Avid S3L Modular Live Performance Mixing System By: Mel Lambert

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1 Copyright Lighting&Sound America May Avid S3L Modular Live Performance Mixing System By: Mel Lambert multiple channel layers to reach it. With an MSRP starting at $17,995 for a basic S3L system with a single stage box, putting it in direct comparison with the Yamaha CL-2 and DiGiCo SD-9 designs, there is no denying the Avid product packs more processing power into a more compact package than the competition. Primary components of the Avid S3 (from left): S3 assignable control surface with Venue software screen, E3 DSP engine, and a Stage 16 remote I/O box. The new Avid S3L live performance console combines a number of technical advances targeted at both experienced and novice live sound engineers in applications ranging from concert and theatrical performance to houseof-worship services and corporate AV. As a logical progression of the current Avid Live Sound family, the new offering uses the same Venue control software and show files, enabling mixes from D-Show, Profile, and SC48 systems to be opened on the S3L. While previous live sound offerings from Avid have used AVB/Audio-Video Bridging connections to carry digital audio between networked processing engines and stage boxes, for example, as a natural evolution, the S3L is the first product from Avid that is totally AVB-based, even using the Ethernetbased scheme as a wrapper for EuCon commands between the control surface, DSP rack, and stage boxes. Developed by Euphonix, a recording/production console manufacturer that Avid purchased in 2010, the bidirectional EuCon command protocol provides high-speed communication for scanning user controls as well as relaying data for the various screens and on-surface display elements. The protocol also provides direct, highspeed connection to Avid s Pro Tools and other digital audio workstations that support EuCon, enabling event recording and playback music, announcements, etc., to be controlled directly from the console surface. The familiar Venue control software offers full automation capabilities with the ability to update mix settings by recalling up to 999 snapshots on a per-song or per-scene basis for fine tuning on the control surface during the live event. Recall Safe mode protects real-time changes from override by subsequent snapshots, while a very handy VCA and Group Spill feature which, I understand, can be offered for the S3L in a future software release lets users quickly access and control any particular channel within a VCA or group without having to bank through Fully modular system configuration The new modular system is comprised of the S3 control surface, an E3 processing engine based on Avid s HDX architecture, up to four Stage 16 remote I/O boxes, Venue software, Pro Tools 11.x software, an AAX DSP live-sound plug-in bundle, and accessories. The S3 surface, which measures just 28" wide by 14.3" deep by 1.3" high (2.8" with knobs) and weighs just 14lb, features 16 channel strips with individual faders that can be accessed from one of six fader banks. A total of 32 encoders with high-resolution OLED readouts and tricolor function indicators are available, configured as 16 fully assignable encoders, eight dedicated channelcontrol encoders, and eight global control encoders. Metering is via a bank of 16 ten-segment meters with pre/post-fade switching options. The S3 control surface also features four analog inputs a pair of XLR mic/line inputs and a pair of TRS line inputs for local connection of a talkback mic, audience mics, and/or playback units. Four analog outputs two on XLRs and two via TRS line outs enable recorders or small monitor speakers to be hooked up to the surface, in addition to headphones, via a dedicated 1/4" TRS socket with level 84 May 2014 Lighting&Sound America

2 control. Also available on the rear panel are two gigabit Ethernet AVB ports, two USB 2.0 ports for connecting a keyboard and mouse, a footswitch port, and two console light ports. The HDX-powered E3 processing engine accommodates 64 input channels with full signal processing, routing to 24 auxiliary busses, LCR outputs, eight mono matrixes, and eight VCA groups. Each input and output channel offers on-board four-band parametric EQ, a compressor/limiter and expander/gate with 16 assignable graphic equalizers for outputs. All HDX digital processing features 32-bit floating point math, with full support of Avid s new AAX-format DSP plug-ins from both Avid and a growing number of third-party developers. The 2U frame houses four XLR mic/line analog inputs and four XLR line analog outputs in addition to four AES3-format inputs and outputs, ancillary GPIO I/Os and word clock, three gigabit Ethernet AVB ports, an ECx Ethernet port for wired/wireless remote control, and a DVI video port. Four USB 2.0 ports are available for updating/restoring of Venue system software, installing compatible plug-ins, transferring Venue show files and other data, and recording/replaying twotrack audio files; an internal USB port is provided for a secure ilok 2 key required to run the S3L plug-in licenses. A total of 16 channels of MIDI I/O are also enabled via an external USBcapable MIDI interface. Avid s Live Sound Production Toolkit, which is activated and downloaded separately from S3L system software and plug-ins, enables, via an ilok 2 license, up to 64 channels of simultaneous record/replay tracks to Pro Tools 11.x software running on an outboard Apple Mac via the Ethernet AVB network. Stereo record/playback also is provided to/from either USB port to external flash drives, with integral transport and playlist data from the master Venue control software, which enables fully labeled set The S3 assignable surface features 16 channel strips with individual faders that can be accessed from one of six fader banks plus 32 encoders with high-resolution OLED readouts and tri-color function indicators. Venue routing, levels, pan, EQ, dynamics, and other functions are mapped as necessary to control-surface rotary controls and faders, with entire mix settings being stored in a library of presets. A pair of gigabit Ethernet AVB ports enable up to four Stage 16 boxes to be daisychained together in a box-to-box configuration or, for added redundancy, in a ring topology. May

3 recordings to be available immediately after a performance or house-of-worship service with each element individually labeled from the master cue list. The use of standard Core Audio functionality also enables the use of other DAWs for recording/playback, as required. The AVB-connected Stage 16 remote I/O box features 16 XLR mic inputs with integral, remote-controllable preamplifiers; eight XLR line outputs; and four AES3-format digital outputs. The stage box measures just 6.9" by 19" by 8.1" (HxWxD), with handles that, usefully, can be configured either for carrying or rack-mounting. A pair of gigabit Ethernet AVB ports enable up to four Stage 16 boxes to be daisy-chained together in a box-to-box configuration or, for added redundancy, in a ring topology. The suggested snake cable is shielded 350MHz Cat-5e or better with Neutrik ethercon connectors; maximum length is 328' (100m). Venue control and snapshot software Venue-controlled levels, pan, EQ, dynamics, and other functions are mapped as necessary to control surface rotary controls and faders, with entire mix settings being stored in a library of presets that can be triggered, if necessary, against a series of preset cue lists. The channel section on the S3 surface provides control of input channels, effects returns, output channels, and channel banking with solo and mute switches plus a 100mm motorized, touch-sensitive fader. A ten-segment meter shows levels for the corresponding input or output channels. A single assignable encoder above each channel fader controls parameters such as input gain, aux-send levels, and pan/balance/width and offers both rotary and switch functions. OLED readouts display the names of the channels currently assigned to the surface, with parameter value and other useful data. For enhanced control, pressing an aux encoder places the S3 control surface into Aux Selection mode, meaning that sends can be targeted to the 16 channel encoders quickly and easily. Page Left and Page Right buttons let the user navigate through adjacent mixes, which is particularly handy for monitor mixing. Once an aux send is selected, a dedicated Flip switch swaps the current parameters assigned to the channel encoder to the channel fader. Again, a useful feature while mixing monitors. An upper channel control handles EQ, dynamics, and aux-send levels for the currently selected input/output channel, while Global Controls handle system-wide parameters, including output bus levels, matrix I/O levels, VCA levels, monitor-bus levels, plug-in parameters, screen navigation, and programmable events. The S3L provides dedicated buttons for navigating through channels in preset layers and for also banking channels horizontally across the surface. The A bank brings input Channels 1 16 to the current controls; B banks 17 32; C banks 33 48; D banks (or

4 effects returns 1 8, dependent upon the input-channel configuration); E banks Auxiliary Outputs 1 16; F banks Group/Variable Group Outputs 1 8 to Channel Strips 1 8; and Matrix Outputs 1 8 to Channel Strips A User banks VCAs 1 8 to Channel Strips 1 8 and the main left, C/mono and right outputs to strips Multi-assign buttons let the user select various modes using on-screen dialog boxes to quickly assign multiple input channels to a selected bus, including the eight groups, matrix, and the main LCR outputs. A handy customizable touch strip can be used to control various console parameters via four programmable zones assigned to control four separate events. Although all system functions can be controlled from the surface without reference to the Venue software screen, the latter is necessary for setup and configuration. Usefully, a screen banner display in the lower-left Expanded AAX Plug-in Platform for the S3L System In mid-march, Avid unveiled a free VENUE software update that not only provides support for the latest Avid and third-party qualified AAX DSP plug-ins but current S3L customers can download additional free AAX plug-ins, through their Avid customer accounts. The Avid S3L plug-in bundle includes: Avid Channel Strip; BF-76 solid-state compression emulation; Classic Compressors Bundle; D-Fi analog and retro processing bundle; D-Verb reverb and ambience processing; Dynamics III Guitar amp emulations: EQ III; Impact mix-bus compression; Maxim peak limiting and maximizing; Mod Delay III; Moogerfooger Bundle; Pro Compressor; Pro Expander; Pro Limiter; Pultec Bundle; Reel Tape Suite; Reverb One; ReVibe reverb; SansAmp; Smack! dynamics; Tel-Ray Variable Delay; Time Adjuster; and Voce Bundle. Third-party plug-ins qualified for Avid S3L include Crane Song Phoenix II; McDSP 4020 Retro EQ, 4030 Retro Compressor, 4040 Retro Limiter, 6030 Ultimate Compressor, Analog Channel, CompressorBank and FilterBank; plus Sonnox Oxford Dynamics, Oxford EQ, Oxford Inflator, Oxford Limiter, Oxford Reverb, and Oxford TransMod. corner provides line-of-sight mixing by showing the currently adjusted parameter such as fader level or compression threshold as parameters are changed. The banner also shows status messages such as Multi-Select and Multi-Assign modes. The software screens also handle the selection, naming, configuration, and parameter adjustment for input Mountain Productions is now a proud distributor of DBI-SALA s innovative and proven fall protection solutions. From harnesses and lanyards to full horizontal systems, we can help you ensure the safety of your most valuable asset your crew. 21' 4' 4 MOUNTAIN PRODUCTIONS North America s Leader in Staging RAMP UP 817# 817# 817# # 635# mountainproductions.com 757# 757# 757# RAMP UP RAMP UP +7'-3" 4' PUTTLOG RAMP UP +7'-0" 1800# 1800# 1800# 1000# 1800# 1800# 1800#

5 Current Avid Live-Sound Mixing Systems Profile System A versatile, compact configuration that can scale up to 96 I/O channels with a 24- fader control surface. Mix Rack System In essence, a Profile configuration for small- to mid-size productions in a smaller footprint, featuring the all-in-one, 48x32 channel Mix Rack. D-Show System A configuration for large-scale performances and productions with maximum faders channels, effects returns, and outputs in addition to the save, loading, and transfer of show and preset settings, including snapshots. A patchbay page handles the assignment of input and output channels to hardware I/O and channel naming, while a plug-in page handles assignment and routing of systems plug-ins. A separate options screen section and channels that can accommodate up to 56 input faders. SC48 A portable, all-in-one configuration for small- to mid-size FOH spaces that can be moved from room to room, offering up to 48x32 I/O channels with a 24- fader control surface. SC48 Remote System A portable, all-in-one configuration with remote I/O versatility via an included Stage 48 remote for placing I/O closer to signal sources. handles configuration for selected channels, including input safe switches, lights, metering, Ethernet connections, and LCD display. Meter ballistics can also be adjusted between RMS or peak-reading for the control surface and on-screen meters at a choice of three points the top of each channel, the insert return, or post-fader (premute) while output channels can be metered at the top of each channel or post-fader (post-mute). Meter clip indicators under Venue software control display when an input or output signal reaches or exceeds a preset value at several points throughout the signal chain. In use, the new Avid S3L s modular architecture and assignable on-surface controls pack a remarkable amount of mixing functionality into a small amount of space, opening up powerful options in live-sound applications where front-of-house locations can displace revenue-earning seats or where the system will be used by nontechnical users; the combination of a conventional surface layout and functions that are never more than one or two button pushes away makes the system remarkably easy to use. And direct support of Avid s AAX-format of plug-ins provide access to the same range of creative tools used in recording sessions, making it possible to duplicate in live performances the Featuring Harlequin s Reversible Vinyl Floor! Harlequin s Reversible floor is a favorite amongst touring companies. This double-sided vinyl floor comes in seven different color combinations and is lightweight for easy transport. Harlequin s best-selling portable floor, Reversible is easy and quick to roll out for a durable, slip-resistant, lightweight dance surface. It lays flat and stays flat! American Harlequin Corporation 1531 Glen Avenue, Moorestown, NJ Toll Free or Fax For more information and samples, contact us at dance@harlequinfloors.com PHILADELPHIA LONDON PARIS LOS ANGELES SYDNEY LUXEMBOURG FORT WORTH HONG KONG MADRID 88 May 2014 Lighting&Sound America

6 unique sound of commercial recordings; such internal processing can also replace outboard gear and cumbersome plug-in servers. Bundled AAX plug-ins include Avid Channel Strip EQ, dynamics, filter, and gain effects; Dynamics III compressor/limiter, expander/gate, and deesser; EQ III high-resolution, doubleprecision 48-bit equalization; Mod Delay III variable delay processing; Pultec Bundle analog EQ simulator with three classic designs; BF-2A emulation of the Universal Audio LA- 2A vintage tube compressor; BF-3A leveling amplifier for voice and instruments; Purple Audio MC77 digital replica of the acclaimed limiting amplifier; Reel Tape Saturation, offering analog color, compression, and saturation effects; plus ReVibe room-modeling ambience and reverb. Full integration with Pro Tools record/playback software It is hardly surprising that Avid has fully integrated Pro Tools recording and playback via the system s Ethernet AVB network; Venue Link now makes it easy to control both live mixing and recording/playback setups with no additional audio hardware being required to connect an S3L system to Pro Tools. The S3L enables multi-track Pro Tools sessions using a variety of audio sources, including digital splits of stage inputs, channel direct outs, and bus outputs; pre-recorded Pro Tools tracks can also be integrated with a live mix. EuCon functionality will also enable use of the control surface to mix both Pro Tools and other DAW setups, adding versatility for both live and project-studio environments. By combining recording and playback, it is possible to perform a true virtual soundcheck by replaying tracks from a previous performance, adjusting mix parameters, and retaining the changes when you switch back to a live mix; Venue Link exchanges data between systems to simplify work flows while providing an automatic one-for-one direct digital split of all assigned stage-input channels without Saenger Theatre - New Orleans PARDON OUR FRENCH Chicago Minneapolis Dallas Melbourne schulershook.com Demand More. - Products - Manufacturers - Ideas - Resources - Solutions - Possibilities Equipment, Expendables, Systems, and Rigging for Entertainment and Architectural Lighting Since more@barbizon.com May

7 Award winning LED spot technology in a new design W RGB LED Engine Rotating Gobos Fixed Gobos - - Motorized Iris - - Rotating Prism -... and much more Smaller, lighter, faster, and very affordable. GLP German Light Products, Inc. Tel: Fax: info@germanlightproducts.com needing to crosspatch or reconfigure the software. Usefully, the operator can use individual Venue snapshots to create new markers in the Pro Tools timeline with the same name to the recalled snapshot; once the marker is created, subsequent recalls of that snapshot can locate or recue Pro Tools playback a neat feature for replaying walk-in music, sound effects, backup material, etc. For mixdown or a virtual soundcheck, a fully archived session is also available for fast navigation to specific songs or cues. Existing Venue show files can be imported directly into an S3L system and vice-versa. Venue 4 software adds a new media page that provides access to transport controls, playlists, and the library for two-track USB recording and playback across multiple flash drives, with full integration of show files, snapshots, and events; four-band parametric EQ and dynamics processing on output busses; drag-and-drop assignment of multiple Stage 16 I/O boxes; and an enhanced function that lets users perform virtual soundchecks globally or on a perchannel basis to enable live sound check alongside pre-recorded tracks. As with previous Venue software versions, ECx lets you control an S3L console remotely over an Ethernet network from a client computer, tablet, smartphone, and similar mobile devices using wired or Wi-Fi links that support VNC (Virtual Network Computing) client software. The bottom line: a natural venue evolution From Broadway to community theatre to houses of worship, the new S3L live performance console offers extended flexibility and interactive work flows to handle practically any size of event. The modular architecture lets users easily scale the system to match production needs via AVB connectivity using lightweight, inexpensive Ethernet cabling rather than bulky analog snakes. Using the Venue system s comprehensive automation capabilities, users can quickly and easily change mix settings by recalling one of 999 snapshots on a per-song or per-scene basis and then fine-tune the mix; Recall Safe protects real-time changes from override by subsequent snapshots. And with the VCA and Group Spill feature, users can quickly access and control any particular channel within a VCA or group without having to bank through multiple channel layers to reach it. In summary, the S3L live-sound system offers a unique combination of a modular, open-networked architecture with a fault-tolerant gigabit Ethernet network that connects all components for enhanced in-use performance and operational flexibility. Innovative features include Ethernetenabled AVB and HDX signal processing with floating-point math in addition to full integration of AAX plug-ins and EuCon connectivity. The S3L s modular topology, with a control surface and a DSP engine located at front of house connected to a quartet of stage boxes, should provide a cost-effective mixing and recording rig for a wide variety of live performances in a compact, lightweight package that can be transported easily by car, van, truck, or bus. All in all, the new offering from Avid s evolving Venues Series offers major bang for the buck. The compact control surface s 16 faders can be bank switched quickly to reach the chosen channel fader and companion EQ and dynamics controls, with comprehensive outputs assignment and monitoring. It s the kind of design that is bound to appeal to newcomers and seasoned professionals alike. Mel Lambert has been intimately involved with production industries on both sides of the Atlantic for more years than he cares to remember. He is now principal of Media&Marketing, a Los Angeles-based consulting service for the professional audio industry, and can be reached at mel.lambert@mediaandmarketing.com,