 To assign a Tempo value to a snapshot manually: snapshots in the list. 1 In the Snapshots list, double-click the Tempo value you want list header to MIDI/Plug-Ins/Media 2 Double-click Media in the to change, then do one of the following: expand the Media list. • From the keyboard, type a new tempo value. – or – ys to increase and decrease • Press the Up and Down Arrow ke the selected value. 2 Press Enter or click another sn apshot Tempo value to confirm the entry. To assign the current System Tempo to a snapshot: 1 Make sure Tempo is shown in the Snapshots list. to option, which will Set Tempo Right-click and choose the 2 display the current System Tempo. The System Tempo is set on the Options > Misc page. For details on configuring the system tempo and using it to synchronize Expanded Media list plug-ins, see . Tap Tempo for Plug-ins 204 Chapter 20: Snapshots

216 To toggle tempo on/off for each snapshot: Storing and Recalling User Layouts in Snapshots the Snapshots list (if not, 1 Make sure Tempo is shown in right-click any item in the list and choose ). Show Tempo You can store one User Layout per snapshot, providing up to 999 User Layouts per Show file. As wi th other snapshot data types, icon so that it is lit (enabled) or unlit (dis- Click the 2 Tempo associated parameters (mute, the current User Layout and the abled). solo, etc.) are stored whenever you store a snapshot. Recalling a Snapshot with the USER Data Type button scoped recalls the User Layout stored in the snapshot. To store a User Layout in a snapshot: desired parameters. and set any other Create a User Layout 1 Snapshots list showing tempo page. Go to the 2 Snapshots events for Tap Tempo, see For more information on enabling Tap Tempo for Plug-ins . Click New . The new snapshot appears in the Snapshots List. 3 4 To name the snapshot, do the following: Adding Pro Tools Markers Using • Double-click the snapshot name in the Snapshots list or the Snapshots current target name display. n set individual snapshots to With VENUE Link enabled, you ca • Type a name for the snapshot. create a new Marker in the Pro Tools Timeline. While Pro Tools • Press Enter on the keyboard or click another snapshot name. is recording, whenever that snapshot is recalled, a new Marker is according to the recalled snapshot. created and named d set any other desired param- Create a second User Layout an 5 eters. See Creating a Pro Tools Marker from a Snapshot. 6 Create and store a second new snapshot. Displaying the Marker Icon To recall a User Layout stored in a snapshot: To show Markers in the Snapshots list: Click the 1 Data Type button so it is lit. USER Snapshots list and choose Show  Right-click anywhere in the Markers . A lit Markers icon indicates that recalling that snapshot will cre- ate a new Marker in the Pro Tools timeline when Pro Tools is re- cording. Clicking the User Data Type button only recalls the User Layout The USER Data Type parameter stored in the snapshot, not the parameters of the channels in User Layout. Other parameters for channels must be scoped separately. the User Layout, make su re other Data Type but- only To recall 2 tons are unlit. ng the desired User Layout. 3 Recall the snapshot containi 205 Chapter 20: Snapshots

217 Special Cases for Crossfade Bypass Snapshot Options Incoming MIDI Commands Crossfade Time The snapshot crossfad e is not bypassed if a MIDI Program Change message recalling the same snapshot is received during You can set the X-fade (crossfade) time for the channel faders be- the crossfade. tween snapshots from 0–99.9 seconds, in 0.1 second increments. This value determines the fade time , or the time it takes for the MTC faders to move to their new positi ons when a snapshot is recalled. The snapshot crossfade is not bypassed if a MTC trigger recalling All other controls are unaffected by the crossfade time, and are the same snapshot occu rs during the crossfade. is recalled. Each snapshot may updated instantly when a snapshot In addition, crossfades will be assigned its own crossfade time. Multiple Simultaneous Crossfades continue through a subsequent snapshot recall as long as the crossfading channels are not scoped in the incoming snapshot. r the most recently recalled The crossfade can be bypassed fo snapshot only. Default Crossfade Time Preview Mode The default crossfade time assigned to new snapshots can be set If you enter Preview mode in between Recall commands, the of- with this option, with a possible range of 0–99.9 seconds. fline (Preview mode) crossfade will be bypassed; the online To set the Default Crossfade Time: crossfade will not. tab. 1 Go to the Options page and click the Snapshots Pre Settings Under 2 Snapshot General Preferences , enter a value or drag in the text box and press Enter. Snapshots can be used to recall th e preamplifier settings on inputs for all scoped Input Channels. You can set any of the following Pre parameters to be recalled by button: Gain, the Pre data type hantom Power), HPF corner fre- Pad and Phase/polarity, +48V (P quency and in/out state. To set the Pre parameters recalled by the Pre Data Type button: 1 Go to Options > Snapshots . Snapshot General Preferences Under , select the options you wa 2 nt to include. Selected Pre items will be affected when the Pre data type is included in the Crossfade Bypass scope of a snapshot. Snapshot crossfades can be up to 99.9 seconds. You can quickly bypass (cancel) a crossfade and immediately advance to the ttings in order to speed up rehearsals, or stored snapshot fader se whenever on-stage action moves faster than a programmed cross- fade. To bypass a snapshot crossfade: Recall the same snapshot at  any point during the crossfade. Setting Pre parameters ts of that snapshot, in addi- Doing so recalls the entire conten tion to bypassing the crossfade. This is equivalent to recalling the snapshot with an effective crossfade time of 0 seconds. were manually changed during Any scoped parameters which the values stored in the snap- the crossfade time will be reset to shot. 206 Chapter 20: Snapshots

218 Classifying Aux Sends monitor sends (“Mon”) or as ef- You can classify Aux Sends as fects sends (“FX”), which lets you scope each type separately from the Snapshots tab of the Options page. of organizing Aux Sends for This option is only a means snapshot control, and does not directly affect Aux bus op- eration. To classify Aux Sends for snapshot scope: 1 Go to the Options page and click the Snapshots tab. or For each Aux Send bus or bus pair, click the 2 Aux Mon Aux FX buttons to classify it as a monitor send or effects send, respectively. Classifying Aux Sends Aux Pre/Post State the pickoff point pre-fader or Select this option to include Aux Send in snapshots. post-fader state of each 207 Chapter 20: Snapshots

219 Snapshot Data Types and Parameters Table 5. Snapshot data types and parameters included in each data type Included Parameters (for Each Scoped Channel Strip) Snapshot Data Type Main volume level Fader Mute Mute state EQ EQ type selection (analog/digital); EQ in-circuit state; 4 bands (2 bands on FX Returns) of gain, freq, Q, bell/shelf selection (digital only), band on/off Compressor/Limiter in-circuit state; thres hold, ratio, attack, release, knee, makeup gain Dyn attack, release, hold time, range, side-chain input Expander/Gate in-circuit state; threshold, ratio, Channel pan or balance/width Pan Pan or balance/width for each Group bus returning back to L–R Bus state (if mono groups) or dual-mono/true stereo state (if Group bus assignments, group bus mono/stereo-linked stereo groups), L–R bus assignment and C/M bus assignments for input strips and groups In Input routing for Input Channels and FX Returns Out Main out assignments; direct out assignments, level, in-circuit state, & tap-off point (excluding VCAs) H/W Hardware Insert routing and in-circuit state (excluding VCAs) VCA VCA membership Gain, pad, phase, phantom power, HPF corner frequency & in-circuit state Pre Name Name for each strip MTX offs; Mixer Input level, Mixer Input on/off and Mixer Input Mixer Input Sources, User Input Assignments, and pick Link state USER User Layout Aux Mon On/off, pre/post selection, level, and pan/ balance for each Aux bus cla ssified as a Monitor Aux Aux FX On/off, pre/post selection, level, and p an/balance for each Aux bus classified as an FX Aux Dly Channel delay time & in-circuit MIDI All MIDI messages that were added to the associated MIDI list for that snapshot. Plug-Ins Rack slot settings, in-circuit state, and I/O routi ng for each plug-in added to plug-ins list for that snapshot Transport controls for playback and record ing to and from a connected USB flash drive Media 208 Chapter 20: Snapshots

220 Chapter 21: Events This chapter introduces the Events tab, and explains how to use Ter minology the Event list. Event A user-defined combination of one or more triggers and one or more actions. Each event serves as a type of software “macro” in which you establish a relationship cause-and-effect Introduction lts (actions). between one or more triggers and their resu An , which are configured triggers event consists of one or more A conditional check used to fi Trigger re an event, such as the to occur. to cause one or more actions press of a Function switch. Events can be very simple, such as the press of a Function switch A command, mode or other response resulting from an Action enabling a Mute Group, or the press of a connected footswitch event being triggered. . These are examples of a single triggering a Recall Next Snapshot (a press of a Function switch or the press of a footswitch) trigger GPI General Purpose Interface, also commonly known as a logic (enabling a Mute Group or Recall Next action causing a single interface. S3L-X provides 2 GP I inputs and 2 GPI outputs. Snapshot). GPI input or GPI output is floa Open ting, or at its reference volt- Events can also be quite complex and involve multiple triggers age. and actions. For example, a single event can be defined so that GPI input or GPI output is closed. Closed r above and/or below moving a specific fade a certain level sends a General Purpose output, recalls a specific snapshot and mutes Footswitch ports are functionally identical to GPI Footswitch iggers can be considered condi- one or more channels. Multiple tr inputs and share all of the same properties and behaviors. gic operators AND, OR, and XOR. ailable lo tionally using the av Each event can have between 0 an d 8 triggers, and each event can Important Information about Snapshots and Events have between 0 and 8 actions. Up to 999 events can be created. Because events can trigger snapsh ot recalls, and because snap- The Event list is easy to conf igure, and many pre-configured shot recalls can trigger other events , it is possible to create logic po, next/previous snapshot, and events are provided for Tap Tem “feedback loops.” For more information, see Avoid Feedback other functions. Loops . For more information on the de fault events and other exam- ples, see Default Settings, Templates and Examples . 209 Chapter 21: Events

221 The Events Tab ent list system. Events are defi ned and managed using the Event list, The Events tab of the Option page is the working area of the Ev along with the Triggers and Actions lists. The lists and commands available in these sections create a powerful, user-programma ble en- vironment. Footswitch and GPI status di splay are also shown on the Events tab. 3 2 1 4 6 5 Figure 5. Events window (Options > Events) 4 – Actions 1 – Event List 5 – Footswitch Status Display 2 – Event List Commands 6 – GPI Status Displays 3 – Triggers 210 Chapter 21: Events

222 Triggers Event List Each event is shown in its own row within the Event list. The list The Triggers list shows the name and properties of each trigger can be scrolled vertically when necessary. event, as well as commands to defined for the currently selected create and mana ge triggers. 2 4 3 2 1 4 3 1 5 Triggers list 1 – Triggers List Event list items, commands and displays Each event can have up to eight triggers in the list. Triggers are shown in rows in the Triggers list. Right-click commands let you the following elements: The Event list contains select, edit, duplicate and delete triggers. 1 – Event Number 2 – Add Each event has an associated th ree digit sequence number, 001 The Add pop-up menu lets you create new triggers. Triggers are cally re-numbered if items are through 999. Events are automati the type of input signal that organized in the menu according to moved, added or removed. initiates (or triggers) the event. Types of triggers include channel functions, footswitch/GPI inputs, snapshot recall, and other func- 2 – Event Name tions such as talkback. Events can be given custom names, up to a maximum length of 31 3 – Type and Properties characters. Each row in the Triggers list shows the selected trigger type. 3 – Event Enable Icon have editable properties such as a dB level Some types of triggers individually by clicking the Events can be enabled or disabled on a specific channel, or open/clo sed state of a footswitch of GPI its status. All events can be dis- green Enable indicator to toggle the trigger type, and not all trig- input. Choices vary depending on abled (suspended) and enabled us ing the global Disable button. gers have editable properties. 4 – Event Status 4 – Logical Operators tive (currently in effect), The Event Status column shows Ac Multiple triggers can be consid ered conditionall y by applying a Ready, Disabled or Test state. For more information on the Status logical operator (AND, OR, XOR) to their properties. column, see Resetting Events . e unavailable due to hardware Triggers and actions which ar e shown as italicized in the configuration or other factors ar 5 – Event List Commands Trigger (and Acti on) Add menus. You can test, reset, crea te, duplicate, clear or delete events in the list. These commands can be perfo rmed using the on-screen but- tons or by right-clicking on list item s. Multiple events can be se- lected to test, reset, te them, but only one duplicate, clear or dele new event can be created at one time. 211 Chapter 21: Events

223 GPI I/O Stats Display Actions The GPI port on the back of the E3 engine can be used to trigger The Actions list shows the actions defined in the currently se- s to create and manage actions. lected event, as well as command events in VENUE from outboard equipment (GPI input), or can be used to send messages to tr igger outboard equipment to per- form one or more actions (GPI output). 2 4 The GPI status display shows the present open or closed status of 3 put and output the two GPI inputs and two GPI outputs. Each in can be named. 1 GPI inputs can be added as a trigger for an action in GPI Inputs an event. Example uses of GPI inputs includes remote snapshot from an external control system recall and remote channel muting or custom control panel. Actions list an action triggered by GPI Outputs GPI outputs can be added as 1 – Actions List a selected trigger. Example uses of GPI output include the follow- ing: ons list. All ac- Each event can have up to eight ac tions in the Acti red. Right-click commands let you tions occur when the event is fi • Sending a pulse to trigger sa mplers and playback devices select, edit, duplicat e and delete actions. • Indicating when a microphone or channel is live by lighting an On Air or “tally” light 2 – Add • Flashing or turning on a light wh en the system is in a partic- eate new actions. Actions are The Add pop-up menu lets you cr ular mode (such as Solo In Place) organized in the menu according to the type of function they af- • Integrating with power sequen cing devices for automated fect, such as channel functions, snapshots, GPI Output and Tap system turn-on Tempo. For GPI port wiring specifications, see GPI Port Refer- 3 – Type and Properties ence. Each row in the Actions list show s the selected action type. Some actions have edit able state and behavior settings. Some actions have editable properties such as on, off or toggle state for Media transport actions, or open/closed state of a GPI output. Choices , and not all actions have edit- vary depending on the action type able properties. 4 – Wait All actions have a Wait (delay) sett ing that can be applied to the action. Footswitch Status Display ows the present open or closed The Footswitch status display sh status of a Footswitch connected to the Footswitch connector on the S3 control surface. The Footswitch can be added as a trigger for an action in an event. Example uses of a Footswitch trigger in- recall. The Footswitch can be cludes Tap Tempo and snapshot named. 212 Chapter 21: Events

224 Moving Events Creating Events and dropped to new locations in Selected events can be dragged The basic steps to create an event include the following: the list. You can also manually edit the event number to re-se- Adding an Event ). • Add a new event in the Event list (see quence items. Adding Trig- • Add and configure triggers for the event (see To move one or more events: gers to an Event ). 1 Select one or more events in the Event list. Adding Ac- • Add and configure actions for the event (see tions to an Event ). Click in the row of any selected 2 event and drag to a new loca- tion in the list. As you move events, a white line appears indi- Several pre-defined (default) events are available immedi- cating the destination. ately; others are available among the Demo Shows installed with the system software. For more information, see Default 3 Release the mouse button to drop the events at the desired lo- Events . moving multiple events, moved cation in the Event list. When ss of their original locations events will be adjacent regardle adjacent or non-adjacent). relative to each other (whether Adding an Event events will be renumbered as necessary according to the new To add a new event to the Event list: sequence of events. 1 Go to the Options page and click the Events tab. To manually edit an event number: Do any of the following: 2 Event Number and enter a new three digit  Double-click the button New • To create an empty, untitled new event, click the number to resequence the list accordingly. in the Event Commands section. – or – Managing Events in the Event List • To create a copy of a pre-existing event, select one or more Once created, events in the list can be managed using on-screen events in the Event list and click the button. Duplicate delete, , duplicate, buttons and right-click commands to rename clear, enable or disable them. Selecting Events You can also use the Test and Reset commands to manually Event list items can be selecte d, renamed, duplicated, deleted, audition events for developm ent and diagnostics. For more cleared, enabled or disabl ed, tested and reset. information, see Testing Events To select one or more events, do any of the following: Renaming an Event • To select a single event, click its row in the Event list. To rename an event: Select lick an event and choose • To select all events, right-c All. Double-click the event name in the list. Or right-click the 1 event name and choose Rename . • To select multiple consecutive events, click the first desired event and then Shift-click (or Multi-Select-click) the last de- 2 Enter a new name. in between are selected. sired event. All events 3 Enter to confirm the new name. Press • To select multiple non-consecutive events, or to de-select an individual event, Ctrl-click (or Fine-click) its row in the Duplicating an Event Event list. iguration when Duplicating an event can simplify Event list conf multiple, similar events need to be created, each with slightly dif- ferent properties. Selected events (blue) To duplicate an event: Select one or more events in the Event list. 1 Click the Duplicate button on-scr 2 een. Or, right-click a selected event and choose . Duplicate Events selected in the Event list To deselect or ore more events:  Right-click anywhere in th e Event list and choose Deselect All . 213 Chapter 21: Events

225 Toggling Enable Status for Selected Events Deleting and Clearing an Event Deleting an event removes it permanently from the Event list. To toggle the enable/disable status of an event in the list: Clearing an event leaves the named event in the Event list but Select one or more events in the Event list. 1 triggers and actions. clears all associated icon for the selected event to toggle its state. 2 Enable Click the To delete an event: Or, right-click an item and choose Enable or Disable as ap- is lit (green) the event is en- propriate. When the Enable icon 1 Select one or more events in the Event list. abled; when the icon is unlit the event is disabled. 2 Do one of the following: not automatically de-activate any Disabling an active event does Delete button on-screen. • Click the r While Active behavior. Use the associated actions configured fo . Delete • Right-click a selected event and choose Resetting Events ). Reset command instead (see Confirm Event Operation 3 in the dialog to delete Delete Click ul troubleshooting tool, such Disabling an event can be a usef the event. Or click to cancel Cancel the operation. as when an event has caused an action/trigger feedback loop and must be edited before being re-enabled. To clear an event: 1 Select one or more events in the Event list. Disable All Events 2 Do one of the following: The Disable button in the events Commands section lets you tem- • Click the Clear button on-screen. ts in the Event list. porarily disable all even Clear . • Right-click a selected event and choose To disable all events: dialog to clear Confirm Event Operation in the Clear Click 3  Disable button in the events Commands Click the on-screen the event. Or click Cancel to cancel the operation. area. The Disable button lights, an d all items in the Event list show “Disabled” in the Status column. Enabling and Disabling Events To re-enable events: Events can be disabled to susp end their operation. An event can be selected and edited while it is disabled.  Disable button again. Click the one or more events in the list You can toggle the enabled state of All events are prevented from firing when the global Disable ons in the Event list, or you by clicking the on-screen Enable ic function is in effect. However, active events are not de-activated. can disable the Event list globally by clicking the master event Resetting Events ). Use Reset or Reset All for this (see Disable button. Individual event enable/disable status is preserved (events retain the current state of their Enable icons) and can be modified when Disable (all) globally disabling and enabling ev ents using the master Disable button. Enabled events Disabled events One selected event and two disabled events operties) asso- Disabling an event stops all time rs (Wait/delay pr ciated with that event, preven ting any pending (d elayed) actions configured for While Active behavior from occurring. 214 Chapter 21: Events

226 Editing Trigger Type and Properties Creating Triggers To edit the trigger and its properties: Each Event can have up to eight triggers. You create new triggers 1 Double-click the trigger row in the list. Or right-click the ac- by selecting them from the Add pop-up menu. Once added, you tion item and choose Edit . can edit triggers and their properties to customize them. 2 Choose a new Trigger Type, or edit any of the available prop- erties in the row for that trigger. Properties vary depending on Adding Triggers to an Event all trigger types have editable the type of trigger selected (not To add a trigger: properties). 1 Select an Event in the Event list , or create a new one. (For de- Logical Operators for Triggers tails, see .) Selecting Events , and Creating Events An individual trigger is considered to be “true” when the function ADD Click the 2 pop-up menu in the Triggers list and select the es takes place, such as while a described by its type and properti r type is added to the Trigger trigger type. The selected trigge footswitch is actually pressed, or a fader is raised above its trigger list for the currently selected Event, with its default properties. threshold. A trigger is considered to be “false” (or, not occurring) whenever its function and properties are not met, such as when a footswitch is not being pressed, or while a fader remains below its assigned trigger threshold. iggers, a logical operator (OR, When an Event includes multiple tr AND, XOR) must be chosen from the Operators pop-up menu. (The default Operator is OR.) The logical operator has no effect when the Triggers list includes only one item. To choose a logical operator for the current Event: 1 Select the desired Event to di splay its assigned triggers. 2 Operators pop-up menu (by default, this pop-up Click the menu displays “OR”) and choose AND, OR, or XOR . Adding a Trigger Only one logical operator is permit ted per event, and this operator applies to all triggers within the event. It is not possible to use a mix of logical operators within an event. Trigger added to Triggers list . Trigger Types For a list of availabl e trigger types, see 215 Chapter 21: Events

227 Examples of Logical Operators Managing Triggers in the Triggers List Logical operators determine the precise state required in order for edited, duplicat ed and deleted. Triggers in the list can be an event to occur as shown in the following tables: Editing Triggers At least one of the triggers mu st be true. The following table OR shows the effect of OR on events with multiple triggers. In the ta- To edit a trigger: ble, 0 indicates a fals e condition (not occurring) and 1 indicates a Or, right-click the list Triggers Double-click the trigger in the 1 . true condition (occurring). item in the list and choose . Edit Result Trigger A Operator Trigger B 0O R00 R11 0O R01 1O 1O R11 Editing a trigger When using OR, if one or more (but not all) of the triggers go Do any of the following: 2 false, the event logic is only acte d on again when all triggers eval- uate to false (result = 0). Type pop-up menu and • To change the trigger type, click the make a new selection from the Type menu. AND All triggers must be true. The following table shows the ef- Fader Below triggers, click the cur- or Fader Above • For fect of AND on events wi In the table, 0 indi- th multiple triggers. rently displayed dB value to highlight it, then type in a new rring) and 1 indicates a true con- cates a false condition (not occu value. dition (occurring). her two-state functions, click • For switches, buttons and ot Trigger B Operator Trigger A Result State pop-up menu and make a selection. Choices for the State vary as appropriate for the trigger type, and will in- ND00 0A clude Closed or Open, On or Off, and Pressed or Released. ND10 0A 3 To confirm your changes, press En ter or click anywhere else in the Events window. ND00 1A ND11 1A Selecting Triggers XOR e same methods as used when se- Triggers can be selected using th lecting items in the Event list. For more information, see Select- At least one trigger, but not all, must be true. The following table ing Events . shows the effect of XOR on events with multiple triggers. In the r condition (not occurring) and 1 table, 0 indicates a false trigge Duplicating Triggers indicates a true co ndition (occurring). To duplicate a trigger: Trigger A Trigger B Operator Result s in the Triggers list. 1 Select one or more item 0X OR00 Duplicate ected item and choose 2 Right-click on any sel . 0X OR11 Deleting Triggers OR01 1X To delete a trigger: OR10 1X 1 s in the Triggers list. Select one or more item Right-click on any sel 2 . Delete ected item and choose 216 Chapter 21: Events

228 Editing an Action Type and Properties Creating Actions To edit an action: Each event can have up to eight actions. You create new actions Double-click the action row in the list. Or, right-click the ac- 1 by selecting them from the Add pop-up menu. Once added, you tion item and choose . Edit eir properties, as available. can customize actions by editing th and make a new selection. Type Click the displayed action 2 Adding Actions to an Event To add an action: Select an event, or create a new one. 1 ADD Click the 2 pop-up menu in the Action list and select an ac- tion type. The selected action type, with its default settings, is added to the action list area. Editing an action Action State To edit an action State for switches, buttons and other two-state functions:  Click the State pop-up menu and make a selection. Choices for State vary as appropriate for the trigger type, and will in- clude Closed or Open, On or Off, and Toggle. Action Behavior To edit action behavior: Behavior  Click the While pop-up menu and choose Latch or Active, as appropriate: Fixes the behavior in its defi Latch ned state (such as open or closed) until unlatched by another event or operation. While Active Latches the behavior in its defined state as long the associated trigger is in effect (active, or “true”), such as unmuting a channel only while a footswitch is pressed and held. Produces a single-shot Pulse and Duration (GPI Output only) pulse output. Duration range is 0.1 second (100 ms) to 1.0 second, in 0.1 second increments. The de fault duration is 0.3 seconds (300 ms). To configure GPI output pulse and duration for an action: 1 Double-click the action to edit it 2 Behavior selector and choose Pulse . Click the Action pop-up menu 3 Enter a value for Pulse Duration. To confirm you changes, press Enter or click anywhere else in 4 the Events window. Trigger added to Triggers list For a list of avai lable actions, see Action Types . 217 Chapter 21: Events

229 Action Wait Resetting Events time of up to 100 seconds for All actions let you specify a Wait You can use the Reset features to quickly reset Active or in-Test This can be useful for synchroniz- the action to wait before firing. events to “ready.” You can also use the Reset All command (in devices, or to ing the timing of multiple external build timed se- the Events Commands buttons) to immediately reset all events in quences of actions. the list. To configure action Wait (Delay): The current status of each event is shown in the Status column in Double-click the action to edit it. 1 the Event list: value box to highlight it and enter the desired Click the 2 Wait Event list Status indicators time. Status Description Event is currently true (triggered) Active Selecting Actions Event is currently false (not triggered) Ready using the same methods as used when se- Actions can be selected lecting items in the Event list. For more information, see Select- Disabled Event is disabled and can not be triggered ing Events . Test Event has been manually triggered Managing Actions in the List To reset an event: Actions can be moved, rename d, duplicated, and deleted by Selecting Select one or more events in the Event list. (See 1 the desired operation, just as right-clicking them and choosing Events .) you can with triggers. For instructions on managing items in the button. Or, right-click an event and choose Reset Click the 2 Actions list, follow the instructions for triggers in Managing Reset to reset an Active or in-Tes t event back to a Ready state. Triggers in the Triggers List . To reset all events: Click the button.  Reset All Testing Events When events are reset, the following rules are applied: An event can be manually triggered to test it, regardless of its cur- e. Use this feature to verify ac- rent status or enabled/disabled stat Latching or pulsed actions wh ich have already occurred are  tion properties and confirm proper operation of devices con- unaffected. For example, reset doesn’t unlatch a previously nected to GPI output ports. latched function. is effectively considered true When an event is in Test mode, it  All action delay timers (Wait) are immediately canceled. until the event is manually reset. An event in test can be re-tested  Actions configured for While Active behavior are immedi- at any time by again pressing the Test button. You do not have to ately canceled. reset in-test events to re-test them. igger logic again evaluates as Events will not occur until the tr  Incoming triggers are ignored when events are in Test mode. For true. is being tested and you acciden- example, if a footswitch event tally hit the footswitch at some point during the test, the event For example, let’s say you have an event configured to close a does not revert to Active th e moment Test is canceled. GPI Output whenever Channel 3 is muted (its behavior property event opens the GPI Output, even is While Active). Resetting the Events always return to their ready state following a Reset. though Channel 3 might still be muted. The event will re-trigger Events won’t re-fire until the trigge r logic re-asserts itself as true. the next time the channel goes from an unmuted state to a muted state. To test events: 1 Select one or more events in the Event list. 2 button. Or, right-click an event and choose Test Click the Test from the pop-up menu. 3 When you're satisfied the event is behaving correctly, click the . Reset button. Or, right-click an event and choose Reset 218 Chapter 21: Events

230 Avoid Feedback Loops Snapshots and Events Because events can both affect and be affected by snapshots, it is tions among their triggers and Events can include snapshot func possible for events to cause “feedback loops.” actions. Be especially careful when Recall Previous or Next snapshot trig- Snapshots as Triggers gers and actions are combined with events that recall a specific snapshot, as shown in the following diagram. Events can be triggered by the following snapshot functions: • Recall of specific snapshots Snapshot 003 is recalled (manually, MTC, other) • Enabling of Snapshot modes (Preview, Propagate and Edit) Trigger: Event 011 Snapshots as Actions Recall of Snapshot 003 Event actions can include the following snapshot functions: : Action Recall Next Snapshot • Recall of a specific snapshot or selected snapshot. • Recall the previous, next Result: Snapshot 004 is recalled • Initiate Store to Selected Sn apshot commands (overwriting and updating snapshots) Trigger: Event 414 • Enable different Snapshot mo des (Preview, Propagate and Recall of Snapshot 004 Edit) Action: Recall Previous Snapshot Snapshot Modes and Event Status Result: Snapshot 003 is recalled While in Propagate or Edit modes, events-driven snapshot recall Diagram illustrating potential logic feedback loop between events and is suspended. snapshots at occur in the online state of While in Preview mode, triggers th the system are executed, including MTC-driven recall of snap- The global event Disable and Reset All buttons can serve as shots. Triggers caused by changes to the offline (Preview) con- ily suspend and/or reset all “panic” buttons to temporar trols are ignored and do not cause events to occur. events, giving you a chance to diagnose the source of the information, see problem. For more Resetting Events . 219 Chapter 21: Events

231 Default Settings, Templates and Examples Default Events ult events that can be used as a starting point to build your own events. Some exampl Each Demo Show file contains a set of defa es of the types of default events include the following: Examples of default events Triggers Default Event Type and Name Actions undefined (choose an action) Footswitch Switch 1 (Footswitch 1) Closed Preview Mode (F1) Function Switch 1, Pressed Preview Mode, Toggle, Latch unction Switch 1, On, While Active Flash F Preview Mode, On (Flash F1) Variable Groups Mode (F2) Function Switch 2, Pressed Variable Groups Mode, Toggle, Latch (Flash F2) Flash Function Switch 2, On, While Active Variable Groups Mode, On Copy Channel (F3) Function Switch 3, Pressed Copy Selected Channel Light Function Switch 3, On, While Active Paste to Selected Channel(s) Paste to Selected Strip (F4) Function Switch 4, Pressed Light Function Switch 4, On, While Active Tap to define Tap Tempo Function Switch 8, Pressed system tempo for delay plug-ins that support Tempo Sync Mute Group 1, Toggle, Latch Function Switch 9, Pressed Mute Group 1 (F9) Flash Function Switch 9, Toggle, Latch Mute Group 2 (F10) Function Switch 10, Pres sed Toggles Mute Group 2, Toggle, Latch Flash Function Switch 9, Toggle, Latch Templates The following table provides a listing of add one ques explained throughout this chapter to suggested event definitions. Use the techni or more of the following events to establish your own set of events, triggers and actions. Suggested event definitions for common functions Trigger Action Trigger Type Action Type Behavior Event Name Properties Properties Footswitch Closed Toggle Latch Talkback (Toggle) Talkback Footswitch Talkback On While Active Talkback (Momentary) Closed Fader Start Ch 1 -60 dB GPI Output 1 Closed Pulse (0.3 s) Fader Above Fader Stop Fader Below Ch 1 -inf dB GPI Output 1 Closed Pulse (0.3 s) Fader Start/Stop Fader Above Ch 1 -60 dB GPI Output 1 Closed While Active Toggle Mute Channel (Toggle) Closed Mute Ch 1 1 Footswitch Mute Group 1 (Toggle) Function Switch 9 Pressed Mute Group Toggle Latch Toggle Input Safe Switch Pressed Input Safe Switch Mode Function Switch/ mode Function Switch Pressed Tap Tempo Tap Tempo Show Media Page Function Switch Pressed Change View Mode > Media Page USB Play Cued Track Footswitch Closed Media > Play Cued Track Pressed Pro Tools > Record Function Switch Pro Tools Start Record 220 Chapter 21: Events

232 Using the Templates 4 button, or To quickly test the switch trigger, click the Test press the Footswitch. Adjust the trigger State for your To add any of the events listed in the table, do the following (us- s open/closed or ientation. (For footswitch, as necessary, for it ing the first template, Talkback (Toggle) as an example): instructions, see .) Editing Trigger Type and Properties To use the templates: Reset to return the event to its After testing the trigger, click 5 Ready state. Create a new event. 1 Edit the event name (for example, “Talkback (Toggle)” as 2 naming instructions, see shown in the table). For re Renaming Tap Tempo for Plug-ins an Event . Tap Tempo lets you quickly establish a system tempo to use as a Footswitch Click the (Trigger) 3 pop-up menu and choose Add beat clock for delay and echo plug-ins that support Tempo Sync. > Switch 1 ( Footswitch 1). The Switch 1 trigger type is added, with a default Closed . State setting of 120 BPM (beats per minute). You The system tempo defaults to can set a custom tempo in a number of ways including by tapping . pop-up menu and choose Add Click the (Action) 4 Talkback other control as explained be- a Function switch, Footswitch or d. By default, the action The Talkback action is adde State is low. The system tempo is stored as a console setting within the (delay , and the behavior is Latched Toggle Wait . There is no store and recall tempo. Show file. Snapshots can also for this action. before firing) needed Switch 1 (Footswitch 1) is now configured to toggle Talkback On Using Tap Tempo or Off each time the footswitch is pressed. To use Tap Tempo, first enable the system tempo, create a Tap If you prefer momentary talkback, edit the event by doing the Tempo event, then enable tempo sync on the delay or echo following. plug-in. list to access 1 Double-click the Talkback action in the Actions Enable the System Tempo its editable properties. Or, righ t-click the action and choose Edit . To enable the System Tempo: Go to 1 section. Tap Tempo and locate the Misc Options > Behavior State Action Type Tap Tempo section of the Options > Misc page 2 Turn on global tempo sync fo r the system by clicking the On switch directly below the Tempo encoder so that it is lit (on). An action and its properties ready to be edited. Units If desired, click the 3 Beats Per Minute selector to choose 2 Click the action State by de- Toggle pop-up menu (it displays (BPM) Milliseconds as the units for displayed values. or fault, or the current setting) and select On . State While Ac- 3 Click the action Behavior pop-up menu and select tive. setting (On), estab- While Active State Together with the e action; in this example, lishes momentary control of th Footswitch 1 is now assigned to provide momentary Talkback control. Talkback State and Behavior after editing 221 Chapter 21: Events

233 Create a Tap Tempo Event Tips for Using Tap Tempo The plug-in Tempo Sync switch en ables/disables that individual To create a Tap Tempo event plug-in’s delay value from following the system tempo. Use the . 1 Go to Options > Events Sync switches to sync one, some or all individual plug-in Tempo delay plug-ins. 2 Tap Tempo. Create a new event and call it 3 button in the Trigger area, and select an avail- Add Click the Tempos can range from 20 BPM (3,000 ms) to 300 BPM (200 able Function switch or the Footswitch. ms). Some delay plug-ins offer di fferent time divisions (such as n select for variations based on 1/8th, 16th, or dotted) that you ca Tap button in the Action section, and choose Add Click the 4 the system tempo. Check your delay plug-ins to see if they sup- Tempo . port Tempo Sync and subdivision settings (most, but not all, do). Enable Plug-in Tempo Sync and Start Tapping Snapshots and Tempo Sync To enable tempo sync on the plug-in: If you need a specific delay time every time a certain snapshot is button. Navigate to a delay plug-in and enable its tempo sync 1 recalled, store Tempo with sn apshots. For details, see Adding delay plug-ins you want to sync. Repeat for other Tempo Data to Snapshots . Tempo Sync button in Mod Delay III How the tempo sync button is labeled differs depending on the plug-in. See the documentation for the plug-in to lo- cated the tempo sync button. trigger (Function switch or Tap Tempo Tap the assigned 2 Footswitch) in time with the music. At least two taps are needed to set the tempo; additional taps can result in a more ac- curate tempo setting. -enabled plug-ins change to The delay time of all Tempo Sync pping, the calculated tempo is match the system tempo. While ta also shown in the Status area of the screen. 222 Chapter 21: Events

234 Trigger Types The following table lists the available trigger types and properties, along with a description of each. Table 6. Trigger list, with default settings Trigger Type Property 2 Description Property 1 Channel name/number Fader level –inf to +12 dB Fader Above Fader moved above threshold level (Default: –60 dB) Fader Below Channel name/number Fader level –inf to +12 dB Fader moved below threshold level (Default: –inf) Mute Channel name/number On (default) Mute active/inactive Off Any input, output, VCA, On (default) Solo/AFL active/inactive Solo/AFL Solo In Place Off Function Switch Function Switch 1–16 Pressed (default) On button press (down) Released On button release (up) Touch Strip Zone 1–4 Pressed (default) Zone press (down) Released Zone release (up) Bank Switch Command + Bank Switch A–F Pressed (default) Enables Command + Bank Switch Released shortcut for use with User Layouts stored with Snapshots. Footswitch Open Footswitch input high Footswitch input low Closed (default) GPI input 1 Open GPI Input GPI Input high GPI Input low Closed (default) Snapshot number and name Event triggered by snapshot Recall Snapshot Preview Mode On (default) Preview Mode active/inactive Off Propagate Mode On (default) Propagate Mode active/inactive Off Edit Mode active/inactive On (default) Edit Mode Off Talkback On (default) Talkback active/inactive Off On (default) Flip to Faders Flip to Faders active/inactive Off Variable Groups Mode On (default) Variable Groups Mode active/inactive Off Show Mode Show Mode is active Config Mode Config Mode is active System Start System software initialized Plug-In Rack Ready Mirrors plug-ins rack Ready state 223 Chapter 21: Events

235 Action Types The following table lists the available Action types and properties, along with a description of each. Table 7. Action types Property State Behavior Action Type Description Target Next Channel Selected Channel advances by one Selected Channel reverses by Target Previous Channel one Copy Selected Channel Channel copy operation Paste to Selected Channel(s) Channel paste operation Channel name/number On Mute Channel Latch (default) Mute selected channel Off While Active Toggle (default) Latch (default) Toggle Mute group status Mute Group On Mute Group 1–8 While Active Off Toggle (default) Mute All Stage Outputs On Mutes all outputs of all assigned Latch (default) While Active Off Stage 16 boxes Toggle (default) Clear Solos Mirrors Solo Clear Change View Mode Software screen pages Targets selected pages on-screen Light Function Switch On Function Switch 1–16 Lights Function switch Latch While Active Off Toggle (default) (default) Function Switch 1–16 On Flash Function Switch Latch Flashes Function switch Off While Active Toggle (default) (default) Media Transport controls for Media page USB playback and record- ing functions Stop Stop current playback/recording Play Track Tracks currently in Play- Initiate playback of a track list selected from the Playlist Play Cued Track Initiate playback of the currently targeted track in the Playlist (Media > Playback) Record Initiate recording to USB Record Divide Divides an in-progress recording into a new file Pro Tools Transport controls for Pro Tools playback and recording Stop Play Record 224 Chapter 21: Events

236 Table 7. Action types Description Action Type Property State Behavior Record Enable All VENUE Tracks in Pro Tools with a Tracks VENUE I/O path are record armed (enabled). Record Disable All VENUE Tracks in Pro Tools with a Tracks VENUE I/O path are record dis- armed. Snapshot number and Recall specified snapshot Recall Snapshot name Recall Next Snapshot Mirrors Snapshot Next button Mirrors Snapshot Previous but- Recall Previous Snapshot ton Recall Selected Snapshots Mirrors Snapshot Recall button Store to Selected Snapshot Mirrors Snapshot Store button Latch On Activate/deactivate Preview Preview Mode While Active Off Mode Toggle (default) (default) Propagate Mode On Propagate mode active while trig- Off ger is true Toggle Absolute Edit Mode Enters Edit mode when trigger is On true; exits via Absolute when trig- Off Toggle (default) ger goes false On Relative Edit Mode Enters Edit mode when trigger is Off true; exits via Relative when trig- Toggle (default) ger goes false 1–2 Pulse, 0.3s Open GPI Output Pulses or latches selected GPI (default) Closed (default) Output Latch Toggle While Active Assigns Graphic EQ controls to GEQ on Faders • Toggle GEQ on Faders On, Off, Toggle the faders for the selected chan- Latch While, Active • GEQ 20–630 Hz Latch While, Active • GEQ 800–20 kHz nel On, Off, Toggle Flashes console lights Flash Console Lights Channel Flip Latch On Bottom Row Flip to Faders Mirrors the Encoder Assign switch Off While Active (default) Toggle (default) On Disable Bank Safe Disables any currently Bank Latch (default) Off While Active Safed channels Toggle (default) Latch (default) Talkback Toggles the Talkback output On on/off While Active Off Toggle (default) 225 Chapter 21: Events

237 Table 7. Action types Description Action Type Property State Behavior Variable Groups Mode On Toggles Variable Groups Mode Latch (default) While Active on/off (only if system config is Off Toggle (default) 24-bus mode) Input Safe Switch Mode Cycles through Input Safe Switch modes Sets the system tempo to syn- Tap Tempo chronize delay plug-ins that sup- port Tempo Sync Cancel Operation Mirrors Cancel switch (and Esc key on keyboard) 226 Chapter 21: Events

238 Chapter 22: Synchronization 5 Control MTC playback from the MTC generator controls by S3L-X provides a set of MIDI-b ased synchronization features control of snapshots, and trig- doing any of the following: that allow automation and remote when snapshots are recalled. gering of external devices Play button. • Start MTC playback by clicking the button. Pause • Pause MTC playback by clicking the • Stop MTC playback and reset to the Start Time by pressing Automating Recall of Snapshots with button. Stop the MIDI Time Code You can automate the recall of snapshots with MIDI Time Code trigger snapshots with inter- (MTC). The VENUE system can nally generated MIDI Time Code, or it can read MIDI Time Code from an external source. MIDI Time Code controls For instructions on MIDI and ot her connections required for Reading External MIDI Time Code synchronization, see Configuring and Connecting. The VENUE system can slave to external MTC and automate the Generating MIDI Time Code sed on the incoming MTC. recall of snapshots ba generate MIDI Time Code and You can set the VENUE system to To read external MIDI Time Code: automate the recall of snap shots based on MTC playback. 1 Go to . Options > Snapshots To generate MIDI Time Code from the VENUE system: 2 Under MTC Mode, click . A MIDI Time Code display Read Snapshots Go to the Options page and click the 1 tab. appears at the bottom of the screen. 2 Under MTC Mode , click Generate. MIDI Time Code genera- tor controls appear at the bottom of the screen. MIDI Time Code display VENUE automatically detects the frame rate of the incoming time code (24 fps, 25 fps, 30 fps drop, or 30 fps non-drop). The MIDI Time Code display indicates the following: • When MIDI Time Code is not present, the display shows a series of dashes. Setting the MIDI Time Code Mode • When MIDI Time Code is present, the current time code pop-up Frame Rate Choose the MTC Frame Rate from the 3 value is shown in green. menu (24 fps, 25 fps, 30 fps drop, or 30 fps non-drop). If you want MTC playback to start at a different time than the 4 currently displayed time, enter a start time in the Start Time field, and press Enter. 227 Chapter 22: Synchronization

239 Capturing Time Code Values in Snapshots Snapshot MIDI Time Code Display When the system is set to genera te or read MIDI Time Code, the To capture the current MTC value in a new snapshot: Snapshots list shows time code values and a green Recall Enable With the system in MTC Read or Generate mode, start time 1 indicator for each snapshot entry. code playback. 2 Do one of the following: New button. • During playback, click the – or – • Pause playback at the time code value you want to capture, and click the New button. Snapshots list showing time code values and indicators A new snapshot appears with the time code value at the time of creation. Assigning Time Code Values to Snapshots To capture the current MTC value in an existing snapshot: With the VENUE system set to generate or read MIDI Time Set Right-click the snapshot in the Snapshots list and choose  lues to snapshots by entering Code, you can assign time code va Time Code To . values manually, or by capt uring MTC playback values. The time code value is updated to the currently displayed value. Manually Assigning Time Code Values to Snapshots Sorting Snapshots by Time Code Value To manually assign an MTC value to a snapshot: shots list by Time Code value, You can sort snapshots in the Snap MTC In the Snapshots list, double-click the 1 value you want to so that they appear in chronological order. change. hots will always recall in When chasing to MTC, snaps of their order in the Snap- chronological order, regardless shots list. To sort snapshots by their assigned MIDI Time Code value:  e Snapshots list and choose Right-click any snapshot in th Snapshot showing selected MTC value Re-Sort All By Time Code . Do one of the following: 2 • From the keyboard, type a new MTC value. – or – • Press the Left and Right Arrow keys to move the cursor be- tween number fields, and the Up and Down Arrow keys to increase and decrease the selected value. shot MTC value to accept the 3 Press Enter or click another snap entry. Right-click menu for items in the Snapshots list 228 Chapter 22: Synchronization

240 Enabling Snapshots for Automated Recall Remote Control of Snapshot Recall snapshots, you can then enable With time code values assigned to recall snapshots in response to The VENUE system can be set to snapshots for recall with time code playback. MIDI control messages sent from an external device such as an AV controller system. You can set the system to respond to con- To enable snapshots for automated recall with MTC: 16 available MIDI channels. trol messages sent on any one of indicator on the right side Time Code Recall Enable  Click the of the Snapshots list. The indicator turns bright green to indi- snapshot number (1–999) is re- Snapshots are recalled when their is enabled for recall. cate that the snapshot nk Select and Program Change ceived in the form of MIDI Ba messages. (See Table 8 on page 229.) To enable recall of snapshots from an external device: Options > Snapshots . Go to 1 2 op- napshots Respond to Channel Under MIDI, select the S Snapshot enabled for automated recall with MTC tion, and choose the MIDI channel from the corresponding pop-up menu. Chasing MIDI Time Code With snapshots enabled for automated recall, the Chase MTC allow automated recall to occur. function needs to be engaged to To initiate automated recall of snapshots: 1 button so that it is highlighted. Chase MTC Click the Begin MTC playback by starting the internal generator (if set 2 to MTC Generate) or the external device (if set to MTC Read). Snapshot MIDI respond option time code value is reached, the When a recall-enabled snapshot’s The system listens on the specified channel for Ba nk Select and snapshot is recalled. Program Change messages. C recall. For more informa- Snapshot modes can affect MT The MIDI Snapshot Output Safe option (Options > Snapshots tion, see MTC and Other Online Event Triggers . page) does not affect this option. You can only turn off this feature by de-selec ting the “Snapshots Respond to Channel” The Chase MTC button can be used to quickly take VENUE sys- option. tem offline from MTC-triggered re call in performance in the Event of a change in timing, such as a missed cue or dropped to an appropriate snap- advance manually verse. You can then Table 8. MIDI Bank and Program Numbers for Snapshots shot, and re-enable Chase MTC. Bank Program Snapshot Number VENUE systems do not chase up to the current time code 001–128 0–127 0 the middle of a snapshot se- value. If you start playback in 0–127 1 129–256 quence, any prior snapshots will need to be recalled manu- ally to update the system befo re beginning time code play- 2 0–127 257–384 back. For more information, see Selecting and Recalling 3 0–127 385–512 Multiple Snapshots . 0–127 513–640 4 5 0–127 641–768 6 0–127 769–896 7 0–103 897–999 VENUE software stores Bank Select messages, so it is not necessary to send a Bank Sele ct message prior to every Pro- gram Change message. You only ne ed to send a Bank Select message when you want to reca ll a snapshot in a different bank from the pr evious snapshot. 229 Chapter 22: Synchronization

241 Triggering of External Devices on Sending MIDI Messages on Snapshot Snapshot Recall Recall You can add up to 20 specific MIDI messages to each snapshot. send MIDI Bank and Program The VENUE system can be set to These messages are sent whenever the snapshot is recalled. Send- Change messages whenever a snapshot is recalled, to trigger ex- lated to snapshots. You can set ternal devices whose cues are re ing of the messages is enabled with the MIDI scope control in the Snapshots window. For more information, see the system to send on any one of 16 available MIDI channels. Snapshots. MIDI output is automatically suspended while in Preview mode. For more information, see . Preview Mode Synchronizing with Word Clock and Digital Audio Input While it is possible to add Bank Select and Program Change mes- sages to individual snapshots, this option lets you toggle mes- tive sample rate of 48 kHz. The S3L-X system operates at a na sages on and off for all snapshots in one step. Using this option You can sync an extern al digital device to your system, or you ct and Program Change messages also ensures that the Bank Sele can sync your VENUE system to ex ternal digital devices such as , even after snapshots are rear- correspond to the snapshot number a Master (or “house”) clock, or to another digita l console. The ranged in the Snapshots list. Word Clock In and Word Clock Out ports are located on the back panel of the E3 engine. Program Changes messages reflect the num- The Bank Select and ber (1–999) of the recalled snapshot. (See Table 8 on page 229.) This section describes how to sync external devices to S3L-X, devices, how to manage synchro- how to sync S3L-X to external VENUE systems always send a B ssage before ank Select me nization in shared input config urations, and Sample Rate Conver- every Program Change message, ev en if the bank number has sion. not changed from the previous snapshot. To enable triggering of external devices when snapshots are Syncing External Devices to S3L-X recalled: To sync an external digital device to your VENUE system: Go to the Options page and click the Snapshots 1 tab.  Connect a coaxial cable from the Word Clock Out on the E3 Snapshots Send on Channel 2 Under MIDI, select the option, clock input on the external de- engine back panel to the word and choose the MIDI channel from the corresponding pop-up vice. Set the external device to sync to the word clock signal menu. coming from the VENUE system. The Word Clock graphic in the Ex ternal Devices section of the page is lit when a valid word clock connec- Options > Devices tion is detected by the system. Syncing S3L-X to External Devices syncs to external word clock Your VENUE system automatically vice sending a va when connected to an external de lid word clock Snapshot MIDI send option signal. The VENUE system sends a Bank Select and Program Change To sync your VENUE system to an external device: message on the specified channel whenever a snapshot is re- called. 1 Make sure the outgoing word clock rate of the external device em word clock rate (48 kHz). is set to match your VENUE syst The MIDI Snapshot Output Safe option (Options > Snapshots on. You can only turn off this page) does not affect this opti 2 Connect a coaxial cable from th e word clock out port on the “Snapshots Respond to Channel” feature by de-selecting the external device to the Word Clock In port on the E3 engine. option. is indicated in the on-screen Status box when your EXT VENUE system is synced to the external device. 230 Chapter 22: Synchronization

242 Synchronization in Shared Input About Digital Input and Sample Rate Configurations Conversion The AES digital inputs on the E3 engine provide sa mple rate con- When you connect two E3 engines together in a shared input con- figuration, the system automaticall y designates one of the E3 en- version on input, letting you co nnect a wide variety of digital sources without having to be c Media Clock Master, oncerned with synchronization and gines as the providing the master clock for the entire system. E3s in shared input configurations can send and clock connections. receive Word Clock. Sample rate conversi on does, however, i nduce processing delay to the incoming digital signal. Changing the Media Clock Master Options > Devices Media Clock Master page for the appears in the Sample Rate Conversion Latency E3 designated as the master. You can designate a different E3 on The following table illustrates the sample rate conversion pro- the network to be the Media Clock Master. cessing delay at various sample rates. To designate a different E3 as the Media Clock Master: External Sample Rate SRC Process Delay as Media Clock ently designated From the E3 that is not curr 1 32 kHz 1.50 ms Master, enable Config mode. 44.1 kHz 1.09 ms 2 page. Go to the Options > Devices 1.00 ms 48 kHz Set as Media Right-click on the Engine graphic and choose 3 Clock Master from pop-up menu. 0.848 ms 88.2 kHz Syncing External Devices to the S3L System 96 kHz 0.833 ms to your networked S3L system. You can sync external devices For more examples and advanced configuration suggestions, To sync an external device to your S3L system: see the Live Recording Guide . port on any E3 Word Clock Out  Connect a BNC cable from a the external device(s). engine on the network to Syncing S3L to External Word Clock d S3L system to an external You can sync your entire networke cognize one ex- word clock. A networked S3L syst em will only re ternal word clock. To sync an external device to your S3L system:  Connect a BNC cable from the external device to a Word Clock In port on any E3 engine on the network. When the E3 to which the external device is connected detects a valid word clock signal, EXT is indicated in its Status box and is automat- ically designated as the Medi a Clock Master. When your S3L system is synced to an external device, the E3 designated as the Media Clock Master cannot be changed. 231 Chapter 22: Synchronization

243 Chapter 23: Using the Standalone Software ware lets you do all of the following to VENUE Standalone soft System Requirements ever you can use your laptop: pre-configure performances, wher • Learn the basics of the VENUE software interface in prepa- The following are the minimum system requirements for using a full VENUE system. ration for working at the VENUE Standa lone software: • Assign hardware I/O and r outing, and name channels. • Computer running Windows 8, 7 or Windows XP SP3 oper- ating system mics, pan, and other settings. • Set channel input, EQ, dyna • Minimum 1024 x 768 screen resolution setups, with access to nearly • Create and maintain a library of all parameters available on the control surface. • Minimum 16-bit color graphics, 32-bit recommended • Store and recall Snapshots, and configure Events. • Minimum 256 MB RAM, 512 MB recommended • Add tracks to the Media Playlist. • Minimum 200 MB of available hard disk space, 512 MB recommended • Use the Filing features to transfer Shows and Shows Fold- ocessing and plug-in presets ers, as well as channel, pr • Available USB port and compatible USB storage device to/from a compatible USB storage device to transfer data (such as a flash disk, flash drive or other external hard drive) between the standalone software and VENUE. for installation and file transfer Installation requires Windows Administrator permissions. Once to/from a compatible USB Transferring data must be done installed, the software can be ru n under Admin or User accounts. other external flash drive or storage device such as a USB USB hard drive. Installing the Standalone Software Differences Between Standalone The VENUE Standalone Software installer is located in your Software and a VENUE System Avid account after activating y our S3L-X software and plug-ins. The Standalone software is near ly identical to the VENUE soft- ed from the Avid website It can also be download ware on your Avid live system, with the following differences: (www.avid.com). Audio Throughput You cannot play audio through the Stand- To install the VENUE Standalone software: alone software. Real-t ime audio requires the system hardware. If you have not done so already, download the VENUE Stand- 1 Plug-In Editing When a Show is transferred from a complete aller (.zip file). alone Software Inst alled on your system are visible Avid live system, all plug-ins inst Unzip the file by doing the following, depending on your com- 2 (unavailable) plug-ins. You offline in the Standalone software as puter platform: and assign plug-in rack rout- can assign offline plug-ins to racks, ing in the Standalone software, an d save the routing in snapshots. Mac Double-click the ZIP file contai ning the software to unzip it. adjust plug-in parameters un- You cannot install plug-ins or Windows Right-click the ZIP file cont aining the software, select complete VENUE system. less you are working on the Extract All... from the pop-up menu, and in the ensuing dialog click Extract . In the Standalone software, you can Hardware Configuration 3 Launch the installer and follow the instructions on-screen. The simulate the hardware configura tion of a destination system from requires no authorization. VENUE Standalone software the Devices tab of the Options page. Removing the Standalone Software To remove the VENUE Standalone software: Control Panel. Launch the 1 Programs and Features 2 Select Avid VENUE from the list. and follow the on-screen instructions. Uninstall Click 3 232 Chapter 23: Using the Standalone Software

244 Save and Transfer Data from a Simulating a VENUE Configuration VENUE System You can use the Standalone soft ware to simula te a VENUE sys- To save and transfer data from the complete system: tem with any number of input and outputs. The corresponding in- Connect a USB storage device to a VENUE USB port. 1 puts and outputs become availabl e in the Patchbay, allowing you to prepare a show that can transfer directly to the destination sys- Use the 2 tab of the Filing page Save to save VENUE data to tem. disk. 3 Transfer tab. Go to the Filing page and click the To simulate a VENUE system: 1 Launch the Standa lone software. Do one of the following to select the type of data to transfer: 4 Console icon. • To transfer all data, click the Devices Go to the Options page and click the 2 tab. • To transfer Console Settings (the current state of the con- 3 Right-click the device graphics to choose the surfaces and/or Set- sole, equivalent to an auto-saved Show file), click the I/O you will be working with. tings icon. Show Folders icon. • To transfer Show Folders, click the Shows icon. • To transfer individual Shows, click the Transfer and Filing Quick Start Preset Folders i con. • To transfer Preset Folders, click the dalone software and data trans- The basic steps for using the Stan Built-In or the • To transfer Presets for individual items, click fer are as follows: to trans- Plug-In then choose a processor, click User Layout • Save data to disk, then transfer it to an external USB storage fer User Layouts, or click the Scope Sets icon for Scope device. Sets. • Transfer data from the USB device, then load the data. 5 In the left column, select the it ems you want to transfer from VENUE to the portable storage device. Shows For complete instructions on transferring data, see and File Management. Transferring Show files from VENUE Transfer button. Click the 6 233 Chapter 23: Using the Standalone Software

245 Transfer and Load Data to the Creating and Editing Shows and Presets Standalone Software Use the techniques explained throughout this guide to assign To transfer and load VENUE data from your system to the stand- routing, rename channels, and to configure other parameters. alone software: Then do the following to save and transfer your work to a com- Connect the USB storage device to your laptop. Make sure the 1 plete system. drive is mounted before proceeding. To save and transfer VENUE data from the standalone software to andalone software. Launch the VENUE st 2 the complete system: Go to 3 . Filing > Transfer 1 Connect a USB storage device to an available USB port on your laptop. Make sure your USB disk is available in the list at right. 4 Using the 2 , save data to disk. tab of the Filing page Save Console, Settings, Show Folders, Shows, Preset Click the 5 Folders, Built-In, Plug-In selectors to select the Scope Set or 3 tab, and transfer Transfer Go to the Filing page and click the type of data you want to transfer. le USB storage device. saved data to a compatib Connect the USB storage device to an available USB port on 4 the complete system. ng page to transfer the VENUE Use the Transfer tab of the Fili 5 storage device. data from the USB Use the Load tab of the Filing pa 6 ge to load the transferred data. Exporting System Information and Patchbay Information With Standalone software, a complete system description and/or tchbay page can be exported to a text file. the contents of each Pa These can be useful for generating an input list (line list) directly from the system. For example, build and customize the Patchbay Click for an upcoming show, then export and print the channel names Transferring a Scope Set for the standalone software list for use during sound check. 6 Click the Transfer button. The data is transferred from the To print a system description: USB device to the appropriate VENUE data folders on the lap- top. Go to Options > System . 1 7 If you chose Console, data is automatically loaded and ap- the on-screen instructions to Click the Info button and follow 2 type, go to the Filing page plied. If you chose any other data print a complete system description. and click the Load tab, and load the newly transferred data into System Information Export . For more information, see the Standalone software. To export Patchbay names: 1 Patchbay page you want to export. Go to the Click the Export Patch List icon in the upper right corner of 2 the screen. Click to export as HTML Export Patch List button The Patchbay names appear in an open HTML file that you can save and print, or open in an HTML-compatible application for formatting or other modificati on. For more information, see Patch List Export . 234 Chapter 23: Using the Standalone Software

246 Part VII: Recording and Playback

247 Chapter 24: 2-Track USB Recording and Playback The S3L-X system provides built-in USB 2-track recording and Media Page playback, allowing you to record live performances to and play back pre-recorded tracks from US B flash drives connected to the Record and Playback The Media page contains two tabs, the E3 engine. Use these features to do basic stereo live recordings, tabs. Record parameters are controlled on the Record tab, and and to play back stereo music tr effects during acks and/or sound are controlled on the Playback tab. The playback parameters a performance or event. Transport is shared between the two tabs. controls for USB 2-track re- The Media page provides on-screen Record cording and playback. Additiona lly, snapshots, the Function switches, the Touch Strip, and a footswitch can be programmed to control recording and playback functions. 1 back is different from the USB 2-track recording and play 3 S3L-X system’s integrated mu lti-track Pro Tools recording 2 and playback capabi lities. For more information on Pro Tools capabilities, see Pro Tools Recording and Playback. 4 5 USB Flash Drive Requirements USB 2.0 and higher flash drives are required for USB 2-track re- always be connected to the cording and playback, and must E3 engine. Drives must be formatted to FAT, exFAT, or NTFS 6 file systems. Media page Record tab with the Disk Utility applica- Format your USB flash drive 1 – Record and Playback Tabs tion included with Apple Syst em software (Mac) or Win- These tabs let you select the Record and Playback screens. dows Disk Management (Windows). ted to the E3 engine, up to the Multiple flash drives can be connec 2 – Record Input Section maximum number of available USB ports on the E3 engine. The Record Input section provides Record Input selectors (record USB drives can be added to a Tracks from multiple connected input signal routing controls and indicators), stereo Record Input Playlist for playback. However, S3L-X system audio can only be Level meters, a stereo-linked reco rding input Level encoder, and recorded to one drive at a time. a Listen button (for monitoring the recording). ayback engine does not sup- The built-in USB record and pl 3 – Target File Name port USB hard disk drives. lays the name of the targeted The Target File Name window disp recording. Clicking in the window lets you name the recording. Resulting audio files are 48 kHz 24-bit WAV files. File names are v,” and can be edited before automatically appended with “.wa and during recording. 236 Chapter 24: 2-Track USB Recording and Playback

248 3 – Playlist 4 – Target Record Folder Section A Playlist is provided to mana The Target Record Folder section lets you choose the destination ge USB 2-track playback. You can drive and/or folder for recordings. The Target Record Folder list play back individual tracks in the Playlist, or play back the entire lets you navigate thr es, create and name ough connected USB driv Playlist (in either Play Once or Repeat Playback mode). You can folders on USB drives, and delete and rename existing files and tion tracks in the Playlist, as well as add reorder, remove, and audi tracks to snapshots. Total Playlist time is also provided. in the list help identify the media folders. Icons next to each item drive, an audio file, or a folder). type of that item (such as a USB The contents of the Playlist are contained and stored as part of a Show file. If the USB device containing the audio 5 – USB Drive Info source files for the tracks in the Playlist is not connected, This section shows the capacity of and the space available for re- the tracks in the Playlist appear in italics. Tracks in italics cording on the targeted drive, as well as the maximum possible are not available for playback until the USB drive with the record length for an individual file. Values are shown in is reconnected. audio files on it and in bytes. hour:minutes:seconds Track Playlist Entries 6 – Transport Each track in the Playlist has a number (001–999) and name. Transport . See abled, tracks play in the order When Play All Tracks mode is en they appear in the Playlist. A tota l of 999 tracks can be added to the Playlist. Playback Playlist Track Snapshot and Event Icons the Playlist for snapshot, and Icons are provided for each track in 1 event functions. When clicked, the icons let you add track play- 4 back commands to an existing or new snapshot and/or event. The icons are lit when the track is included in a snapshot or event. 3 2 Snapshot icon (left) and event icon (right) 4 – Playback Output Section des the Playback Output selec- The Playback output section provi 5 tors (playback output signal rout ing control and indicators), ste- Media page Playback tab stereo-linked output vel meters, a single reo playback output le Level control, and a Listen button (for monitoring the playback 1 – Record and Playback Tabs track). These tabs let you select the Record and Playback windows. 5 – Transport 2 – Library See Transport . The Library lets you choose the drive from which you want to play tracks, and lets you add the tracks to the Playlist for play- back. The Library list lets you navigate through connected USB drives, create and name folders on USB drives, and delete and re- next to each item in the list name existing files and folders. Icons at item (such as a USB drive, an help identify the media type of th audio file, or a folder). Other data for files such as the artist name (if available), track le ngth, and file format are also provided. 237 Chapter 24: 2-Track USB Recording and Playback

249 Keyboard Shortcuts in the Playlist, Library, and Selecting Tracks Target Record Folder List Items in the Playlist, Library and Target Record Folder list are se- When you click in the Playlist, Li brary, and Target Record Folder lected on-screen. Selected items are color-coded to indicate their list, you can select items using th e following keyboard shortcuts: cting items are also provided. status. Keyboard shortcuts for sele the Playlist using the Global Tracks can also be selected in Keyboard Shortcut Function Control encoders (see ). Transport Display Select previous/next item Up/Down Arrow keys To select a single track, file, or folder: Home key Select first item in list  Click the item. End key Select last item in list To target multiple consecutive tracks, folders, or files: Select item at top of list Page Up  Shift-click the items. Select item at bottom of list Page Down Shift-click tracks Select multiple consecutive items To clear a selection of multiple consecutive tracks, folders, or files: Ctrl-click tracks Select multiple non-consecutive items/Deselect any brary, or Target Record Folder Click any item in the Playlist, Li  list. To select or de-select non-consecutive tracks:  Ctrl-click the tracks in the Playlist. Color-Coding in the Playlist, Library, and Target Record Folder List Selected items in the Playlist, Library, and Target Record Folder list are color-coded to indicate their status as follows: Yellow Yellow appears only in the Playlist, and indicates that the track is both currently cued for playback (or is currently playing back) and currently selected. Enga ging Play in the Transport ini- tiates playback of the track, and clicking Remove removes the track from the Playlist. Green appears only in the Play Green list, and indicates that the track is currently cued for playback (or is currently playing back). Engaging Play in the Transport in itiates playback of the track. Blue appears in the all three lists, as follows: Blue • In the Playlist, blue indicates that the track(s) is (are) se- lected, but not current ly cued (or currently playing back). Remove removes the selected track(s) from the Clicking Playlist. • In all three lists, blue indicates that the item is part of a mul- or Delete deletes or Remove tiple-item selection. Clicking removes all selected items. Red Red appears only in the Library and the Target Record item is currently targeted for ed- Folder list, and indicates that the iting. 238 Chapter 24: 2-Track USB Recording and Playback

250 Transport Display Transport llowing data for the currently The Transport display shows the fo The Record and Playback tabs sh are the same Transport section. playing track or in-progress recording: The Transport provides Transport controls, the Transport display, • Name of the track or recording and the Playback Mode buttons. • Time elapsed for the current track or recording • Time remaining for a playback track; or for a recording the Transport Controls time remaining on the target drive es forward or backward shuttle The Transport display also provid by dragging the Playhead or clicking in the Timeline. 2 3 5 4 6 1 USB 2-Track Transport controls Media page Transport display The following transport controls are provided: Playback Mode Buttons 1 – Previous Track When Play is not engaged, this button se- The Playback Mode buttons provide control over how the se- list. When Play is engaged, this lects the previous track in the Play ed back. Options include the follow- lected track or Playlist is play button immediately skips to and pl ays the previous track in the ing: Playlist. Play One Track This button toggles between Play All Tracks 2 – Next Track this button selects the When Play is not engaged, and Play One Track modes. When unlit, all tracks in the Playlist next track in the Playlist. When Play is engaged, this button im- play back in sequential order. Playback stops when the last track mediately skips to and plays th e next track in the Playlist. in the Playlist has completed. When lit (engaged), only the cued 3 – Stop This button stops playback or recording. track in the Playlist plays back. 4 – Play/Pause This button initiates playback of the cued track This button toggles between Repeat Playback Repeat Playback in the Playlist. When a track is playing back, pressing the button mode and Play Once mode. When un lit, the cued track (or the en- pauses playback or recording. Th is button also initiates recording us of the Play One Track button) tire Playlist depending on the stat when Record Arm is enabled. plays back once and stops. When lit (engaged), the cued track or the entire Playlist repeats playback. 5 – Record Arm This button toggles Record Arm on/off. The button flashes red when the transpor t is record-armed. To initiate and the Record Arm button is lit recording, Play must be engaged, solid when recording is in progress. When a recording is in progress, pressing the 6 – Record Divide Play Selected Track button (left) and Repeat Playback button (right) nt recording, writes the audio Record Divide button ends the curre recording of a new audio file. file to disk, and begins the lable when media for that Transport controls are only avai particular function is available. 239 Chapter 24: 2-Track USB Recording and Playback

251 Targeting the Destination for the Recording Audio to USB Recording to assign system channels to To record audio to USB, you need B recording inputs, target the After assigning channels to the US the USB recording inputs, target the destination drive (or folder) destination for the recording. Audio can be recorded to the top for the recording, and initiating the recording. Audio is recorded onnected USB drives, or you can create a folder or (root) level of c to the connected USB drive as 24-bit, 48 kHz WAV files. a sub-folder and target the recording to that folder. To target the destination for the recording: Assigning USB Recording Inputs Insert your USB drive(s) into any USB port on the E3 engine. 1 The Patchbay is used to assign channels to the USB recording in- puts. You can route output busses directly to the USB recording Record Go to the Media page and click the 2 tab. rect Outputs. output channel Di inputs, or you can use input or 3 Locate the Target Record Folder section. If one USB drive is connected, that drive appears in the window at the top of the For more information on using Direct Outs, see Direct section. The contents of that drive appears in the list below it. Outputs . y subsequent recordings are When the drive is targeted, an To assign channels to USB recording inputs: saved to the top-level of the dr ive indicated in the top window. 1 Go to the Patchbay page and click the Directs Outputs or the tab. You can also “jump” directly to the Patchbay > Directs page from the Record window by clicking the Record Input Source selectors in the Record Input section. A drive targeted in the Target Record Folder section hardware tab along the top of the channel Click the 2 Engine grid. d to the E3 engine, target the If two or more drives are connecte 4 drive you want to record to by double-clicking the drive in the 3 To the left of the channel grid, click the tab to display the de- list. sired channel type in the grid. in the window at the top of the The selected drive appears in the Click in the channel grid to assign channels or busses (listed on 4 section, and any subsequent recordings are saved to the top (root) the left) to the USB recording in puts (listed across the top un- level of the drive indicated in the top window. der the USB column). The Target Record Folder list showing two connected USB drives Assigning the Main Left-Right Direct Outputs to the USB recording inputs e Record Input selectors in the The assigned channels appear in th window. Media > Record Record Input sources in the Media > Record window 240 Chapter 24: 2-Track USB Recording and Playback

252 Creating and Targeting a Folder for the Recording Initiating the Recording You can create a folder on a drive and target it for the recording. After targeting the record destination, set the record level and ini- tiate the recording. To create a folder and target it for recording: To set the record level: ive is targeted. If necessary, Make sure the desired USB dr 1 click the Up One Level button to return to the top-level of the If you are using Direct Outputs, do the following for each 1 USB drive. channel assigned to the USB recording input: or the Outputs Inputs • Go to the Patchbay page and click the button. A new folder appears in the list. Click the 2 New tab. Type in a new name for the folder using your computer key- 3 • Select the input or output cha nnel that is assigned to the board and press Enter. USB record inputs. 4 Double-click the new folder. The full file path showing the tar- On button. Adjust the Di- • On-screen, click the Direct Outs geted folder now appears in the window at the top of the Target rect Output level as necessary. Record Folder section. Any s ubsequent recordings will be saved to that folder. Turning on a channel Direct Output . Media > Record 2 Go 3 Click the Level control in the Record Input section to adjust A folder targeted in the Target Record Folder section the record input level. Make sure is not clipping the input level the record inputs. Clipping is indicated when red appears on To navigate back to the top le vel of the drive, use the Up the +20 dB mark in the Record Input Level meters. One Level button located next to the Target Record Folder window. set levels so that they peak As a general rule of thumb, try to vel meters. If Record Input Le within -12 dB to -6 dB on the Naming a Recording Outputs, both the channel Direct Out you are using Direct level control and the Level control in the Media > Record To name a recording: window affect recording input levels. Click in the Target File Name window. 1 To engage Record on-screen: Type in a name for the recording. 2 . 1 Go to Media > Record 3 Press Enter. 2 In the Transport section, click the Record Arm button to record arm the transport. Record-arming the Transport When you are ready to start recording, press the Play button in 3 the progress of the Transport. The Transport display indicates the recording. To stop recording: Press the Stop button in the Transport.  241 Chapter 24: 2-Track USB Recording and Playback

253 Record Listen Playing Back Audio from USB You can use the on-screen Record Listen button to monitor the re- The S3L-X system plays back WA V and MP3 files directly from cording input. Record Listen toggl es the recording input onto the connected USB drives. To play ba ck tracks, you must first add Solo bus. Record does not have to be engaged to monitor the re- tracks to the Playlist. You can then choose the play mode for cording input. tracks and set the playback level. en by other signals on the Solo Record Listen is always overridd bus. If any other channel is soloed , or Key Listen is engaged, Re- Assigning USB Playback Outputs cord Listen is always overridden. The Patchbay is used to assign USB playback outputs to VENUE To monitor the recording input: system input channels. You can route USB playback outputs to any input channels on your system.  Record tab, click the Listen In the Record Input section of the button. To assign USB playback outputs to system input channels: tab. Inputs Go to the Patchbay page and click the 1 To disengage Record Listen: once to turn Solo Clear again. You can also press Listen Click  You can also “jump” direct ly to the Patchbay> Inputs cord Listen button. Press off the currently engaged Re Solo page from the Media > Playbac k window by clicking the Clear a second time to clear channel solos, if any. the Record Input section. Playback Output selectors in hardware tab along the top of the channel Engine 2 Click the Dividing a Recording grid. rding to create a new audio file You can divide an in-progress reco 3 To the left of the channel grid, click the tab to display the de- for the next song or cue during a performance. The previous re- sired channel type in the grid. cording continues until the re- cording is saved, and the new re cording is stopped or the Record Divide button is clicked again. Click in the channel grid to 4 assign USB playback outputs (listed across the top under the USB column) to system Input To divide a recording: Channels or FX Returns (listed on the left). 1 While a recording is in progress, name the new file by clicking in the Target File Name windo w, typing in a new name, and pressing Enter. Click the Record Divide button in the Transport. 2 If you do not enter a name befo re clicking Record Divide, Assigning the USB playback outputs to an FX Return. the name from the previous file and is the new file inherits appended with a number, such as “Untitled-1,” and “Un- The assigned channels appear in the Playback Output selectors titled-2.”. window. Media > Playback in the Playback Output selectors in the Media > Playback window 242 Chapter 24: 2-Track USB Recording and Playback

254 Adding Tracks to the Playlist Setting the Play Mode After adding tracks to the Playli st, set the Play Mode. Play Mode To add tracks to the Playlist: t. B y de fau lt , Pla y Mod e i s se t can be set on-screen in the Transpor 1 Insert your USB drive(s) into a USB port on the E3 engine. once when playback is engaged. to play all tracks in the Playlist Playback tab. 2 Go to the Media page and click the To set the Play Mode on-screen, do any of the following: Library 3 Locate the section. If one USB drive is connected, that  Click the Play One Track button so that it is lit to play only the drive appears in the window at the top of the section. The con- cued track. e list below it. A speaker icon tents of that drive appears in th next to individual files indicate s audio files that can be added  To play all tracks in the Playlist in sequential order, make sure to the Playlist. the Play One Track button is unlit. audio file by clicking the You can audition an individual that it is lit to repeat play- Click the Repeat Playback button so  speaker icon in the Library or in the Playlist. Audition au- back of either the cued track or the Playlist. and can be monitored using dio is sent to the Solo bus To play the track or the Playlist once, make sure the Repeat  headphones connected to the Headphone Output. Playback button is unlit. Enabled Play One Track button (left) and Repeat Playback button (right) A drive and its contents Engaging Playback list, select one or more tracks. 4 In the Library To engage playback: Select a track in the Playlist so that is cued for playback. A 1 Shift-click to select multiple consecutive items in the list, track is cued for playback when it is highlighted in yellow or and Control-click to select multiple non-consecutive items. green. A selected and cued track in the Playlist Selecting multiple files in the Library list button in the Transport. Play Press the 2 button. The selected track(s) appear in the Play- 5 Add Click the list. To stop playback, press the 3 Stop button in the Transport. Clicking the Add to Playlist button Tracks in the Playlist 6 To remove a track from the Playlist, select it in the Playlist and click Remove. 243 Chapter 24: 2-Track USB Recording and Playback

255 To adjust the playback level: Managing USB Audio Level On-screen, drag the 1 encoder in the Playback Output sec- tion. by reordering tracks in and removing You can manage tracks st, auditioning tracks, and deleting and re- tracks from the Playli From the Global Control encoders, do the following: 2 naming files on connected USB drives. • Make sure the Global Control main menu is shown in the Global Control displays. Reordering Tracks in the Playlist • Press the Global Control encoder under the display showing Playlist at any time, including Tracks can be reordered in the Monitoring. during playback. When you reorder one or more tracks, they are to USB Play • Rotate the encoder under the display showing automatically renumbered in the list. adjust the level. To move a track in the Playlist: 3 annels or FX Returns that the Adjust the faders of the Input Ch USB playback outputs are assigned to as desired. Select one or more tr acks in the Playlist. 1 2 Do one of the following: To skip to another track in the Playlist: • Drag the currently selected tracks to a new location in the button in  Next To skip to the next track in the Playlist, click the Playlist. the Transport, or press the Down arrow on your keyboard. – or –  Previous To skip to the previous track in the Playlist, click the • Double-click the track number in the Playlist or the banner button in the Transport, or press the Up arrow on your key- display, type in a new number, and press Enter on the key- board. board. To shuttle forward or backward in the currently playing/paused track, do either of the following In the Transport display: Removing Tracks from the Playlist Click anywhere in the timeline to move the Playhead to that  time (including Playlist at any Tracks can be removed from the position. during playback).  Click and drag the Playhead to the left or right to shuttle back- To remove a track from the Playlist: ward or forward in the track. 1 Select one or more tr acks in the Playlist. button. The selected tracks are removed Click the 2 Remove from the Playlist and succeeding tracks are renumbered. Dragging the Playhead in the Transport display Playback Listen You can use the on-screen Playback Listen button to monitor the currently playing track. Playback Listen toggles the playback output onto the Solo bus. dden by other signals on the Solo Playback Listen is always overri bus. If any other channel is soloed, or Key Listen is engaged, Playback Listen is always overridden. To monitor the recording input: In the Playback Output section of the Record tab, press the  Listen button. To disengage Record Listen: switch Solo Clear Listen Click  again. You can also press the once to turn off the currently engaged Record Listen button. Press Solo Clear a second time to clear channel solos, if any. 244 Chapter 24: 2-Track USB Recording and Playback

256 Auditioning Tracks Using Snapshots to Trigger Transport You can audition tracks in the Ta rget Record Folder list of the Commands and the Library lists of the window, and in the Playlist Record You can initiate playback by recalling a snapshot. You can add Playback window. When you audition a track, the signal is sent ting or new snapshots directly the track playback command to exis only to the Monitor bus. Use this feature to preview tracks in your from the Playback window Playlist. headphones before playing them back through the sound system. You can also use snapshots to ini tiate a recording and to stop the To audition a track: Transport. These commands must be added to already-existing 1 the Library list, or the Playlist, In the Target Record Folder list, page. Snapshots snapshots on the double-click the speaker icon next to the track. That track is for more infor- See Adding Media Data to Snapshots sent to the Monitor bus (including the headphones). mation on adding record and stop commands to Snapshots, as well as managing Media data in Snapshots. Adding Track Playback to an Existing Snapshot Auditioning a track in the Target Record Folder list To add a track playback to an already-existing snapshot: To stop audition, double-click the lit speaker icon. 2 . Media > Playback Go to 1 Initiating playback of a track interrupts audition. shots icon corresponding to the In the Playlist, click the Snap 2 track you want to add to a snapshot. Renaming and Deleting Files and Tracks You can rename and dele te files and tracks in the Target Record Folder list of the window, and in the Library list of the Record window. Playback To rename and/or delete files from a connected USB drive: Clicking the Snapshots icon in the Playlist. 1 Right-Click a file in the Target Record Folder list or the Li- Add Track Playback to Snap- From the pop-up menu, choose 3 brary list. shot and choose the existing snapshot from sub-menu. or 2 from the pop-up menu as desired. Select Rename Delete Choosing an existing snaps hot from the pop-up menu chosen track is added to the The Play track command for the snapshot. You can edit the Play Mode for a track added to a snap- Selecting Rename from the pop-up menu a track in the Library list shot on a per-snapshot basis usin g the Play Mode options in the Media list on the Snapshots page. Play Mode options in the Snapshots page Media list Any snapshot already contai ning a USB 2-track Transport command appears in italics in the pop-up sub-menu. If you want to change the Trans port command on an existing suing dialog to confirm the snapshot, click Assign in the en change. 245 Chapter 24: 2-Track USB Recording and Playback

257 Creating a New Snapshot for Track Using Events to Trigger USB Playback Transport Commands To create a new snapshot containing a track playback: The following USB 2-track Transport actions can be triggered us- 1 Go to Media > Playback . ing events 2 In the Playlist, click the Snapsh ots icon next corresponding to • Stop USB 2-track Transport the track you want to add to a snapshot. The icon lights to show • Play a specific track in the Playlist that a snapshot contains this track. • Play the currently cued track in the Playlist • Engage record in the USB 2-track transport • Record divide the current recording. You add track playback directly from the Playlist or from the Events tab. All other Transport commands (such as Stop and Re- cord) are added from the Events tab. Clicking the Snapshots icon in the Playlist. Events for more information. See From the pop-up menu, choose Create New Snapshot to Play 3 this Track. Adding Track Playback to an Event You can add track playback to an existing event or create a new event with track playback directly from the Playlist. To add track playback to an existing event: Media > Playback. Go to 1 Choosing an existing snapsh ot from the pop-up menu 2 In the Playlist, click the Event icon next to the track you want on the Snapshots page, a new snapshot con- In the Snapshots list to trigger. created and added to the end of taining the Play track command is the Snapshots list. on in the Playlist. Clicking the Event ic Snapshots list containing the newly created snapshot 3 Select Add Track Playback to Event and select the event from the list . Adding a track to an existing event d the track play- Track playback is added to the se lected event, an ts tab Actions list for the se- back command appears in the Even for that event triggers playback lected event. Engaging the trigger of the assigned track. Play track command added to Events tab Actions list 246 Chapter 24: 2-Track USB Recording and Playback

258 To create a new event for track playback: Controlling USB 2-Track Recording Go to 1 Media > Playback. and Playback 2 In the Playlist, click the Event icon next to the track you want You can control the Transport for built-in USB 2-track or to trigger using an event. Pro Tools recording and playba ck functions using the Global 3 The new event Select Create New Event to Play this Track. Control Encoders. You can control the Transport of one device is created and added to the Events and Actions Lists on the (USB or Pro Tools) from Global Control at a time, and can toggle page. The new event and action are auto Options > Events controls between the two devices. named Play Track - . To toggle Global Control Transport controls between USB 2-track and Pro Tools: 1 Menu, press the Global Control From the Global Control Main display showing Encoder under the to Pro Tools) or Media ( the Global Control encoders. spill transport controls to Creating a new event for track playback Edit the name if so desired. 4 Snapshots Media Plug-Ins Matrixes Aux/Grp 1.Intro 00:00:00 Make sure the event is selected (highlighted in blue), and click 5 the pop-up menu in the Triggers list to select a trigger ADD Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel type (such as Function Switch 16) . The selected trigger type is added to the Trigger list for the currently selected event, with In In In In In In In In In In properties. its default in the Global Control Main Menu The Media Global Control Encoder Under the encoder showing Device (the rightmost encoder on 2 the top row), press the corresponding encoder Sel switch to rgeted device is shown in the toggle devices. The currently ta Function switch added to the event Triggers list display ( USB Pro Tools ). or To remove a track playback from an event. Device Play 2.Track 2 Previous 00:00:00 Stop Record Next 1 on next for the track you want In the Playlist, click the event ic 1.Track 1 USB 1.Track 1 00:06:46 3.Track 3 edit. Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel Sel 2 Remove Track Playback from Event ”. Spilled USB transport controls To target a track in the Media page Playlist: 1 Media/Pro Tools controls to Global Control, and make Spill sure USB is the targeted device. The leftmost (ninth) Global Control display shows the cued track (highlighted in green on-screen) above the currently selected track (highlighted in blue on-screen). Rotate the encoder under the display showing the track name 2 to scroll through tracks in the Playlist. 247 Chapter 24: 2-Track USB Recording and Playback

259 To engage USB recording: eted track, do any of the follow- 3 To initiate playback of the targ ing: Spill Transport controls to Glob 1 al Control, and make sure USB is the targeted device. switch under the leftmost (ninth) In • Press the encoder Global Control Encoder display showing the names of the To record arm the USB Tran 2 sport, press the encoder switch In currently selected/targeted tracks under the display showing Record . On-screen, the Record In Play. switch under the display showing • Press the encoder Arm button lights red. Pause appears in place of Play in the display and on-screen. 3 When you are ready to start re cording, press the encoder In In the display, time elapsed is shown above the time Counter switch under the display showing Play . In the Counter display, remaining for the current track. time elapsed for the current recording is shown above the amount time remaining on the drive. Currently 4 To pause USB recording, press the switch. Play encoder In 2.Track 2 Ne Previous cued track switch. In encoder 5 Stop To stop recording press the 1.Track 1 1.Track 1 3.Tr In To disarm the USB Transport, press the Record 6 encoder Selected switch so the on-screen Record Arm button is unlit. track Sel Sel Sel Sel Sel Sel In In In In In In Press to play cued track Rotate to scroll through tracks 4 In switch under the To pause USB playback, press the encoder display showing Pause. 5 To stop USB playback, do any of the following: In switch under the leftmost (ninth) dis- • Press the encoder play showing the names of the currently cued and selected tracks. Stop. In switch under the display showing • Press the encoder To skip to another track in the Playlist: 1 Spill Transport controls to Gl obal Control and make sure USB is the targeted device. the Playlist, press the encoder 2 To skip to the next track in In switch under the display showing Next . 3 To skip to the previous track in the Playlist, press the encoder Previous In switch under the display showing . 248 Chapter 24: 2-Track USB Recording and Playback

260 Chapter 25: Pro Tools Recording and Playback The S3L-X system provides direct connection to a computer run- Pro Tools Recording and Playback tional audio hardware is re- ning Pro Tools software. No addi Capabilities and Features quired to connect your S3L-X system to Pro Tools. S3L-X and Pro Tools provide the following features: lets you record multi-track A single Ethernet connection • A direct digital connection (24-bit, 48 kHz Ethernet AVB using a variety of S3L-X sys- Pro Tools sessions of performances or higher required) Ethernet audio) over a Cat 5e (350 MHz tem audio sources, including digital splits of your Stage inputs, em and a qualified computer cable between your S3L-X syst can also play back and bus outputs. You channel Direct Outputs, running a compatible version of Pro Tools software multi-track audio from Pro Tools through your S3L-X system to integrate pre-recorded tracks with your live mix, or to monitor Ethernet port or Thunderbolt • Support for connection to the your Pro Tools recording on your S3L-X system. port (using an Ethernet-to- Thunderbolt adapter) on the Pro Tools computer g and playback features, you can perform By combining recordin • Up to 64 channels of simultaneous I/O between your S3L-X a true Virtual Soundchec k: play back the tracks from a previous system and Pro Tools, letting you record S3L-X system au- have the changes remain when performance, adjust the mix, and dio and simultaneously play back Pro Tools tracks through you switch back to your live mix. your S3L-X system VENUE Link to exchange data When performing these tasks, use • An automatic one-for-one direct digital split of all assigned between systems to simplify and enhance live recording and play- Stage input channels without needing to crosspatch or con- back workflows. figure the VENUE so ftware Patchbay • Freely assignable Pro Tools I/ O for recording output busses, and playback, use the built-in For basic stereo recording submixes, Direct Outputs, and for playing back tracks from 2-track USB recorder/player. See 2-Track USB Record- Pro Tools and monitoring a Pro Tools recording ing and Playback. check, including the ability • Fully-integrated Virtual Sound tween live Stage inputs and to toggle individual inputs be Pro Tools Virtual Soundcheck inputs • Support for VENUE Link, providing S3L-X system and Pro Tools integration and interoperability Pro Tools Compatibility Pro Tools 11.2.1 and higher on a qualified Mac computer running OS X 10.9.4 and higher is recommended for using Pro Tools with your S3L-X system. Avid can only assure compatibility and provide support for hard- and approved. For complete sys- ware and software it has tested tem requirements and a list of qualified computers, operating sys- y devices compatible with your tems, hard drives, and third-part S3L-X system, visit: www.avid.com/S3Lsupport 249 Chapter 25: Pro Tools Recording and Playback

261 Playback Inputs S3L-X and Pro Tools Overview The Ethernet AVB audio connecti on carries the following types tween your S3L-X system and The Ethernet AVB connection be of input signals to the S3L-X system from Pro Tools for play- Pro Tools provides up to 64 channels of simultaneous Pro Tools back: dio connection I/O. This bi-directional AVB au lets you send S3L-X system audio to Pro Tools for recording, and simultane- Virtual Soundcheck Inputs ously receive audio from Pro Tools for playback. The S3L-X sys- Any S3L-X input channel with a Stag e input as its source is auto- tem provides several different types of Pro Tools I/O for record- matically assigned a corresponding Pro Tools Virtual Sound- ing and playback. check input. The source for that S3L-X system input channel can This connection also provides the VENUE Link communication then be toggled between its assi gned Stage input and its corre- link between systems. sponding Virtual Soundcheck input, either globally or individu- ally. When Virtual Soundcheck inputs are active, you can make A direct connection between the S3L-X system and adjustments to your mix using pr e-recorded Pro Tools tracks de- cting the S3L-X system to Pro Tools is required when conne l splits of your Stage inputs. All changes rived from direct digita Pro Tools. Network equipment such as routers, hubs, and carry over when you switch back to live Stage inputs. You can switches are not supported fo r S3L-X network connections also choose to apply any Input Gain changes made to input chan- to Pro Tools. nels when switching back to Stage inputs. See Using Virtual Soundcheck. Recording Outputs Assignable Pro Tools Inputs n carries the following types The Ethernet AVB audio connectio system to Pro Tools for record- of output signals from the S3L-X For any system input channels not assigned Stage inputs as their ing: sources, assignable Pro Tools inputs are available, up to the max- imum number of available Pro Tools I/O channels. Assignable Direct Digital Splits inputs can be used to monitor your Pro Tools recording on your pre-recorded audio tracks into S3L-X system, or to incorporate system input channels are auto- Stage inputs assigned to S3L-X your live mix. nprocessed direct digital splits. A matically sent to Pro Tools as u Pro Tools session recorded using direct digital splits are an essen- Pro Tools Input Mode tial part of the Virtual Soundcheck workflow. See Enabling Di- rect Digital Splits . In Pro Tools Input mode, audio from Pro Tools is the main source of audio for your S3L-X system. Stage inputs on your S3L-X sys- Assignable Pro Tools Outputs tem are replaced with inputs from Pro Tools. Unlike Virtual Soundcheck mode, cha nges made to Input Gain settings while For any system input channels not assigned Stage inputs as their operating in Input mode cannot be applied when switching back sources, assignable recording ou tputs are available, up to the to Stage inputs. See Using Input Mode. maximum number of available Pro Tools I/O channels. Assign- nd the Main L/R mix, submixes able outputs can be used to se from sources such as Matrix and Groups, the Direct Outs of VENUE Link S3L-X system I/O channels, and audience mics to Pro Tools. VENUE Link is a communication link between your S3L-X and Pro Tools systems. Using this link, you can transfer data between systems and control Pro Tools from the S3 control surface. VENUE Link is an integral part of the Virtual Soundcheck work- to prop- flow. Use features such as Create Session from VENUE erly and quickly create a Virtual Soundcheck-compatible Pro Tools session. No separate Ethernet connect nk is required. ion for VENUE Li and Using VENUE Link . Enabling VENUE Link See 250 Chapter 25: Pro Tools Recording and Playback

262 Connecting to Pro Tools Installing Pro Tools sure your iLok with all neces- Before connecting systems, make Pro Tools software is provided with your S3L-X system. Before connecting your S3L-X system and Pro Tools, you must do the sary licenses is connected your Pro Tools computer. following: To connect the Pro Tools computer to your S3L-X system: • Activate, download, and install Pro Tools software on a sep- 1 Connect an Ethernet cable from a Network port on the E3 en- arate computer gine to the Ethernet port on the Pro Tools computer, or to the • Transfer the Live Sound Production Toolkit license to the Thunderbolt port using an Ethernet-Thunderbolt adapter. Pro Tools iLok USB Smart Key (second generation iLok re- quired) e present in a shared input If multiple Pro Tools systems ar commended that you pair each configuration, it is highly re Downloading and Installing Pro Tools Pro Tools system to its corresponding E3 before connecting E3 engines. Do not make the connections between E3 engines The Pro Tools software package, included with the E3 Engine, until each Pro Tools computer ha s been paired to the desired tion Card and iLok. When you activate includes its own Activa E3. your copy of Pro Tools, the iLok license required to run Pro Tools on your computer is deposited in your iLok account. Applications > Utilities> Au- On the Pro Tools computer, go to 2 You can then transfer the Pro Tool s license to the iLok included dio MIDI Setup. in the Pro Tools software package. In Audio MIDI Setup, click the Window menu and choose 3 Follow the instructions in the Pro Tools software package to ac- Show Network Device Browser. Each currently connected tivate and download Pro Tools so ftware and the iLok license. See and powered-on E3 in the network appears in the list Device the , including with your Pro Tools Pro Tools Installation Guide as E3 Engine . download, for information on installing and configuring So you can differentiate your E3 from any others on the net- 4 Pro Tools. work, name your E3 as follows: list, select the Devices that corre- E3 Engine • From the Live Sound Production Toolkit sponds to your E3 so it is highlighted. an iLok license for the Live Your S3L-X system also includes • Press Enter, then enter a name. Sound Production Toolkit. The Live Sound Production Toolkit • Press Enter again to save the name. enables up to 64 channels of simultaneous I/O between your S3L-X and Pro Tools systems. The Live Sound Production Tool- red E3 engine to enable that 5 Click the checkbox next to the desi kit license is deposited in your iLok account when you activate E3 on the Pro Tools computer. your S3L-X system software and plug-ins. In a shared input configuration, multiple E3 engines may Transfer the Live Sound Producti on Toolkit license to the iLok Browser. Make sure only appear in the Network Device cense. Make sure this iLok is that contains the Pro Tools iLok li one E3 is checked. connected to your Pro Tools computer whenever you launch Pro Tools. Up to 32 channels of simultaneous I/O are provided if no Live Sound Production Toolkit license is on the iLok. To transfer the Live Sound Production Toolkit license to your iLok: Locate the Pro Tools iLok and in sert it into an available USB 1 Network Device Browser showing one E3 engine selected port on your computer. l the iLok License Manager, If necessary, download and instal 2 then launch it. ct the Live Sound Production In the License Manager, sele 3 Toolkit license and drag it to the Pro Tools iLok. Label this iLok so you can easily 4 distinguish it from the iLok containing S3L-X plug-in licenses. 251 Chapter 25: Pro Tools Recording and Playback

263 6 Launch Pro Tools and do the following: Enabling Direct Digital Splits Cancel . • If the Quick Start dialog appears, click system Stage inputs to Pro Tools, To send digital splits of S3L-X Setup Playback Engine to open the Playback En- > • Choose stem must simply be active. If the Stage inputs on your S3L-X sy gine dialog. necessary, enable them in VENUE. • From the Playback Engine pop-up, choose your E3. The de- E3 Engine:AVB, unless you fault name for the E3 is The pickoff point for each Stage input split is post-analog input changed its name in the Audio MIDI Setup > Network De- gain, but pre-digital trim and ch including the annel processing, vices browser channel HPF. Thus, the gain for any input channel sent to Pro Tools is dependent on the S3L-X system input gain setting . OK •Click for that Stage input channel. Recordings of direct digital spli ts form the basis of the Virtual so useful for capturing unpro- Soundcheck workflow, and are al cessed audio files of your Stage inputs for later mixdown and ed- iting. Playback Engine selector To send a split of the Stage inputs: For best performance, it is recommended to use a 512 or Make sure the Stage inputs you are using are assigned to the 1 to Setup > Playback Engine, higher sample buffer size. Go desired S3L-X system Input Cha nnels and/or FX Returns in and from the H/W Buffer Si ze pop-up choose 512 or 1024 the Patchbay. See Assigning Channels in the Patchbay for Samples. more information. Put your S3L-X system into Config mode. 2 7 then do the following: In Pro Tools, choose Setup > IO In VENUE, go to the Options page and click the System tab. 3 . tab and click Input Default • Click the tab and click Default. Output • Click the 4 In the Input Channel Source section, make sure is se- Stage lected. Default button in the Pro Tools IO Setup Always reset the Pro Tools IO setup to Default when con- Enabled Stage inputs in the System > Options page necting to the S3L-X system. is not selected, do the following: 5 If Stage 8 In VENUE, go to the Options > Devices page. In the External . Edit • Click Devices section, an icon representing the Pro Tools computer Stage . • Click lights to indicate that the connection to Pro Tools is active. Apply . • Click inputs active, and signals from any The system restarts with Stage em input channels are sent to Stage inputs assigned to S3L-X syst the connected Pro Tools computer as direct digital splits. The corresponding channels under the Pro Tools tab in the Patch- dicate they are in use as digital bay are highlighted in purple to in A connected Pro Tools computer shown in Options > Devices split outputs and as Virtual Soundcheck inputs. Make sure to enable VENUE Link to get the most out of your system. See Enabling VENUE Link . 252 Chapter 25: Pro Tools Recording and Playback

264 Output Levels for Digital Splits Enabling Virtual Soundcheck Mode When you enable Virtual Soundcheck mode, all existing input 0 dB on S3L-X system input meters equals –20 dBFS. This 20 dB digital clipping an of mixer headroom helps prevent d distortion in channel settings (such as channel assignments, input and output live program material. The S3L-X system does not provide inde- processing settings, and routing) carry over to the Virtual Sound- check inputs. The digital portion of the digital splits before they are split off the gain for each channel is pendent gain control for preserved and applied to the inco al coming into the S3L-X system to Pro Tools, so program materi ming signals from Pro Tools, re- at 0 dB will be recorded into Pro Tools at –20 dBFS. oundcheck inputs sulting in the same levels for bo th the Virtual S and their corresponding live Stage inputs. For gain control of S3L-X system outputs to Pro Tools, use Di- rect Outputs to route audio chan nels to Pro Tools assignable out- To enable Virtual Soundcheck inputs globally: puts, and adjust the gain on the Direct Output control for each Put your S3L-X system into Config mode 1 channel. In VENUE, go to Options > System. 2 Output Levels in a Shared Input Configuration 3 Click Edit . Because the direct digital splits of Stage inputs to Pro Tools are In the Input Channel Source section, click 4 Pro Tools. post-analog gain and pre-digital trim, output levels to Pro Tools for splits of Stage inputs to all DAWs in the network are set by From the pop-up menu, choose Virtual Soundcheck. 5 each Stage 16’s Master E3. Any changes made to the input gains of Stage inputs by its Master E3 affect recording output levels to all DAW computers. VENUE Metering Options in Pro Tools You can set the metering in Pro Tools to mirror the current Meter setting on your S3L-X system (see Meter ). obally in the System > Options Enabling Virtual Soundcheck inputs gl page Track input meters and the ma ster Output Meter in the Pro Tools Transport can be set to different meter scales. 6 Click Apply . All S3L-X system input channels with Stage in- aced with their corresponding puts assigned to them are repl To set Pro Tools metering to mirror S3L-X meter settings: Virtual Soundcheck inputs from Pro Tools. In Pro Tools, right-click any track meter and/or the master  Pro Tools icons appear in the Patchbay > Inputs tab patching Output Meter and choose either of the following: indicating that grid for all assigned Stage inputs, input sources for This option mirrors with Peak Ballistics meter set- VENUE Peak the affected input channels are now Virtual Soundcheck inputs ting on your S3L-X system. from Pro Tools. This options mirrors the RMS Ballistics meter set- VENUE RMS ting on your S3L-X system. Using Virtual Soundcheck When a Virtual Soundcheck input is enabled on an S3L-X system input channel, the source for the channel is switched from the as- signed Stage input to the corre sponding Virtual Soundcheck in- put from Pro Tools. You can enable Virtual Soundcheck mode so that all Stage inputs are replaced with their corresp onding Virtual Soundcheck inputs e source of an individual input one-for-one. You can also toggle th e input and its corresponding channel between its assigned Stag Virtual Soundcheck input. live Stage inputs, any adjustments made to in- When returning to n also choose to apply or dis- put channel settings remain. You ca Virtual Soundcheck Icons in the Patchbay card any changes made to Input Gain settings. Input Gain and settings cannot be stored to Snapshots other input channel PRE k inputs are active. when Virtual Soundchec 253 Chapter 25: Pro Tools Recording and Playback

265 Returning to Stage Inputs Toggling the Input Source of a Channel You can toggle the input source of an individual input channel be- If you change any channel Input Gain settings while in Virtual Soundcheck mode, you have the opti on of applying or discarding tween the assigned Stage input and its corresponding Virtual the changes when you return to Stage inputs. Soundcheck input. This can be useful if, for example, you have enabled Virtual To return to Stage inputs globally fore the rest Soundcheck inputs globally, and th e singer arrives be 1 Put your S3L-X system into Config mode. th pre-recorded tracks from a pre- of the band to rehearse along wi Options > System 2 . Go to vious performance. Stage 3 In the Input Channel Source section, click . sources regardless of the You can toggle between input global input source setting on the Options > System page. 4 If any changes to gain have been made, the Apply Gain Change dialog appears. Click either of the following in the di- To toggle between a Stage input and a Virtual Soundcheck input: alog as desired: Select an input channel that has a Stage input assigned to it. 1 Apply Any gain changes made in Virtual Soundcheck mode to From the on-screen Inputs page 2 , click the Virtual Soundcheck the total Stage input gain on each channel. input button (indica ted by a Pro Tools icon) in the Input sec- tion. Any gain changes made in Virtual Soundcheck mode Discard and return the Stage input gain to its previous value on each chan- nel. Adjusting Gain When Switching Between Sources The S3L-X system uses a hybrid an alog/digital gain approach for analog Stage inputs. Input gain is adjusted in 1 dB analog steps, and 0.1 dB digital steps. When switching to a Virtual Soundcheck Virtual Soundcheck input button input, the digital component of the gain stage (up to +0.9 dB) is preserved, so the Virtual Soundcheck input plays back at the The lit button indicates that the Virtual Soundcheck input is now same level as its corresponding Stage input. As a result, input Patch- Pro Tools icon appears in the the source for the channel. A ss Virtual Soundcheck inputs by gain settings never vary acro bay > Inputs e affected channel only. tab patching grid for th more than 0.9 dB. For example, if you set the input gain for a channel to +30.5 dB, then switch to its Virtual Soundch eck input, +0.5 dB of gain is preserved and displayed in the Ga in setting on-screen, resulting l on that channel (because 0.5 dB in the same apparent input leve of the 30.5 dB setting was digita l gain as compared to analog gain). While in Virtual Soundcheck mode , if you increase the gain on A single input channel with a Virtual Soundcheck input in the d setting of +6.5 dB), and then this channel by 6 dB (to a displaye Patchbay > Inputs page switch back to Stage mode, you can do one of the following: • Apply the gain cha nge, yielding a gain in crease of 6 dB, or The same gain change rules apply when the source for an a final setting of +36.5 dB (30+6.5). ggled between sources. individual channel is to – or – • Discard the gain change, leaving the original Stage input gain unchanged at +30.5 dB. atically be activated or The Pad on a channel will autom deactivated to compensate for large gain changes. 254 Chapter 25: Pro Tools Recording and Playback

266 Snapshot PRE Settings and Virtual Using Pro Tools Assignable I/O Soundcheck Inputs inputs that are ble for any Stage Pro Tools Assignable I/O is availa on the Snapshots page lets you The PRE Data Type Scope button not assigned to S3L-X system inpu t channels in the Patchbay. For recall the preamplifier settings on inputs for all scoped Input example, if 32 Stage inputs ar e assigned to S3L-X system input the Options > Snapshots page to Channels and FX Returns. Go to o Tools output channels and 32 As- channels, 32 Assignable Pr called by the PRE data type but- set the PRE parameters to be re signable Pro Tools input channels are available, and can be used ton. d playback if so desired. for simultaneous recording an The data in the table below shows which PRE setting can be In shared input configurations, a ssignable I/O is available on each stored and recalled with Snaps hots when Virtual Soundcheck in- E3 engine indepe ndently; assignable I/O is not shared between puts are enabled. E3s on the network. PRE settings stored and recalled with Snapshots in Virtual Soundcheck mode le I/O is available, in the To make sure Pro Tools Assignab Patchbay unassign Stage inputs from any S3L-X system in- Store PRE Parameter Recall put channels that you are not using. See Unassigning Yes Yes Phase and Clearing Assignments. Gain No* No Using Assignable Outputs for Recording No Phantom Power No annel Direct Outp uts, as well You can assign input and output ch No Pad No as Mains, Auxes, mono or stereo Groups, and Matrixes to Pro Tools assignable outputs for recording. rtual Soundcheck mode can not * Gain changes made while in Vi applied back to the analog set- be stored to Snapshots, but can be for Pro Tools playback as If you configure the Patchbay tings when switching back to Stage mode. check Pro Tools track outputs well as recording, be sure to for any potential feedback loops before record-enabling Performing Virtual Soundchecks in tracks. Shared Input Configurations discrete Vir- uter can perform Each E3 and its paired DAW comp gage Virtual Soundcheck mode tual Soundchecks. You can en globally or on a per-channel ba sis freely withou t affecting the other systems, and make adjustments in any mode as if the sys- tems were completely separate, including adjusting input gain levels, and have those adjustments carry over to the live Stage in- puts. To ensure proper Stage input ga in settings when performing a Virtual Soundcheck in a shared input configuration, do either of the following: • Make sure the Pro Tools session you are using for Virtual Soundcheck was recorded using the same Stage 16 Mas- ter/Slave configuration as the currently loaded Show file. – or – • Set the E3 engine from which you are performing the Virtual Soundcheck as Master of all connected Stage 16s. r important information on Visit www.avid.com/S3Lsupport fo corded from your S3L sys- playing back Pro Tools tracks re tem. 255 Chapter 25: Pro Tools Recording and Playback

267 Using Output Busses Using Direct Outputs stems ) by sending outputs You can record submixes (also called rete channels from the pickoff Direct Outputs let you record disc point of your choice, with independe nt level control over each such as Mains, Auxes, Groups, and Matrixes directly to send to Pro Tools. Each S3L-X Pro Tools. An output bus signal to Pro Tools is always post- system input and output channel provides a Direct Output. any processing occurring on the fader, and therefore will reflect channels assigned to the bus or processing on the bus itself. To route Direct Outputs to Pro Tools: An output bus can be assigned to multiple output destina- 1 Directs tab. Go to the Patchbay page and click the tions. Click the tab at the left of the grid for the channel or bus type 2 To route a bus directly to Pro Tools for a recording: you are routing. 1 Outputs tab. Go to the Patchbay and click the Click the Pro Tools tab at the top right of the grid. Pro Tools 3 outputs reserved for use as digi tal splits are grayed out in the Click the tab at the left of the grid for the channel or bus type 2 channel grid. you are routing. gn a channel or bus (listed on Click in the channel grid to assi 4 3 Click the tab at the top right of the grid. Pro Tools the left) to an available Pro Tools output channel (listed across 4 Click in the channel grid to assign a channel or bus (listed on the top). the left) to an available Pro T ools output channe l (listed across Activate and set the level for each Direct Output by clicking its 5 the top). In een encoder in the Direct Out button and dragging its on-scr Set the levels for the recording by adjusting the faders or 5 section. Global Control encoders for the busses you are sending to Pro Tools 6 Configure Pro Tools for recording. Using Assignable Inputs for Playback Activating a Direct Output on the Directs tab of the Patchbay You can route channels from Pro Tools to S3L-X system Input Channels and FX Returns for playback. You can use this feature 6 Patchbay to specify one of the Click the Pickoff column in the to use pre-recorded click tracks or other material in a perfor- following pickoff sources for each Direct Output: mance, mix down the Pro Tools session using your S3L-X sys- Top of Channel/Mains/Aux/Group/Matrix (indicated by a • tem, or for monitoring the Pro Tools recording through your “T”) S3L-X system. • Insert Return Post-Fader (indicated by a lowercase “p”) or Pre-Fader • To route Pro Tools assignable inputs to Input Channels and FX Returns: (indicated by an uppercase “P”) Inputs tab. 1 Go to the Patchbay page and click the The Pre-/Post-Fader Direct Output pickoff point for Input Channels and FX Returns is conf igured globally in the Op- 2 Channels Click the FX Returns tab to the left of the grid to or tions > Pickoffs page. display the type of channels you want to use. Click the Pro Tools tab at the top right of the grid to show the 3 available Pro Tools assignable inputs. 4 Click in the grid to route Pro Tools assignable inputs to Input Channels or FX Returns. Assign routing for each Pro Tools assignable input as needed: 5 include Pro Tools audio in the • Assign to the main L/R bus to main mix of a performance. Specifying the channel Pickoff source • Assign to a Group, Aux, or Matrix for submixing and mon- Configure Pro Tools for recording. 7 itoring. To avoid potential feedback loops, make sure no channels and receiving from any re- are simultaneously routing to cord-enabled Pro Tools tracks. 256 Chapter 25: Pro Tools Recording and Playback

268 Monitoring Pro Tools Recordings Using Input Mode You can monitor a Pro Tools recording through your S3L-X sys- o Tools (or another Ethernet When Input mode is enabled, Pr tem while the performance and the recording are in progress. This AVB source) is the main source of audio signals for your S3L-X procedure shows how to monitor a stereo mix from Pro Tools on our external device appear system. Audio channels from y a S3L-X system stereo FX Return channel. Stereo Input Channels one-for-one in place of Stage inputs in the VENUE Patchbay. may also be used. In Input mode, changes made to In put Gain cannot be applied to On the VENUE System channels when switching back to Stage inputs. Additionally, in- in Snapshots in Input mode. put channel Gain can be stored To monitor a Pro Tools Recording: Make sure the S3L-X system and the Pro Tools system are 1 To enable Input mode: connected and configured. Put your S3L-X system into Config mode 1 tab. 2 Go to the Patchbay page and click the Inputs 2 In VENUE, go to . Options > System tab along the top of the patching grid. Pro Tools Click the 3 3 . Edit Click FX Return Click the 4 s tab to the left of the patching grid. 4 In the Input Channel Source section, click Pro Tools. assign two Pro Tools assignable Click in the patching grid to 5 Input Mode From the pop-up menu, choose 5 inputs to a stereo FX Return. . All S3L-X system input channels with Stage in- Apply Click 6 It is recommended that you use an odd-even pair of inputs puts assigned to them are re placed by corresponding inputs (such as 19–20). from Pro Tools, and Pro Tools icons appears in the Patchbay affected channels. Patching Grid for the 6 Make sure that the FX Return is not assigned to an output bus such as the Mains or a Group. 7 g, press the Solo switch for the FX Re- To monitor the recordin turn. To hear panning in Pro Tools, set your VENUE system solo Options > Busses and select mode to Stereo AFL. Go to Stereo AFL from the Type pop-up menu. Specifying the channel Pickoff source On the Pro Tools System Adjusting Input Gain in Input Mode To monitor a Pro Tools Recording: In Input mode, Input Gain is adjusted using the Gain encoders. 1 Launch Pro Tools and, if necessa ry, create a session, and cre- ) is available for all inputs. Digital gain (-20 dB to +18 dB ate and name tracks. When switching from Stage mode to Input mode, the Input Gain In your Pro Tools session, clic k any Track Output selector. 2 settings when Input mode was last enabled are recalled. If Input mode has not been previously enabled, Input Gains are set to 0 dB. When switching from Input mode to Stage mode, the Input Gain settings when Stage inputs were last enabled are recalled. Output Path selector Output 3 From the menu, select and choose the corresponding output pair. on to the same output pair. 4 Assign all tracks in the sessi To auto-assign all tracks to the same output, hold down Option (Mac) or Alt (Windows) on your Pro Tools com- signing any track output. puter keyboard while as While Pro Tools is recording, you can adjust Pro Tools faders 5 and pan without affecting the recording. 257 Chapter 25: Pro Tools Recording and Playback

269 Click in the System Name box, type in a name for your 3 Snapshot PRE Settings in Input Mode VENUE system, and press Enter on your keyboard. on the Snapshots page lets you The PRE Data Type Scope button recall the preamplifier settings on inputs for all scoped Input Channels. Go to the Options > Snapshots page to set the PRE pa- rameters to be recalled by the PRE data type button. The data in the table below shows which PRE setting can be stored with Snapshots created in Input mode. PRE settings stored and recalled with Snapshots in Input mode PRE Parameter Recall Store/Overwrite Entering a system name HPF freq and state Yes Yes 4 Click Apply . Yes Phase Yes Enable VENUE Link. 5 In the Ethernet Cont rol section, select Gain Yes Yes Phantom Power No No No Pad No Enabling VENUE Link Enabling VENUE Link VENUE Link must be enabled in VENUE and in Pro Tools. You 6 Setting the Computer IP Address Proceed to . can use and enable VENUE Link independently of Ethernet AVB audio (for example, if you are recording to Pro Tools using a her than Ethernet AVB audio, source from the S3L-X system ot Setting the Computer IP Address between system s using VENUE but you want to exchange data Make sure your Pro Tools computer is set so it obtains an IP ad- tion between the S3L-X system Link). However, a direct connec dress automatically using DHCP. and Pro Tools is still required, and routers, hubs, and switches are not supported. To automatically set the IP address on your Mac: VENUE Link is required for controlling Pro Tools . System Preferences > Network Launch 1 2 Do one of the following: The VENUE Link connection and settings are separate Network connections and set- from ECx Remote Control • If you connected from a Network port on the S3 control sur- be sure to configure ECx tings. If you are running ECx, Ethernet face to an Ethernet port on the computer, choose separately. from the network connections services list. • If you connected from a Network port on the S3 control sur- Enabling VENUE Link In VENUE Thun- face to a Thunderbolt port on the computer, choose derbolt Ethernet from the list. To enable VENUE Link in VENUE: ools are connected as de- 1 Make sure the S3L-X and Pro T Using DHCP Choose 3 from the Configure menu. An IP address scribed in . Connecting to Pro Tools is automatically assigned to the computer. In VENUE, go to 2 VENUE and click the Interaction, Options > . Click Apply 4 Link Settings button in the Ethernet Control section. VENUE Link settings button ing an active network connection Mac Network Settings screen show to the S3L-X system 258 Chapter 25: Pro Tools Recording and Playback

270 Enabling VENUE Link in Pro Tools Using VENUE Link To enable VENUE Link in Pro Tools: Create a Session from VENUE 1 Launch Pro Tools if it is not already launched. If the Quick Start dialog appears, click Cancel . When you create a Pro Tools session from VENUE, tracks are automatically created, named, an d given I/O assignments based Setup > Peripherals to open the Peripherals dialog, 2 Choose on the currently loaded VENUE Show file. New audio tracks are then click the VENUE tab. all assigned input and output channels in the VENUE created for In the System Name box, enter a name for your Pro Tools sys- 3 Patchbay. tem. the Virtual Sound- Creating a session from VENUE is part of Choose your S3L-X system from the VENUE System pop-up 4 check workflow. When you create a Pro Tools session from menu. When a connection is es tablished, “connected” is dis- VENUE, you ensure that your Pro Tools track I/O assignments the connected VENUE system. played next to the name of match your S3L-X system Patchbay assignments one-for-one. If you have not named your S3L-X system, choose the IP To create a session from VENUE: VENUE Link connection from address of the S3L-X system 1 In VENUE, make sure you have loaded the Show file you want the pop-up menu (such as 169.xxx. xxx.xx). to use as the basis for your Pro Tools session. 2 Launch Pro Tools. If the Quick Start dialog appears, click Cancel. File > New Session to open the New 3 In Pro Tools, choose Session dialog, then choose Create Session from VENUE. Choosing the S3L-X system from the VENUE System pop-up menu Create Session from VENUE option in the New Session dialog pherals dialog, confirm that 5 On the VENUE tab of the Peri your VENUE and Pro Tools systems share the same TCP/UDP Set session parameters such as Audio File Type and Bit Depth. 4 port setting. Sample Rate is fixed at 48 kHz. OK 5 Click . Troubleshooting VENUE Link Connections ed Show file in VENUE ap- The name of the currently load 6 If you cannot establish VENUE Link between systems, try either pears as the session name in the Save dialog. Accept the name or both of the following: or edit it, and select the drive where you want to save the ses- Setup > Peripherals > VENUE  In Pro Tools, choose , and en- sion. The session should be saved on a dedicated audio drive . ter a new number between 1024–65535 (except 5900) into the field. In VENUE, go to the Options > Interaction TCP/UDP Port VENUE Link Settings page, click the button, then enter the same number in the TCP/UDP Port field there. In Pro Tools, choose  Setup > Peripherals > VENUE. Make sure the IP address in the pop-up under Advanced Net- Interface Save dialog showing the currently loaded Show file work Settings matches the IP address as shown in the IP Address field for the VENUE Link connection on the System Preferences Save. Click 7 > Network page of your computer. If it does not match, click the pop-up and choose that IP address. Interface Choosing an IP address from the Interface pop-up in Pro Tools 259 Chapter 25: Pro Tools Recording and Playback

271 In the Pro Tools session, new mono and Assignable Outputs Track Assignments in Pro Tools stereo tracks are created for an y S3L-X system ch annels patched New tracks appear in the Pro Tools Edit and Mix windows as fol- to Assignable outputs under the Pro Tools tab in the VENUE lows, depending on the type of S3L-X system channel: e named automatically based on Patchbay patching grid. Tracks ar their corresponding channel names in VENUE. Direct Digital Splits In the new Pro Tools session, mono and l S3L-X system mono and stereo stereo tracks are created for al Stereo Direct Input Channels and FX Returns that have Stage inputs assigned to Outs cally based on their correspond- them. Tracks are named automati ing Stage input channel names. Duplicate track names are ap- pended incrementally (such as “.1,” and “.2,”). Stereo Group Mono Stage input track Mono Aux Duplicate track Mono Matrix Stereo Stage input track channel track names Imported assignable Stage input channel tracks in the Pro Tools Edit window Track names are appended with the corresponding output type as follows: Track input and outputs are automatically assigned in Pro Tools, and are shown in the Track I/O selectors. VENUE Channel Type Track Name Appended With ments one-for-one to facilitate Track outputs follow input assign (Grp) Group Virtual Soundchecks. Track order (top to bottom in the Edit win- dow and left to right in the Mix window) follows the channel or- Aux (Aux) der on your S3L-X system. (Mtx) Matrix (Left-Right) Mains Track input (Center) Track output (Mono) Monitor (Mon) (Dir) Direct Out (PI) Plug-in output assignments for digital splits Track I/O selectors showing I/O Tracks are created for any Stage input channels patched in Track input and outputs are automatically assigned in Pro Tools, avoid creating tracks for the VENUE system Patchbay. To and are shown in the Track I/O selectors. unneeded inputs, go to Patchbay > Inputs in VENUE and s for Assignable outputs are as- By default, all track output path deselect any unwanted Stage input channels (click in the signed to Bus 1-2 in Pro Tools. This routing can be changed. patching grid to unassign) Track input Track Output I/O assignments for Assignable outputs from S3L-X 260 Chapter 25: Pro Tools Recording and Playback

272 To create a Pro Tools marker from a VENUE snapshot: Importing VENUE Channel Names as Track Names em, go to the 1 On the VENUE Syst Snapshots page. You can import VENUE channel names as track names into an 2 In the Snapshots list, click the Marker icon to enable that snap- existing Pro Tools session. You can use this option in the follow- shot to create a Pro Tools Marker when that snapshot is re- ing ways: called during recording. • If you have created a session from VENUE, but prior to re- If the Marker icon is not disp layed, right-click one of the cording you have changed the names of channels in Snapshots in the list and choose Unhide Marker. VENUE, use this feature to update track names automati- cally. • If you are working from an existing template that includes the VENUE channels plus a variety of other channels (such as effects returns), use this feature to update the VENUE-re- lated track names without af fecting the other non-VENUE tracks. Marker icon the currently loaded Show If you have added a channel to file that does not have a corresponding Pro Tools track, cre- VENUE Snapshots list s howing Marker icon enabled ate a new track, set the input assignment, then choose as Track Names to import Import > VENUE Channel Names toggle the Marker icon to Shift-click multiple Snapshots and names. consecutive Snapshots in the enable or disable multiple ltiple Snapshots to select Snapshots list. Control-click mu To import VENUE channel names into an existing Pro Tools hots. Right-click in the multiple non-consecutive Snaps session: Snapshots list and choose Select All to select all Snapshots. File In an existing Pro Tools session, from the  menu, choose Import > VENUE Channel Names as Track Names. 3 In Pro Tools, locate the Markers ruler. If you do not see it, choose . View > Rulers > Markers Track names are imported the same way as described above (see ). However, I/O routing for all Create a Session from VENUE 4 Click the track’s Record Enable button. The Record Enable tracks do not change, and no new tracks are created. button flashes when enabled, an d is lit solid when engaged. When you create new sessions in Pro Tools, you can use once, Alt-click (Windows) or To record enable all tracks at pre-formatted VENUE session te mplates, or you can create Option-click (Mac) one track Record Enable button. your own template, which you c an then use as the basis for 5 In the Edit window toolbar, or in the Transport window ( Win- new sessions. See the Pro Tools Reference Guide for infor- dow > Transport ) click the Record button to arm the Trans- mation on using templates. port. Creating a Pro Tools Marker from a 6 In Pro Tools, press the Spacebar to start recording. Snapshot a snapshot from the snapshot On your VENUE system, select 7 With VENUE Link enabled, you ca n set individual snapshots to list and click to recall that snapshot. Recall create a new Marker in the Pro Tools Timeline. While Pro Tools 8 Recall any other Snapshots on your VENUE system as re- is recording, whenever that snapshot is recalled, a new Marker is quired. Markers appear in the Pro Tools Markers ruler for any according to the recalled snapshot. created and named recalled VENUE Snapshots, an d are automatically named to uent recalls of that snapshot Once the marker is created, subseq match the corresponding VENUE snapshot. can locate (cue) the Pro Tools pla yback cursor to the associated Marker while Pro Tools is playing back. In performance, this is a great way to precisely control Pro Tools playback for sound ef- fects, beds, or backup material . For subsequent mixdown or for Virtual Soundcheck, you have a fully archived session in which you can quickly navigate to specific songs or cues. In VENUE, you can enable or disable individual Snapshots from Pro Tools Markers ruler showing snapshot-generated Markers creating Pro Tools Markers. In Pro Tools, you can edit VENUE-generated Markers to rename them, move them to a dif- disable snapshot ferent location in the Timeline, “chase,” and re- associate a Marker with a different snapshot. 261 Chapter 25: Pro Tools Recording and Playback

273 To locate to a Pro Tools marker when recalling a snapshot: Controlling Pro Tools Using Events 1 and a session is loaded with Make sure Pro Tools is launched When VENUE Link is enabled, you can control Pro Tools func- Markers created from snapshots. tions from the S3 control surface using events. The following om the Events tab Actions list, Pro Tools functions are available fr 2 page. Snapshots In VENUE, go to the and can be triggered by the Function switches, Touchstrip zones, 3 lect a snapshot that is associated with a In the Snapshots list, se and a footswitch: icon so that it is lit green, Pro Tools Marker, click its Marker Stop This stops the Pro Tools transport. and click Recall . Play This initiates Play in the Pro Tools transport. If Pro Tools is playing back, play back continues when recalling any snapshot asso ciated with a Pro Tools Marker. Record This arms the Pro Tools transport initiates record- and ing. Editing Markers Created from VENUE Snapshots Record Enable All VENUE Tracks This record-enables all A Marker linked to a VENUE snap shot can be edited like any tracks in the current Pro Tools session that have a I/O assign- other Pro Tools Memory Location. You can rename Markers, and ments from VENUE. move Markers, disable snapshot “chase,” and re-associate a Marker with a different VENUE snapshot. This record-disables all Record Disable All VENUE Tracks tracks in the current Pro Tools session that have I/O assignments For complete information on Memory Locations, see the from VENUE. Pro Tools Reference Guide. e action (such as enga ging Play), or you You can trigger a singl To rename a Memory Location for a Marker: r example, you can record-enable can trigger multiple actions. Fo 1 In the Edit window, double-click the Marker in the Markers port, and initiate recording with all tracks, arm the Pro Tools trans mory Locations dialog. ruler to open the Edit Me the press of a Function switch or footswitch. 2 OK Memory Location, and click Enter the new name for the . Events. For more information on using events, see The edited marker remains linked to the VENUE snapshot. To move a VENUE snapshot-generated Marker:  In the Markers ruler in Pro Tools, drag the Marker left or right. If you move a VENUE snapshot in the Snapshot list, it will still remain linked to the associated Marker. To disable locating to a VENUE snapshot-generated Marker: 1 In the Edit window, double-click the Marker in the Markers ruler to open the Edit Me mory Locations dialog. In the General Properties section, deselect VENUE Snapshot . 2 3 Click OK . Recalling the VENUE snapshot does not locate the Pro Tools playback cursor to the disabled Marker. Re-selecting this option restores the loca te functionality. To associate a Marker with a different VENUE snapshot: 1 In the Edit window, double-click the Marker in the Markers ruler to open the Edit Me mory Locations dialog. ion, next to VENUE snapshot, 2 In the General Properties sect choose a different VENUE snapshot from the pop-up menu. apshot locates the 3 Click OK. The selected VENUE sn Pro Tools playback cursor to the edited Marker. 262 Chapter 25: Pro Tools Recording and Playback

274 Triggering Multiple Pro Tools Functions Triggering a Single Pro Tools Function to record-enable all tracks The following example shows how To trigger a single Pro Tools function: sport for recording, and ini- from VENUE, arm the Pro Tools tran Make sure the Pro T ools system is connected, and VENUE 1 tiate recording using a single trigger. Link is enabled on both systems. To record enable all tracks and initiate recording in Pro Tools: 2 . Option > Events In VENUE, go to Make sure the Pro Tools system is connected, and VENUE 1 New Click the 3 Event List Command button. Link is enabled on both systems. 4 Double-click the new untitled event in the Event list and give 2 Option > Events . In VENUE, go to the Event a name such as “Pro Tools Play Engage.” Click the 3 Event List Command button and name the New event. New event in the Event list A new named and selected event. is selected (highlighted in Make sure the event you created 4 Click the ADD pop-up menu in the Tri ggers list and select a blue) before adding triggers and actions. trigger type (such as a Function switch ) . The selected trigger type is added to the Trigger list for the currently selected event, 5 gers list and select a pop-up menu in the Trig ADD Click the ult properties. with its defa trigger type (such as . The selected trigger Function Switch 16) type is added to the Trigger list for the currently selected event, Click the Add pop-up menu in the Actions list, locate the 5 with its default properties. Pro Tools sub-menu, and select Record Enable All VENUE Tracks . from the Record Click the Add pop-up menu again, and select 6 s now appear in the Actions Pro Tools sub-menu. Both action list. Function switch added to the Event Triggers list ac- 7 Pro Tools-Record, Toggle, Latch If desired, double-click 6 Click the Add pop-up menu in the Actions list, locate the tion in the Actions list to edit the action. Pro Tools sub-menu, and select a Pro Tools Transport func- You can include a wait time for the Record action to make tion such as Play . The selected action type is added to the Ac- med before initiating the re- sure all tracks are properly ar tion list for the currently sele cted event, with its default cording. For the Pro Tools-Rec ord action, click in the Wait properties. value box to highlight it, and enter a desired wait time, such as one second (1.0 sec). to finish editing the action. 8 Click anywhere in Actions list Actions list showing Pro Tools Record Enable and Record actions Selecting a Pro Tools Transport command from the Actions pop-up essed, all tracks in the current When the selected trigger is pr When Function switch 16 is pre ssed, playback of the current NUE I/O assignments are en- Pro Tools session with valid VE Pro Tools session commences. abled for recording, the Pro Tools transport is armed, and the re- cording is initiated. 263 Chapter 25: Pro Tools Recording and Playback

275 To skip to a marker in the Pro Tools timeline Controlling Pro Tools from Global Spill Transport controls to Gl 1 obal Control, and make sure Control Pro Tools is the targeted device. You can control the Transport for built-in USB 2-track or 2 To go to the next marker in the Pro Tools timeline, click the en- Pro Tools recording and playback functions using the Global coder . Next switch under the display showing In Control Encoders. You can control the Transport of one device ontrol at a time, and can toggle (USB or Pro Tools) from Global C –or– controls between the two devices. To skip to the previous marker in the Pro Tools timeline, click  the encoder . Previous switch under the display showing In To control Pro Tools from Globa l Control, VENUE Link must be Enabling enabled on the S3L-X system and in Pro Tools (see VENUE Link ). To toggle Global Control Transport controls between USB 2-track and Pro Tools: From the Global Control Main 1 Menu, press the Global Control Encoder under the display showing to Media ( or Pro Tools) spill transport controls to the Global Control encoders. Snapshots Media Matrixes Aux/Grp Plug-Ins 1.Intro 00:00:00 Sel Sel Sel Sel Sel Sel Sel Sel In In In In In In In In The Media Global Control Encoder in the Global Control Main Menu Under the encoder showing (the rightmost encoder on 2 Device the top row), press the corresponding encoder switch to Sel eted device is shown in the toggle devices. The currently targ display ( USB or Pro Tools ). Device 00:00:00 Record Play USB 00:06:46 T B Sel Sel Sel Sel Sel Sel Sel Sel Ex P In In In In In In In In Device Sel Global Control Encoder switch To initiate Pro Tools playback 1 Spill Transport controls to Global Control, and make sure Pro Tools is the targeted device. Press the encoder switch under the display showing Play. 2 In insertion point or the Play Playback begins from the Timeline Start Marker location if the Dynamic Transport is enabled. While playback is engaged, press the encoder switch again 3 In to jump back to the Timeline insertion point and continue play- back. 264 Chapter 25: Pro Tools Recording and Playback

276 Part VIII: Specifications and Troubleshooting

277 Chapter 26: Mechanical Specifications S3 Control Surface Specification Parameter 1.3 inches (32.0 mm) Height (front) Height (back) 2.8 inches (71.7 mm) Maximum Width 28 inches (711.11 mm) Maximum Depth 14.3 inches (363.11 mm) Weight 13.8 lbs (6.2 kg) Power Requirements 100–240 V, 50–60 Hz, 200 W Power Connectors External PSU AC Input: IEC, 3-pin North American standard External PSU DC Output: Kycon KPPX–4P; 12V, 7.5A max current Audio Connectors (x8) XLR3–M balanced (x2), XLR3–F balanced (x2), 1/4-inch TRS balanced (x4) Headphone Connector 1/4-inch TRS unbalanced Network Connectors (x2) RJ-45 Neutrik etherCON USB Ports (x2) USB 2.0 (for connecting mouse and keyboard only) 1/4-inch TRS Footswitch Connector Light Connectors (x2) XLR3–F , LED console light required 2.2 in (57.3 mm) 28 in 1.8 in (711.1 mm) (45.2 mm) .6 in (14.4 mm) 14.3 in (363.1 mm) 2.85 in 1 in (71.7 mm) (25.4 mm) 1.3 in (32 mm) 266 Chapter 26: Mechanical Specifications

278 E3 Engine Specification Parameter Maximum Height 3.5 inches (89 mm) Rack Spaces 2U Maximum Width 19 inches (483 mm) 14.6 inches (371.5 mm) Maximum Depth Weight 21 lbs (9.5 kg) Power Requirements 100–240 V, 50–60 Hz Power Connector IEC, 3-pin North American standard Analog Audio Connectors (x8) XLR3-M balanced (x4), XLR3–F balanced (x4) XLR3-M (x2), AES3 XLR3-F (x2) Digital Audio Connectors (x4) AES3 Network Connectors (x3) RJ-45 Neutrik etherCON USB Ports (x4) USB 2.0 DVI Port DVI female (1024 x 768 resolution) GPI Port DB9 female Word Clock In/Out (x2) BNC female ECx Port (x1) RJ-45 (for ECx Ethernet Control connections only) .75 in 17.5 in (19 mm) (445 mm) 14.6 in (371.5 mm) 19 in .2 in (483 mm) (5.5 mm) 3.5 in (89 mm) 267 Chapter 26: Mechanical Specifications

279 Stage 16 Specification Parameter Height 6.9 in (175.2 mm) Rack Spaces 4U Width (with rack ears) 19 inches (483 mm) 15.6 inches (396 mm) Width (with rack ears configured as handles) Depth (with rack ears) 7.9 in (201 mm) Depth (with rack ears configured as handles) 9.8 in (249 mm) Weight 21 lbs (9.5 kg) Power Requirements 100–240 V, 50–60 Hz Power Connector IEC, 3-pin North American standard RJ-45 Neutrik etherCON Network Connectors (x2) XLR3-M balanced (x8), XLR3-F balanced (x16) Analog Audio Connectors (x24) AES3 XLR3-M Digital Audio Connectors (x2) 19 in (483 mm) 15.6 in (396 mm) 6.9 in (175.2 mm) 7.9 in (201 mm) 1.8 in (46.3 mm) 15.3 in (388.7 mm) 9.8 in (249 mm) 268 Chapter 26: Mechanical Specifications

280 Network Port Snake Act and Sig LEDs Power and Status LED Codes Each S3 control surface, E3 engine, and Stage 16 Network port E3 Engine gnal (Sig) LEDs. Each device is has its own Activity (Act) and Si g LEDs are lit solid for each ready for use when the Act and Si One single-color LED on the front pa nel of the E3 engine lights to connected Network port. powered on and ready for use. indicate the E3 engine is Act LED The Act (activity) LED lights solid to indicate that AVB Stage 16 Ethernet traffic is currently active on the connected audio snake nnected, or if a Stage 16 is cable. If a redundant snake is co panel of the Stage 16 are pro- Two bi-color LEDs on the front her Stage 16, then ports A and B Act LEDs daisy-chained to anot ternal fan status, and firmware vided to indicate power status, in will be lit. update status when updating device firmware. lid to indicate that a valid The Sig (signal) LED lights so Sig LED Power and fan faults are also communicated on-screen via communication connection exists between devices. If a redun- a warning dialog box. dant snake is connected, or if the Stage 16 is daisy chained to an- other Stage 16, then ports A and B Sig LEDs will be lit. Power LED The Power LED on the Stage IO box lights to indicate status as follows: Stage IO Box Power LED Indicates Power LED Green solid The Stage IO box is powered on and ready for use. Yellow solid A Stage IO box fan failure. Power cycle the device. A Stage IO box power supply temperature Yellow flashing alert. This may indicate that the device is overheating. Power down the device and is properly ventilated. check that the device Status LED The Status LED on the Stage IO box lights to indicate status as follows: Stage IO Box Status LED Indicates Status LED Green solid Initialization is complete and the device is ready to pass audio. Yellow solid The device is in itializing. No audio passes during initialization. Green flashing A firmware update for the device is in prog- during a firmware ress. No audio passes update. 269 Chapter 26: Mechanical Specifications

281 Chapter 27: Audio Specifications All specifications subject to change. S3 Control Surface Audio Specifications S3 Analog Mic Inputs, Pad Disabled Value Conditions Units Parameter Min. Typ. Max. 48 Volts Phantom Power dBu +7.979 @ 997 Hz, Gain = 10 dB (min.) Input Sensitivity -126.1 dB  source impedance Equivalent Input Noise (EIN) Gain = 60 dB, 150 -0.021 0 -0.236 dB = -12.035 dBu, 20 Hz – 20 kHz relative to V Frequency Response INPUT 1 kHz, Gain = 10 dB (min.) dB -111.2 source impedance, Gain = 10 dB (min.)  Dynamic Range Unweighted 150 -113.8 dB  source impedance, Gain = 10 dB (min.) Dynamic Range A weighted 150 % 0.0014 THD+N Amp @ 997Hz, Gain = 40 dB % 0.0014 0.0007 0.0045 THD+N Freq measured at -25.242 dBu, 20 Hz – 20 kHz, Gain = 40 dB dB -81.4 -80.8 -71.7 = -21.560 dBu, 20 Hz – 20 kHz, V Common Mode Rejection INPUT Gain = 10 dB (min.) Ratio -99.2 -109.6 dB -120.4 = -12.150 dBu, 20 Hz – 20 kHz, V Inter-channel Crosstalk INPUT Gain = 10 dB (min) 3.5K ohms Input Impedance @1 kHz 270 Chapter 27: Audio Specifications

282 S3 Analog Mic Inputs, Pad Enabled Value Units Parameter Conditions Max. Min. Typ. Volts 48 Phantom Power dBu +28.322 Input Sensitivity @ 997Hz, Gain = 10 dB (min.) dB -0.016 0 -0.235 =+8.225 dBu, 20 Hz – 20 kHz relative to Frequency Response V INPUT 1 kHz, Gain = 10 dB (min.) -111.2 dB Dynamic Range Unweighted 150  source impedance, Gain = 10 dB (min.) -113.9 dB Dynamic Range A Weighted  source impedance, Gain = 10 dB (min.) 150 0.0018 % THD+N Amp @ 997 Hz, Gain =40 dB 0.0018 0.0064 % 0.0012 measured at -3.808 dBu, 20 Hz – 20 kHz, THD+N Freq Gain = 40 dB -63.9 -59.3 -63.8 dB Common Mode Rejection Ratio V = -1.276 dBu, 20 Hz – 20 kHz, INPUT Gain = 20 dB -122.1 -109.1 -98.2 dB V Inter-Channel Crosstalk = +8.233 dBu, 20 Hz – 20 kHz, INPUT Gain = 10 dB (min.) 3.7k ohms @1 kHz Input Impedance S3 Analog Line Inputs Value Parameter Conditions Units Min. Max. Typ. +18.471 dBu Input Sensitivity @ 997Hz, Gain = 10 dB (min.) -93.9 dB Equivalent Input Noise (EIN)  source impedance Gain = 18 dB, 150 dB -0.018 0 -0.233 =-1.520 dBu, 20 Hz – 20 kHz relative to Frequency Response V INPUT 1 kHz, Gain = 10 dB (min.) -110.4 dB Dynamic Range Unweighted source impedance, Gain = 10 dB (min.)  150 -113 dB Dynamic Range A weighted source impedance, Gain = 10 dB (min.) 150  % 0.0010 THD+N Amp @ 997Hz, Gain =40 dB % 0.0016 0.0005 0.0010 measured at +12.193 dBu, 20 Hz – 20 kHz, THD+N Freq Gain = 40 dB -64.4 -66.8 -67.0 dB = -1.523 dBu, 20 Hz – 20 kHz, Common Mode Rejection Ratio V INPUT Gain = 0 dB -117.8 -110.1 -98.3 dB Inter-Channel Crosstalk V = -1.520 dBu, 20 Hz – 20 kHz, INPUT Gain = 0 dB (min.) ohms 5.1k Input Impedance @1 kHz 271 Chapter 27: Audio Specifications

283 S3 Analog Outputs Value Units Parameter Conditions Min. Typ. Max. dBu +24.201 @ 997 Hz Output Sensitivity 103.5 ohms Output Impedance @1 kHz -88 dBu Residual Output Noise 20 Hz – 20 kHz ms 3.2 Console input to Console output Round Trip Latency 3.2 ms Console input to Stage 16 output Round Trip Latency S3 Headphone Output Value Conditions Units Parameter Min. Typ. Max. Output Impedance @1 kHz ohms 1 dBV Output Sensitivity 32  load @ 997 Hz, max output +17.932 1.940 mW Max RMS Power Output +20.157 dBu 32 ohm headphones 163.1 +19 dBu 600 ohm headphones 272 Chapter 27: Audio Specifications

284 E3 Engine Audio Specifications E3 System Processing Parameter Value Internal Sample Frequency 48 kHz Internal Processing Up to 64-bit floating point for input, output, and plug-in processing 44-bit floating point fo r mix bus processing E3 Analog Mic Inputs, Pad Disabled Value Parameter Units Conditions Max. Min. Typ. Volts 48 Phantom Power +7.988 dBu @ 997 Hz, Gain = 10 dB (min.) Input Sensitivity -123.5 dB Equivalent Input Noise (EIN) Gain = 60 dB, 150 source impedance  dB -0.552 0 -0.064 = -12.142 dBu, 20 Hz – 20 kHz relative to V Frequency Response INPUT 1 kHz, Gain = 10 dB (min.) -108.1 dB Dynamic Range Unweighted 150  source impedance, Gain = 10 dB (min.) -110.7 dB  Dynamic Range A weighted 150 source impedance, Gain = 10 dB (min.) 0.0033 % THD+N Amp @ 997 Hz, Gain = 40 dB % 0.0040 0.0024 0.0033 THD+N Freq measured at -32.227 dBu, 20 Hz – 20 kHz, Gain = 40 dB 64.3 -74.3 -75.1 dB = -21.731 dBu, 20 Hz – 20 kHz, V Common Mode Rejection INPUT Gain = 10 dB (min.) Ratio -95.1 -106.3 dB -121.4 = -12.150 dBu, 20 Hz – 20 kHz, V Inter-channel Crosstalk INPUT Gain = 10 dB (min) 3.6K ohms Input Impedance @1 kHz E3 Analog Mic Inputs, Pad Enabled Value Units Conditions Parameter Typ. Max. Min. Volts 48 Phantom Power +28.168 dBu Input Sensitivity @ 997 Hz, Gain = 10 dB (min.) dB -0.914 -0.016 0 V Frequency Response =+8.028 dBu, 20 Hz – 20 kHz relative to INPUT 1 kHz, Gain = 10 dB (min.) -108 dB Dynamic Range Unweighted 150  source impedance, Gain = 10 dB (min.) dB -110.7 Dynamic Range A weighted source impedance, Gain = 10 dB (min.)  150 0.0046 % THD+N Amp @ 997 Hz, Gain =40 dB % 0.0051 0.0012 0.0046 measured at -3.808 dBu, 20 Hz – 20 kHz, THD+N Freq Gain = 40 dB dB -59.3 -64.8 -65.0 Common Mode Rejection Ratio V = -1.276 dBu, 20 Hz – 20 kHz, INPUT Gain = 20 dB -122.1 -106.1 -95.0 dB Inter-Channel Crosstalk V = +8.233 dBu, 20 Hz – 20 kHz, INPUT Gain = 10 dB (min.) ohms 3.7k Input Impedance @1 kHz 273 Chapter 27: Audio Specifications

285 E3 Analog Outputs Value Parameter Units Conditions Typ. Max. Min. +24.164 dBu Output Sensitivity @ 997 Hz ohms 100 @1 kHz Output Impedance dBu -84 20 Hz – 20 kHz Residual Output Noise ms 2.2 Engine input to Engine output Round Trip Latency 2.7 ms Engine input to Stage output Round Trip Latency E3 AES/EBU Digital Inputs Value Conditions Units Parameter Min. Typ. Max. 24 bit Word Length 48 kHz Sample Rate 32 kHz Sample Rate Conversion Always active E3 AES/EBU Digital Outputs Value Conditions Parameter Units Min. Max. Typ. bit 24 Word Length 48 kHz Sample Rate Channel Status Info Pro, Audio 48 kHz, No Emphasis 100 meters Cable Length Without equalization, 110 ohm cable 274 Chapter 27: Audio Specifications

286 Stage 16 Audio Specifications Stage 16 Analog Mic Inputs, Pad Disabled Value Parameter Conditions Units Min. Typ. Max. Volts 48 Phantom Power +7.966 dBu @ 997 Hz, Gain = 10 dB (min.) Input Sensitivity -124.5 dB Equivalent Input Noise (EIN) Gain = 60 dB, 150  source impedance 0 -0.068 dB -0.559 = -12.035 dBu, 20 Hz – 20 kHz relative to Frequency Response V INPUT 1 kHz, Gain = 10 dB (min.) -108.2 dB source impedance, Gain = 10 dB (min.) Dynamic Range Unweighted 150  -110.9 dB Dynamic Range A weighted  source impedance, Gain = 10 dB (min.) 150 0.0034 % THD + N Amp @ 997Hz, Gain = 40 dB % 0.0038 0.0034 0.0025 THD + N Freq measured at -25.242 dBu, 20 Hz – 20 kHz, Gain = 40 dB dB -84.4 -83.7 -72.1 = -21.560 dBu, 20 Hz – 20 kHz, V Common Mode Rejection INPUT Gain = 10 dB (min.) Ratio -95.6 dB -106.5 -115.5 = -12.150 dBu, 20 Hz – 20 kHz, Inter-Channel Crosstalk V INPUT Gain = 10 dB (min) 3.4K ohms Input Impedance @1 kHz Stage 16 Analog Mic Inputs, Pad Enabled Value Parameter Units Conditions Min. Typ. Max. 48 Phantom Power Volts +28.218 Input Sensitivity dBu @ 997 Hz, Gain = 10 dB (min.) -0.874 0 -0.062 =+8.225 dBu, 20 Hz – 20 kHz relative to dB V Frequency Response INPUT 1 kHz, Gain = 10 dB (min.) -108.1 Dynamic Range Unweighted dB  source impedance, Gain = 10 dB (min.) 150 -110.7 Dynamic Range A weighted dB 150 source impedance, Gain = 10 dB (min.)  0.0052 THD + N Amp % @ 997Hz, Gain =40 dB 0.0036 0.0052 0.0060 THD + N Freq measured at -3.808 dBu, 20 Hz – 20 kHz, % Gain = 40 dB -63.6 -63.1 -62.9 = -1.276 dBu, 20 Hz – 20 kHz, dB Common Mode Rejection Ratio V INPUT Gain = 20 dB -95.2 -106.9 -122.9 Inter-channel Crosstalk V dB = +8.233 dBu, 20 Hz – 20 kHz, INPUT Gain = 10 dB (min.) 3.7k ohms Input Impedance @1 kHz 275 Chapter 27: Audio Specifications

287 Stage 16 Analog Outputs Value Units Parameter Conditions Min. Typ. Max. dBu +24.164 Output Sensitivity @ 997 Hz 105 ohms Output impedance @1 kHz dBu -85 20 Hz – 20 kHz Residual output noise 3.3 ms Stage input to Stage output Round trip latency Stage 16 AES/EBU Digital Outputs Value Conditions Units Parameter Min. Typ. Max. 24 bit Word Length 48 kHz Sample Rate Channel Status Info Pro, Audio 48 kHz, No Emphasis meters 100 Cable length Without equalization, 110 ohm cable 276 Chapter 27: Audio Specifications

288 Chapter 28: S3L-X System Signal Flow Diagrams Monitor Bus Signal Flow Diagram Chapter 28: S3L-X System Signal Flow Diagrams 277

289 Input Signal Flow Diagram Chapter 28: S3L-X System Signal Flow Diagrams 278

290 Output Signal Flow Diagram Chapter 28: S3L-X System Signal Flow Diagrams 279

291 Chapter 29: Troubleshooting This chapter provides troubleshooting and pr des an- oblem solving information. It includes a table of problems and solutions that provi text messages, and re later in this chapter or elsew here in swers to common questions, explains on-screen fers you to specific sections this guide for details and instructions. Problem Solving of situations that may arise while operati ng a VENUE system and includes common ques- The following table provides descriptions , along with possible solutions. tions, symptoms and error messages Table 9. Troubleshooting Errors and Messages Symptom or Message Possible Cause Solution Faders, Switches, Channels, and Devices Fader stuck Fader path was blocked during startup cali- Reset the S3 control surface by right-clicking the Console bration. graphic in the Options > Devices page and choosing Reset the console. If possible, wait for a silent portion of a performance to avoid unexpected gain changes upon reset. For details, see Hardware Monitoring Window ). ware Compo- Resetting Hard S3 control surface controls Reset the console. See S3 control surface needs to be reset. . If possible, wait for a silent portion of a performance to nents have stopped working avoid unexpected gain c hanges upon reset. For details. If software is frozen, power cycle the system. Bad or missing connection to the E3 engine. Check to make sure the cable connec ting the console to the E3 engine is properly connected and not damaged. Resetting Hard ware Compo- Stage 16 I/O is not passing Reset the Stage 16. See Stage 16 needs to be reset. . nents audio Bad or missing connection to the E3 engine, Check to make sure the audio snake connecting the Stage 16 to another Stage 16, or to power. to the E3 engine (or, if daisy-chained, to the nearest Stage 16) is properly connected and not damaged. Check power to the Stage 16. Enabling Config Mode. Cannot assign Stage 16 Config mode is not enabled. Enable Config mode. See E3 engine I/O is not passing Resetting Hardware Com- E3 engine I/O needs to be reset. Reset the E3 engine I/O. See . ponents audio Aux panning is configured Cannot pan an Aux Send In the Options > Busses page, select the Follows Channel Pan to follow channel from the channel encoders pan. option. Deselect for each Aux Send you want to pan inde- pendently from channel pan. Previously connected The device is no longer present. Right-click th e device graphic in the Options > Devices page device is unavailable and is and choose Forget to dismiss warning dialogs. grayed out in the Bad or missing connection to the E3 engine. Check to ma ke sure the cable connecting the device to the is Options > Devices page and that the device is properly connected and not damaged, powered on. 280 Chapter 29: Troubleshooting

292 Table 9. Troubleshooting Errors and Messages Solution Symptom or Message Possible Cause Startup and Restarts Check to make sure you are using the most current versions of An incompatible plug-in, a corrupted data file Repeated failures he manufacturers). If failures or application software, or a hardware error. all your plug-ins (check with t occur only when you try to use a certain plug-in, disable that plug-in and see if problems go away. Try re-installing plug-ins that are causing problems. causes the system to fail con- Determine if a certain Show file and see if problems persist. For sistently. If so, delete that file Performing a Soft Reset . additional options, see Clear the console from the Op tions > System page and see if problems persist. If necessary, you can reinstall VENUE software by doing a Using the System Restore Soft- System Update (see ). ware If you suspect problems with the system hard drive, or the sys- Using the tem software, you can do a complete restore (see ). System Restore Software Power down all equipment and check all cards and cable con- nections and power supplies. Plug-Ins The plug-in racks need to The plug-in racks have gone offline, and Follow the instructions on-screen to reset the racks (see ). Resetting the Plug-In Racks LOST is indicated in the Status box be reset on-screen. The racks go offline after some conditions in which a plug-in or the DSP host failure causes significant problems. Installing and Autho- One or more plug-ins are Install the plug-ins, if available (see A Show was loaded that references plug-ins ). rizing Plug-Ins which are unavailable on the current system. unavailable Remove or replace the plug-ins in the Show, or load a different Show file. Check all plug-ins to make sure you are using the most recent A plug-in is not fully compatible and is caus- versions. Go to Options > Plug-Ins and click the plug-in to dis- ing failures. play the version number. Try disabling plug-ins one-by-one to see if doing so eliminates Enabling and Disabling Installed problems (see ). Plug-Ins A plug-in is installed that needs to be autho- Plug-in authorization dia- Click Quit to dismiss the authorization dialog and continue logs appear every time the rized for demo or full use. starting up (the plug-in will be unavailable). system starts or restarts Click Try to use the plug-in for a limited time in Demo mode. to authorize a plug-in using an Click Authorize if you are ready Installing and Authorizing Plug-Ins .) iLok. (See A plug-in demo has expired. Uninstall the pl ug-in listed in the authorization dialog (see Removing Plug-Ins ). Warning Dialogs One or More Devices Have Bad or missing connection Check connections to other components. Failed A device needs to be reset. Reset the device. If unable to reset the device, power cycle the device. Plug-In Racks Need Reset The racks have gone offline because a Follow the instructions on-screen to reset the racks (see ). Resetting the Plug-In Racks plug-in has failed, or some circumstances have caused the DSP engines to require a reset. ion Check Network connections to the E3 engine. Console Connection Error Bad or missing connect le to reset the device, power cycle the A unit needs to be reset. Reset the device. If unab device. 281 Chapter 29: Troubleshooting

293 Table 9. Troubleshooting Errors and Messages Solution Symptom or Message Possible Cause Setting the System Clock. Reset the system clock. See Date & Time Check System clock needs to be reset. Sample Rate Conversion No immediate action required; automatic sample rate conver- A sample rate mismatch or lack of clock has Alert been detected at a digital input. sion maintains digital throughput, allowing you to check set- SRC OFF LEDs flashing tings and connections between VENUE and external digital (Systems with DSI option ation on digital connections and devices later. For more inform put and Sample About Digital In only) synchronization, see . Rate Conversion Click HW Monitor to access the Hardware Monitor Window for has detected a hardware compo- Hardware Monitor Alert The system Hardware Monitoring Window . the device. See nent that is performing above or below its hardware specification. Check power and/or connection to the device. A Device Has Been Lost A Stage 16 has been disconnected or has lost If the device is not present, right-click the graphic of the corre- power. sponding Stage 16 and choose Forget IO Box Assignment. If a primary and redundant audio connection Redundant Connection Check the audio network connecti on to the device. If a redun- has been made to the device, one of the con- Lost dant connection is not present, pr ess OK to dismiss the dialog. nections has been lost. Internal switch in the E3 engine has malfunc- Power-cycle the E3 engine Engine Internal Switch tioned Warning Master Engine Not E3 Master in the previous configuration is Maintain the current Stage 16 Master/Save relationship and continue to operate as if the Master E3 were still online (if, for either not powered on or is not connected. Detected example, the Master E3 has lost power). -or- Master Engine Lost E3 Master is disconnected from the network, Become the Master of any Slave Stage 16s by reassigning the for example if the audio network connection is Stage 16. broken or the Master E3 loses power. 282 Chapter 29: Troubleshooting

294 Startup in Explorer Performing a Soft Reset To start up the system in Explorer (bypassing VENUE software): to be reset, restart the system If your VENUE system ever needs Start or restart the system, as necessary. 1 To restart the system: 2 e startup process. As soon as Watch the screen closely during th tab. 1 System Go to the Options page and click the before the VENUE software the cursor becomes visible (and logo screen appears) press and hold the E key on the computer Hold Default (Alt 2 button. Shut Down ) and click the E key (do not press it repeat- keyboard. Continue to hold the edly) until you see the Explorer desktop. 3 From Explorer, you can manually find and delete suspect data files, plug-ins, or perform ot her file management tasks. troubleshoot a computer and If you are unsure about how to its files, it is recommended t hat you contact VENUE customer service. Shut Down button does not correct a pr oblem, you may have If restarting the system to reset hardware components, identify and remove any incom- Hardware Monitoring Window reinstall VENUE softwa re using the System patible plug-ins, or The performance of hardware components can be viewed and Restore software. monitored using the Hardware Monitoring window. Additional Reset Options Should a problem occur with any of the components in your sys- tem, the Hardware Monitoring wi ndow will provide information Additional shortcuts are provided while restarti ng the system, that will be useful in troubl eshooting while in contact with which let you do the following: VENUE customer service. • Back up the current show settings and clear the console. Use this option if you suspect an auto-saved setting has become cor- Accessing Hardware Monitoring most recent settings and clear rupted. This lets you save your do a full system restore. the console without having to To access the Hardware Monitoring window, do any of the – or – following: any time to open the • Press Ctrl+Shift+M at nage software • Startup in Explorer, to be ab le to manually ma Hardware Monitoring window. components. Use this option to tr oubleshoot the system if prob- lems arise early in the startup process and persist through re- page, right-click on a system Options > Devices • In the peated restarts. component and choose Hardware Monitoring in the pop-up menu. This opens the Hardware Monitoring window for the Backup and Clear Console selected device. ert dialog appears on-screen, • If the Hardware Monitoring Al To backup and clear the console at restart: click to select Show Hardware Monitor. The Hardware 1 Start or restart the system. Monitoring Alert dialog for the problem device appears au- ading that is out of specifi- tomatically and identifies the re Watch the screen closely during th e startup process. As soon as 2 cation. the cursor becomes visible (and before the VENUE software logo screen appears) press and hold the C key on the computer The Hardware Monitoring Alert window is only displayed once C key (do not pr ess it repeat- keyboard. Continue to hold the per device (should a problem ever be detected with that device). edly). The following is an example of the Hardware Monitoring Alert: A dialog appears that lets 3 you choose to backup your auto-saved settings and clear the console, or to continue and load settings normally. If you press the C key too early in the startup process, the USB lling the Backup and Clear di- keyboard is reset instead of ca alog. If you do not see the backup and clear dialog, repeat the restart process and try again. Hardware Monitoring Alert 283 Chapter 29: Troubleshooting

295 Resetting the Plug-In Racks Resetting Hardware Components be reset from the screen, Some hardware can Options > Devices If the plug-in racks go offline they need to be reset to resume nor- or by power-cycling th e component. It is recommended that you mal operation. perform a reset if, for example, the Hardware Monitor Alert dia- Do not reset the racks until there is a long enough break in device stops communicating with log appears, or if a connected the performance that the rack c an be fully rebuilt with no sig- the rest of the system. nal passing through. This is es pecially important when using crossover plug-ins or gain-attenuating plug-ins. To reset system hardware: 1 Put the system in Config mode. pply when plug-ins go offline: The following conditions a 2 Go to Options > Devices . • When offline, plug-ins on In put Channels and FX Returns process audio using their settings at the continue to pass and Right-click any displayed hardware components: 3 time the racks went offline. •Console • Offline plug-ins on output channels and busses are muted. • Engine • You will not be able to adju st plug-ins settings until the • Stage 1–4 racks fully re-initialize. 4 Choose Reset . • Once the racks begin to reinitialize, plug-ins are unavailable and do not process audio. • During reinitialization, plug-ins are loaded into rack slots Offline or Unavailable Devices according to the last loaded Show file; plug-in racks are ug-ins are made turned off (all assigned pl inactive). The system remembers th e last hardware configuration used. If it and the racks initialized, the • When all plug-ins have loaded displays those devices the next startup, it doesn't find all units at ng you that the racks are ready system displays a dialog alerti as grayed out in the Options > Devices page. Devices remain of- to be brought back online (reac tivated). This is provided as fline (and the system displays error messages alerting you to their a final precaution against su dden changes to audio when are powered up and come online, absence) until either the devices plug-ins resume processing. or you tell the system to forget the offline units by right-clicking the missing devi ces and choosing . Forget Shortly after you confirm that yo u want the racks brought back online, plug-ins resume processi ng audio and all parameters be- ror messages alerting you if a de- The system software displays er come available for editing. vice fails or is no longer available. To re-initialize (reset) the racks: to begin the Reset Reset dialog, click In the Plug-In Racks 1 Utility Mode plug-in rack re-initialization. ted up into a Utility mode that The S3 control surface can be star s to Use Rack 2 In the Plug-In Racks are Ready dialog, click can be useful for troubleshooting purposes. Only use Utility confirm that you want the racks to be reset. Status is shown mode at the request of a qualifie d Avid technician to diagnose on-screen. After the process is complete, the console and all specific hardware problems. plug-ins are operational again. To enter Utility mode: View 2  Press and hold the User + Cancel + View 1 + switches while powering on the S3 control surface. 284 Chapter 29: Troubleshooting

296 Do one of the following to update or restore system software: 7 Using the System Restore Software Update To update the syst em software while keeping any Show The System Restore USB Drive provided with your system lets files and Preset files on the system, press “u” (lower-case). When software for you update or restore your system maintenance and tion dialog appears, press Shift+U (up- the Update confirma troubleshooting. per-case) on your keyboard to proceed. Follow the on-screen in- structions to begin installation. e latest version of the Sys- Check your Avid account for th – or – tem Restore software. Always make sure to use the latest storing your ftware when re version of the System Restore so Restore To fully restore the system (completely removing all keep a copy of the System software, and that you always files on the system), press “r” (lower-case). Or, press “P” (up- Restore software on-hand for troubleshooting. per-case) to return to the previous screen. When the Restore con- firmation dialog appear s, press Shift+R on your keyboard to pro- ons, when updating or restoring In shared input configurati ceed. Follow the on-screen instru ctions to complete the System your system software make su re only one E3 engine is pow- Restore operation. ered on at a time, or that E3 engines are not connected to- storing, the system restarts. When finished updating or re gether. 8 Update and install plug-ins as necessary. See Reinstalling Plug-Ins . System Update A system update reinstalls the VENUE software and leaves User Settings, Shows and Presets intact. Plug-Ins must Before reinstalling plug-ins, check online for any updated allers located on your S3L-X sys- be reinstalled using plug-in inst an updated version of a plug-in version s of your plug-ins. If tem. is available, download the inst aller and install it from a USB drive. A full system restore completely erases the sys- System Restore tem drive and reinstalls VENUE software on your system. It is If you are running the ECx Ethernet Control, you will also 9 recommended to perform a full system restore once every two have to reinstall the ECx software. See ECx Ethernet Control mal system drive performance. years in order to ensure opti for more information. ing the original installers. Plug-Ins must be reinstalled us To cancel without changing any installed software: All data folders and files are remo ved after a Syst em Restore. fore perform- Be sure to transfer and archiv e needed data be Press E to exit from the Welc ome to VENUE System Restore  ing a system restore. See Transferring Settings, Shows screen. The system resumes starting up using the currently in- and Presets. stalled version. system restore or If you cancel a full an update, you may ex- The System Restore software and any plug-in installers perience installation errors about unavailable space. If this should be kept with the system at all times. occurs, repeat the system restore process, making sure to complete it in one pass. To start, update, or restore a system using the System Restore software: Reinstalling Plug-Ins 1 speakers, and power amps are muted. Make sure outputs, an update or a restore, as fol- Plug-ins must be reinstalled after Connect the keyboard and mouse directly to the E3 engine. 2 lows: The keyboard and mouse must be connected to the E3 engine System Update After a system update, any previously installed when performing a system update or system restore. iately using the installers lo- plug-ins can be reinstalled immed cated on the system. 3 Insert the System Restore USB Drive into a USB port on the E3 engine. System Restore ore, factory-installed After a full system rest ware. Any other the system soft core plug-ins are reinstalled with Options > System 4 Shut down your system by going to the previously installed plug-ins fro m Avid or its Development Part- page and choosing Shut Down . ners must be installed from an external USB storage device using 5 Restart your system by pressing and holding F10 on the key- the original installers. board until the Restore/Update dialog appears. See Installing Plug-Ins. Some models of USB keyboards require repeated pressing of n pressings) to register. F10 (holding it down in betwee do one of the following to up- In the Restore/Update dialog, 6 system software: date or restore 285 Chapter 29: Troubleshooting

297 Updating Firmware ore, the system checks for new During an update or system rest firmware. If newer firmware is found in the System Restore or Update software, it is automatically installed during system startup (FPGA only) and after syst em startup (all other devices). The progress of a firmware update is shown in the Options > De- vices page for each device rece iving the firmware update. If an E3 is connected to an S3 or any Stage 16s with different ver- sions of firmware than the E3, the firmware on the S3 and/or Stage 16 is automatically updated to match the version of the firmware on the E3. Do not disconnect or power dow n any devices when a firm- ware update is in progress. Make sure E3s are not con- ng a firmware update. nected together duri 286 Chapter 29: Troubleshooting

298 Part IX: Reference

299 Chapter 30: GPI Port Reference GPI Connector Pin Assignments GPI Port Specifications The GPI port is a female DB9 co nnector that provides two GPI A 9-pin, female DB9 connector provides a total of 2 General Pur- inputs and two GPI outputs. The following table shows the input pose Interface (GPI) Inputs and 2 Outputs. and output pin assignments on the GPI connector: DB9 GPI Connector Pin Assignments GPI Input Specifications Pin Number Comments Function The specifications for the GPI input are as follows: Logic level (TTL, CMOS) input 1 Input 1 • Inputs are logic inputs with pull-ups. They may be driven by with pullup logic outputs or contact closure to ground. Input 2 2 Logic level (TTL, CMOS) input • Input signal range is 0 to 5.5V. The inputs are ESD protected. with pullup • Input signaling uses standard TTL logic levels: 0.8V or less for Floating contact closure out- Output 1 3, 8 a logic low. 2.0V or greater for a logic high. put • Inputs are compatible with 5V TTL (e.g. 74LS series), 5V Output 2 4, 9 Floating contact closure out- CMOS (e.g. 74HC series), 3.3V CMOS (e.g. 74LVC series) put • Inputs provide an internal 5K ohm pull-up to +5V. All ground pins are connected Ground 5, 6, 7 e same internal ground, which is • All Inputs are referenced to th internally connected to AC safety ground. Pinout for GPI Connector GPI Output Specifications The specifications for the GPI output are as follows: 54321 • Outputs are isolated, fl oating relay c ontacts (contact closure). 200V max; 0.5A max. • Switched voltage is safety/chassis ground is 300V • Switched voltage with respect to max. GPI Outputs can switch 500 mA applies even maximum. This 9876 is limit can be exceeded when to short term current surges. Th or incandescent lamp load. An incandes- driving a capacitive Pinout for the GPI port (looking at back of the E3 engine) ten times its steady state cur- cent lamp may draw as much as rent when first turned on. Therefore such lamps are typically not appropriate loads for th e GPI Outputs, and should in- stead be controlled by a secondary relay. GPI Output Ground Connections olated contact-closure style. The GPI Outputs provided are is Each GPI output is presented on a pair of pins. These two pins h that can be opened and closed. represent the two sides of a switc If it is desired to drive a signal to ground, then one of the pins must be wired to ground, and the other to the signal to be con- trolled. 288 Chapter 30: GPI Port Reference

300 Wiring a Logic Signal to Drive GPI GPI Wiring Diagrams The following diagrams provide examples of GPI pinout and wir- Ground reference needed DB9M between systems. ing for a few common uses. All diagrams are shown from the rear (solder side) of the DB9 connector. GPI Input Examples 1 implified wiring examples for a The following diagrams provide s 6 customer-provided DB9 ma le connector, to attach to the female GPI connector on the E3 engine. Wiring a Switch to Drive GPI GPI Output Examples No ground reference needed DB9M between systems. The following diagrams depict wiring examples for a cus- r, to connect to the female tomer-provided DB9 male connecto GPI connector on the E3 engine. GPI Output Driving an Externally Powered LED 1 6 DB9M 3 Wiring a Relay to Drive GPI DB9M No ground reference needed between systems. 8 – + 1 External Power Supply 6 289 Chapter 30: GPI Port Reference

301 GPI Output Driving a Logic Input DB9M V + 3 8 Ground reference needed between systems. GPI Output Driving a Relay Using an External Power Supply DB9M 3 External 8 Power Supply 290 Chapter 30: GPI Port Reference

302 Chapter 31: ECx Ethernet Control Your system includes ECx Ethernet Control remote control host ECx Host and Client Software control your system remotely and client software. ECx lets you ient computer or other mobile over an Ethernet network from a cl To use ECx Ethernet Control, you must do the following: device, using compatib le wired or wireless network equipment. • Install the ECx host software on the E3 engine. • Install ECx client software on your remote computer or mo- bile device. ECx Capabilities and Features ECx host and client software installers are available in your Avid ECx provides the following: account after you activate th e S3L-X system software and • Remote control of your system from a client computer, in- plug-ins. t phones, and other mobile de- cluding laptops, tablets, smar vices that support VNC (Virtual Network Computing) client stalling, enabling, and us- For complete information on in software ing ECx, see the ECx Ethernet Control Guide located in the ECx installer folder. ftware on the remote client • Exact duplication of VENUE so computer or device Required Components for ECx red to use ECx with your sys- The following components are requi tem: mputer with an Ethernet • A Mac or Windows client co (RJ-45) port, and/or with wi reless networking capability (purchased separately) • A tablet or other mobile devi ce (not included) with VNC cli- ent software (downloaded separately) • For wireless communication with ECx, a router or wireless access point (WAP) (purchased separately) • Ethernet cable for connecting to your client computer, wire- int device (purchased sepa- less router, or wireless access po rately) • A USB flash drive with at least 80 MB of free space For wireless communications, 802.11g capable devices are recommended. 291 Chapter 31: ECx Ethernet Control

303 Appendix A: E3 Engine Secure USB Port The E3 engine features a secure internal USB port to connect and securely protect an iLok Smart Key. Use this port to keep one “master” iLok and its plug-in assets with the E3 engi ne at all times, safe from damage or loss. ly install the iLok after y To access the port, the top panel of the E3 engine must be removed. On censes to ou have transferred plug-in li Installing and Authorizing Plug-Ins for more information. your iLok. See To access the secure USB port on the E3 engine: 1 Power down and disconnect al l cables from the E3 engine. at secure the top panel of the E3 engine. 2 Remove the 12 screws th E3 engine Top Panel 3 Set the panel and screws aside. 292 Appendix A: E3 Engine Secure USB Port

304 4 Inside the E3 engine, locate the secure USB port a nd insert the iLok. iLok Interior of the E3 engine showing an attached iLok 5 Secure the iLok with the built-in cable tie. 6 Replace the Top Panel and reattach with the 12 screws. 293 Appendix A: E3 Engine Secure USB Port

305 Appendix B: Configuring Stage 16 Rack Ears/Handles Stage 16 can be rack-mounted, or it can be used freestanding. If you are using Stage 16 freestanding, you can configure the rack ears to function as handles. Rubber edging protects the box when used freestanding. To ensure proper airflow, make sure the vents on ei ther side of Stage 16 are always exposed. Stage 16 configured with Rack ears (left) and handles (right) Appendix B: Configuring Stage 16 Rack Ears/Handles 294

306 To configure the Stage 16 rack ears as handles: Using a 3/32-inch hex wrench or hex driver, remove the 16 hex scre ws (eight per side) that secure the rack ears to the Stage 16 . 1 Removing the rack ear/handle screws Remove the rack ears from the Stage 16. 2 Replace the rack ears on the Stage 16 so they function as handles, lining up the screw holes on the handles with the screw hole s on 3 the Stage 16, and replace the 16 screws (eight per side). e provided with the Stage 16 Replacement screws ar in case any screws are lost. Replacing the rack ear/handles screws 295 Appendix B: Configuring Stage 16 Rack Ears/Handles

307 Appendix B: Configuring Stage 16 Rack Ears/Handles 296

308 Appendix C: Compliance FCC Compliance for United States Environmental Compliance Radio and Television Interference Disposal of Waste Equipment by Users in the European Union 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 This symbol on the product or its packagi ng indicates that this product must not interference to radio or television reception, which can be be disposed of with other waste. Instead, it is your responsibility to dispose of determined by turning the equipment off and on, the user is your waste equipment by handing it over to a designated collection point for the encouraged to try and correct the interference by one or recycling of waste electrical and electr onic equipment. The separate collection more of the following measures: and recycling of your waste equipment at the time of disposal will help conserve • Reorient or locate the receiving antenna. natural resources and ensure that it is recycled in a manner that protects human • Increase the separation between the equipment and health and the environment. For more information about where you can drop off receiver. your waste equipment for recycling, please contact your local city recycling • Connect the equipment into an outlet on a circuit office or the dealer from whom you purchased the product. different from that to which the receiver is connected. • Consult the dealer or an experienced radio/TV technician for help. Proposition 65 Warning Any modifications to the unit, unless expressly approved by Avid, could void the user's authority to operate the equipment. This product contains chemicals, including lead, known to e cancer and birth defects or the State of California to caus Australian Compliance other reproductive harm. Wa sh hands after handling. Perchlorate Notice This product may contain a lithium coin battery. The State of California requires the following disclosure statement: “Perchlorate Material – special handling may apply, See www.dtsc.ca.gov/ha zardouswaste/perchlorate.” Canadian Compliance Recycling Notice This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. B respecte toutes les exigences du Cet appareil numérique de la classe Règlement sur le material brouilleur du Canada. CE Compliance (EMC and Safety) EMC (Electromagnetic Compliance) Avid declares that this product complies with the following standards regulating emissions and immunity: • FCC Part 15 Class B • EN 55103-1 E2, E3 • EN 55103-2 E2, E3 Avid is authorized to apply the CE (Conformité Europénne) mark on this • AS/NZS CISPR 22 Class B compliant equipment thereby declaring conformity to EMC Directive • CISPR 22 Class B 2004/108/EC and Low Voltage Directive 2006/95/EC. 297

309 Korean EMC Regulations For Avid S3 Control Su rface and Avid Stage 16 For Avid E3 Engine 298

310 Index C Numerics 171 Cabling requirements 6 0 dBVU 79 Cancel 30 48V 183 Center Last Recalled Snapshot channel A 49 reset shortcut 284 A Unit has gone Offline Channel Control Absolute (editing snapshots) 196 57 expanding Actions 212 overview 31 217 creating User assignment 56 list 224 using 54 Add (or Update) this plug-in to Snapshot 170 Channel display navigation 29 126 AFL 67 Channel Name All (snapshots) 185 channel number (plug-in rack routing) 164 215 AND (Event List) CHANNEL SAFE 191 Assignable Pro Tools I/O 255 190 Channel Safe attack channels 139 compressor/limiter 41 banking 140 expander/gate 49 copy and paste automation in the Patchbay 122 190 and Channel Safe , 50 moving 73 see Snapshots selecting 46 67 Automation Safe Chase MTC 182 auto-save and History 180 183 Clear Aux Clear Console 87 configuring busses and Groups 62 during reset Aux monitoring options clip 127 AFL Follows Auxes , 66 67 Hold Aux Sends 66 Margin 207 snapshot as monitor, or as effects sends colors in rack slots 163 comp knee B 139 compressor/limiter backup 249 , 6 compatibility 180 and History compressor/limiter 285 software 139 attack Balance 73 comp knee 139 balance (when pasting) 49 142 Dynamics Graph bandwidth 139 make-up gain 148 EQ 139 ratio Bank Safe 44 release 139 41 banking threshold 139 37 banner display Config Mode 14 bell or shelf EQ 148 156 and plug-ins 50 Blank Strip 14 Console Config blue (snapshot) 182 Console Mode (Config versus Show) 14 bus processors 288 contact closure 166 assigning plug-ins controlling USB 2-track Transport 247 busses controls 113 linked matrix 27 input and FX return channels Busses page 62 copy and paste bypass 49 channel settings 148 EQ in out 143 dynamics settings bypassing plug-ins 164 EQ settings 153 copying 165 plug-ins Create new snapshot containing this plug-in 170 299 Index

311 crossfade time (snapshots) 206 Events crossfades 212 actions 200 and Preview mode 206 bypassing cursor 65 219 and Snapshot modes 219 and snapshots 217 behavior D controlling Pro Tools 262 Date & Time Check 282 246 controlling USB record/playback 171 dBVU, dBu, dBFS creating actions 217 36 Default , 215 , 135 creating triggers 247 263 , delay creating, selecting, managing 135 , 213 94 compensation enabling and disabling 214 111 , input channel built-in 102 Event List 210 111 mains (house) 93 , 102 , list of action types and properties 224 Monitor bus 131 223 list of trigger types and properties 218 delay (Event List Wait) 218 reset Delay Compensation 63 terminology 209 Delete (snapshots) 183 testing 218 Devices page 68 triggers 211 Digital/Analog EQ 148 Wait 218 Direct Outs window 210 167 routing to plug-ins Expander/Gate Disable 140 threshold 183 snapshots expander/gate 63 divergence 93 , 140 attack Dly (channel Delay in snapshots) 208 gate range 140 DSP release 140 171 plug-ins Duplicate 183 F Dynamics Fader bank switches A-F 146 29 ranges of controls dynamics Fader banking 30 141 Nudge and Bank left/right switches and plug-ins Dynamics Graph 142 29 switches A-F presets for built-in 143 faders 49 142 reset reset shortcut feedback settings and presets 143 256 , 219 Filing 180 History E 176 loading Shows E3 engine 177 Presets and Scope Sets 21 connections and switches 176 Show files features 3 Show Folders 175 mechanical specifications 267 , 268 36 Fine 9 power connections momentary or latching 36 13 powering on 286 firmware ECx 291 104 Follows Channel Pan Aux/ Variable Group send option Edit (System Config) 59 Footswitch 20 Edit mode 196 165 formats (plug-ins) EQ FX Returns 149 adjusting 167 and plug-ins 152 and plug-ins banking 41 bell or shelf 148 27 channel controls 147 built-in HPF 147 built-in parametric , 142 bypass via Input Direct mode 153 148 digital/analog GEQ 91 148 in out 155 ranges of controls 153 settings and presets 300 Index

312 polarity (phase) 80 G routing to Auxes 76 gain 76 routing to Mains and Groups 75 and multiple input routing Safe 80 gate 80 solo 144 key source width 79 range for expander/gate 140 Insert Blank Strip 50 General Purpose Interface (see GPI) 169 Insert Mode (Global Control encoders) Global Control 164 insert number (plug-in rack routing) 247 USB 2-track Transport controls inserts Global Control encoders 166 assigning plug-ins 101 adjusting Groups using 157 Installed Plug-Ins 92 adjusting Mains using 66 Interaction page adjusting plug-ins (Insert Mode) 169 invert group output phase 102 111 , 111 expanding Aux/Group output controls overview 33 GPI J 288 Input pinouts jump (see crossfade bypass) 288 input specifications pulse and duration 217 K 289 wiring diagrams 144 key assign 91 Graphic EQs key listen 145 182 green (snapshot) 144 key source 288 ground (GPI outputs) knee Groups 139 hard or soft 87 and Variable Groups L H Latch (Event action behavior) 217 hard knee 139 levels hardware 171 plug-ins 120 display of unavailable 113 linked Matrixes headphones linking 131 level 37 screen and console 202 hexadecimal listen wedge 130 high-pass filter 147 Live Sound Production Toolkit 251 History 180 194 locking snapshots house (Mains) logic (GPI) 288 93 mute 92 volume M 80 HPF 92 main volume Mains I 87 configuring I/O 87 configuring Main busses 120 unavailable input routing 76 iLok 159 93 mute USB ports 160 92 output level control In/Out selecting 46 148 EQ maintenance Input Direct mode 83 , 142 , 153 285 system restore 257 Input mode 73 Make Stereo Input Safe Switches and Blank Strips 50 220 changing modes via an Event Make Stereo/Mono inputs 50 shortcut 78 20 dB pad make-up gain assigning Patchbay routing 74 139 compressor/limiter 77 assigning to VCAs Matrix Bank Safe 44 113 linked stereo channel controls 27 linking and unlinking inputs 114 80 HPF 247 Media page input channels and FX returns 27 236 overview , 142 , 153 Input Direct mode 83 playing back tracks 242 73 make stereo recording audio 240 mute 80 selecting tracks in 238 72 naming 239 Transport controls 79 pan 79 phantom power 301 Index

313 metering options 66 215 OR (Event List) 66 ballistics for meters console level meter 28 oscillator meter options 66 65 settings Other 165 MIDI outputs 201 adding to snapshots 189 134 and Recall Safe and mute 86 configuring in Preview mode 200 delay , , 102 111 93 MIDI Snapshot Output Safe 190 93 , 202 63 divergence output Safe Misc page 65 graphic EQ 91 192 Mix (Recall Safe parameters) reassigning in Patchbay 124 14 modes (Config versus Show) routing 88 Mon (Aux sends and Variable Groups) 207 Monitor P 130 assignable output 78 pad 131 Delay 194 padlock (snapshots) 131 level Page switches 29 75 monitor mixing Pan 79 mouse settings 65 see also Width 79 move input channels pan 50 Move Selected Strip Here right-click command 93 , 63 divergence 73 using drag and drop 49 when pasting 165 moving plug-ins parameters 118 MTC Patchbay 182 chase 120 displays and indicators configuring options 64 122 navigating 200 Events and Preview mode overview 119 200 in Preview mode source and destination display 121 Multi-Assign 48 124 warning when reassigning 47 Multi-Select 120 Patching Grid Mute Peak mode (metering) 66 136 channels, Mute Groups and VCAs PFL 126 Groups 134 79 phantom power 80 input channels 111 , 102 phase (group output) outputs 134 Pickoffs page 63 284 Plug-In Racks are Ready N Plug-In Racks Need Reset 284 naming channels 72 156 plug-ins and channel Direct Outs 167 navigating 41 131 near-field levels 189 and Recall Safe 170 and snapshots Network ports 232 and standalone software 21 E3 engine S3 control surfaces 20 165 assigning to rack slots 156 Config and Show mode Sig and Act LEDs 269 Stage 16 display unavailable and inactive 163 23 159 enabling and disabling New 183 EQ None (snapshots) 152 185 186 199 in Preview mode Notes (snapshots) 164 in/out (bypass) 159 list and menu management O 158 managing offset 165 mono, stereo, other 78 Right Offset 165 moving and copying 30 OK and Cancel switches 162 pinning a view On (Recall Safe) 189 preset files 170 One or More Units have Failed 281 164 163 , rack slots operating modes 14 racks 161 59 Options 284 re-initializing the racks Busses 62 routing to and from 166 Devices 68 snapshot indication (red) 163 Interaction 66 169 targeting 65 Misc Use Racks 284 63 Pickoffs views 161 157 Plug-Ins 157 Plug-ins to Install 64 Snapshots 302 Index

314 , 111 reset 102 polarity (group output) polarity (input) 80 142 dynamics Reset (strip) 49 power 13 reset a section or parameter 36 start up/shut down guidelines PQ Reset Fader 49 resolution (see Fine) 114 linking and unlinking inputs 285 Pre (snapshot parameters) 206 Restoring the system software right-click shortcuts 48 presets 143 RMS mode (metering) 66 dynamics EQ routing 153 folders 130 177 Monitor bus for built-in dynamics 143 multiple channels to a hardware output 123 managing 178 170 plug-ins S Scope Sets 192 S3 control surface 179 transferring 41 banking and selecting channels 197 Preview mode connections and switches 20 199 and plug-ins 2 features and Undo 198 26 overview capabilities and overview 198 9 power connections MIDI and MTC 200 Safe Pro Tools 67 Automation 255 assignable I/O Solo 67 connecting 251 180 save (History auto-save) Controlling the Pro Tools Transport from Global Control 264 Scope Sets Input mode 257 179 transferring installing 251 192 using Live Sound Production Toolkit 251 46 selecting channels Recording in shared Stage input configurations 253 selecting multiple channels 47 using events to control Pro Tools 262 46 selecting outputs Virtual Soundcheck 253 settings Propagate mode 197 143 dynamics 217 Pulse and Duration (GPI) 153 EQ Push-Pin (plug-in view) 162 plug-ins 170 Shared Stage inputs Q 12 Connecting 253 148 Q Recording to Pro Tools 13 Setting up 16 Quit Virtual Soundchecks in shared input configurations 255 85 Working with inputs R 99 Working with outputs rack slots 161 148 shelf or bell EQ racks 284 shortcuts racks (plug-ins) 161 48 right-click ratio 182 Snapshots 139 compressor/limiter 175 Show files 187 183 , Recall 175 creating Next 182 175 deleting 182 Previous 175 Folders Recall Safe loading 176 189 and MIDI 179 transferring 189 and plug-ins 175 Show Folder 199 and Preview mode Show Mode 14 191 CHANNEL SAFE Shows 192 Matrix and PQ 159 and plug-in management while loading turning on and off 189 13 shut down using 191 side-chain 182 red (snapshot) 168 assigning for plug-ins 163 red plug-in rack 144 assigning source (gate only) registration 6 signal routing 196 Relative (editing snapshots) 121 display in Patchbay release inputs 74 139 compressor/limiter SIP 126 140 expander/gate 170 Remove this plug-in in Snapshot 284 Reset 303 Index

315 Snapshots Stage 16 18 201 adding to configuration adding MIDI messages 11 adding plug-in data 202 connecting multiple box systems 9 185 connecting power All and Channel Safe 190 connecting single box systems 11 Center Last Recalled in list connections, switches, and indicators 23 183 Channel Safe 191 features 3 269 channel scope front panel LED codes 184 182 Identify and Mute switches 68 chase MTC rack ear/handles classifying Auxes and Var Groups 294 207 18 reassigning Clear 183 18 color indication in List 182 removing from configuration 232 186 creating standalone software and plug-ins 232 crossfade time 206 61 export System Info 184 data type buttons installing and removing Delete 232 183 Disable 183 system requirements 232 183 Duplicate stereo 73 Edit mode 196 spread (Bal/Width) stereo channels (see Make Stereo) 73 200 Events and Preview mode 165 faders stereo plug-ins 184 Store 198 183 in Preview mode keyboard shortcuts System Config 182 59 182 system requirements List 6 , 249 192 , 208 285 list of data types and parameters System Restore Software 62 System Test locking and unlocking 194 managing (storing, clearing, deleting, moving, duplicating) 193 T MIDI and plug-ins in Preview mode 198 226 Tap Tempo 186 naming and renaming target New 183 46 channels None 185 169 plug-in notes 186 targeting outputs 46 overview 181 tempo 170 plug-in menu 204 adding to snapshots 163 plug-in scope indication threshold Preview (editing and previewing snapshots) 197 139 compressor/limiter Propagate mode (updating snapshot parameters) 197 Expander/Gate 140 Recall 183 37 Tool Tips recalling 187 35 Touch Strip safe filter (Recall Safe) 191 Trackball Scope Sets 192 65 settings for 183 selecting transfer 179 Store 183 Transport control target 187 262 Pro Tools 245 USB record/playback Transport control 211 Triggers 206 x-Fade 215 135 creating , 263 , 247 , 170 Snapshots containing this plug-in 223 list 64 Snapshots page Troubleshooting 139 soft knee 285 Restoring the system software software troubleshooting 38 overview of pages and tabs 159 plug-ins 232 standalone 285 system restore 127 Solo 126 AFL, PFL, SIP modes , 242 , 244 and key listen 145 80 input channels 63 on-screen settings Solo and monitor options 127 configuring 67 Solo Safe 29 Source switch 304 Index

316 U Undo 198 in Preview mode 180 via History Update this plug-in in Snapshot 170 USB 160 ports for iLoks USB record/playback 242 playing back tracks recording 240 Transport control using events 246 Transport controls 239 using snapshots for Transport control 245 Use Racks 284 User bank switches 29 User Layout 42 Selecting and adjusting Mains in a 94 User Layouts 205 in snapshots Utility mode 284 V Variable Groups 207 snapshot as monitor, or as effects sends VCAs 208 and snapshots assigning 96 mute 134 VENUE 232 Standalone software View Mode 34 switches Virtual Soundcheck 253 W Wait (Event List) 218 Warning Dialogs 281 While Active (Event action behavior) 217 Width 79 width (when pasting) 49 Word Clock I/O 21 X X-fade (crossfade) 206 XOR (Event List) 215 Y 182 yellow (snapshot) 305 Index

317 Avid Technical Support (USA) Product Information 280 N Bernardo Avenue Visit the Online Support Center at For company and product information, Mountain View, CA 94043 USA www.avid.com/support visit us on the web at www.avid.com

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